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.