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.

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.

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?”

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.

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.

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.

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.

“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.

“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.

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.

People show how they feel in varying degrees. For example, it is not possible to say that every warm-hearted person grows hysterical in face of some situations that affect the feelings. This is not true. For this reason it is important that you become familiar with how to measure the degree or amount of emotional expression. You do this with an Emotional Expression Chart, which is reproduced here.

This chart has five lines slanted upward along with one vertical line. One of the slanted lines is made to lean backward, and it is just as im­portant that you understand the value of this slant as any of the forward slanted lines. The forward slanted lines are all used in determining the emo­tional reaction of the individual writer.   The vertical line shows the poise,

or lack of emotional expression, while the backward slanted stroke is slanted so that it is extreme, representing the extreme of the slant of backward writing. You need an actual Emotional Expression Chart for your quick handwriting analysis. You can make one, either from a small square of glass, or thick plastic. Merely place either the glass or the plastic over the chart illustration here, and trace the chart with India Ink. There is one disadvantage in using a home made chart; the ink is likely to smear, and so your chart becomes messy to use. If you prefer, you can secure the professional chart for only a few cents

If you find these questions fit your conduct, there is only one graphology and health answer. You slant your writing well forward, possibly not as far as the writing of Warner Baxter, the long time movie favorite. You are ruled by your feelings. You feel, and show how you feel. Even if you are not talkative, anyone who knows you, or even a stranger can tell how you feel by the way you move your head, or the look in your eyes.

The effect of human emotions may be likened to a strong wind. If you have ever seen a hay field or a field of small grain when swept by a high wind, you have had a wonderful example of how the strong wind of emotional force will affect an individual who is emotionally responsive. Some people, in fact a great many, are not highly expressive of their feelings. Some men and women can meet the most upsetting situations and keep calm and cool and self possessed through everything. Such writers are identified by their upright or even their backhand writing.

“I can’t go back and face Mary,” he said. “She does not know the situation, and she can of course go back to her profession and take care of the children.”

As a result of that conversation he started to learn handwriting analysis online free a very simple handwriting exercise, and only a few weeks later breezed into the office to report that he had been made branch manager of a concern where his earnings would mount. He had something he had never had before. He had self-confidence. He had made a few changes in his writing-not major changes, and he had achieved results. You will find out how he did it, before you lay this book aside. You will learn, too, what this simple exercise did for me at a time when I faced great responsibility.

Altogether you will find much in the following chapters that you can use. This is the only reason for writing this book. It is not an easy task, and as I write it there is always the need to omit the pronoun I. What graphology has done for me, and for others, is no more than it can do for you.

At this point you may feel like throwing this book down, and saying “I don’t believe it,” which after all would be foolish. A man cannot dis­believe a thing about which he knows nothing-and before you complete this book you will have learned how to strengthen your own personality by changing your writing.   I know.  I did it.

When you know how to use graphology and so understand yourself you will also have found the key to changing your own character traits. This discovery of how to change personality came about as a result of demand. Thousands of men and women through the years wrote, “You analyze our handwriting and tell us how we feel, and think, and act, but you do not tell us how to correct our weaknesses. Do this, and you will have helped us more than money or anything else can repay.”

With such a challenge a second period of testing began. It was just as tedious, just as heartbreaking as the long search to find the answer to my own question about the tails on my handwriting. However, one thought persisted. If handwriting revealed the traits of character of the individual, would it be possible to change the writing, and eventually change the indi­vidual, causing him to gain traits he wished to have, and nullify those he wanted to destroy or remove from his thinking?

That was how the tests began, and in a later chapter you will be given the key to how to make such changes. This book alone cannot teach you all there is to know on the subject. Only a handwriting analysis free online can guide you in making some of the more complicated changes, but you can change your character by changing your writing.

Truly big people are always ready to help. It is the stuffed shirt who does not know and is scared to death that someone will find that he does not. is the only one who scoffs. Really big minds say, “If you have some­thing let us see it. If you are working to achieve something worth while, let us help you.”

This does not mean that all of the people who helped were graduates of colleges. Some of them were and had forgotten it. Some had learned in the vast school of life how little they knew.

Even “bad” people, assured of anonymity frequently helped. I shall never forget one scoundrel who, when he learned what I was attempting to do asked me to take his handwriting, and tell him the truth. He sat thru it quietly, and then spent the rest of the night telling me what had hap­pened to him in his life, the little points I had missed, and where I was right.

You may say, “the man did not have time to do anything else.” You are correct. Many of my pieces of fiction and other magazine copy were written on portable typewriters in the caboose of a freight train. Other writing was done late at night. During the day I followed the job that provided my traveling expenses, and gave me a chance to talk to people, get their example graphology, study them, and their surroundings.

One other point was important. My explorations in order to answer my own question about the tails of my handwriting began when I was young. As years went by I was able to follow through «on cases where I had been puzzled.

If I had been sports-minded there would have been no graphology. If the one and only girl had not married someone else, there would never have been any graphology.

Frank Gore’s notes gave me the key to forensic handwriting analysis. It was not handwriting that would answer my questions. It was a stroke-an un­necessary stroke, that I had added to my practice pages that had earned those red marks for me. Strokes were what handwriting was made up of. not just letters. For instance, the longhand g had a down stroke, sometimes a backward stroke before the upward stroke was started. The s was made with a circle, but sometimes there was a circle inside of a circle, sometimes two circles. It was strokes, and that is what you will know more about when you complete this book.

From that afternoon the going was fairly easy. After I went into military service there were experiences that were valuable. There was plenty of opportunity to study handwriting as a reflection of people in my organization and slowly and steadily I was arriving at some basic con­clusions. There were times when some principle seemed to be verified, and then it would be knocked out entirely by something that had been over­looked.

One question has been frequently asked by people who are given to statistical thinking. It is a question that cannot be answered. There is no record of the specimens of handwriting nor the people who were studied. Certainly not hundreds or a few thousand. One man wrote me once that he had told someone four thousand odd, but I hope no one believed him. His handwriting showed he would not tell the truth, and as he was one of my test cases, long after proving the principles of graphology, he may be interested, if alive, in knowing that he too was a test. Not a test to see if a principle was correct, but rather a test to prove that a certain combination of elemental traits would produce a scoundrel.

An employment agency had sent me to teach shorthand in a business college in Shawnee, Oklahoma. About the second day it was plain that I had made a mistake. The head of the school was drunk half the time, in­deed he was drunk the afternoon he found that the local business people were talking about running him out of town, and taking over his business school for me to manage. They did get rid of him as a menace to the morals of the town, and I started to Chicago, but stopped in Wichita be­cause I had met a business college man there who looked progressive.

Actually he was just about broke, but there was a little money in my watch pocket and we made a deal whereby I would stay and teach short­hand for at least a few weeks. Possibly he hired me expecting me to stay until he vvent broke, but that summer he began advertising me as the only shorthand teacher in captivity who could write and teach seventeen systems of shorthand. Those seventeen systems and that advertising was the answer to my question. Handwriting Analysis Samples from students who had been exposed to shorthand in high school or other business colleges, came flocking into school. There were Gregg, and Spencerian and Dougherty shorthand writers. All the shades of the Pitman systems, Benn Pitman. Issac Pitman, and a dozen variations all were enrolled in my dictation classes. All I had to do was dictate, and walk around looking over their shoulders and watch for inaccuracies. It was a scatterbrained bunch for most stenographers will agree that only a handful of people ever write shorthand as it is taught.

Was I putting those tag ends on there because there was something wrong with me mentally, or was it because I liked graphoanalysis instead of base­ball, and had a morbid fear of snakes? There was nothing else to do. The reason had to be found, and I set out to find it. No young fellow ever wrote more love letters and joined more correspondence clubs than I did in those days. Now and then I found a writer who put on long tails to the words, but their photographs all looked like nice girls, or fairly decent young fellows. When they did it, however, we certainly had one thing in common.  What was it?

One other subject was essential although I did not know it then. I analyze handwriting. Not just ovals, but Palmcrian, Zanerian, Ransom-erian, and half a dozen other muscular movement systems. One teacher after another must have added a grey hair here and there because of my papers. Only a few weeks ago I ran onto an old letter I had written back in those days, and just at first I thought it was the work of some successful penmanship teacher, until my eye caught one weakness.

I put long finals on almost every word. Very long finals, and the teachers said “No” and meant it. My papers would be all right for a day or two, and then I would slip back into my original penmanship sin, and would get the papers back with red ink strokes slashed across the tails on the words.

This benefit and protection for you is after all the justification for writing this book, and because I began the research and stumbled onto the key that makes scientific handwriting analysis possible, it is necessary for me now and then to talk about myself.   Forget that part, will you, and keep in mind that we are both devoting our time to graphology, and what it can do for you in increasing your happiness, your cash in the bank, and your happiness in getting along with people while you earn your living.

You may have noted that I frankly admit that I stumbled onto the key that made graphology possible. Actually, the start came simply because I got to Sunday school ahead of time. The little one room school house served as the church, and there was a long blackboard across one end of the building. On this particular Sunday one of the older boys who had graduated from the eighth grade had come back over the week-end and was writing strange symbols on the blackboard.

All of the early arrivals were properly impressed at how those mysteri­ous strokes could mean words. That was my introduction to shorthand, and when I went home after services it was with the deep-rooted determination that if anyone else could make those strange curlicues mean words it would be equally possible for me. Somehow that resolution made when I was eight stuck until I was sixteen and could get my hands on the first short­hand book.

As a result of that few minutes conversation, the father sent the lad’s writing to the credit manager for handwriting analysis test. Then he asked for the writing of both parents. He studied those two specimens, and then visited the troubled family. It was a long and a serious interview, but graphology had found the explanation of the trouble. Both parents had become in­volved in many personal and social activities. They were providing a good residence, good furniture in the residence, but they were not making a home for the boy. They were busy attending social functions, bridge clubs, busi­ness conferences.

The lad had become a problem because he resented being shoved to one side. He thought his parents did not care about him, but about their social and business lives. He had come to hate and fear them, and was merely striking back. Fortunately the parents accepted the revelations made from their own writing, the boy admitted that was the way he felt. Today that family is well adjusted, the parents are happy and proud of their son, and he in turn is making good and is fond of his parents, whom he now recog­nizes as something more than a source of money. He has found that they do love him, and he in turn is a wonderful son.

Finally the doctor suggested that she provide him with the boy’s hand­writing, with the thought that he might find the answer. He did. The youngster was so self-conscious that he did not dare to stand up among the young folks of his own age and tell what he knew. He thought they knew more than he did, and between under-rating his own ability and the self-consciousness he was making his high school days agony, not only for him­self, but his mother and his teachers all suffered.

This doctor, who uses graphology frequently to understand handwriting personality of the patients , had a visit with the boy. He showed the young man from his own handwriting that he was equal and possibly superior mentally to some of his classmates. He convinced him that there was no reason for either fear or self-consciousness, then convinced the mother that she could aid by having her son recite to her.   When the bov discovered for himself that he knew and was able to hold his own with other students his own age, his problem was whipped. The boy gained, the mother showed better results from her medical treatment, and the teachers found that they had a near-honor student.

You may find unusual talent for dancing or painting and you may believe the dancing is sinful. That is your right, but you still have the knowledge that the writer has natural talent for dancing. Or you may find evidence that a writer is likely to steal. There are many potential thieves possibly who have never been caught, and possibly some of them have never actually stolen. Handwriting does not reveal that a man has done any certain thing, any more than it reveals that he has cancer or tuberculosis. It does show the individual who, given an opportunity, will steal. But if you know this, and protect yourself against his doing so from you, then you have had protection.

However, learn discretion in keeping what you learn to yourself. If you were a professional grapho analyst you would be bound by a code of ethics as binding as the ethics of any medical man. You should tell the person whose handwriting you examine the truth, but that does not mean telling all of her or his family, and the neighbors. Gossip is one of the most reprehensible things in civilization and has broken more homes than any other single human weakness. Analyze handwriting truthfully, but do not repeat to others what you have found.

Examination of the handwriting showed that the writer was a scoun­drel, and might easily be a murderer. It was not an opinion. The hand­writing revealed the picture as clearly as an x-ray could have done. So the report was made, mailed, as requested, air mail and special delivery.

A few days later another letter brought the rest of the story. The young man was a stranger in the community, but he and the young woman had met, fallen in love, and were to be married almost at once. Then, as a matter of possible curiosity, the daughter let her mother read a letter and the mother was appalled by what she found. Result, the mother and daughter agreed to submit the handwriting to another analyst, and quite naturally selected the mother’s teacher. That analysis undoubtedly saved the young woman’s happiness, and possibly her life, for shortly after the engagement was broken the police from another state arrested the fellow as a criminal and took him back to the scene of his crimes.

You will get such protection for your life as you are a handwriting expert. You will not get it by merely skimming through these pages, getting some of the rules in mind, and confusing others. Study the rules, and the example of handwriting, and then use what you learn. For more than thirty years students of graphology undertaking professional train­ing have been advised not to believe what they have found in lesson books just because it is in print. When you learn something, test it, prove it and then you have it even if your books are destroyed.

You will gain one other advantage. If you are shy, afraid of people and what they say, you will find that knowing handwriting gives you free­dom from fear. The reason is rather simple. The child that fears the dark is afraid because he does not understand the dark. You are timid, afraid because you do not understand people. When you actually know them you will have no reason for fear unless you have done something to injure others. Even then you may have only yourself to fear.This promise that you will lose fear is a lesson that I learned during the first few years of my research. Audiences from coast to coast now tell me that there could not have been a time when I was afraid. They do not know. As a young man I was timid, fearful, hesitant to use what I knew. I could get along all right in a play or something I had memorized but to stand on my feet and talk off the cuff was unthinkable.

Then one day Albert G. Burns, founder of the Inventors of America, told me to go out and talk to a group of inventors from all parts of America. I refused. I could not. Al Burns looked at me and said. “If you know anything about it and believe in graphology you can.” I talked. He had brought me to a realization that when I knew and understood people there was nothing to fear. So as you go along with your study of these rules you will be gaining knowledge that others do not have. You will under­stand them, and there is no knowledge as valuable.

You will be sure of one other gain. You will no longer feel there is any value to gossip. You will not need to have what others think about someone to guide you, for you will be able to take a page of handwriting and know how the writer feels, thinks, and acts.

Then the long time pastor was compelled to take a long vacation. A new man came to town, and the good church worker took him into her home, her husband exerted himself to support his wife’s efforts to make the stranger feel at home. The man was popular, good looking, conducted himself well.  Everyone liked him.

Then he wrote a note about a committee to the grapho analyst. That night she told her husband,  “He can’t come into the house again.   I’m going to see my sister out of state while this man is here.” She fulfilled her intention, and it was another church member who was raped and strangled. That charming fellow was a sex driven man with good clothes, a fine vocabulary, and graciousness, who was ready to turn into a sex demon when he was refused what he demanded.

Weeks and months went by. There were no major defalcations, just shortages of five dollars, ten dollars, sometimes only a dollar or two a day. Then one day he wrote a letter to a customer who owed close to a hundred dollars. If the remittance were sent directly to him, he would square the books for fifty dollars.

That morning the young fellow and I had a conference. I did not accuse him of being a thief. There was no reason to do so. When he was hired he had given me all the warning I needed, and so if there was any blame, it rested on my own shoulders. But I had tested graphology. He had helped to prove it by dropping letters into the waste basket, taking money, and feeling that he was getting away with it.

An old lady who was a very dear friend had a nephew who was the apple of her eye. Depression conditions made it impossible for him to find a job. She asked my help. His handwriting warned me that he was selfish, deceitful, and untrustworthy. However, I owed that old lady a deep debt of gratitude for things she had done, not only for me, but others.

So I made a place for the young chap. He was brilliant. He had ability, but in giving him the job graphology protected me. I knew what   to   expect,   and   it   was   possible   to   anticipate   what   was   certain   to happen. He did all right for several months. Then remittances that were supposed to have reached my office were not recorded. Passing thru his office one day I saw him tear up a letter, drop it in the waste basket, and slip a bill into his pocket.

My life has been devoted to handwriting analysis and to the research that has gone into it. My countless miles of travel, and hundreds of thousands of letters which were employed for many years in testing writers and their reactions is part of this history. However, you will not have to endure any more I’s than absolutely necessary to give you the freedom and pro­tection that came to me personally as a result of understanding what handwriting reveals.

Graphology is exact, scientific-the result of more than forty-five years of painstaking research. It is a science, now used throughout the civilized world for both pleasure and profit.

What is the basis of the uncanny accuracy of graphology? The answer is STROKES. The revealing factor is the strokes of the hand­writing and not the letter formations. It does not matter what language the writing is in-even shorthand reveals the writer.

This book explains how graphology identifies character and person­ality traits and tendencies. These are based in the mind, follow the nervous system and inevitably show up in handwriting. A person trained as a grapho analyst can reconstruct the inclinations and the emotions of the writer of any adequate specimen of handwriting. The analyst can, with surprising accuracy, predict what the writer will do and how he will react under certain conditions.

It is, of course, only quite recently that the study of handwriting has been put on a scientific basis. So it is to be expected that some uninformed people are still skeptical. They should be reminded of the wise words of John Stuart Mill:

“Every great  movement must experience  three  stages:   ridicule, discussion, adoption.”