"Diphthongs are indicated by combinations of hooks and circles"
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“Diphthongs are indicated by combinations of hooks and circles” has the clipped authority of a system-builder talking to other initiates. Gregg isn’t trying to charm you; he’s trying to make language obey. The sentence is pure instruction, and that’s the point: shorthand lives or dies on whether you can compress something as slippery as speech into a repeatable set of marks, fast enough to keep up with a courtroom or a boardroom.
The specific intent is almost aggressively practical. Diphthongs (those vowel glides like in “out” or “oil”) are notoriously hard for writing systems because they behave like two sounds acting as one. Gregg’s fix is elegant in its own nerdy way: don’t add complexity with new symbols; recombine existing parts. Hooks and circles are modular geometry, a little kit of parts that turns phonetics into choreography. Your hand learns patterns, not words.
The subtext is a late-19th/early-20th century faith that communication can be optimized the way factories optimize motion: standardize, reduce friction, increase throughput. That’s why the line feels like engineering, not linguistics. In Gregg Shorthand’s heyday, speed was a form of power - secretarial labor, journalism, law, business - and a “correct” method promised social mobility and professional credibility. The quiet politics are there, too: if sound can be rationalized into loops and hooks, then the messy human voice can be made legible to institutions. It’s not poetry; it’s infrastructure.
The specific intent is almost aggressively practical. Diphthongs (those vowel glides like in “out” or “oil”) are notoriously hard for writing systems because they behave like two sounds acting as one. Gregg’s fix is elegant in its own nerdy way: don’t add complexity with new symbols; recombine existing parts. Hooks and circles are modular geometry, a little kit of parts that turns phonetics into choreography. Your hand learns patterns, not words.
The subtext is a late-19th/early-20th century faith that communication can be optimized the way factories optimize motion: standardize, reduce friction, increase throughput. That’s why the line feels like engineering, not linguistics. In Gregg Shorthand’s heyday, speed was a form of power - secretarial labor, journalism, law, business - and a “correct” method promised social mobility and professional credibility. The quiet politics are there, too: if sound can be rationalized into loops and hooks, then the messy human voice can be made legible to institutions. It’s not poetry; it’s infrastructure.
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| Topic | Knowledge |
|---|---|
| Source | Help us find the source |
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