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Pitman's shorthand, or writing faster than speech

writing-systems

Pitman's shorthand, or writing faster than speech

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The English word “though” has six letters. It has one sound. Every shorthand system before 1837 made you write all six — briefer, certainly, with a quick tick or a slanted dash for each letter, but still bound to the spelling. The silent letters came along. The borrowed vowels came along. The accumulated centuries of orthographic sediment came along. Speed had a ceiling, and English had set it.

Isaac Pitman, a twenty-four-year-old schoolmaster in Wotton-under-Edge, Gloucestershire, published a seventeen-page pamphlet in 1837 called Stenographic Sound-Hand. His publisher was Samuel Bagster of London, who priced it low for maximum distribution. The pamphlet’s premise was simple and radical: stop representing letters, and start representing sounds. Pitman called the result phonography — from the Greek phóné, sound, and graphé, writing — and described it as “a system of writing in which the very sound of every word is made visible” (Centre for Material Texts, Cambridge).

The system worked like this. Consonants were strokes — straight lines and quarter-circle curves at different angles. Voiced and unvoiced pairs shared the same shape but not the same weight: a thin shallow stroke for /p/, the identical stroke heavier for /b/; a thin vertical for /t/, a heavy vertical for /d/. Vowels were not given their own strokes at all. Instead, dots and dashes placed around the consonant indicated which vowel followed — and a skilled writer could omit them entirely, trusting context to fill the gap. At full speed, with the fine-nibbed flexible fountain pen the system originally required, a trained reporter could sustain 250 words per minute (Wikipedia — Pitman shorthand).

Pitman himself was a man of concentrated obsessions. He was a devoted Swedenborgian — reading Emanuel Swedenborg’s theological writings daily and founding Bath’s New Church congregation in 1841 — and an equally devoted spelling reformer who considered English orthography a civic scandal. Phonography was both a practical tool and a philosophical argument: if you wrote by sound, the wreckage of English spelling became irrelevant.

The system’s first great leap came not from journalism but from the post office. In January 1840, Britain introduced the Penny Post: uniform one-penny postage anywhere in the kingdom. Pitman immediately advertised that “any person may receive lessons from the author by post gratuitously” — the student needed only to pay the stamp. A passage in phonography arrived by mail; the student transcribed it and posted it back; Pitman corrected it and sent the next. This exchange was, historians have since recognized, the first correspondence course ever widely practiced (Centre for Material Texts, Cambridge). Distance education, invented in a Bath schoolmaster’s spare rooms, delivered by reformed postal infrastructure. By 1845, he was receiving ten thousand phonographic letters a year from students he had never met.

The institutional impact followed fast. Journalists adopted the system and began producing verbatim records of parliamentary speeches overnight. Richard Cobden’s Corn Law addresses, running to thousands of words, appeared in the London press the next morning. Pitman shorthand was eventually used to prepare Hansard, the official record of Parliament. In the United States, two stenographers trained in the method transcribed the Lincoln–Douglas debates of 1858 word for word. Missionaries, recognizing that the system encoded sounds rather than an existing alphabet, used it to create the first written records of languages — Tongan, Malagasy, Bengali — that had existed only in speech (Wikipedia — Isaac Pitman).

The phonograph and the tape recorder would eventually do the same job without a pen. But for half a century before they arrived, a schoolmaster’s seventeen-page pamphlet was the most powerful recording device in the world.

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