RHYTHM AND FORM QUALITY

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judgment that will be influenced by the personal values of the analyst. Some react favorably to more conventional forms, others look for original letter shapes. Above all, most graphologists value writing that is not artificial or rigid and are suspicious of extreme mixtures of graphological elements. Regulated handwriting can be rhythmical providing it is not rigidly artificial. True genius personalities, such as Leo Tolstoy and Beethoven, tend to create their own exceptional form level and rhythm.

L O TOLSTOY E

The Form Quality of the letters is such an important part of the rhythm of the writing that it deserves special mention. Letter form quality is determined by the contour, shape, ornamentation, curvature, progression of stroke (ie: backwards or forwards), and speed of execution. Naturally, legibility is a primary consideration, even with speedy writers. The spine of the letter (the downstroke) is drawn by contracting the hand muscles. Therefore, it is likely to be more static and an indication of inner character and strength. In contrast, the upstroke is created by a release of muscles, is lighter in pressure, and gives a fluid variety to the letter forms. This primary overall evaluation of rhythm and form quality gives the graphologist a yardstick in deciding whether to interpret a specific sign in the writing in a positive or a negative way. For example: is a very light-pressured hand indicative of neurotic impressionability and lack of energy, or of spirituality and responsive sensitivity? The evaluation of the aesthetics of the rhythm and form quality will provide the base for a positive or a negative interpretation. Even the most intuitive graphologist should beware of interpreting specific letter characteristics out of the context of the entire writing, just as one should not evaluate a signature separately from a portion of the text.