Very round even writing in which the vowels are not closed, denotes candour and openness of disposition, with an aptitude for giving advice, whether asked or unasked, not always of a complimentary kind. Blunt, crabbed writing suggests obstinacy and a selfish love of power, without thought for the feelings of others. True selfishness gives every curve an inward bend, very marked in the commencement of words or capital letters.
Perseverance and patience are closely allied. In the former the letter ‘t’ is hooked at the top, and also its stroke has a dark curved end, showing that when once an idea has been entertained no earthly persuasion will alter or eradicate it. Such writers have strongly-defined prejudices, and are apt to take very strong dislikes without much cause.
Calmness and patience also are frequently linked together—more often in later life, when adversity has blunted the faculties, or the dull routine of uneventful existence has destroyed all romance. Then the writing has short up-and-down strokes, the curves are round, the bars short and straight; there are no loops or flourishes; the whole writing exhibits great neatness and regularity. Economy of living, curiously enough, is marked by a spare use of ink. The terminals are abrupt and blunt, leaving off short. Where economy is the result of circumstances, not disposition, only some of the words are thus ended, while others have open, free curves, and the long letters are looped. Generosity and liberality may be seen likewise in the end curve of every word. Where these characteristics are inconstant and variable, the disposition will be found to be uncertain—liberal in some matters, while needlessly economical and stingy in others.
A person fond of society writes the capital letter ‘M’ with the three upper curves on the same level. If the tail of this letter is carried far below the line, there is vulgarity of mind and imperfect education. Bars used instead of stops are the result of caution. The writer fears lest his sentences should be misinterpreted by being run into each other. When a bar is placed below the signature, it means tenacity of purpose, coupled with extreme caution; perhaps, also, a dread of criticism and adverse opinions. No dots to the letter ‘i’ means negligence, a want of attention to details, with but a small faculty of observation. When the dots are placed at random, neither above nor in proximity to the letter to which they belong, impressionability, want of reflection, and impulsiveness may be anticipated.
Ambition and gratified happiness give to the whole writing an upward tendency. Hopefulness lacks the firmness of ambition, and appears only in the signature which curves upwards, while the rest of the writing is impulsive, without much firmness.
Sorrow gives every line of the writing a downward inclination. Temporary affliction will at once show in the writing: a preoccupied mind, full of trouble, cares little whether the letter then written is legible or neat; hence the writing is erratic, uncertain, and the confusion of mind is clearly exhibited in every line. Irritable and touchy persons slope the flourishes only, such as the cross of the letter ‘t’ and the upper parts of the capital letters. When the capital letters stand alone in front of the words, and the final letters also are isolated, it betokens great creative power and ideality, such as would form an author and clever writer.
The most personal part of a letter or document is, of course, the signature, but alone it is not a safe guide to character. The lines placed below or after it tell a great deal more than the actual name.
A curved bending line, ending in a hook, indicates coquetry, love of effect, and ideality.
An exaggerated, comma-like form of line means caprice, tempered by gravity of thought, and versatility of ideas.