(p) Commence at the third line above the line of writing and make ith the
length of the distance to the line of writing; join es at the line of writing, and
make it the length of the distance to the third line below the line of writing, and
repeat across the page.
(q) Perform the same movements with ar and ef.
(r) Perform the same movements with ef and ar.
(s) Perform the same movements with ish and el.
(t) Commence at third line below line of writing and perform the same move-
ments with lay and shay.
(u) The same with shay and lay.
The student can add various other exercises similar to those suggested, such as
writing: l-sh-l-sh-l-sh-l-sh, m-n-m-n-m-n-m-n-m-n, n-m-n-m-n-m-n-m-n-m, etc.
13. The question of the size of notes is one which should receive your
attention. It is very dangerous to your ultimate success to make
large notes while acquiring the principles of the Art. For, if your
notes be large at a low rate of speed, they will become monstrous and
unwieldy at a very slight increase of speed, and your manual ability
will thus be seriously handicapped in striving for high speed. But
it is equally dangerous to make notes with too much precision; for
you. will thus lose quickness in execution which is so necessary to
rapid writing. There is a middle course. You should write each
new exercise, with great precision, and, therefore, very slowly, at
least ten times. It should then be read to you very slowly at first,
gradually increasing the speed each time it is read, until you are
forced to make bad notes to maintain the speed.
