YOUR HANDWRITING REVEALS YOUR CHARACTER
FIRST of all we must attend to the direction of the lines of writing, as, should these be level, a normal and calm state of mind is shown, generally reliable, and not subject to change.
When the lines slope toward the right, much energy is indicated; when the lines slope downward, a lack of energy is shown, usually from depression which may result from ill health.
If the writing slopes upward with excess, it shows recklessness; if downwards, with a very sloping inclination, it shows mental depression verging almost on loss of reason.
If the signature slopes upwards, then we may expect to find personal ambition, but if downwards, some physical weakness. If instead of the whole line ascending only words here and there will ascend, this indicates “hope,” but if scattered words ascend and descend in the same line, we may read a lack of tenacity in emotions.
The writing small and pointed, we get curiosity; if medium in size, and gradually increasing towards the end of the line, it shows an outspoken nature; should the writing diminish towards the end of the line we read tact.
If it is fine and threadlike in appearance, it shows a sensitive mind, diplomacy.
Large writing shows promptness, but if the strokes are very fine, we see appreciation of other people’s work—a connoisseur.
Small, clear writing shows love of the abstruse, and if the lines are very delicate, a feeling for the mystic. If the writing is extremely small, it shows pettiness of nature, fussiness over unimportant details.
Letters of different sizes show unreliability of nature, exaggerating trifles and ignoring more important things.
Light and fine writing means delicacy of feeling, but if carried to excess it shows fastidiousness.
The connections of the letters with each other must be judged. If the connecting stroke is long, it shows some facility in talking and expression, the power of using words well, not talkativeness.
Letters ingeniously connected show constructiveness, but should they be separate, we get perception and intuition.
Any eccentricity indicates that the person’s career has not been ordinary.
Marked originality, especially of capitals, shows unusual taste. Tremulous tendency resulting neither from illness nor old age—Irritability.
Highly restrained, small—Refractory disposition, difficult to live with.
Regular and well-placed lines, followed by those careless and irregular—A mind quick to embark on an enterprise, but lacking perseverance.
Back-handed less susceptible than inclined—The head ruling the heart.
—Large and well-formed.—Pride.
Print-like in shape.—Dignity.
Exaggerated in height.—Love of ceremonial.
The angle very pointed.—Acuteness, penetrative, leadership.
Large and badly-formed.—Egomania.
Large upper hall.—Self-assertion.
Large bases.—Self-confidence.
The capital letter of Christian names larger than that of surname.—Love of home.
The capital letter of surname larger.—Love of position.
Small capitals.—Lack of self-assertion.
Capital letters made like small ones.—Said to show poetic feeling, love of Nature.
Print-like in form.—Originality.
Eccentric in any way.—Pose or whim.
Widely spaced.—Love of open air.
Curving far below the line, and almost encircling the word.—Protective love of animals.
Letters incorrectly used.—Small detail made over-important.
Tendency to replace by print.—Sense of form, artistic and poetic.
—A.M.N.H., G.O., R.U.W.—Normal width.—Well-poised mind.
Too wide.—Self-contentment, satisfaction.
Nearly touching.—Timidity, want of knowledge of the world.
First leg slightly raised.—Aristocratic tastes.
Second leg exaggerated.—Pose, affectation.
Unconnected, ending with crotchet rentrant.—Egotistical, selfish.
The letters begun and ended with a small crotchet rentrant.—Avarice, meanness.
Letters and words connected.—Power of assimilating ideas, but lack of originality; logic.
Letters disconnected even with their parts.—Creative power, want of logic.
Equally connected or disconnected.—Balanced intuition and deduction.
Last letter increasing in size.—Lack of power of concealment. Decreasing.—Finesse.
The writing develops as the soul develops, and imitation comes before originality.
QUALITIES SHOWN IN HANDWRITING (ALPHABETICALLY ARRANGED)
ABILITY.—Small writing, angular, clear, decided capitals.
ACCURACY.—Neat, well-placed lines and words, punctuation correct.
AFFECTION.—Softly sloping writing, rounded, fairly thick.
AMIABILITY.—Rounded letters, often unfinished, medium capitals.
AMBITION.—Large first stroke of capital “M’s” ascending lines of writing. Imposing signature.
ANALYTICAL.—Small-pointed, clear writing, letters divided, decided capitals.
ARGUMENT.—Words connected, giving logic, and occasional extra long connecting strokes, small writing. (See A.2.)
AUTHORITY.—Large capitals, especially the letter “I” and first letter of surname, level crossing to t’s.
BOASTFUL.—Large writing, exaggerated capital, flying cross bar to t’s. (See A.1.)
BOLD.—Large well-formed capitals, clear rounded, but not pointed writing.
BROAD-MINDED.—Well-spaced words, clear capitals, O’s and A’s wide and rounded.
CANDOUR.—O’s and A’s open at the top.
CAPRICE.—Eccentric letters, irregular writing, no punctuation.
CARELESSNESS.—Ill-formed letters, open O’s, no punctuation.
CAUTION.—Dashes used instead of full stops.
CEREMONIOUS.—Capitals important, all large above the line, some added flourishes.
CHANGEABLE.—Letters differently formed, eccentric capitals, variability of line.
CHEERFULNESS.—Short, fat loops, rounded letters.
DEJECTION.—Lines tending downwards, curved letters unfinished, last of capital “M” very small.
DELICACY.—Thin thread-like letters, fine pointed writing. (See A.3.)
DISORDER.—Ill-formed, unfinished letters, no punctuation, separate letters.
DISSIMILATION.—Words terminating in thread-like strokes, interchangeable letters.
DISTRUST.—Last downstroke ending very abruptly.
DRINK.—Thick strokes, when seen through a glass very ragged, ill-formed letters; self-indulgence.
EATING, GOURMANDIZING.—Small, rounded writing, black, small capitals.
ECONOMY.—Close, compressed writing, no margins. (See A.4.)
ENERGY.—Lines sloping upwards to the right, short downstrokes, high-barred crosses to t’s.
EXAGGERATION.—Very large and eccentric capitals, flourish under signature.
EXTRAVAGANCE.—Wide margins, large letters, full loops above and below the lines.
FAINT-HEARTED.—Small capitals, ill-formed thread-like letters, downward tendency.
FOPPERY.—Exaggerated capitals, especially letter “I,” wide spacing.
FORGETFULNESS.—Letter “N” shaped like small “U.” (See B.1.)
FORMALITY.—Neat lettering, punctuation careful, capitals rather large.
FRIVOLOUS.—Light writing, eccentric, or half-made capitals, irregular lines.
GEOMETRY.—Small, neat writing, print-like small capitals, upright slope to writing, or slightly backward.
GENEROSITY.—Final letters naturally rounded, with upward tendency.
GESTURE OR MOVEMENT.—An elaborate finish resembling a flourish but joined to last letter.
GRANDEUR, LOVE OF.—Imposing and well-formed capitals, large and carefully made “M’s.”
GROSSNESS.—Very black, thick stroke both up and down, letters badly formed; short loops wide. (See B.2.)
HASTY ACTION.—Long-shaped commas.
HOME, LOVE OF.—Capital letter of Christian name larger than that of surname.
HONESTY.—Well-formed, clear and even letters, level at the bottoms.
HOPE.—The lines ascending with regularity.
HYPOCRISY.—Small A’s and O’s, open at bottom.
HYSTERIA.—Very irregular writing, badly made letters, and wild crossing strokes to t’s, thin and long downstrokes, initial small letters out of proportion to remainder of words.
INDOLENCE.—Rounded writing, sloping “backwards"—i.e., to the left (See A.5.)
INDECISION.—Thin strokes crossing the t’s, or else the stroke “tucked in.”
INGENUITY.—Curious and original shaped capitals.
INSINCERITY.—Letters raised high above the level, words thread-like, terminations indistinct.
INTEMPERANCE.—Curious rough, black strokes, or else vague formation of letters.
INTRIGUE.—Twisted forms to letters, unnecessary and thread-like strokes.
INTUITION.—Letters separated. (See B.3.)
IRRITABLE.—Curious short downward crossing to t’s, cramped and pointed letters.
LANGUAGE.—Occasional long connecting strokes in middle of words or from word to word. (See B.4.)
LOGICAL.—Even, small, well-formed letters, capitals well balanced.
LUXURY.—Black writing, slanting strokes, large capitals.
MADNESS.—Irregular, badly-formed, unfinished words, lines very irregular, and variable directions.
MEAN.—Cramped and compressed letters and lines.
METHODICAL.—Well-formed letters, even lines, good punctuation.
NARROW.—Well-formed but close letters, careful capitals.
NATURE, LOVE OF.—Simple capital letters. (See B.5.)
NEUROTIC.—Irregular dwindling letters, various sizes, words unevenly placed.
OBSTINACY.—Small writing, heavy crossing to “t’s” and angular letters.
ORDER.—Letters even, well formed and placed.
ORIGINALITY.—Eccentric forms of letters.
PENETRATIVE.—Acute letters, well-finished long upstrokes to “t’s.”
PERSEVERANCE.—The bars crossing the “t’s” increasing in size.
POETRY, FEELING FOR.—Capital letters made like small ones in shape and neat well-formed words.
PRETENTIOUSNESS.—Many curves and involved capitals.
RETICENCE.—Closed “o’s,” “a’s,” and “e’s.”
SIGHT.—In affections of the eyes the terminals are unfinished.
SLY.—Dwindling ill-formed letters.
STINGY.—Cramped writing, close lines.
SUBTLETY.—Small letters and dwindling lines. (See 6.B.)
SELFISH.—The final coming round to the left, and making a complete loop on itself.
TEMPER, HASTY.—Angular stops.
IRRITABLE.—The cross-bars of the “t’s” slightly hooked.
OBSTINATE.—The cross-bar ending in a decided harpoon or hook; a low thick bar. High and thick and tending sharply downward.
OBSTINACY AGAINST OWN INTERESTS.—A short straight down stroke.
CONTROL OF.—Dashes used instead of stops.
TRUE.—Clear, well-formed rounded letters.
VANITY.—Large flourished capitals, wide margins. (See B.7.)
WIT.—Small, rounded letters, generally undulating handwriting.
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