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<DATE>2014-12-15</DATE>
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<NAME>Mona Logarbo</NAME>
<RESP>MURP</RESP>
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<ITEM>Proofed and reviewed as part of batch B140010.pdcc.</ITEM>
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<IDG S="marc" R="UM" ID="B13580">
<STC T="S">11122</STC>
<STC T="C">S115116</STC>
<BIBNO T="umi">99850335</BIBNO>
<VID>177172</VID>
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<TEXT LANG="eng">
<FRONT>
<DIV1 TYPE="title page">
<PB REF="1">
<PB REF="1">
<P><HI>Brachigraphy, Po&s;t-writ,</HI> OR, THE ART OF <HI>Short-writing.</HI></P>
<P>The Summe whereof is couch|ed into one Table, plainely demon|&s;trating the whole Method of the INVENTION.</P>
<P>By W. FOLKINGHAM his Maie|&s;ties <HI>Po&s;t</HI> of <HI>Stamford.</HI></P>
<P><FIGURE>
<FIGDESC>printer's device of Thomas Snodham (1603-25)?</FIGDESC>
</FIGURE></P>
<P>LONDON: Printed by <HI>Thomas Snodham.</HI></P>
</DIV1>
<DIV1 TYPE="to the reader">
<PB REF="2">
<PB REF="2">
<HEAD>To the Reader.</HEAD>
<P>_IN the breeding of this &s;mall Bodie of <HI>Short-writing</HI> I aymed at the husbanding of the Hand (as of Time and Place) that it might not with di&s;torted Characts be di&s;cu&s;tomed from good formes of v&s;uall Letters; and to that end of the &s;elected particles of their &s;e|uerall &s;tructures, I haue compo&s;ed part of my <HI>Alphabet,</HI> which with a few &s;hort Rules (of the due di&s;po&s;ure of the Characters) compri&s;ed in two Chap|ters, containes in effect the whole Art. Touching th' &s;teeme of the Method, the iudicious may &s;ati&s;fie him&s;elfe, put it to the Te&s;t, and determine of the difference
<PB REF="3"> twixt it and other formes, both for ea|&s;ie compa&s;&s;ing and for &s;peedie, clo&s;e, &s;e|cret, and plea&s;ant di&s;patch. For the Angles, Breaches, Pa&s;&s;ages, Combina|tions and other Dimen&s;ions in this and in all other writings, are &s;o manife&s;t to the Eye (of iudgement) that a meere &s;tranger to the Art may plainely di&s;|cerne the compendious and commodi|dious frame of words, and by con&s;e|quence be a competent iudge of the mo&s;t actiue, &s;wift, and clo&s;e pen&s;hip of &s;eue|rall Inuentions re&s;olued vnto him by exemplarie demon&s;tration. But the&s;e cu|rious incorporations of Letters varied into diuers Spellings by ordinary Im|pre&s;&s;ion, by Incorporation, by Implica|tion, doe varie one and the &s;ame Writ into &s;euerall expre&s;&s;ions, and &s;o nece&s;|&s;arily incumber the Lexion. A &s;hrewd incumbrance &s;ure, when a iudicious Tu|tor &s;tands alwaies pre&s;t at elbow (or ra|ther at each hand one) to trayne and teach to &s;pell and &s;peake, I meane the
<PB REF="3"> &s;ence of the Place by precedent and &s;e|quent dependence, which at an in&s;tant doth trace out, lead and tread the road|way to the Reading, and clearely di&s;|cu&s;&s;e all difficulties, which indeed are nothing (for matter of intrication, but rather the very prai&s;e of the Inuention, if duly e&s;timated) to the various Le|ctions in euery language attributed to the &s;elfe &s;ame words, which carrying identitie of &s;ound and compo&s;ure, doe yet transferre the &s;ence to farre dif|ferent &s;ignifications, without any impu|tation of confu&s;ion or imperfection to the Tongue. And all the&s;e difficulties (admit them &s;uch) are ea&s;ily &s;alued, and halfe the fourth Chapter, and all the fifth &s;aued by applying my Letters to tho&s;e formes of <HI>Short-writing,</HI> which intimate regionarie Vowels by conti|guitie of Con&s;onants (not by their con|tingence) as mine doth many times, and to which no Alphabet can be more ac|commodate; for then all coniunctions of
<PB REF="4"> Characters will be meere Incorporati|ons &s;ans Implication of Vowellage or in|trication of the Lecture. But I haue con|fined my &s;elfe to a more exact Method, which recompen&s;eth th'expence of &s;ome few more minutes (which yet I may not graunt) borrowed to th'attayning of this <HI>Theorie</HI> with the profitable pur|cha&s;e of many houres gaine in the <HI>Praxis,</HI> rather than for the idle fond e&s;teeme of a &s;mall mea&s;ure of truant Time (once to be lent but oft repaied with loane) be alwaies bound to di&s;|tracted and exorbitant Wanders, which are growne tedious both in Writs and Wits. For euery Practique hath its Art, and euery Art its Compendium, which built vpon a few &s;elected Ba&s;es, balks all circulating Complements as deuia|tions and extrauagants, if they pur&s;ue not the direct Medium to the Meta in Que&s;t. In approuement of which Pra|cti&s;e my Pen (to po&s;t to the Po&s;t-writ) pitches period with craue of friendly
<PB REF="4"> entertaine, which obtained &s;hall euer oblige me to challenge the grand Cham|pion S. <HI>George</HI> him&s;elfe to afford thee the like at <HI>Stamford,</HI> where Po&s;t-&s;ure the Po&s;t-les Po&s;ture of one of vs (though neither di&s;clayme the Po&s;t) thou maye&s;t finde at <HI>Exeter</HI> Inne, where &s;ans Re&s;t I re&s;t</P>
<CLOSER><SIGNED>Thine in this and that WILLIAM FOLKINGHAM.</SIGNED></CLOSER>
</DIV1>
<DIV1 TYPE="poem">
<PB REF="5">
<HEAD>The Record of MARCVS MANILIVS 1660. yeeres agoe, touching the Art of SHORT-writing.</HEAD>
<ARGUMENT>
<Q LANG="lat"><L><HI>HIc et erit foelix Scriptor cui Litera verbum e&s;t,</HI></L>
<L><HI>Qui&abque; Notis Linguam &s;uperat cur&s;um&abque; loquentis,</HI></L>
<L><HI>Excipiens longas noua per compendia voces.</HI></L></Q>
<Q><L>Her'th Pen-po&s;t ble&s;t &s;halbe who&s;e words impre&s;&s;ing</L>
<L>One <HI>Charact</HI> is, who Tongue with Quill out-&s;trips</L>
<L>Long &s;peeches in compendious Writ expre&s;&s;ing.</L></Q>
</ARGUMENT>
<HEAD>The <HI>Po&s;t-writ</HI> to the <HI>POST.</HI></HEAD>
<L>DVly thy place and Pen may &s;tile the Po&s;t;</L>
<L><HI>Stamford</HI> thy Stage (where Arts the Mu&s;es yore,)</L>
<L>(Strangers Thee &s;ince by Troopes) &s;aluted ho&s;t,)</L>
<L>To &s;peed the States Commaund; and with quaint Lore</L>
<L>Thou packs thou Po&s;ts (in faire-coucht current glo&s;e)</L>
<L>And &s;eale&s;t vp my Lines with &s;ecret skrewes;</L>
<L>Who&s;e clo&s;ure <HI>Oedipus</HI> can nere di&s;clo&s;e,</L>
<L>Nor once vnwinde my Laborinthian Clewes</L>
<L>Which cau&s;e the winged Pen to equipage</L>
<L>The fluent tongue with Characts luminous,</L>
<L>The Margent &s;mall to paralel the Page,</L>
<L>The <HI>Vade-mecum</HI> the Voluminous</L>
<L>Bulks of &s;elected Books of choy&s;e&s;t Writs,</L>
<L>Their Principles, their Axiomes their Flores,</L>
<L>Their Ab&s;tracts briefe the Marrow of their Wits,</L>
<L>Their Extracts chiefe and Quinti&s;&s;ence of Stories:</L>
<L>My Lines &s;o limne and locke the trea&s;urie</L>
<L>Of pretious Time and tru&s;tfull Secre&s;ie.</L>
</DIV1>
</FRONT>
<BODY>
<DIV1 TYPE="text">
<PB REF="5">
<HEAD>THE ART OF <HI>Brachigraphy.</HI></HEAD>
<DIV2 N="1" TYPE="chapter">
<HEAD><HI>CAP. 1.</HI> Of the Definition and Diui&s;ion of the <HI>ART.</HI></HEAD>
<P>_BRACHIGRAPHY is the Art of <HI>Short-writing</HI> impre&s;&s;ed in compendi|ous <HI>Time</HI> and <HI>Place.</HI></P>
<P><HI>Short-writing</HI> is either of the bare Letter, or of Words compo&s;ed of Letters. That I call <HI>Literall</HI> or <HI>Elementall,</HI> this <HI>Dictionall</HI> or <HI>&V;erball.</HI></P>
</DIV2>
<DIV2 N="2" TYPE="chapter">
<PB REF="6">
<HEAD><HI>CAP. 2.</HI> Of the Alphabet of Characters.</HEAD>
<P>THe Alphabet compo&s;ing the &s;tru|cture of words in this Method, is di&s;tingui&s;hed into three &s;orts of <HI>Chara|cters,</HI> according to the &s;euerall &s;cite and analogie they hould with the &s;uppo&s;ed <HI>Line</HI> or <HI>Rule</HI> you write by.</P>
<P><MILESTONE N="1"> The fir&s;t &s;ort are &s;uch as range-with, or keepe-about the ordinary pitch of the <HI>Rule</HI> or <HI>Rowe,</HI> exceeding neither in <HI>height</HI> nor <HI>depth,</HI> as are the <HI>Medials</HI> or <HI>Regulars</HI> being all the Alphabet except eight long Letters.</P>
<P><MILESTONE N="2"> The &s;econd are Altals drawne from a|boue, and landing at the foote of the <HI>Line,</HI> viz. <HI>f. l. q. t.</HI></P>
<P><MILESTONE N="3"> The third are <HI>Ba&s;als,</HI> falling from the <HI>Head</HI> of the <HI>Line,</HI> and landing below the <HI>Foot,</HI> viz. <HI>h. p. r. w.</HI> Yet all the&s;e <HI>Irregu|lars</HI> are reduceable, and are oft contracted (<HI>h.</HI> and <HI>t.</HI> onely excepted) to <HI>Medials:</HI> &s;o <HI>w.</HI> becomes a Conuert, both <HI>de facto</HI> and <HI>de iure,</HI> to <HI>u.</HI> his proper <HI>Charact.</HI> The
<PB REF="6"> &s;ole <HI>Caueat</HI> in the&s;e contractions is, that the haire &s;troaks in <HI>p.</HI> and <HI>q.</HI> be &s;horter than the latitude of the <HI>Line</HI> to di&s;tingui&s;h them from ioynings with <HI>c.</HI> the &s;loape.</P>
</DIV2>
<DIV2 N="3" TYPE="chapter">
<HEAD><HI>CAP. 3.</HI> Of incorporated Letters and double Con&s;onants.</HEAD>
<P>THe <HI>Incorporation</HI> of Letters is a &s;uc|cinct contracting of <HI>Characts</HI> into &s;elfe-bodied &s;tructures either <HI>Concretiue,</HI> when they are made one by a &s;elfe-lineall and immediat continuation of the Stroak, where imagination, rather than &s;en&s;ible di&s;tinction or connexion, limits th'ex|tention and latitude of each &s;euerall Let|ter therein compri&s;ed. Or <HI>Di&s;cretiue,</HI> when they are incorporated by Angular or <HI>La|terall</HI> coniunction, di&s;couering the par|ticular formes and extents of their &s;eue|rall <HI>Characts.</HI></P>
<P><HI>Concretes</HI> are &s;uch as are noted in the Table with <HI>c.</HI></P>
<P>The&s;e <HI>Incorporations</HI> are further encrea|&s;ed by a punctuall practi&s;e to imply <HI>Pre|cedence</HI>
<PB REF="7"> and <HI>Duplicitie.</HI> Of the fir&s;t, the in|corporates <HI>lp. lr. fr. pr. gth.</HI> by a punct vnder them are inuerted into <HI>pl. rl. rf. rp. ght.</HI></P>
<P>Of the &s;econd &s;ort are all the <HI>Irregu|lars,</HI> which being of the &s;ame &s;cite or po|&s;ture with <HI>b.</HI> doe oft compri&s;e it, inti|mated onely by punct ouer or vnder th'incorporation to point forth the <HI>Pre|cedence. Di&s;cretes</HI> are tho&s;e (and others) in the Table left without notes.</P>
<P>Here I would adui&s;e you to be per|fect in the Table for the Letters and <HI>Ele|mentall Incorporations,</HI> to re&s;t well at each Stage, not chopping into another Chap|ter till you haue well ruminated on the la&s;t, and neuer to po&s;t-ouer nor quit a <HI>Principle</HI> nor an <HI>Element</HI> till both memo|rie and hand finde or forme it pre&s;t for your impre&s;&s;ion.</P>
</DIV2>
<DIV2 N="4" TYPE="chapter">
<HEAD><HI>CAP. 4.</HI> Of the Places and Regions of the &V;owels.</HEAD>
<P>THe Vowels are not alwaies expre&s;&s;ed by pe~ning their peculiar <HI>Characts,</HI> but
<PB REF="7"> implyed very often by puncts, places or touches, <HI>vt &s;equitur.</HI></P>
<P>Euery Row or Rainge of Letters or Words doth admit (imaginarily) of a <HI>Diapent</HI> or fiuefold diui&s;ion by paralel-lines cutting longwayes through the breadth of the Letters or Line.</P>
<P><MILESTONE N="1"> The fir&s;t Paralel in height and Right runs along the &s;pace betwixt the heads of the <HI>Altals,</HI> and th'other Letters (in <HI>Medio &s;cilt</HI>) for <HI>a.</HI></P>
<P><MILESTONE N="2"> The &s;econd leuels the heads of the <HI>Medials</HI> and <HI>Ba&s;als</HI> for <HI>e.</HI></P>
<P><MILESTONE N="3"> The third cuts through the Center or mid&s;t of the <HI>Medials</HI> for <HI>i.</HI></P>
<P><MILESTONE N="4"> The fourth runs by and rules the feet of the <HI>Medials</HI> and <HI>Altals</HI> for <HI>o.</HI></P>
<P><MILESTONE N="5"> The fift and la&s;t Paralel lines the &s;pace twixt the feet of the <HI>Ba&s;als</HI> and th'other for <HI>u.</HI> &s;ee the demon&s;tration.</P>
<P>In all which the Puncts in the Para|lels imply the fiue Vowels re&s;pectiuely &s;utable to their &s;tationall Regions and priorities in vulgar enumeration, and mu&s;t be laterally placed to the Dexter or Sini&s;ter Hand of the Con&s;onant re|&s;pecting the precedence and &s;equence
<PB REF="8"> of the implicable vowell, &s;ee the Table.</P>
<P><MILESTONE N="7"> In like &s;ort and po&s;ition are Letters placed a part in Vowel Regions to im|ply interceding Vowels, but mo&s;t emi|nently in paralels of <HI>a. i. u.</HI> This di&s;iunct Implication is the v&s;uall forme of inti|mating Vowels in other inuentions of <HI>Short-writings,</HI> and the like practi&s;e here &s;uper&s;edes all incumbrance of intricati|on through various Lexions.</P>
<P><MILESTONE N="8"> There is another Implication of Vowels by &s;ingle or mediate touch or coniunction of Con&s;onants re&s;pectiue|ly and indifferently for all, but mo&s;t fre|quently for <HI>e. i. o.</HI></P>
<P><MILESTONE N="9"> But the peculiar Implication of Vowels in this Method is attributed to the immediate laterall and &s;ingle touch of Con&s;onants in Vowels Regions.</P>
<P><MILESTONE N="10"> Here note the Punctus <HI>e.</HI> latere (or laterall touch) attends the <HI>Medials</HI> retaining regionarie right of vowellage both in their eleuation and depre&s;&s;ion.</P>
<P><MILESTONE N="11"> The &s;ame Implication holds in double Con&s;onants, which in that re|&s;pect are euer e&s;teemed as <HI>Singles.</HI></P>
<P>Here might I conclude Implication,
<PB REF="8"> &s;aue that the Art hath lent to the two Letters that &s;ound and &s;tyle it &s;o a <HI>Ter|narie</HI> of By-Characts for peculiar v&s;es, viz. the two &s;mall Characts to <HI>r.</HI> and. the blot to <HI>t.</HI></P>
<P><MILESTONE N="12"> The fir&s;t <HI>r.</HI> to begin a &s;yllable where the Ba&s;al frames not &s;o fitly for that purpo&s;e.</P>
<P><MILESTONE N="13"> Th'other <HI>r.</HI> being the lea&s;t producti|on of or to a punct, is con&s;tant to his colours, though he march mo&s;t in the <HI>Rere,</HI> &s;ets vp his re&s;t to be no <HI>Bigamus</HI> nor <HI>Ambodexter,</HI> and hands but with one at once; for &s;uch lineall league ex|tended to two Con&s;onants di&s;&s;olues the <HI>r</HI> and the double touch turnes Vowell, as in <HI>f.</HI> 8.</P>
<P><MILESTONE N="14"> Be&s;ides this <HI>r.</HI> to auoid confu&s;ion with <HI>n.</HI> neuer ioynes with it, yet it admits punctuall production (like <HI>n.</HI> produced to an acute point for th'old <HI>Brachigra|pher</HI> &amp;c.) to produce the &s;yllable by implying <HI>e.</HI> after <HI>r.</HI> by th'extention.</P>
<P><MILESTONE N="15"> For <HI>t,</HI> it is conuerted to the Literal or Liturall punct. (the Center that all things tend vnto) and attends mo&s;t the tayle of Con&s;onants, to di&s;&s;olue and
<PB REF="9"> blot out vowels of implication.</P>
<P><MILESTONE N="16"> In other places, tis implicable like other Con&s;onants.</P>
</DIV2>
<DIV2 N="5" TYPE="chapter">
<HEAD><HI>CAP. 5.</HI> Of the nullifying or making void the Impli|cation of &V;owels.</HEAD>
<P><MILESTONE N="1"> THe Implication of Vowels by con|iunction of Con&s;onants is &s;ome|times drowned in the Incorporation, but mo&s;t remarkeably by punct or Letter found in the fir&s;t or la&s;t paralel (ouer or vnder the point of connection) tran&s;|ferring the vowell to the puncture.</P>
<P><MILESTONE N="2"> Al&s;o a double touch in the Line an|nihilates all coniunctiues of applying <HI>e. i. o.</HI> yet <HI>g. d.</HI> ioyning thus (o) through thre Regions, &s;tands &s;oly on the &s;ole and ba&s;e to intimate and &s;pell the im|men&s;urable Ba&s;is of all bli&s;&s;e and good|ne&s;&s;e <HI>God</HI> &s;oly good and infinite. For pendent Incorporations they are not within compa&s;&s;e of angular touch and are therefore &s;ounded &s;ans Vowels, &s;aue tho&s;e of prolation (a point not now
<PB REF="9"> toucht though of much v&s;e) as <HI>fr. lp. tr.</HI> But the greate&s;t &s;cruple is when Con|&s;onants angularly ioyned are yet &s;oun|ded without vowell, as the double Con|&s;onants <HI>rd. rm. nc. ng. ns. rs.</HI> which are as v&s;ually &s;o taken, as for their &s;pellings <HI>red. rem. nec. neg. nes. res.</HI> nor is the re|forming of this variation of Lexion ve|ry nece&s;&s;ary in this Art, which aymes more at &s;peedy di&s;patch in writing than in reading, yet may the nullitie be noted with any peculiar marke.</P>
<P><MILESTONE N="3"> The ioyning of Vowels and Con&s;o|nants implies onely them&s;elues; yet a Vowell &s;et apart from a Con&s;onant goes not without implication of vowellage, as in <HI>dian</HI> Ca. 4. <HI>f.</HI> 7.</P>
<P>So much for the Literall part. The Verball en&s;ues.</P>
</DIV2>
<DIV2 N="6" TYPE="chapter">
<HEAD><HI>CAP. 6.</HI> Of the Contracting of writings.</HEAD>
<P>THe be&s;t Enginere in deriuing Na|uigable Pa&s;&s;ages from vnpa&s;&s;able Currents confines not him&s;elfe either to
<PB REF="10"> cut a thorow-new Fo&s;&s;e or to rectifie the old Channel for his Conuoy, but pur&s;ues th'one and followes th'other as Art and the <HI>Medium</HI> &s;hall demon&s;trate. In like manner hauing hitherto run the Leuel of a new Tract in this my inuen|tion, here will I pitch a Lock and fall into the Current of antient abbreuiati|ons already &s;ounded for good Tracts to piece-vp a portable Conuoy for my Po&s;t-writ.</P>
<P>The Contracting of Writings is the penning of a part for the whole, and is either of &s;ingle words or of Sentences.</P>
<P>The Contracting of words is the leauing out of &s;ome letters compri&s;ed in the full compo&s;ition and prolation of the &s;ame; and this is either <HI>Medial</HI> or <HI>Final.</HI></P>
<P><HI>Medial</HI> Contraction is the penning of the beginning and termination of the Word with a da&s;h ouer the &s;ame to note the defect; &s;o <HI>anima</HI> is contracted to <ABBR>aia</ABBR>, apo&s;tumate made <ABBR>apate</ABBR>, melancho|lia <ABBR>mlia</ABBR>, mi&s;erecordia <ABBR>mia</ABBR>, &s;piritus <ABBR>Spus</ABBR>, honourable <ABBR>hoble</ABBR>: yet &s;ome intermedial Letters of eminence may be v&s;efully in|&s;erted,
<PB REF="10"> as <ABBR>ad&s;tron</ABBR> admini&s;tration, <ABBR>anqtie</ABBR> antiquitie, <ABBR>temtus</ABBR> tempe&s;tuous: but the da&s;h is &s;uperfluous in Characterie.</P>
<P>To this Place may be referred the writing of words after the vulgar &s;ound; as for beautie, carique, deaw, goodne&s;&s;e, myrrhe, neighbour, righteous, tongue; write buti, caric, du, gudnes, mir, nibor, ritus, tung: &s;o xlent, dilog, ruly, &s;ur|gin, vement, for excellent, dialogue, ruthfully, chirurgion, vehement.</P>
<P>Al&s;o the Contracting of two or moe words into one, as <HI>no&s;tin?</HI> for <HI>noui&s;tine?</HI> lilo for <HI>licentiam interloquendi: Vinum Cos</HI> for <HI>Vinum colore, odore, &s;apore in&s;ignitum.</HI> So the &s;eauen deadly Sinnes are intimated by one word in this ver&s;e:
<Q LANG="lat">Si mortem vites &s;emper Saligia vites.</Q></P>
<P>So Ile for I will; wele dut, wee will doe it; thu&s;e, the v&s;e; th'our, the hower.</P>
<P>The &s;yllable <HI>con,</HI> &s;erues well for cion, &s;ion, tion in terminations.</P>
<P>Numeral words haue natiue abbreui|ation by letters or figures.</P>
<P>Finall Contraction pens onely the fir&s;t part of the word with a punct at the fracture to intimate the &s;upplement, as in
<PB REF="11"> our Recipes, thus; &rx;. pil. coch. &scruple;. ij. pil. pol. &scruple;j. diag. et troch. alh. an. gr. j&s;s. ol. mac. g. ij. ol. zz. g. j. cum aq. <ABBR>nra</ABBR> cephal. <HI>q. &s;. f. p.</HI> 7. deaur.</P>
<P>But the fir&s;t &s;yllable, with a leading Letter to an other, may &s;uper&s;ede the puncture, as in comb combine, him&s; him&s;elfe, iniq iniquitie, notw notwith|&s;tanding.</P>
<P>The Contracting of Sentences is the penning of a competent beginning of an habituall or knowne Lexion with &amp;c. at the break-off, to imply the &s;e|quence. But in quotable Writs, quote onely the Author and Place, and &s;up|ply by Reui&s;e.</P>
<P>And here may I conclude Literall <HI>Brachigraphy</HI> for the compleat Art, with this caution, that when you v&s;e it not for clo&s;e nor for &s;ecret, but for &s;peedy writing onely, tis then not ami&s;&s;e to take more liberty both for di&s;tance of Place and fulne&s;&s;e of Letters, the better to di|&s;tingui&s;h Implications.</P>
<P>Of the Verball part, thus much in a word, though a few more will &s;uffice at large.</P>
</DIV2>
<TRAILER>FINIS.</TRAILER>
<PB REF="11">
</DIV1>
</BODY>
</TEXT>
</EEBO>
</ETS>
