Professional Documents
Culture Documents
Graphology 10532123
Graphology 10532123
Graphology 10532123
H A N DW R I T I N G , W I T H FU L L E !
P LA N A T I O N O FT H E S CI EN C E . AN D
M AN Y E! A M PL S E FU LLY A N A LY Z ED
TH E E NU M E RAT I O N
2 74 7 (£ l Ave .
PR E FA CE
W as h i n g ton , D C , 1 904
. . .
I N T R O DU CT I O N
5
6 G rapb o ognl
in fi fty thousand writes in this manner fi ve years
af ter leaving s c hool .
distinctive character .
l
ourselves W hen once the art o f writing is
.
l
do it mechanically just as we for m our words
,
them open
D o you end the final letter of a word ah
r a ptly or do you add a fi nal strok e
,
in a straight line
D o the letters of a word remain unifor m in
size throughout the word or do they diminish or
,
l
.
fic i a l
si miles But the diff erences are purely super
.
.
l
et c b u t its individuality re m ains unaltered
,
it is noti c ea b ly evident .
1! n t roouc t i on 11
PA RT I I I
S P E CI M E NS o r HAN D W R I T I N G A N D
‘
T H E I R A N A LY S I S
I N DE ! TO P E R S O NA L C H ARA C TE R
I S T I CS
CH AP T E R I
l
pre i mi n arg Re marks
“
G l. mow
as s i fte b
b an owrtt i ng s me
l
no t wo persons is exactly alike there are never
t h e e s s certain general styles or types of hand
writing to so me one of which every specimen of
,
l
classify i n g the various animals The same prin
.
l
In the first place hand writings are disti n guish
,
hand writing .
l
()
x T h e A n gu a r H l an d
L TE
(P A S 1 , 7 A N D
A ngularwriting always indicates activity I t .
and industrious .
(2 ) T h e R ou n d e d H an d
(P L A TE S 2, 4 ,
In general the personal qualities represen ted
,
g e n eral
rounded types of handwriting are merely the
personal chara c teristi
these two b road classes o f penmanship They
c s indicated by
.
ship
(a) The Forward Hand or writing that slopes ,
to the right .
()
6 The V ertical Hand .
()
0 The B a c k Hand or writi n g that slopes to
,
the lef t .
(3) T he Fo r w a rd H an d
(P L A TE S 1 ,
2,
, ,
l
seen there f ore that taking this as a style b y
itself it can have bu t ittle individual significance
since it is employed so universally .
,
enthusias m .
(4 ) T h e V e rt i c a l H an d
(P L A TE
The writers o f this style are n ot s o readily
susceptible to the influences of their environm ent
or their emotions as are those who write a for
,
26 l
G rapb o og n
talk slowly and act with m uch deli b eration and pre
c i s i on
. They do not like to do anythi n g hastily or
on t h e spur o f the moment E verything must b e
.
l
In the signature o f Long fe low which is given
on plate 1 4 we find this style o f handwriting
,
j
udge h i m solely by his works There is a calm
.
d i c a te d by a vertical ha n dwriting .
(5) T h e B ack H an d
Reason l (P L A TE
and se f interest are the governing mo
-
l
G rapb o og g
p ll
s c ious I t is seldom that he does anything i m
u si ve
.
ue n c es
y or
He
without
has a
first
dread
thinking
of
o
appearing
f the
in a
oons s
false
‘
q .
()
6 S ma l
l
W ri t i n g
(P L A TE S 5, 6 , 1 7 AN D
l
,
t ra t i ve .
u ra l
l
a re correspondingly pronounced
.
,
work .
cided
y l
d i n a ry i n telle c tual qualities ever writes a de
small hand
I f the writing in addition to b eing sma
.
is l
, ,
(7 ) L a rg e W ri t i n g
(P LATE S 7, 1 2 AN D
quick at retaliation.
give n to b oasting .
n eutralized .
36 G rapb o ogg l
The size o f a hand w riting there fore is not o f
, ,
(8) H e av y W ri ti ng
(P L A TE S 8 AN D
,
88 l
G rapb o ogn
(g) Sh aded W ri t i n g
(P LATE S 2 , 7 , 1 0 AN D
S haded writing di ff ers f rom heavy w riting in
the fact that the latter is for m ed of heavy thick ,
( )
1 0 Fi n e W ri t i n g
(P L A TE S 3, 4 ,
o f quiet ,
modest tastes and with a disposition,
l
t ru s i v e and with little i f any desire f or the vo
,
u pt u o u s pleasures or luxuries o f li f e .
( P LATE S 1 0 AN D
, ,
(1 2 ) I n a rt i s t i c W ri t i n g
(P L A TE
The opposite o f the affected or good w riting
is what may b e termed plain or inartistic writ
ing P late 9 affords an example of this style
.
l
No .
(1 3 ) N e at, U n i for m W ri t i n g
W riti n g tha t
(P LATE S
is
1 ,
6 AN D
well b alanced .
l
capab le clerks and me n and women o f responsi
b e positions .
( 4) U 1n e v e n W ri t i n g
(P L A TE S 9 ,
l
l u strate this feature better than can b e de
scri b ed .
73 n and
, g consist S
,
imply o f a c ontinuous straight
stroke S ee also the word f or i n the third line
.
, ,
l
considered It S hows q u ick ness animation v i v ac
.
, ,
(1 6) C row d e d W rit in g
(P L A TE
W here the words and lines are crowded well
together and where the writing h a s the appear
50 l
(Branb O O QQ
l
l
ance of b eing
crowded on the page it shows gen , ,
e ra y a saving disposition
,
The writer is inclined
.
(1 7 ) D i ffu s e W ri ti ng
(P L A TE S 2 , 7 AN D
At the opposite extre m e to crowded writing ,
l
l
plainness k now h o w to dress well and are gen
e ra y up to date in the modes and f ashions
,
As .
b usiness man .
l
G rapb o og n 55
( 9)
1 W ri t i n g Th at is N ot W e l l S pa c e d
(P LATE S 2,
W riting that is not well spaced m ay be divided
into two varieties : That i n which the letters of
one line collide w ith the letters in the line b e
low and that in which the lines are unevenly or
,
"
that the loops o f the letters J y etc extend , ,
.
,
or work .
ra i g h t L i n e s
( )
20 St
(P L A TE S 1 3 , ,
( )
2 1 As c e n d i n g Lin e s
(P L A TE
the lines have a tendency to run up hill it
I f
signifies an am bitious person ; one who i s n atu
G raph otogn 59
l
writi n g i s rounded S uch a person takes a cheer
.
( )
22 De s c e n d i n g Li n e s
(P L A TE
W riting that droops toward the lower right
ha nd corner of t h e paper indicates generally a
, , ,
l
sary vigor or steadfastness o f purpose to a e com
i s h it In fact i n most cases they make no
p .
,
l
h opefulness that i s essential to the successful ao
c o m p i s h m e n t of any purpose or desire
ro ra h
g p y is found i n which the margin on b oth
sid e s is a b sent
.
CH A P T E R I II
S pe c i a e l a t ure e
l t t d by l t
tl l
P erson a c h a rac e ri s t i cs i n d i ca e vari ou s de a i s of h an d ~
t
wri i n g . T he s i g n ifi ca n ce of t h e d iffe re n ett e rs of t h e a ph a~
bet.
l
features of hand writing as distinguished from ,
63
64 l
(Brapb o og n
letters .
(2 4 ) Co c t e d L tte r
nne e s
(P LATE S 4 8 A N D
,
p a l
especially o f lawyers I n fa c t there are c o m
.
,
( 2 5) Dis c on n e c t e d L e tt e rs
(P L AT E S 7, 1 5 AN D
extent .
inant controlling
force of their lives They are g u ided almost
.
l
is characteristic of persons gifted with psychic
—
powers m ind reading mediu mship c a i rvoy
-
, ,
r i n g S i z e o f L e tt e rs
( 2 6) Ie anc
s
(P L A TE S 4 A N D
a t i ve
yl
end of a word ; that i s the last letter will b e rel
larger than the
,
first
i s not very often f ound but when it is it may
This
. feature
, ,
l
is th e letter d i n the word p e a s e d on the second
line ; and in the word s u c c e s s on the last line , ,
( 7)2 D e c re a s i n g S i z e of L e tt e r s
(P LATE S 2, 1 2 AN D
l
,
l
and duty but they do not feel the m selves n e c e s
,
candor .
z on ta l
st l
so m e of the final letters d windle into m ere hori
ro k e s —s e e the n in J oh n on the first, ,
(
2 8) V a ri a b l
e S iz e of L e tt e rs
(P LATE S 12 AN D
l
w ith letters that are of di ff erent sizes throughout
the wor d The words en c os e and v ers i on on plate
.
( 9)
2 P lC l
ai n a pi t a s
(P L A TE S 2 , 6,
I t may bedown as a ge neral rule that t h e
se t
l
t ra t i o n o f this in the signature of Longfello w on ,
l
plate 1 4 W e note that the capita s are rela
.
( ) C ro
31 ss -
Cu t C l
a pi t a s
(P L A TE S 12 AN D
, ,
I on plate 1 2 .
l
o f f act it will generally b e f ound that this
, pe
c u i a ri ty is associated with a style of chirography
p re c i a t i v e has
,
much self reliance and i s-
very ,
(3 )
2 T a l
lro
-St ke C pit
a a s l
(PL A TE
This f eature i s appli c ab le only to the M
an d
l
I V It consists of giving to either o f these cap
.
once re m oved .
l
of form a tion are so si m ple and they must n e c e s
s a ri
y be made according to a fixed s tand a rd yet ,
89 G rapb o og n l
nevertheless there is a su fficient differe nc e l a
g,
of
m and n etc ,
.
tention viz a b d f g h i j 70 m n o p s
,
.
, , , , , , , , , , , , , , ,
t and g
,
.
(33) a W h e n th e L e tt e r i s l
C os e d
(PL A TE S 8 AN D
l
to draw him out on any subject or to as oer
tain definite y what his opinion is on a give n
subject for he is care ful not to commit h i m
,
self .
84 G rapb o ogn l
(34 ) a W h e n th e Le tt e r i s Op en
(PL A T E S 11 AN D
little tact .
6
There are three peculiarities in the style o f
making the letter 6 that are signi fi cant and ,
l
these peculiarities and their s i g n i fi c at i o n s apply
also to the letters i t k and t , ,
.
es (Brapb o l
og n
as well as the i t s ’
.
( 7)
3 b W h e n t h e L e t t e r i s U n oo pe d
l
(P L A TE S 6 A N D
place .
d
This letter f urnishes a num b er o f s i g n i fic a
tions as it ad m its o f quite a variety of distinctive
,
( )
38
’
a W h Uppe r P o rt ion i s H i g h
en th e
(P L A TE S 9 AN D
that of the
,
l
N ormally the height o f the d S hould n o t equal
h or k ; b u t in the examples
, ,
l
ancestry or their connections It does not nec .
( )
39 d W h en th e Uppe r po rt i o n is sh ort
(P LATE S 2 , 8 AN D
W
l
hen the upper stroke of the letter is rela
t i ve y short as is exe m p ified in the specimens
,
(4 0)
'
a W h en th e Uppe r r
Pa t i s C r u ved
(P LATE S 6, 1 8 AN D
l
form o f a little hook a s in plates 5 1 8 and 2 2
, ,
.
l
or di ff use writing The writer o f such a d is i n
tende n c y to b e flirtatious
‘
,
.
(40 a ) W h e n th e C r
u ve i s B a c kw a rd
It sometimes happens that the curved upper
portion instead of tending toward the right as
, ,
( )
4 1 d W h e n th e U ppe r r
Pa t is L oo pe d
(P L A TE S 13 AN D
ing t h e d .
(4 2 ) d W h en S t roke
L A TE
De s c e n ds B e l
o w th e Lin e
(P
W hen the return stroke of the upper portion
o f the d is brought below the line of writing as ,
( )
4 3 d W h en th e L oo p is Op ened or C osl ed
,
’
,
’
,
’
speculative .
l
W hen the loop is m ade after the manner of the
loop in t h e e tter g as we s e e in plate 1 1 it is an
,
(4 5) f W h e n th e Le tt e r i s N ot L oo pe d
(PLA T E S 6, 1 4 AN D
l
l
6 a n d 2 0 a n d i n the S ignatu r e s of Long fellow a n d
Lord W o s e y o n plate 1 4 it shows c o n s erv a tis m
,
l
96 G rapb o og n l
lowed to carry the writer b eyond the b ounds o f
reasonableness or utility S u ch writers are util .
l
l
W hen the stro k e forming the lower portion of
the letter is heavy as in the signature of W o s e y
, ,
9
(S ee letter f S e c tions
,
4 4 and
it
(S ee letter b S e c tions
,
3 5, 3 6 and
Z
(4 6)
’
z W h e n t h e Do t i s P l
ac ed to th e R i gh t
(P L A TE S 1 ,
3 AN D
The maj ority o f persons dot their i s to the ~
’
j
(S e e letter f , S e c tions 44 an d
lo, Z
(S e e letter b, S e ctions 35 ,
36 and
m, n
(S ee letter a S e c
,
tions 3 3 and
7
Z
T he l e tter 1 9 admits of o n ly one distin c ti v e fe a
(Branb o og n l
l
99
(4 8) 1 5 W h e n th e L o w e r P a rt of th e Lette r is
L on g
(P L A TE S 2 , 7 AN D
The letter p contained in the spe c im ens on the
plates referred to— 2 7 and 8— is decidedly long
,
r
g
These letters are without any spe c ial sig
n i fic an c e .
(4 9) s W h e n th e L e t t e r i s T i gh t lCl
y os e d
(P L A TE
I t is only when this feature is m arkedly promi
nent that it is to b e relied upon as an indication .
1 51 ) t W h e n th e Le tt e r i s H e av l
i y C ro s s e d
(P LATE S 1 ,
8 AN D
hen the letter is crossed with decided fi rm
W
ness irrespe c tive of whether it is done caref ully
,
eff ort .
fia n t in h i s manner .
( )
52 t W h e n th e Le tt e r i s W lCro
e ak y ssed
(P L A TE S 1 5, 2 0 AN D
(54 ) t W ro
h e n thk e i s P a
e c St
e d t o t h e L e ftl
(P L A TE
I f the stroke does not cross the t b u t remains ,
nation .
l
that the stroke only co m es up to the m ain stem
and stops The word be a u tif u i n this specimen
.
, ,
(55) t W h en th e C ross i s o
D w nw a rd
(P L A TE S 2 AN D
W henever the t is crossed with a downward
l
stroke as on plate 2 0 or as in the word u nf ortu
n a te
,
l
l
P ersons who stroke their t e this way are u s ’
ua
y self willed
-
and insist upon
,
having their
G ranb o ogu l 1 07
(56 ) t W h e n th e C ro s s ’
is Upw a rd
(P L A TE
An pward crossing of the t is not often met
u
present .
(P LATE S 3 A N D
W hen the c ross stroke is placed above the t
-
,
castles .
(S ee S e c tion
(59) 1 An I n it a i l H o ok
(P L A TE S 3 AN D
it indicates talkativeness
l
.
(60 ) “
2 W h en th e L e tt e r De s c e n d s B e ow th e
Li n e
(P L A TE S 16 AN D
(6 1 ) t W h e n t h e L e tt e r i s L oo pe d
(P L A TE S 8 AN D
strok e .
l
This feature d enotes a natural tendency to
give to gi v e out to throw off It is d i fli c u t to
, , .
l
define it more specifically in its broad applica
tion for its particular indication in each case wil
,
( 3)
6 W h en T e rm i n a lt o
S r ke s E nd wi h t a H o ok
(P LATE S 2, 7 AN D
(64 ) Ab s e n c e of T e rm i n a lS t roke s
(P LATE S 5, 1 4 AN D
l
be generou s and sym pathetic but never e x tra v a
g a n t y so nor to the sacrifice o f their own wel
,
,
(65) S i gn a t u re s
(P L A TE
A person s signature is always the most ex
’
l
written it s o much m ore frequently than any
other com b ination o f letters it represents an a ,
l
II
T h e Prac t i c e o f G ra ph o o
gy
or
l
T h e Appl i c at i on o f t h e P r i n c i ple s o f G raph
o l o g y t o t h e De i n e a ti n g o f C h ara c te r
fro m H an d w rit i n g
118 l
(Branb o og n
l
there is no logical basis for these various rela
'
c i fic a l
l
coming upo n f eatures of handwriting not s pe
y cited :
Fortunately however this is n o t the case .
, ,
.
, ,
l
person with protruding k nuckles is naturally
m ethodica or that a well developed m ount of
,
-
l
and deli b erate manifestation of the writer s per ’
l
hand writing are the result o f his particular i h
d i vi d u a i ty
. W e ,
se e therefore that the
materials with which the graphologist deals are
,
l
o f chirography without h a v 1 n
g to
s t a n t y to his memory or to the book as would
l
P assing to the relationship b etween the S ize o f
the chirography and the writer it i s not d i fli c u t ,
l
avoid display what is written is written u n o s t e n
t a t i o us y and quietly These and many other
.
l
suggest s o o b vious a relationship ; b u t will b e
f ound in this case as in all others that an a n a y
s i s o f the f eature in question will quickly revea
l
indicated by it Considering the s tyle o f shaded
.
l
less c onventional hand means simply a more or
less conventiona person ; one who has relatively
little originality or initiative w h o does thi n gs ao ,
,
, ,
l
specimen of penmanship W e would instinct .
, ,
tra t i o n .
their s i g n i fi c a t i o n s
.
ll
i n which the letters are co n nected This feature
.
l
l
logical and definite reasoning f o r his opinions .
l
carelessness on the part of the writer for the
chirography as a who e may present a very n e at
,
l
not seem to fit definitely under any of the speci
fi e d c assifications
fo r granted
This o f course must b e taken
.
,
1 36
1 38 9 1 9 0 0 0 1 0 92
l
a ri t y b y another the art of graphology would be
,
l
standard of that feature and what effect one pe
c u i a ri t y has upon the value of another consti ,
l
course depend upon the pains taken by the de
i n e a t o r to study the combi n ations of the di ff er
ent features and work out the results .
l
tions o f character f rom hand writing A ccord .
ow i n g
d w ri ti n g S h ow n
P a ge .
on ti e
l
the preceding pages we find first the f ollo wing
gen era features
A ngular writing
,
A forward h and
, ,
l
The writing is w ithout shading and is com para
t i ve y fine It is carefully form ed
l
The lines are straight These constitute the
salient gen era features of this hand writing
l
.
1 43
l
1 46 (Bran0 0 1 0 92
g
’
s,
etc Com
. b ining the practical with the artis
t i c we have a person o f talent and one who puts ,
S i res .
1 50 l
G raph o og n
l
n e st y.
pre c iation
At the same ti m e s h e has a hearty a p
Fl
l
R ep res e n te d i n th e H an d w r i ti n g S h ow n on th e
o ow i n g P a e
g
l
o f its varying f eatures . There is scarcely one
f eature s u fli c i e n t y definite or su fficiently pro
n ou n c e d to b e d epended upon f o r a determinate
l
writing angular they are nevertheless s u ffi
,
l
cien t
y a b undant to conclude that while the
writer is natura ly deliberate as suggested by ,
l
want to b e doing At ti mes he will work i h
.
l
novelist poet or critic —his w ork possesses i n
, ,
PL A TE 1 .
G raph otog u 1 63
l
A n a y s i s o f H a n d w ri t i n g— P l
at e 1
( W m W i i
’
o an s r t n
g) .
acter .
PLA TE 2. 3
G raph o og n l 1 67
l
A n a y s i s o f H a n d w ri t i n g—P
W m W i i
l
at e 3
(
’
o a n s r t n
g) .
, ,
e ro s i t
y ; s el f s ac ri-
fi c e ; kindnes s .
1 70 l
G raph o ogu
w p fi w flr
fl
”
M
M
A
PL T E 5.
G raph o oan l 171
l
An a y s i s of H an d w r ti n g i
W ri ti n g
—P l
at e 5
(M a n
’
s .
)
Back hand— self interest ; sentimen t controlled
l
b y reason and personal conside rations ability
0 1 i g i n a i t y ; shrewd diplo m atic S mall hand
,
l
.
l l
for m hasty conclusions and to be i m pat i ent of
rules P l a i n c a pita s— lac k of conceit ; art i stic
sense C o s e d a s and o s — u ncom m unicative ; re
.
’ ’
l .
a
g a .
1 72 l
G raph o ogn
PLAT E 6 .
G raph o og g l 1 75
An a y s i s l of H an d w r i t i n g— P l
at e 7
(W om a n W ri ti n g
’
s
)
.
nacy .
(Bran[30 10 9 9 179
An a l
ysis of H a n d w ri ti n g- P l
ate 9
(M W ri ti n g )
’
a/n s .
l
size o f letters — deci d ed conscientiousness strict ,
z f f
y e gf
P LAT E 10 .
1 82 l
G raph o og n
A
PL TE 1 1 .
G raph o ogu l 1 83
A n a y s isl of H an dw ri t i n g— P l
ate 1 1
(W m W ri ti n g
’
o en s .
)
A ngular, f or ward hand , with rounded m o d i fi
c ations— quickness , activity , ani m ation energy , ,
tem pered with love of pleasure the enjoyment ,
c o u rag e d .
i m pa t i e n c e q u i c k n e ss etc
, ,
.
1 84 l
G raph o ogn
PLAT E 12 .
1 86 G rapho og gl
PL A
TE 1 3.
(Braph o og u l
l
An a y s is of H an rt
d w i i n g —P l
at e 1 3
(W o m an
’
s W ri ti n g
).
l
d made with large loop — extre m e sensitiveness ;
mor bid s u s pe c t i b i i ty to offense ; easily insulted
or wronged ; this trait b eing confirmed and
emphasized by the looped t a in the writing Let ’
.
P LAT E 14 .
G raph o og g l 1 91
l
A n a y s is of H a n d w ri t i n g —P l ate 1 5
(M a n W ri ti n g )
’
s .
l
Closed a s and o s — unco mm unicative on p e rsonal
’ ’
l
affairs R elatively sma l d — indi ff erence to prin
c ip es
.
li
s u ce .
A
PL T E 1 7 .
G t apDO 1 0 9 Q 1 95
An a y s i s l of H an d w ri t i n g — P l
at e 1 7
(M a n W ri t i n g
’
s .
)
Rounded hand with angular m o d i fic at i on s
love of ease appreciation of good living and
,
physical pleasures .
—
J ( a .
ex .
L
f
r
Qe sm u
M W 07 :
W V4”
PL A
TE 18 .
l
G raph o og g
PL A TE
t pb O O 9 Q l 1 99
l
An a y s is of H a n d w ri ti n g— P l
ate 1 9
W o m an
( W ri ti n g )
’
s .
,
-
l
,
poetry music e t c
, ,
.
G ranb o ogxz l 2 03
l
An a y s i s of H an dw ri t i n g — P l
at e 2 x
(W o m a/n W ri ti n g )
’
s .
L d
4 24 M
! i m
PLAT E 22 .
(Brapb o log g 2 07
An a y s i sl of H a n d w ri t i n g —P l ate 2 3
(W m W ri ti n g
’
o a n s .
)
Co m bined angular and rounded writing — in
d u s t ri o u s active energetic practical with love
, , , ,
l
Can d or
l
Care fu n ess
Care ess n ess
Ch a ri ty
l
C e v e rn ess
Coa rs e n ess
Commu n i ca ti v e n ess
Co n c e i t
Co n c e n t ra ti on
L k ac of
Co n c i se n ess
Co n sc i e n t i ou s n ess
Co ns e rva ti sm
Con s ta n c y
l
.
Cri t i c a d i spos i ti on
l
Cu tu re
L k ac of
Cu n n i n g
Dari n g
D ec e i tfu ln ess
l
D e c i s i on
D i b ti
D l
e e ra on
e i cac y
L k ac of
t ti
D e on s ra v e n e ss
m
t m i ti
l
D e er n a on
D i p omac y
Di sc re t i on
l
D i ss i m u a t i on
Domi n e e ri n g d i spos i t i on
i noex 211
E co n om i ca l d i s pos i i on t
Eg t i m ( C i t )
o s se e on c e
Emph ti d i p i ti
a c s os on
E gy
Em ti ( pti bi l
ner .
o i ty t )
on s su sc e o
E th i m
n u s as
L k f ac o
Ex ti g d i p i ti
Ex ti bi l
ac n s os on
ec u i ty ve a
Ext g ra va an ce
Fa n cy
Fi n esse
Fi rmn ess
Fra n n ess k
L k ac
G e n e ros i y t 3, 1 7 , 6 2
H as ti n e ss
ty
l
H o n es
H o pe fu n e ss
L k ac of
I d ea i sm l
I magi n a t i on
I mpa ti e n ce
l
I m pu s i ve n ess
212 e t aDDO I O QQ
I n d u s try
I n si g h t
I n s i n ce ri ty
In si s ten ce
ll
l
I n te e c tu a
t i y
I n t e gri ty
I n t u i t i on
J u d gme n t
t
! i n d -h ear e d n e ss
Li t e rary t t as e s
L i
ov n g n a u re t
L x
u u ri ou s t t as e s
Laz i n ess
t l
M e h od i ca d i s pos i i on t
M od es y t
b
M or i d n ess
N e at n ess
N e rvo us t e m pe ra m e n t
24
9, 45, 51 , 55, 6 3
21 4 l
G rapb o og g
R e l
blt
ia i i y
R ese rve
R eso u lt i on
L k
t l
ac of
R es fu n ess
R ti
e
R gf
e ve n
c e n ce
l
e u n ess
R m ti
o an c d i spos i ti on
R gh
ou n ess
l t
S ec re i ve n ess
S lt
S e f-c on sc i ous n ess
e f -c on ai n me n t
L k
S lt t
ac of
l
e f -i n e res
S ll
S e fis h n ess
Sl t
e f-re i an ce
e f-res pec
S lt t
e f-res rai n
L k
Sl
ac of
e f -sac ri fic e .
S t
ti bi l
e n si i v e n ess
S ti m t ( i ty
l
en en su sce p
S i mp i i ty c .
S i i ty
ll
n cer
l
S i
o ve n n ess
S w o n ess
I nner 215
S pi i
us c ou s n ess
Sy mp t h y a
Sy t m t i
s e a c t
d i s pos i i on
l
T tfac u n ess
L k
Tl
ac of
kt a a i v e n ess
T t (g d )
as e oo
T mpe er
T mp t t t
e e ra e as es
T d
Th gh tf l
en ern ess
ou u n ess
Th if ti
T th f l
r n ess
ru u n ess
T t w th i
ru s or n ess
Vi vac i y t
W i fu l
l
l
l n ess
W i pow e r
-
L k ac of
W orry i n g t
d i spos i i on
fiTi Q UE TTE
l
Th ere i s n o passport t o g oo d m
”
ll
. .
ll l
,
l
.
l
,
l
, .
l
Mo rton
‘
.
l
l
,
ac c e ptan c e s e tte r
, l l
ac c omplish e d o ri gin al le tte r w rite r !II T he re are fo rms for a
.
Q uoTAT i O NS A l lt
c e ver c ompi a i on f thy
pi q u ota
ll
o
By Agnes H M or o n. t i
t on s, d fro m a gre a t varie ty of
l
se e cte
l
.
l
.
l
.
"
éto n e s bu t w he n the y are to mbston e!
l
,
bo ok c o n tain s the be st l
non e the le ss a mu sin g 1] O f e pi taphs o d a n d n e w this
.
t t
ht l
PROVE RBS T he g e n iu s, wi t, d ii f a na i on
l t l
an sp r o
By Jo h n H Bec e
t
, disc o ve re d in its
are
c o n de n se d w i sdo m o f a
na i o n s i s e mb od ie d i n t
a n d the
a g e s an d a
l
.
t
the c ase i s o f e n a c o n vin c in g a rg u me n (if T his v olume t .
t tt t
c on a in s a re pre se n a i ve c olle c io n o f pro ve rbs o d a n d n e w , ,
an d the in d e e s x t
o pic al a n d alphabe ic al e n able on e to fin d
, t ,
t
re adily j ust wha h e re uire s q
l
.
l
,
ho w so o n the c o al fie lds o f th e
x
wo rd are like ly to b e e ha us e d o r ho w th e spe e d o f a t
l
,
t t
movin g ra in may b e old ? W ha sho uld y o u d o first i f t
l
y ou g o t a c in de r i n y o ur e y e o r y o ur n e i g hbo r s ba by swa
'
l
'
,
t
san ds s f inst s u c h in ere sti n g an d us e fu q ue sti o ns
a ni c t i oNARY on M ost of us n ine to t e a m
MY TH O LOGY ‘
my tho o gic a subje ct b e c a u so
O f th e e q uire d !II T his
l
gy m "I ] 8 6 6 W .
r .
be c au se it c an be fo un d at a glan c e j u
in a s an e st w h t i w t d .
t
11]i t is c ompre he n sive c on ve n ie n c on de n se d an d the in for
l
, , ,
t t t
ma i on is pre se n e d in suc h an in e re stin g man n e r tha w hen t
t
(ri c e re a d i will alw ay s b e re me mb e re d G i A distin ctive .
S L PS O FS PE E CH W ho d oe s
make hem e not t
By Joh n it s a n d T he be st o f
us d o Q] W hy n ot
l
. .
a vo i d th e m
An y o n e in spire d
t t
wi h the spi ri o f se lf-irnprove mcn t may re adi y d o s o G ] No .
t
n e c e s si y fo r stu dy in g rule s o f gra mma r o r rh e o ri c w he n hi s t t
boo k may be ha d
t lt .
e i he r fi i t i s a c o un se llo r a c ri i c
.
t
i t e a c he s bo h wi ho u t the study of
a c ompan io n
,
t t t
g ui d e an d i s writ e n in a mo s e n e r aini n g an d ch a y s y e
t
t
an d a ,
t
l ,
tt t
l
, .
H AN DBOO ! O F
PRO N UN C ATI O N l
W h a t i s o re d i s a g re e a b e
than a fau y pron un c a i on ?
l
m
l
t
l
it
fly j o hn H Be ch te .
N o o t h e r d e fe ct s o c e a riy
l l
.
.
TQ ASTS
l
M ost me n dre a d be in g ca e d upon to
By W i iam Pttte nger re spon d to a to ast o r to ma ke an a d
l
l dre ss ‘JI W ha t w o uld y o u n o t gi ve for
.
l
l
,
h o w th e w ay (I I
s . It
i s valuable n o t a o n e to l
o vi c e bu t to the e pe r
, x
ie nc e d spe ake r w ho wi gather ,
l
l
By W i i am Pi tte nge r d e b ate d c c ompli shme n t
l
an , no a
l
l
.
su g g e stio n s fo r a
ti c a
w ho d e sire to disc u s s q u e stio ns in pu blic
l
.
ON
PU N CTUAT'
l
ll
Fe w pe rso ns punc tu a t l
llt
. zan e prope ry
id mist
l
ard to ke s man y d o n o t pun dr
l
By Pau A a vo a
l
u
yce
.
a te a t a Q] A pe ru sal o f his b oo k t
l
.
t
wi l re mo ve a diffic ul i e s an d ma ke a poin s c le ar ( T he .
f t t t
ru e s are pla in ly st a e d a n d fre e ly illu s ra e d thu s furni shin g ,
a mo st u se ful v olu me t
(H T he a u hor i s e ve ry w he re re c o g
ll
.
t t
ni ze d a s the le a din g au ho ri y u po n the s ub je dt an d w hat ,
CoNVE RSAT O N
By J P M ah a ffy
. .
l S o me pe o ple are a c c u se d o f ta kin
to o mu c h Bu t n o o n e is e ve
l
l lt t
. .
t
ta ke n to ask for alkin g to o w e ll t .
ii
i O f a i th e ac c o mp ishme n s o f mo de rn soc ei yt th t
, a o f
be in g an a g re e a ble c o n v e rsa i o n alis t h ldo s first l
p a ce .
t t
N o hin g is mo re d e ligh ful o r valu able 4] T o su gge s w ha . t t
to sa y j u st h o w a n d w he n to s ay i is the g e n e ra l a im o f
, t ,
, t
this w ork an d i su c c e e ds mo st admirably in its pu rpose .
RE AD N G
AS A FNE ART
l l T he abili ty to re ad alo u d w e l
w he the r a t the fi re side o r o n th e
l ,
t
By E rnes Legou vé pu blic pla tfo rm i s a fin e art , .
l
11]T he w o rk i s e s pe c ially re c o mme n de d to te ac he rs and
othe rs in te re st e d i n the in stru cti o n o f p ublic sc ho ol pupi s .
S O CI AU SM
l
By Char e s H O h " .
"
S oc ialism is i n th e ai r C Re fe re nc e? .
l
n e w spa pe rs ma g a z in e s an d othe r
l
, ,
l tio
pub ic a n s. fl] Bu t fe w pe rso n s e x cep t th e i list the m
so c a s
l
se ve s t
h ave mo re han a dim c o mpre he n sio n o a a f w h t it re ly
me an s (E T his b oo k giv e s i n a c le ar an d in e re sti n g mann er
. t
t
a c o mple e ide a o f the e c on o mi c d oct rin e s a u gh by the be a t t t
soc i alists .
W ha t is
ho w is it o b tain e d how
ll
JO URN AL' SM n e w s,
l
,
ll
,
an d t
c o n ai n s c hap e rs t on boo k re vi e win g d rama i c c ri ic ism
, t t
an d proo fre a ding
l l l
.
t A ho u gh alw ay s a de lightful fo rm
ll
VE N TR LO Q U SM
By Ch ar es H O in t t o f e n e r ain me n t V e n triloq uism is
l l
.
l
,
t o mo st o f u s more o r le ss o f a
l
as g o o d dialo gue fo r the ir succ e sd u