(scroll down for Latin alphabet)
饜憱饜懛-饜憰饜憭饜懏饜懄饜憪饜憫 饜懄饜憻 饜懇 饜懁饜懄饜憫饜懠饜懠饜懄 饜懐 饜懜饜憫饜懄饜憰饜憫饜懄饜憭 饜懃饜懆饜憸饜懇饜憻饜懓饜懐, 饜懏饜懄饜憫饜懇饜懐 饜懄饜懐饜憫饜懖饜懠饜懁饜懄 饜懄饜懐 饜憺 饜憱饜懕饜憹饜懢饜懐 饜懆饜懁饜憮饜懇饜憵饜懅饜憫 饜懐 饜憶饜懅饜憶饜懄饜憭饜懕饜憫饜懇饜憶 饜憫 饜憪饜懏饜懇饜懃饜懘饜憫饜懄饜憴 饜憺饜懄饜憰 饜憵饜懣饜憫饜懄饜憮饜懇饜懁 饜懏饜懖饜憫饜懄饜憴 饜憰饜懄饜憰饜憫饜懇饜懃. 饜懄饜憫 饜懄饜憻 饜憪饜懗饜憵饜懁饜懄饜憱饜憫 饜憭饜憿饜懝饜憫饜懠饜懁饜懄 饜懐 饜憭饜懇饜懐饜憫饜懕饜懐饜憻 饜懇 饜憿饜懖饜憶 饜憹饜懠饜懖饜懇饜憫饜懄 饜憹 饜憿饜懟饜憭 饜懄饜懐饜憭饜懁饜懙饜憶饜懄饜憴 饜憪饜懘饜懇饜憫饜懏饜懄 饜懐 饜懅饜憰饜懕饜憻, 饜懆饜憻 饜憿饜懅饜懁 饜懆饜憻 饜懇 饜憭饜懆饜憫饜懇饜懁饜應饜憸 饜憹 饜懏饜懓饜憰饜懇饜懐饜憫 饜懐饜懣饜憻 饜懄饜懐 饜憺 饜憿饜懟饜懁饜憶 饜憹 饜憱饜懕饜憹饜懢饜懐 饜懁饜懅饜憫饜懠饜憻. 饜懣 饜憭饜懆饜懐 饜憮饜懖饜懐饜憶 饜憪饜懎饜憰饜憫 饜懄饜憱饜懌饜憻 饜憹 饜憺 饜懃饜懆饜憸饜懇饜憻饜懓饜懐 饜懀饜懡.
饜憵饜懖 饜憮饜懗饜憵饜懁饜懄饜憱饜懄饜憴 饜憺饜懄饜憰 饜懃饜懆饜憸饜懇饜憻饜懓饜懐, 饜憿饜懓 饜憿饜應饜懐饜憫 饜憫 饜憪饜懏饜懇饜憹饜懖饜憶 饜懇 饜憮饜懝饜懇饜懃 饜憮 饜懏饜懖饜憫饜懠饜憻 饜懐 饜懏饜懓饜憶饜懠饜憻 饜憫 饜憱饜懞 饜懐 饜憶饜懄饜憰饜憭饜懗饜憹饜懠 饜懐饜懣 饜憿饜懟饜憭饜憰 饜憪饜懗饜憵饜懁饜懄饜憱饜憫 饜懄饜懐 饜憱饜懕饜憹饜懢饜懐. 饜憿饜懓 饜憵饜懄饜懁饜懓饜憹 饜憺饜懆饜憫 饜憺 饜懆饜懁饜憮饜懇饜憵饜懅饜憫 饜懄饜憻 饜懐饜應饜憫 饜懘饜懐饜懁饜懄, 饜懆饜憻 饜懇 饜憸饜懁饜懎饜懐饜憰 饜懆饜憫 饜憱饜懕饜憹饜懢饜懐 饜憭饜懇饜懁饜懄饜憸饜懏饜懇饜憮饜懄 饜憿饜懄饜懁 饜憱饜懘, 饜懇 饜憿饜懟饜憭 饜憹 饜懜饜憫 饜懄饜懐 饜懄饜憫饜憰饜懅饜懁饜憮; 饜懄饜憫 饜懄饜憻 饜懛饜懁饜憰饜懘, 饜憵饜懖 饜憹饜懟饜憲饜懙 饜憹 饜懄饜憫饜憰 饜懇饜憵饜懄饜懁饜懄饜憫饜懄 饜憫 饜懏饜懅饜憪饜懏饜懄饜憻饜懅饜懐饜憫 饜憰饜憪饜懘饜憭饜懇饜懐 饜懄饜憴饜憸饜懁饜懄饜憱 饜懆饜憭饜憳饜懠饜懇饜憫饜懁饜懄 饜懐 饜憮饜懁饜懙饜懇饜懐饜憫饜懁饜懄, 饜懇 饜懃饜懓饜憶饜懢饜懃 饜憮 饜懄饜憭饜憰饜憪饜懁饜懝饜懄饜憴 饜憺 饜憵饜懍饜懐饜憶饜憻 饜憹 饜憿饜應饜憫 饜懄饜憻 饜憪饜應饜憰饜懄饜憵饜懇饜懁 饜懄饜懐 饜懍饜懠 饜懁饜懆饜憴饜憸饜憿饜懄饜憽.
饜懄饜憮 饜懣 饜憿饜懄饜憱 饜憫 饜憰饜懇饜憵饜懃饜懄饜憫 饜懇 饜憿饜懟饜憭 饜憹 饜憿饜懝饜憻 饜憫 饜憺 饜懃饜懆饜憸饜懇饜憻饜懓饜懐, 饜憪饜懁饜懓饜憻 饜憲饜懅饜憭 饜懍饜憫 饜憺 饜憰饜懇饜憵饜懃饜懄饜憱饜懇饜懐 饜憸饜懖饜憶饜懁饜懖饜懐饜憻. 饜懣 饜懃饜懕 饜懛饜懁饜憰饜懘 饜憭饜應饜懐饜憫饜懆饜憭饜憫 饜懗饜憰 饜憶饜懄饜懏饜懅饜憭饜憫饜懁饜懄 饜憵饜懖 饜懓饜懃饜懕饜懁 饜懝 饜應饜懐 路饜憫饜憿饜懄饜憫饜懠.
饜懇饜憵饜懍饜憫 饜憺 饜懆饜懁饜憮饜懇饜憵饜懅饜憫
饜憺 饜憱饜懕饜憹饜懢饜懐 饜懆饜懁饜憮饜懇饜憵饜懅饜憫 饜憿饜應饜憻 饜憶饜懄饜憻饜懖饜懐饜憶 饜懄饜懐 饜憺 饜懟饜懁饜懄 1960饜憻 饜憵饜懖 路饜懏饜應饜懐饜懇饜懁饜憶 饜憭饜懄饜憴饜憻饜懁饜懄 饜懏饜懓饜憶, 饜懇 饜憶饜懇饜憻饜懖饜懐饜懠 饜憮饜懏饜應饜憻 路饜憵饜懟饜懃饜懄饜憴饜懇饜懃. 饜懄饜憫饜憰 饜憭饜懏饜懄饜懕饜憱饜懇饜懐 饜憿饜應饜憻 饜憪饜懏饜應饜懃饜憪饜憫饜懇饜憶 饜憵饜懖 饜憺 饜憿饜懄饜懁 饜憹 饜懖饜懏饜懄饜憱 饜憪饜懁饜懕饜懏饜懖饜憫 路饜憵饜懟饜懐饜懠饜憶 饜憱饜懛, 饜懀饜懙 饜懄饜懐饜憫饜懅饜懐饜憶饜懇饜憶 饜憺 饜懐饜懣 饜懆饜懁饜憮饜懇饜憵饜懅饜憫 饜憫 饜懏饜懄饜憪饜懁饜懕饜憰 饜憺 饜憫饜懏饜懇饜憶饜懄饜憱饜懇饜懐饜懇饜懁 饜懄饜憴饜憸饜懁饜懄饜憱 饜懝饜憯饜應饜憸饜懏饜懇饜憮饜懄, 饜憿饜懄饜憲 饜懀饜懓 饜懐 饜懃饜懅饜懐饜懄 饜懗饜憺饜懠饜憻 饜憺饜懅饜懐 饜懐 饜懐饜懍 饜憹饜懣饜憶 饜懆饜憻 饜懄饜憭饜憰饜憫饜懏饜懓饜懃饜懁饜懄 饜懍饜憫饜憶饜懕饜憫饜懇饜憶 饜懐 饜懄饜懐饜懄饜憮饜懄饜憱饜懇饜懐饜憫. 饜懄饜憫 饜懃饜懕饜憶 饜懇 饜憸饜懏饜懕饜憫 饜憶饜懓饜懁 饜懃饜懝 饜憪饜懏饜應饜憸饜懏饜懅饜憰 饜憺饜懆饜懐 饜懃饜懘饜憰饜憫 饜憰饜憪饜懅饜懁饜懄饜憴 饜懏饜懄饜憮饜懝饜懃 饜憪饜懏饜懇饜憪饜懘饜憻饜懇饜懁饜憻, 饜憭饜懗饜懁饜懃饜懄饜懐饜懕饜憫饜懄饜憴 饜懄饜懐 饜懇 饜憫饜懏饜懆饜懐饜憻饜懁饜懄饜憫饜懠饜懕饜憱饜懇饜懐 饜憹 饜憱饜懛饜憻 饜憪饜懁饜懕 路饜懆饜懐饜憶饜懏饜懇饜憭饜懁饜懓饜憻 饜懐 饜憺 饜懁饜懖饜懇饜懐 饜憵饜懓饜懄饜憴 饜憪饜懗饜憵饜懁饜懄饜憱饜憫 饜懄饜懐 1962. 饜憶饜懣 饜憫 饜懁饜懆饜憭 饜憹 饜憮饜懗饜懐饜憶饜憻 (饜憱饜懛饜憻 饜憿饜懄饜懁 饜懀饜懆饜憶 饜憵饜懓饜懐 饜憲饜懆饜懁饜懇饜懐饜憽饜憶 饜懄饜懐 饜憭饜懝饜憫 饜懐 饜憺 饜懆饜懁饜憮饜懇饜憵饜懅饜憫 饜懐饜懅饜憹饜懠 饜懏饜懄饜憰饜懓饜憹饜憶 饜懃饜懘饜憰饜憫 饜憹 饜懀饜懄饜憻 饜懃饜懗饜懐饜懄), 饜憺饜懄饜憰 饜憿饜應饜憻 饜憺 饜懀饜懖-饜憿饜應饜憫饜懠 饜懃饜懜饜憭 饜憹 饜憱饜懕饜憹饜懢饜懐 饜懆饜憻 饜懇 饜憰饜憪饜懅饜懁饜懄饜憴 饜懏饜懄饜憮饜懝饜懃, 饜憵饜懗饜憫 饜懄饜憫 饜懁饜懄饜憹饜憻 饜應饜懐. 饜懃饜懅饜懐饜懄 饜憪饜懓饜憪饜懇饜懁 饜懜 饜憮饜懆饜憰饜懄饜懐饜懕饜憫饜懇饜憶 饜憵饜懖 饜懄饜憫饜憰 饜懅饜懁饜懄饜憸饜懇饜懐饜憫 饜懓饜憰饜憯饜懅饜憫饜懄饜憭饜憰 饜懐 饜憺饜懞 饜懄饜憻 饜懇 饜憰饜懃饜懛饜懁 饜憵饜懗饜憫 饜憪饜懆饜憱饜懇饜懐饜懇饜憫 饜憭饜懇饜懃饜懣饜懐饜懄饜憫饜懄 饜憹 饜懣饜憻饜懠饜憻 饜懠饜懍饜懐饜憶 饜憺 饜憿饜懟饜懁饜憶.
饜憮 饜懃饜懝 饜懄饜懐饜憮饜懠饜懃饜懕饜憱饜懇饜懐 饜應饜懐 饜憱饜懕饜憹饜懢饜懐 饜懆饜懁饜憮饜懇饜憵饜懅饜憫, 饜懄饜憫饜憰 饜憭饜憿饜懟饜憭饜憰, 饜懄饜憫饜憰 饜懀饜懄饜憰饜憫饜懠饜懄, 饜懐 饜憰饜憪饜懅饜懁饜懄饜憴 饜憭饜懇饜懐饜憹饜懅饜懐饜憲饜懇饜懐饜憻, 饜憿饜懓 饜懏饜懅饜憭饜懇饜懃饜懅饜懐饜憶 shavian.info.
Shaw-Script is a literary and artistic magazine, written entirely in the Shavian alphabet and dedicated to promoting this beautiful writing system. It is published quarterly and contains a wide variety of work including poetry and essays, as well as a catalogue of recent news in the world of Shavian letters. You can find past issues here.
By publishing this magazine, we want to provide a forum for writers and readers to share and discover new works published in Shavian. We believe that the alphabet is not only, as a glance at Shavian calligraphy will show, a work of art in itself; it is also, by virtue of its ability to represent spoken English accurately and fluently, a medium for exploring the bounds of what is possible in our language.
If you wish to submit something, please check out the submission guidelines. You may also contact us directly by email or on Twitter.
About the Alphabet
The Shavian alphabet was designed in the early 1960s by Ronald Kingsley Read, a designer from Birmingham. Its creation was prompted by the will of Irish playwright Bernard Shaw, who intended the alphabet to replace the traditional English orthography, which he and many others then and now viewed as extremely outdated and inefficient. It made a great deal more progress than most spelling reform proposals, culminating in a transliteration of Shaw’s play Androcles and the Lion being published in 1962. Due to lack of funds (Shaw’s will was challenged in court and the alphabet never received most of the money), this was the high-water mark of Shavian as a spelling reform, but it lives on. Many people are fascinated by its elegant aesthetics and there is a small but passionate community of users around the world.
For a good overview and introduction to the Shavian alphabet, its quirks, its history, and spelling conventions, we recommend shavian.info.