Another great word painter who has held top appeal with the public for many years is the writer of plate 11. Lowell Thomas. As you have listened to him it has not been possible for you to miss the deep, under­lying strength he has put back of everything he has said. There is strength in his voice, but it is poised strength, not a helter skelter wind storm. He has never played on the emotions of his listeners, but he has held them by his emotional strength, just the same. Study this writing closely. Every line is heavy in proportion to its size. The writing is vertical to backhand-it is not the writing of a plunger, rather a man who could face great danger without losing his head-calm, enduring, a man whose affections are deep rooted, whose capacity for dislike is just as great. Where Roosevelt was expressive, Lowell Thomas shows a deep emotional strength that is held in check, but not actually controlled. It is a strength that is deep, and lasting.

Finally, here is another specimen of Handwriting Analysis Quiz of a man whose whole history revealed the effect of emotional prejudice.   Plate 12 was written by the famous southern novelist, Thomas Dixon, Jr., whose Klansman and other books swept America during the early part of the 20th Century. This writing is heavy, showing deep emotions which you have already learned mean a capacity for deep and lasting prejudices.

Thomas Dixon reflected the view of the Old South after the Civil War, and his fiction bristled with bitterness. The weight of his handwriting strokes revealed his capacity not only for permanent prejudices or feelings, but it also showed his careful selection of words for strong effect. He was an artist, prejudiced but still an artist who revealed his technique in the depth of his pen strokes.

You must, after examining these various specimens and considering how the writers worked and lived, have a very clear picture of what to expect from both the deeply emotional writer who is expressive and the one who is not. You must have figured out for yourself that the light line writer may carry memories but not prejudices based on accumulated emo­tions. This is true. The light writer may storm, and rant or reach a point of near hysteria in the face of tragedy or disappointment, but such indi­viduals, regardless of age, merely have their emotional storm, and it is forgotten. Those who are vertical or backhand writers never have the emo­tional storms, but remain Calm and self-possessed through circumstances that might easily prove the temporary undoing of the highly expressive man or woman.

There is, however, one question that has been asked since the very first class taught in graphology. What about the handwriting of a professional penman? They are trained to write in a certain way. Does their handwriting reveal their feelings, or does the training put a straight jacket on them so that their writing does not reveal their feelings and the way they think?

This is a sensible question. However, it accepts as a fact that all students of Palmerian, Zanerian, Ransomerian and other penmanship manuals stick by the letter formations they learned in school. Even the most loyal of the penmanship enthusiasts will not claim that this is true. For­tunately we have two answers. One is this handwriting of H. P. Behrens-meyer, one of the most famous of all the penmanship experts, whose slant reveals the strong emotional response that won him thousands of friends among the young men and women who attended his penmanship classes through more than fifty years of teaching.

You have a specimen of that writer’s work in plate 9. After studying it I gave the answer that it was likely to be fiction, because I could not think of any other subject that will permit such a wide range of color in background, and suggested that such fiction would almost certainly be laid in the orient because of the strong color shown in the writing. I had never heard the man’s name, let alone having read one of his books, although I was promptly accused of knowing what he wrote because the conclusions from the handwriting were so accurate. The writer of this specimen is Harry Stephen Keeler, who has produced close to a hundred mystery books, filled with intrigue, and many of them laid in the Far East.

When you have become familiar with this last rule covering heavy handwriting analysis I write in lLowercase have learned that such writing has three distinct values, all registered by the weight of the writing; first, the heavy writing shows depth of feeling, the capacity to absorb emotional experiences and make-them a permanent part of the writer’s personality; second, the capacity for deep prejudices, loves and hates based on the absorbed emotional experiences as they  have occurred; and third, that heavy “writing is a register of the fact that the writer possesses strong development of the senses, tone, odor, color, flavor. Cooks who have a reputation for preparing dishes with fine flavors will show this natural ability by their heavy writing. Public speakers, and actors, such as Jefferson, and Franklin D. Roosevelt, reveal capacity to use words with telling effect by the weight of their pen strokes.

You may have been one of the millions who sat entranced by Franklin D. Roosevelt’s “fireside chats”. After he was through speaking it is entirely possible that you did not remember much of what he said, because it was the way he said it that held his audience. It was his tone, his choice of words, the color sense he showed that influenced voters, and also made enemies for him. In all history of America, there has never been a greater emotional actor in the White House, no man with a capacity for a play on words than the man who sold himself to the American voter on four different occasions. There are some who feel that history has since revealed that he betrayed his friends, sold out those who trusted him, but through it all he never failed to get votes because of his capacity to speak over the air and influence millions. If Franklin D. Roosevelt had elected to go on the stage rather than enter politics he would have outplayed Gable, Bill Hart, and all of the other emotional stars.

During the courtship the strongly emotional one looks at the calm poise of the backhand writer-although they pay no attention to the writing, and find strength there, but later that strength becomes a bore for the expressive one. On the other hand, the calm, self-possessed part of the team who was fascinated by the warmth, and emotional fire of the expres­sive one frequently becomes less fascinated. After that there is conflict. The two who might easily still be in love grow farther and farther apart, simply because neither understands the emotional structure of the other.

Bill Tilden could not be as expressive as Ella Wheeler Wilcox, or Joseph Jefferson. His writing shows he felt as deeply, but not in a way to show it, whereas the poet and the actor could never be as calm, and inexpressive as the tennis player.

When you become familiar with these two distinct approaches to life, you have the key, not the total solution, to many social, family and business problems. Such problems may exist in your own life, and in this case, these rules may help you more than many hours spent with a psychologist, for graphology is a branch of psychology a growing branch which is gaining more and more recognition solely on its merits.

The vertical writer whose pen-strokes are heavy may love just as deeply and sincerely as the most expressive man or woman can ever do, but it is not possible to show it.

Plate 8 was written in 1927 by one of America’s great humorists, the famous author of “Pigs Is Pigs” which is still a classic of humor writing.

Ellis Parker Butler was cool, collected, as far as his feelings went. His humor was pure humor, never emotional appeal. He never ridiculed, as he might have done if he had been driven by his emotions. He never wrote a line that did not leave the reader pleasantly in good humor. There was such complete freedom of rancor or emotion, that men and women regard­less of race, or religion could read and enjoy his keen wit.

A writer whose strokes are heavy revealing depth of feeling, reveals a strong development of a sense of color, tone, and flavor. As an illustration of how this works out, an editor sent me a Cross Examin Handwriting Expert many years ago. “This man is a writer, but I would like to have you tell me from his writing what you believe he will write. If it is fiction, what kind of fiction ? If it is factual material, what will be his approach?”

The writing in this illustration has a great many heavy strokes, and heavy strokes have their own value in addition to what they reveal about emotional expression or lack of it. Take for example the illustration, plate 7, which is uniformly heavy all the way through. It is not smudged, but heavy. J. Jefferson wrote with pressure on the pen, and left a strong black line from start to finish. This illustration is to particularly emphasize clearly a new rule which you must make your own in order to understand not only how a writer may express his emotional nature, but how strongly he is affected by emotional circumstances. First, however, examine plate 8, where most of the lines are relatively light. Give these two specimens some thought, for one is light, and the other is heavy, although not exceedingly so. Now here are your two new rules to add to the ones you have already had on emotional expression :

1. Heavy writing reveals a writer who soaks up emotional experiences like a blotter.   He is greatly hurt or pleased today, and in six months may have forgotten the incident, but the result of his emotional experience today has become a part of his permanent nature. He has absorbed that feeling and will be prejudiced
by it long after it has been forgotten as an incident.

2. On the other hand, when the lines of the writing are relatively light the writer may storm, and cry, or bluster around in an emotional tantrum, but when the storm is over, the effect will be gone.

These are important rules. Compare these two Forensic Science Handwriting Analysis, and the preceding plates and you will find that Ella Wheeler Wilcox in particular was not only expressive of how she felt at the time, but that she carried her feelings over, creating a great reserve of feeling that added to her im­mediate reaction to an emotional situation. When you have extremely ex­pressive writing, and great depth of feeling the expression becomes intense. It is like a hurricane in its effect on the writer as well as those around him or her.

Joseph Jefferson was one of the great stage performers of fifty years ago. He put feeling into his acting, the same expressive feeling that made Gary Cooper famous and that made little boys sit on hard plank seats and applaud their hero, William S. Hart. Both Cooper and Hart won their spurs as actors by their ability to portray emotions on the screen, while Jefferson was confined to the legitimate theatre.

You have undoubtedly gathered by this time that all highly expressive emotional people are fundamentally actors. They feel, and they want to stir feelings in others. They appeal to the emotions of others. They love it, even though they do not recognize this fact about themselves. This creates a problem in thousands of family arguments when one member of the family slants the writing far forward, and the other is a vertical or backhand writer. They look at things differently, and neither understands how the other faces life.

He would plunge into a piece of fiction impulsively and every line he wrote had to have heart appeal. He was also an emotional speaker, that would capture his audiences, hold them spellbound, not by what he said, but by the warmth of the way in which he would say it. He was an able man, but his ability was secondary in his speaking and his writing. He felt, and he reached out in written and spoken words to touch the feelings of his audiences.

In plate 5 you have a similar emotional makeup, one who would appeal to the feelings of readers and listeners. Ella Wheeler Wilcox was the most popular emotional poet in the early part of the Twentieth Century. Count­less thousands of school boys memorized and delivered her famous verses, “How Salvator Won”, in the closing days of school.   Ella Wheeler Wilcox was ruled by her feelings. She was talented, a fact about which she was extremely modest. She wrote me on her way to Europe that she had no right to claim talent. “My mother always wanted to write”, she said, “and that longing was transmitted to me. Therefore I am merely doing what my mother longed to do but failed to make come true. I’ve never really worked at being a writer.   I feel what I want to say and I say it.”

Just as in the case of Hamlin Garland, who wrote plate 3, she wrote romantic verse and stories. Thousands of those who are grandparents today, were her most ardent fans. However, the point that is important to you is that her letters written back in the early part of the century give you a picture of how she wrote because she wrote as she felt. If you hear either of these names spoken in conversation you will have no need to refer to an encyclopedia to know something about this man and woman. Their writing has given you a clear picture and as you gain new rules you will be able to come back and get better acquainted with them.

You have an entirely different emotional nature in plate 6, which is the Graphology Small of an internationally famous tennis player. The writing is definitely backhand, which means that he not only looks after himself, and looks at matters without bias, but that he goes to extremes in pulling back into himself rather than showing how he feels. While the other two writers were extroverts, this writing by Bill Tilden is that of an introvert, who is not going to rush in anywhere.

So use what you learn in Free Graphology Examples as you learn it, step by step. Look for the emo­tional responsiveness of the writer, first. Then you will learn to follow that with how the individual thinks which you will cover in the next chapter. Now let us look at some people who have made headline in America, and study how they will act emotionally.

Place your emotional Expression Chart on plate 3. Follow the instruc­tions for placing it carefully, and you will find the writer, Hamlin Garland, was very expressive of feelings, actually an extremist. This meant that he felt intensely, showed how he felt, and lived as he felt. This means that he would act before thinking, would speak or talk on impulse based on how he felt at the time.

Although he lived a great many years ago, you now can understand him, and further, you will be able to reconstruct something of how he wrote-for he was a famous fiction writer. What kind of fiction fits a highly emotional personality? Ask yourself the question and then consider. High emotions may be turbulent, quarrelsome, but you can take my word for it that he was not a fighter. Instead his writing, as you will come back to it later and study it as you gain more knowledge, shows a gracious gentleman. Friendly because friendliness goes with emotional expressiveness. He wrote as he felt, and his heart rules. Therefore, he could write fiction that would reach the sympathies, and the heart strings of his readers. If he had been a religious writer, he would have been an evangelical writer, but he was not. He was a fiction writer, and fiction and emotionalism, heart appeal, go with romantic fiction.

When you have used the chart on familiar writing until you know where to place it, the next thing to do is consider your objective. You are not merely learning to measure handwriting analysis loops. You are learning to analyze and measure handwriting in order to understand people, hence, people are your final interest. In order to accomplish this, there is no way better than to get acquainted with famous names in history-and then get out the old letters from aunts and uncles, possibly some of them may have been puzzles to your family. Further, you are learning these rules to use, not just to play with, or to occupy a few spare hours.

You have a workable tool, one that you can depend on, but until you put it into actual use you may be like one of the early students of graphology. She knew her rules. She knew what handwriting revealed about a writer, but when it came to actually applying it and depending on what she knew, she failed to do it. Like many other women, she was ready to consider giving up her career and become a housewife. Then she met a man. He was nice, gracious, considerate, and he loved her. That was the thrilling thing about it. His interest in her was something that increased every day, and then he asked her to marry him.

She had his handwriting. It revealed that he was not only a scoundrel, but a dangerous character as well, but she laid the handwriting aside. After all, she had studied graphology, she knew it worked, but she had not applied it. So she married him. She did not dispose of her property, but when he suggested a trip across the country, she went along. It was her car, because there was no reason for them to own two cars. They would be together from then on.

However, as they drove across the long miles from the east to the west coast, the law was just behind them. They arrested the wonderfully nice man for murdering other wives who had been the apples of his eye, and the dream of his life. He had murdered them. The woman who had not applied her knowledge of graphology had some terrifying days, and a great deal of adverse publicity in popular detective magazines, but she was not murdered. However, she had learned her lesson, and during many years that followed, used what she knew. She finally married, but not until she had analyzed her friend’s writing.

“Once again-the rule is very simple. You start where the up-stroke starts up from the base line and stop measuring it when it stops going up. You should easily understand the marking of this specimen.

“However, all up-strokes are not made in the same manner in which those in the first specimen were executed. Some writers make their up­strokes part of a large loop.  The principle of Graphology Free is still just as simple.

“You pay no attention to the curve of the stroke. You start where the stroke left the base line and started up, disregard the loop, and stop measur­ing where the stroke stops going up.

“Following this you have several illustrations showing specimens with various and varying slants-all clearly marked to .give you a good under­standing of how to use your Emotional Chart.

“Every up-stroke is not marked in the specimens that follow. The variety is included here to help you see the variations that may occur.”

Follow Wallace’s rules for use of the chart. They are simple and you do not need help in learning how to use it. One thing is certain, you can­not hope for accuracy without it.

These are the rules, and it is highly important that you get them clearly in mind. It is even more important that you learn how to use your emo­tional chart on the writing itself, so that your determination of the indi­vidual’s emotional nature will be accurate. Throughout the steady growth of forensic  handwriting  analysis use through the years, two young men have devoted enough time and study to it to become professionally skillful. One of these, Glenn Wallace, prepared the following explanation of how to use the emo­tional chart that will make it easy for you:

“In the first lesson of the General Course you are told that your Emo­tional Chart is for use in measuring the slant of the UP-STROKES of hand­writing. FOR MEASURING THE UP-STROKES OF HANDWRITING. “Your first reaction was probably this: ‘Where do I start on the up­stroke and where do I stop?’ This is simple. Most up-strokes start up from the base line of writing. Some do not. The only up-strokes you can effectively measure are those starting from the base^ line. Thus you have your starting point. The up-stroke continues to go up until it either turns to the left or right, turns down or stops. In other words, when the up-stroke stops going up, you stop measuring it.

“The lesson goes on to say that any up-stroke can be measured. This is true, although individual students find it easier to measure some strokes than others. The main point here is that you should never base the slant of any writing on a single up-stroke. Measure several strokes and consider all your findings. Some writers vary the slant of their writing. Some will have up-strokes that are almost exactly the same slant all the time.

“When  you  first  start  determining  slant  of  handwriting  it  will  be necessary for you to use your chart. Later, after you have had considerable practice, you will be able to place a page of writing on the palm of your hand, hold it at arm’s length, and accurately determine the slant. Keep this in mind and after you have measured several handwritings, start holding the writing on your palm and see if you can determine what the slant will be-then measure it and check yourself.

“Here you have the word ‘trade’ with the up-strokes properly marked as they should be measured.

In order to use the chart effectively you must learn graphology online and the value of each of the dividing lines, which represents degrees of slant.  These rules follow:

1. Writing that is vertical or slants from A to B shows that judgment will rule.   The writer will meet emergencies without growing hysterical, and unless the circumstance is unusually emotionally disturbing, without showing any emotional reaction.   The vertical writer may be said to be ruled by the head rather than the heart.   However, writers who slant their writing to come under or close to B are not totally lacking in expression.   They may feel  deeply, but they do not show how they feel.

2. Writing that slants from B to C will be quick to respond sympathetically or in a mild way to emotional situations. They are not plungers, they do not impulsively break into a conversation, or act without some thought, especially if there is a matter of importance under consideration.

3. Writing that slants from C to D is evidence of a promptly and very expressive  individual.    Such writers will usually show traces of tears when speakers tell a particularly heart-rending story. They act promptly, and very often act or speak solely on impulse, and without thinking.

4. Writing that slants from D to E is evidence of extreme emotional response.  These are the writers who are whirlwinds as salesmen, lecturers, actors, writers, and in similar fields. They sweep everything before them, and then suddenly, and to themselves frighteningly, go sour or find that they cannot produce. This is true because they burn out emotional force, and are temporarily exhausted emotionally. It is a striking thing about such writers that even a minor surprise of a favorable nature will revive the emotional expression which is so vital to their relationships with others.

5. Writing that slants to the left of center is just the opposite of emotional expression. It reveals the writer who is not even judicial, but one who pulls back into self. He cannot be judicial, but instead is affected by self and self-interest, past normal self-interest. This rule is general, and you will learn about the ex­ceptions a little later. There is nothing difficult about recognizing the exceptions, so you can accept this rule as it is written, in a majority of cases.