As already shown, texture corresponds to character, and motion to texture, and therefore to character. Those whose motions are awkward, yet easy, possess much efficiency and positiveness of character, yet lack polish; and just in proportion as they become refined in mind, will their mode of carriage be correspondingly improved. A short and quick step, indicates a brisk and active, but rather contracted mind, whereas those who take long steps, generally have long heads; yet if their step be slow, they will make comparatively little progress, while those whose step is LONG AND QUICK, will accomplish proportionately much, and pass most of their competitors on the highway of life. Their heads and plans, too, will partake of the same far-reaching character evinced in their carriage. Those who sluff or drag their heels, drag and drawl in every thing; while those who walk with a springing, bounding step, abound in mental snap and spring. Those whose walk is mincing, affected, and artificial, rarely, if ever, accomplish much; whereas those who walk carelessly, that is naturally, are just what they appear to be, and put on nothing for outside show. Those who, in walking, roll from side to side, lack directness of character, and side every way, according to circumstances; whereas, those who take a bee line—that is, whose body moves neither to the right nor left, but straight forward—have a corresponding directness of purpose, and oneness of character. Those also who tetter up and down when they walk, rising an inch or two every step, will have many corresponding ups and downs in life, because of their irregularity of character and feeling. Those, too, who make a great ado in walking, will make much needless parade in every thing else, and hence spend a great amount of useless steam in all they undertake, yet accomplish little; whereas those who walk easily, or expend little strength in walking, will accomplish great results with a little strength, both mentally and physically. In short, every individual has his own peculiar mode of moving, which exactly accords with his mental character; so that, as far as you can see such modes, you can decipher such outlines of character.
To DANCING, these principles apply equally. Dr. Wieting, the celebrated lecturer on physiology, once asked where he could find something on the temperaments, and was answered, “Nowhere; but if I can ever see you among men, I will give you a PRACTICAL lesson upon it.” Accordingly, afterward, chance threw us together in a hotel, in which was a dancing-school that evening. Insisting on the fulfillment of our promise, we accompanied him into the dancing saloon, and pointed out, first, a small, delicately moulded, fine skinned, pocket-Venus, whose motions were light, easy, waving, and rather characterless, who put forth but little strength in dancing. We remarked—“She is very exquisite in feelings, but rather light in the upper story, lacking sense, thought, and strength of mind.” Of a large, raw-boned, bouncing Betty, who threw herself far up, and came down good and solid, when she danced, we remarked—“She is one of your strong, powerful, determined characters, well suited to do up rough work, but utterly destitute of polish, though possessed of great force.” Others came in for their share of criticism—some being all dandy, others all business, yet none all intellect.
14.—THE MODE OF SHAKING HANDS
Also expresses character. Thus those who give a tame and loose hand, and shake lightly, have a cold, if not heartless and selfish disposition, rarely sacrificing much for others—probably conservatives, and lack warmth of soul. But those who grasp firmly, and shake heartily, have a corresponding whole-souledness of character, are hospitable, and will sacrifice business to friends; while those who bow low when they shake hands, add deference to friendship, and are easily led, for good or bad, by friends.
15. THE MOUTH AND EYES PECULIARLY EXPRESSIVE OF CHARACTER.
Every mouth differs from every other, and indicates a coincident character. Large mouths express a corresponding quantity of mentality, while small ones indicate a lesser amount of mentality. A coarsely formed mouth indicates power of character, while one finely formed indicates exquisite susceptibilities. Hence small, delicately-formed mouths, indicate only common minds, but very fine feelings, with much perfection of character. Whenever the muscles about the mouth are distinct the character is correspondingly positive, and the reverse. Those who open their mouths wide and frequently, thereby evince an open soul, while closed mouths, unless to hide deformed teeth, are proportionately secretive.
And thus of the eyes. In travelling west, in 1842, we examined a man who made great pretension to religion, but was destitute of Conscience, whom we afterward ascertained to be an impostor. While attending the Farmers’ Club, in New York, this scamp came in, and besides keeping his eyes half closed half the time, frequently shut them so as to peep out upon those present, but opened them barely enough to secure vision. Those who keep their eyes half shut, are peekaboos and eavesdroppers, and those who use squinting glasses are no better, unless they merely copy a foolish fashion. The use of quizzing glasses indicates either defective sight or defective mentalities, but are rarely if ever employed except as a fashionable appendage.
Those, too, who keep their coats buttoned up, fancy high-necked and closed dresses, etc., are equally non-communicative, but those who like open, free, flowing garments, are equally open-hearted and communicative.
16.—INTONATIONS AS EXPRESSIVE OF CHARACTER.
Whatever makes a noise, from the deafening roar of sea, cataract, and whirlwind’s mighty crash, through all forms of animal life, to the sweet and gentle voice of woman, makes a sound which agrees perfectly with its character. Thus the terrific roar of the lion, and the soft cooing of the dove, correspond exactly with their respective dispositions; while the rough and powerful bellow of the bull, the fierce yell of the tiger, the coarse guttural moan of the hyena, and the swinish grunt, the sweet warblings of birds, in contrast with the raven’s croak, and owl’s hoot, each corresponds perfectly with their respective characteristics. And this law holds equally true of man—that the human intonations are as superior to brutal as human character exceeds animal. Accordingly, the peculiarities of every human being are expressed in his voice, and mode of speaking. Coarse-grained and powerfully animal organizations have a coarse, harsh, and grating voice, while in exact proportion as persons become refined, and elevated mentally, will their tones of voice become correspondingly refined and perfected. We little realize how much of character we infer from this source. Thus, some female friends are visiting me transiently. A male friend, staying with me, enters the room, is seen by my female company, and his walks, dress, manners, etc., closely scrutinized, yet says nothing, and retires, leaving a comparatively indistinct impression as to his character upon my female visitors, whereas, if he simply said yes or no, the mere SOUND of his voice communicates to their minds most of his character, and serves to fix distinctly upon their minds clear and correct general ideas of his mentality.