graphology how to read character from handwriting with full explanation of the science and many examples fully analyzed

This shows us very convincingly that there must be some kind of correlation between the handwriting style and the personality of the author. The handwriting style varies no more from day to day than the individual's outward appearance.

PLATES 2, 4, 8.)

Writers of round hands delight in the pleasures, the beauties, the comforts, the luxuries of the world. Work for work's sake does not appeal to them. They are not naturally industrious. They love peace, rest and enjoyment. They do not like to be disturbed. Their nature is more or less passive. As a rule, they are benevolent and kind-hearted and have loving dispositions rather than loving or ardent. Their natural desire is to go through life as easily and as comfortably as possible, and so they are careful to avoid all unnecessary burdens. Remark. - It must be remembered that the meanings given to the angular and the rounded types of handwriting are just the ordinary personal ones. characteristics indicated by these two broad classes of writing. They can be modified by other important functions, as will be shown later; so that these two primary types - the angular and the rounded - should not be considered as specific indications, but rather as broad foundations on which to build. Another division of handwriting is that determined by the slant of the writing. In this division there are three writing styles:. a) Forward Hand, or writing that slopes to the right. c) The backhand, or writing that slopes to the left.

3) The Forward Hand

PLATES 1, 2, 3.)

4) The Vertical Hand

PLATE 4.)

Longfellow's poetry is never passionate or highly dramatic, nor is it mystical or elusive like that of most of the great poets. He was always careful to have his poetry in perfect form; his meter and rhythm are flawless; a trait due to his love of order and detail, which is one of the traits indicated by a vertical.

5) The Back Hand

It is exactly these features that we would logically look for in this poet, to judge him only by his works. There is a stillness, a finality, a clarity in his poetry that contrasts sharply with, for example, inclusion.

PLATE 5.)

They tend to be unorthodox in their beliefs and are rarely enthusiastic or deeply interested in the general affairs of the world. Lefties don't naturally backhand just because they are lefties.

6) Small Writing

PLATES 5, 6, 17 AND 18.)

They tend to be reserved and patient, with a natural reserve regarding their personal affairs. What would be deceit and treachery in a person of less trained mentality, is with this writer finesse and diplomacy.

7) Large Writing

PLATES 7, 12 AND 23.)

If the large font is angular, as in plate 7, it means fervor, zeal and enthusiasm. They are usually very entertaining talkers, although they are almost always talking about themselves or their personal affairs or experiences.

8) Heavy Writing

PLATES 8 AND 12.)

While education, circumstances, and the natural gentility of her sex, may do much to moderate the strength of the qualities shown in the man's writing, she nevertheless possesses them in a greater or less degree. They are probably not as much in evidence as in the case of the male author, but are ready to manifest themselves at any time.

9) Shaded Writing

Some of the other qualities mentioned above are often turned to good purpose; for aggressiveness and assertiveness, for example, can often be used for a good and worthy purpose if used discreetly. It should also be noted that the characteristics listed in connection with this style of handwriting, like all others, are subject to change with other characteristics of chirography.

PLATES 2, 7, 10 AND 11.)

10) Fine Writing

PLATES 3, 4, 18.)

We must content ourselves with the general meaning given above, except that where this feature of chirography is very characteristic, as for example in Plate 3, where the letters are all formed of very fine lines, we may take it for granted that the author is a person of refined and delicate sensibility, temperate in habit, quiet and unobtrusive, and with little if any desire for the sumptuous pleasures or luxuries of life.

11) Conventional Writing

PLATES 10 AND 21.)

It may be stated as a rule that the more a manuscript approaches the copy-book standard, the more common is the personality of the author. The more wonderful and complicated such writing is, the more insignificant is the person responsible for it.

12) Inartistic Writing

PLATE 9.)

13) Neat, Uniform Writing

PLATES 1, 6 AND 15.)

The scribe of a neat, clear hand, as shown in Plates 1, 6, or 15, is systematic; likes to do things according to a system and to do them well and thoroughly. Good managers and organizers often write this handwriting, as do skilled clerks and men and women in positions of responsibility.

14) Uneven Writing

PLATES 9, 13.)

15) Hasty and Indistinct Writing

PLATES 3, 11 AND 22.)

They have no time for mundane, small matters, and the duties they have to do are done in the fastest possible way. None of the letters are missing, nor are any of them merely marked with a line, as in the other examples mentioned, but each is almost exactly the same as the other.

16) Crowded Writing

It will be seen, therefore, that hasty and obscure writing admits of a division into two versions, which must be carefully distinguished when we consider the last enumerated qualities of character.

PLATE 13.)

17) Diffuse Writing

PLATES 2, 7 AND 16.)

They do things in a hurry because they want to get them out of the way as quickly as possible, and so they are often hasty and careless. They are often sociable by nature, enjoy the company of their fellow humans and love to entertain and be entertained.

18) Well Spaced Writing

PLATES 5 AND 6.)

19) Writing That is Not Well Spaced

PLATES 2, 9.)

The second variety of handwriting which is not well separated is illustrated in the specimen shown in Plate 9. Another point to be considered in connection with the general features and styles of handwriting is the direction or position of the lines.

20) Straight Lines

Although the lines do not interfere with each other to the extent shown in the other examples given, it will be noticed here that they are not evenly or regularly separated. Overall, however, its meaning is not as comprehensive or as pronounced as that of the feature that distinguishes the first variant of this writing style.

PLATES 1, 3, 6.)

21) Ascending Lines

PLATE 11.)

He may be rejected time and time again, but he is always ready to try again. He never feels satisfied with what he has achieved because there is always more he wants to do and more he feels capable of accomplishing.

22) Descending Lines

They lose their temper easily and have a habit of worrying and worrying. It sometimes happens that the writing of those who usually write in straight lines appears to show a downward trend.

23) Margins

They are moody and subject to bouts of depression; happy and cheerful one hour and deeply sad or discouraged the next. It is not easy for someone who is sick to write in a straight line.

Special Features

24) Connected Letters

PLATES 4, 8 AND 16.)

25) Disconnected Letters

PLATES 7, 15 AND 22.)

It is not easy to deceive them, as they quickly discover the true motives. As a result, they dislike arguments and resent any criticism or analysis of their opinions by others.

26) Increasing Size of Letters

PLATES 4 AND 9.)

27) Decreasing Size of Letters

PLATES 2, 12 AND 22.)

At the same time, however, this specimen exhibits this feature more uniformly throughout the writing than the other specimens, for it will be found to occur to a greater or lesser extent in almost every word. When this feature of reducing the size of the letters is very pronounced, as, for example, in plate 11, where some of the last letters are reduced to simple horizontal lines-.

28) Variable Size of Letters

As a result of the traits just listed, such writers are usually diplomatic, tactful, or wise.

PLATES 12 AND 23.)

Having considered the main special features of handwriting, which concern the formation of words and the size of letters, we come to a consideration of the individual letters of the alphabet and of the personal. It is not essential to take them one by one in alphabetical order, as we will do for the most part in the case of the lowercase letters, for the peculiarities involved are largely collective and apply equally to all letters .

29) Plain Capitals

PLATES 2, 6, 18.)

Browning on the same plate exhibits the same feature even more strikingly, for neither the R nor the B rises above the general line of the writing, and each is made with the utmost simplicity. This simplicity in the formation of the capitals is characteristic of many men of genius, for it is always an indication of artistic refinement and ability.

30) Large and Ornate Capitals

Of course, it does not follow that all great men capitalize in this way, for the greatness of many of them is not dependent on the personal qualities just cited. They are rarely egotistical or conceited, but, on the contrary, are usually very modest about their own.

PLATE 10.)

They are often simply nothing more than enlarged small letters or imitations of printed letters. They are either conceited and boastful in their talk or quietly self-appreciative and love approval.

31) Cross-Cut Capitals

He is usually a person who attaches great importance to his own interests and gives too much weight to trivial personal matters. Sometimes one will find that a person who writes in a quiet, modest and unassuming hand indulges in large capital letters.

PLATES 12 AND 22.)

32) Tall-Stroke Capitals

It sometimes happens that the last stroke of capital M is higher than the first two. Although on first reflection it does not appear that there could be much possibility of any marked difference in the formation of the individual letters of the alphabet, for their lines of formation are so simple, and they must be.

33) a When the Letter is Closed

An examination of many manuscripts will show that in some the letters a are open and in others closed. Accordingly, we have two versions of this letter, each with its own special designation.

PLATES 8 AND 21.)

The importance of this letter lies in the fact that it is closed or open at the top. When the letters are closed with a loop, as they are in the specimen on plate 8, it indicates secrecy and a very reserved, uncommunicative disposition.

34) a When the Letter is Open

PLATES 11 AND 18.)

The writer in whose chirography this feature appears is not in the habit of taking others into his confidence. There are three peculiarities in the style of making the letter b that are significant, and these peculiarities and their meanings also apply to the letters h, l, k, and t.

35) b When the Letter is Cross-Cut

PLATE 7.)

36) b An Initial Hook

PLATES 3 AND 11.)

37) b When the Letter is Unlooped

PLATES 6 AND 22.)

As a rule, it means a person with conciseness and ideas and practical skills. It is also an indication of originality or special individuality. Such a writer is usually not common. This sign is also often associated with determination. The writer has strong convictions and does not hesitate to realize them. This letter is of no particular importance.). This letter conveys a variety of meanings, as it admits of a variety of distinctive formations, and is therefore of great importance to him.

38) d When the Upper Portion is High

PLATES 9 AND 23.)

Normally, height d should not be equal to height l, h or k; but in the cases mentioned d is not only equal in height to the other letters mentioned, but in some cases even exceeds them; thus forming what is known to the graphologist as high d. It doesn't necessarily mean that they brag about it or show it off in any way, but it's a source of satisfaction for them and it's part of their self-esteem.

39) d When the Upper portion is short

Writers whose chirography features this feature are likely to be proud of their family, their heritage, or their connections. The pride of such persons, therefore, consists in pride in the individual or in the family; an inherent dignity and respect for oneself.

When the upper line of the letter is relatively short, as shown in the specimens referred to—plates 2, 8, and 15,—it does not necessarily indicate a lack of self-respect, but the writers of such a d do not have the same respect. for theirs. They have not that high sense of honor which distinguishes writers of long d.

40) d When the Upper Part is Curved

It is put on and off to suit the circumstances in which the writers find themselves.

PLATES 6, 18 AND 22.)

However, when the curve is strongly turned to the right, so that the letter appears to be leaning forward, this is a sign of a flirtatious nature. A writer of such d is prone to homosexuality, amusing and conceited, and prone to flirtation.

40a) When the Curve is Backward

41) d When the Upper Part is Looped

PLATES 13 AND 17.)

42) d When Stroke Descends Below the Line

PLATE 16.)

43) d When the Loop is Opened or Closed

This feature mainly indicates sensitivity. The pride of the writer is easily hurt, and his feelings are readily hurt. He is quick to take offense, and often with mere trifles. It takes little to make him feel wronged or insulted. An exaggeration of this characteristic, in which the lust is disproportionately large and inflated, shows extreme morbidity on the subject of one's pride and rights. This is a peculiarity often seen in the writing of lunatics, and it always indicates. unreasonable sensitiveness and a generally morbid state of mind. The loop which forms the lower part of the letter is sometimes left open at the top, and sometimes we find it tightly closed. An example of the first form is seen on plate 11, while on plate 23 we have an example of the opposite form. These features have the same meaning as is attached to the a and o in this distinction of their formation, and the reader is accordingly referred to Sections 33 and 34. This letter is without any special meaning.). The way in which the lower part of the letter f is formed forms the main meaning of this letter.

44) f When the Letter is Looped

The lathi which forms the lower part of the letter is sometimes left open at the top, and sometimes we find it tightly closed. An example of the first form is seen in plate 11, while in plate 23 we have an example of the opposite form. These features have the same meaning attached to a and o in this difference of their formation, and the reader is accordingly referred to sections 33 and 34. This letter is without any special significance.). The letters g, j, y, and z also come under this classification, and the meanings assigned to f apply equally to the other letters mentioned.

When the loop is made in the manner of the loop in the letter q, as we see in Plate 11, it is an indication of haste; a desire on the part of the writer to complete his tasks as quickly as possible so that they are no longer in his hands.

45) f When the Letter is Not Looped

PLATES 6, 14 AND 20.)

46) i When the Dot is Placed to the Right

47) i When the Dot is to the Left

The only significance of these letters lies in the cross-sectional formation, commented on under the letter b, Section 35. The letter p admits of only one distinctive feature which is of any special value to the graphologist, and that is.

48) p When the Lower Part of the Letter is Long

PLATES 2, 7 AND 8.)

The letter p contained in the specimens on the plates referred to—2, 7, and 8—is decidedly long in each case. When the lower part of the letter is looped, as in plate 2, its meaning, in addition to the personal qualities mentioned in the preceding paragraph, is the same as that attributed to the loop formations of f, g, j, etc. Section 44.

49) s When the Letter is Tightly Closed

PLATE 8.)

Many writers close their s well and carefully, but for importance it is necessary that the letter should be closed, as, for instance, in the specimen in Plate 8. Here it will be noticed that the writer has, as it were, locked the letter at the bottom, either with a decided loop or with the final stroke reaching far beyond the body of the letter.

50) t When the Letter is Carefully Crossed

51) t When the Letter is Heavily Crossed

He insists on having his own way and possesses the force of character which generally entitles him to it. When the cross, in addition to being firm and heavy, is also large, as in plate 8, it emphasizes the properties just mentioned.

52) t When the Letter is Weakly Crossed

When the letter is firmly crossed, regardless of whether it is done carefully and methodically as in the examples mentioned in the previous section, it shows endurance, a lot of will and determination.

In the specimen on plate 21 we have an example of a font in which many t's are not crossed out at all. Nor is it common to find it in the chirography of persons of marked ability.

53) t When the Stroke is Placed to the Right

They are not likely to be firm in their goals or purposes unless their path is smooth and easy. This quality is seldom found in the writing of persons who hold responsible positions in life, where self-confidence, determination, firmness, and constancy are required qualities.

PLATES 3, 12 AND 18.)

54) t When the Stroke is Placed to the Left

PLATE 1.)

Writers in whose chirography this occurs have a natural tendency to put off work from day to day; they prefer to wait to do; they are rarely on time; they often miss their commitments and cannot be relied upon to fulfill them.

55) t When the Cross is Downward

PLATES 2 AND 20.)

56) t When the Cross is Upward

57) t When the Cross-Stroke is Above the Letter

PLATES 3 AND 16.)

58) t When the Letter is Cross-Cut

59) t An Initial Hook

60) t When the Letter Descends Below the Line

PLATES 16 AND 23.)

61) t When the Letter is Looped

PLATES 8 AND 13.)

62) Terminal Strokes

63) When Terminal Strokes End with a Hook

This trait indicates a natural tendency to give, give, throw away. It is difficult to define it more precisely in its broad use, as its specific reference will in any case depend on other features of the font. If it is found to be associated with a chirography that indicates kindness, quickly. as in Plate 3), is a sign of generosity and self-sacrifice. giving of oneself for the good of others. In a hand that suggests more selfish qualities, such as in tile 12, it indicates extravagance, a willingness to spend freely, a willingness to give liberally, not necessarily for the sake of others, but for the satisfaction of one's own self. one way or another. 62a) When the terminals are inclined upwards, as in Plates 7 and 10, it is a sign of a good-natured character - frank and forthright.

64) Absence of Terminal Strokes

PLATES 5, 14 AND 20.)

65) Signatures

PLATE 14.)

The logic of the relationship between various handwriting features and their representative personality traits. Isn't the relationship between chirography and the writer's personality perfectly clear and rational.

Specimen Delineations

If each copy of the handwriting showed clear, uniform and consistent features throughout, a demarcation from that of the writer. The manner of addressing the envelope is sometimes another guide to the writer's personality.

Delineation of Character

She is intuitive (separation of letters), although her sense of the practical does not allow her to be guided largely by mere intuition or impulse. The combined qualities of the artistic and the practical make her a very capable woman, but she is too meticulous, too conscientious and too cautious in matters.

Specimens of Handwriting, and Their Analysis

Tendency to heavy writing—confidence, assertiveness; love of the physical and material pleasures of the world. Combined angular and rounded writing—zealous, active, energetic, practical, with love of ease, appreciation of ease and luxury, and a tendency to take life easy.

Index to Personal Characteristics