Handwriting analysis can often be useful in detecting malfunctions in the body, for there are telltale signs in the ailing person’s writing. We know today that although the conscious mind of an individual may not be aware of any particular disorder, on the subconscious level the brain keeps a record of all that takes place in the body. Just as it dictates the personality, so it reacts to the disorder, for it is always aware when something is amiss. If the disorder is repaired, it is interesting to note how the signs disappear from the writing as well.
But handwriting signs of physical disorder are not so consistent as those for personality traits. Diagnosing illness through handwriting is still in its infancy. If, for example, a man’s left foot is amputated, a gap or blotch may appear in the left side of the lower zone-but only now and then. A normal man would probably not leave gaps there at all, or not with statistically significant frequency. It is this frequency-not a 100-percent consistency-which the graphologist looks for.
Picture handwriting superimposed upon a stick figure. The top part of the upper-zone letters would correspond to the head. If there are tremulous strokes and even a little gap in one of the letters-all in the same area, the left side of the top of the upper-zone letters, we can easily see why this writer should complain of headaches, particularly on the left side.
Imagine gaps in the right side of the upper portion of the upper-zone letters. This represents the head area, but the gap itself is not located at the top of the letters, but is a bit lower down and here represents the eyes. This writer may have lost the sight in his right eye.
Consider gaps in the center of the middle zone, which reflects the area of the stomach and crotch. This type of writing is frequently found among women after sustaining a hysterectomy.
Picture middle-zone gaps in the connecting strokes and in the beginning strokes, (these gaps can occur in the end strokes and have a similar interpretation). This area represents the arms and hands. Writers, whose hands were injured, due to accidents, commonly write this way.
When most of the defects appear in the upper left portion of the upper zone, this may be due to a stroke, which affected the left side of his body.
If someone, apparently in the best of health, were to hand you a handwriting sample, you might be a bit reluctant to say that there was something wrong with him. The graphologist should never be misled by any outside information whatsoever. Besides certain basic information (age, sex, country of origin), he should get all his information from the writing itself. He should not even rely on his own impression; this is not the job of the graphologist. The inexperienced analyst may hear that the subject whom he is analyzing is of a certain type. If he does not uncover this in the writing, he should not make this part of his analysis.
Many times, people make untrue statements in order to deceive the graphologist and because they are skeptical. The experienced graphologist prefers that you not tell him anything (except for the above-mentioned basic information), for he does not want his judgment influenced.
The writer suffered a severe accident when still a child and part of his left ear was severed. This was indicated by the contrast in his writing. The upper left part of the upper zone was considerably lighter than the rest of the writing. Wherever there is a nick or a space or part of the writing in different pressure from the rest, it is a sign from the brain that something in that particular area is different. This particular defect was not noticeable in the writer’s appearance, for his hair was covering it. But his handwriting gave it away.
Imagine there are quite a number of lighter strokes in the middle zone, compared to the rest of the writing. This is often a sign of anemia or low blood pressure-as if the person did not have enough strength to write the word with the proper amount of pressure.
Consider disturbances in the upper right part of the upper zone (reflecting the head) and in two instances a thickening and in one a gap. This person may have lost the hearing in his right ear. Why exactly there should be a thickening and a lightening cannot be determined, only that the brain notes a disturbance of some kind.
Picture heavy pressure in the left lower part of the lower zones (reflecting the feet). This person may suffer from corns on the left foot.
Imagine markedly less pressure (almost blank spaces) in the left side of the lower zone. This writer may have been in a fire and still has the scar.
Consider both the left side and the right side of the lower zone, which show empty spaces, areas that correspond with the feet. This writer’s feet may be deformed.
Picture a writing disturbance that occurs in the lower part of the upper-zone areas (representing the chest-waist area and the back). This writer may have suffered a slipped disk.
If a person who usually writes in a relatively clear manner suddenly begins to write a blotchy, unclear hand, it is a danger signal of possible physical and/or mental illness. Two handwriting samples of German philosopher Friedrich Nietzsche authenticated this point. Though Nietzsche’s first writing was clear, the pastose, unclear, blotchy writing of the second sample was written after his physical and mental collapse, in a state of depression.
OBSESSIVE-COMPULSIVE TRENDS
One characteristic of compulsive neurotics is that they feel an unreasonable need to repeat certain thoughts or acts, often of an apparently harmless and meaningless nature. In handwriting, too, compulsion neurosis betrays itself in such meaningless repetitions.
When asked why she repeated the i-dots, the writer answered that she did not know why, but could not help repeating them.
PERSECUTORY TRENDS
This paranoiac betrayed himself through blurred spots his script. (They look like corrections that do not improve anything, or should I call them smoke screens?) These blurred spots may be interpreted as the visible traces of the writer’s temporary confusion or his unconscious attempt to obliterate his traces. For such blurred words, letters, syllables, figures seem to be produced during a passing loss of consciousness on the part of the writer.
Graphologically, I would interpret the:
…split letter as: indicating a break with tradition, customs, and the socially acceptable–a split in the writer’s intellectual world;
…decayed script as: indicating the undermining of the writer’s image of the real world and the dissolution of his contact and communication with other people;
…wavering lines as: indicating the writer’s confusion between conscious and unconscious, facts and hallucinations.
Oversimplified and incomplete as these interpretations are, they may serve as an invitation to experimental psychiatrists to look into these problems from the standpoint of expressive gestures. As a graphologist, I am not prepared to discuss the complete dynamic and genetic bases for these expressive signs and symptoms.
Examination for Lesson 16
1. Nietzsche’s writing was originally clear. It became pastose, unclear, blotchy. What is indicated?
2. Characteristic of compulsive neurotics is that they feel an unreasonable need to—-?
3. Constant writing “corrections” that do not correct is characteristic of which disorder?
4. Writing what kind of letter reflects a split in the writer’s intellectual world?
Answers for Lesson 16
1. It is a danger signal of possible physical and/or mental illness.
2. Repeat certain thoughts or acts, often of an apparently harmless and meaningless nature.
3. Paranoia
4. A split letter
Joel Engel is the author of “Handwriting Analysis Self-Taught” (Penguin Books)
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Author: Joel Engel
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