2. You Show How You Feel

ARE YOU A STORMY PETROL, OR A WALL OF STRENGTH? DO YOU HATE AISD LOVE AND THEN FORGET? ARE YOU A VOLCANO OR AN ICEBERG? THEIR OWN HANDWRITING RE­VEALS BILL TILDEN, ELLIS PARKER BUTLER, ELLA WHEELER WILCOX, FRANKLIN D. ROOSE­VELT, LOWELL THOMAS, THOMAS DIXON JR,, AND MANY OTHERS.

Do you jump at conclusions when you hear a bit of gossip or when you catch half of a TV newscast? Do you choke up quickly when you listen to a revivalist or a political speaker when he bears down hard on your feelings ? Are there times when you come down in the morning feeling fit as a fiddle, then suddenly find that you do not care what happens, the bottom of your world seems to have dropped out. Then you feel good if someone gives you a word of approval. Your day brightens up and you feel like going ahead full steam?

If you find these questions fit your conduct, there is only one hand­writing answer. You slant your writing well forward, possibly not as far as the writing of Warner Baxter, the long time movie favorite. You are ruled by your feelings. You feel, and show how you feel. Even if you are not talkative, anyone who knows you, or even a stranger can tell how you feel by the way you move your head, or the look in your eyes.

The effect of human emotions may be likened to a strong wind. If you have ever seen a hay field or a field of small grain when swept by a high wind, you have had a wonderful example of how the strong wind of emotional force will affect an individual who is emotionally responsive. Some people, in fact a great many, are not highly expressive of their feelings. Some men and women can meet the most upsetting situations and keep calm and cool and self possessed through everything. Such writers are identified by their upright or even their backhand writing.

Plate 1. Writing slanted well forward shows you are ruled by your feelings.

However, emotional expression is. far more common than you may think. It is common not only in America, but among the Latin races. They feel and show how they feel, their emotional expression ranging from moderate to extreme. No matter how the individual reacts, however, it shows in the handwriting. Take yourself, for instance. If you write far to the right, you are impulsive, and frequently act first and think afterward. If you are calm and self-possessed, you write more nearly vertical, or even backhand.

People show how they feel in varying degrees. For example, it is not possible to say that every warm-hearted person grows hysterical in face of some situations that affect the feelings. This is not true. For this reason it is important that you become familiar with how to measure the degree or amount of emotional expression. You do this with an Emotional Expression Chart, which is reproduced here.

This chart has five lines slanted upward along with one vertical line. One of the slanted lines is made to lean backward, and it is just as im­portant that you understand the value of this slant as any of the forward slanted lines. The forward slanted lines are all used in determining the emo­tional reaction of the individual writer. The vertical line shows the poise, or lack of emotional expression, while the backward slanted stroke is slanted so that it is extreme, representing the extreme of the slant of backward writing.

You need an actual Emotional Expression Chart for your study. You can make one, either from a small square of glass, or thick plastic. Merely place either the glass or the plastic over the chart illustration here, and trace the chart with India Ink. There is one disadvantage in using a home made chart; the ink is likely to smear, and so your chart becomes messy to use. If you prefer, you can secure the professional chart for only a few cents.*

EMOTIONAL CHART

F A  B C D E

Plate 2. Emotional Expression Chart measures the amount of emotional ex­pression shown in your handwriting.

In order to use the chart effectively you must learn the value of each of the dividing lines, which represents degrees of slant. These rules follow:

1. Writing that is vertical or slants from A to B shows that judgment will rule. The writer will meet emergencies without growing hysterical, and unless the circumstance is unusually emo­tionally disturbing, without showing any emotional reaction. The vertical writer may be said to be ruled by the head rather than the heart. However, writers who slant their writing to come under or close to B are not totally lacking in expression. They may feel deeply, but they do not show how they feel.

2. Writing that slants from B to C will be quick to respond sympathetically or in a mild way to emotional situations. They are
not plungers, they do not impulsively break into a conversation, or act without some thought, especially if there is a matter of im­portance under consideration.

3. Writing that slants from C to D is evidence of a promptly and very expressive individual. Such writers will usually show traces of tears when speakers tell a particularly heart-rending story. They act promptly, and very often act or speak solely on impulse, and without thinking.

4. Writing that slants from D to E is evidence of extreme emo­tional response. These are the writers who are whirlwinds as salesmen, lecturers, actors, writers, and in similar fields. They sweep everything before them, and then suddenly, and to themselves frighteningly, go sour or find that they cannot produce. This is true because they burn out emotional force, and are temporarily exhausted emotionally. It is a striking thing about such writers that even a minor surprise of a favorable nature will revive the emotional expression which is so vital to their relationships with others.

* Available from International Grapho Analysis Society, Inc. Springfield, Missouri.

5. Writing that slants to the left of center is just the opposite of emotional expression. It reveals the writer who is not even judicial, but one who pulls back into self. He cannot be judicial, but instead is affected by self and self-interest, past normal self-interest. This rule is general, and you will learn about the ex­ceptions a little later. There is nothing difficult about recognizing the exceptions, so you can accept this rule as it is written, in a majority of cases.

These are the rules, and it is highly important that you get them clearly in mind. It is even more important that you learn how to use your emo­tional chart on the writing itself, so that your determination of the indi­vidual's emotional nature will be accurate. Throughout the steady growth of grapho analysis use through the years, two young men have devoted enough time and study to it to become professionally skillful. One of these, Glenn Wallace, prepared the following explanation of how to use the emo­tional chart that will make it easy for you:

"In the first lesson of the General Course you are told that your Emo­tional Chart is for use in measuring the slant of the UP-STROKES of hand­writing. FOR MEASURING THE UP-STROKES OF HANDWRITING. "Your first reaction was probably this: 'Where do I start on the up­stroke and where do I stop?' This is simple. Most up-strokes start up from the base line of writing. Some do not. The only up-strokes you can effectively measure are those starting from the base^ line. Thus you have your starting point. The up-stroke continues to go up until it either turns to the left or right, turns down or stops. In other words, when the up-stroke stops going up, you stop measuring it.

"The lesson goes on to say that any up-stroke can be measured. This is true, although individual students find it easier to measure some strokes than others. The main point here is that you should never base the slant of any writing on a single up-stroke. Measure several strokes and consider all your findings. Some writers vary the slant of their writing. Some will have up-strokes that are almost exactly the same slant all the time.

"When you first start determining slant of handwriting it will be necessary for you to use your chart. Later, after you have had considerable practice, you will be able to place a page of writing on the palm of your hand, hold it at arm's length, and accurately determine the slant. Keep this in mind and after you have measured several handwritings, start holding the writing on your palm and see if you can determine what the slant will be—then measure it and check yourself.

"Here you have the word 'trade' with the up-strokes properly marked as they should be measured.

Plate 2A. Measuring the up-strokes for emotional expression.

"Once again—the rule is very simple. You start where the up-stroke starts up from the base line and stop measuring it when it stops going up. You should easily understand the marking of this specimen.

"However, all up-strokes are not made in the same manner in which those in the first specimen were executed. Some writers make their up­strokes part of a large loop. The principle is still just as simple.

Plate 2B. Measuring the up-stroke of looped letters.

"You pay no attention to the curve of the stroke. You start where the stroke left the base line and started up, disregard the loop, and stop measur­ing where the stroke stops going up.

"Following this you have several illustrations showing specimens with various and varying slants—all clearly marked to .give you a good under­standing of how to use your Emotional Chart.

"Every up-stroke is not marked in the specimens that follow. The variety is included here to help you see the variations that may occur."

Follow Wallace's rules for use of the chart. They are simple and you do not need help in learning how to use it. One thing is certain, you can­not hope for accuracy without it.

• GRAPHO ANALYSIS IS A WORKABLE TOOL

When you have used the chart on familiar writing until you know where to place it, the next thing to do is consider your objective. You are not merely learning to measure handwriting. You are learning to analyze and measure handwriting in order to understand people, hence, people are your final interest. In order to accomplish this, there is no way better than to get acquainted with famous names in history—and then get out the old letters from aunts and uncles, possibly some of them may have been puzzles to your family. Further, you are learning these rules to use, not just to play with, or to occupy a few spare hours.

Plate 2C. Variations in up-stroke letters for use as practice with your Emo­tional Expression Chart.

You have a workable tool, one that you can depend on, but until you put it into actual use you may be like one of the early students of grapho analysis. She knew her rules. She knew what handwriting revealed about a writer, but when it came to actually applying it and depending on what she knew, she failed to do it. Like many other women, she was ready to consider giving up her career and become a housewife. Then she met a man. He was nice, gracious, considerate, and he loved her. That was the thrilling thing about it. His interest in her was something that increased every day, and then he asked her to marry him.

She had his handwriting. It revealed that he was not only a scoundrel, but a dangerous character as well, but she laid the handwriting aside. After all, she had studied grapho analysis, she knew it worked, but she had not applied it. So she married him. She did not dispose of her property, but when he suggested a trip across the country, she went along. It was her car, because there was no reason for them to own two cars. They would be together from then on.

However, as they drove across the long miles from the east to the west coast, the law was just behind them. They arrested the wonderfully nice man for murdering other wives who had been the apples of his eye, and the dream of his life. He had murdered them. The woman who had not applied her knowledge of grapho analysis had some terrifying days, and a great deal of adverse publicity in popular detective magazines, but she was not murdered. However, she had learned her lesson, and during many years that followed, used what she knew. She finally married, but not until she had analyzed her friend's writing.

So use what you learn as you learn it, step by step. Look for the emo­tional responsiveness of the writer, first. Then you will learn to follow that with how the individual thinks which you will cover in the next chapter. Now let us look at some people who have made headline in America, and study how they will act emotionally.

Place your emotional Expression Chart on plate 3. Follow the instruc­tions for placing it carefully, and you will find the writer, Hamlin Garland, was very expressive of feelings, actually an extremist. This meant that he felt intensely, showed how he felt, and lived as he felt. This means that he would act before thinking, would speak or talk on impulse based on how he felt at the time.

Although he lived a great many years ago, you now can understand him, and further, you will be able to reconstruct something of how he wrote—for he was a famous fiction writer. What kind of fiction fits a highly emotional personality? Ask yourself the question and then consider. High emotions may be turbulent, quarrelsome, but you can take my word for it that he was not a fighter. Instead his writing, as you will come back to it later and study it as you gain more knowledge, shows a gracious gentleman. Friendly because friendliness goes with emotional expressiveness. He wrote as he felt, and his heart rules. Therefore, he could write fiction that would reach the sympathies, and the heart strings of his readers. If he had been a religious writer, he would have been an evangelical writer, but he was not. He was a fiction writer, and fiction and emotionalism, heart appeal, go with romantic fiction.

PLATE 3. Letter written by fiction-writer Hamlin Garland, showing his extreme emotionalism as measured by the Emotional Expression Chart.

Plate 4. Ella Wheeler Wilcox. Tal­ented writer who became very popular and widely read.

He would plunge into a piece of fiction impulsively and every line he wrote had to have heart appeal. He was also an emotional speaker, that would capture his audiences, hold them spellbound, not by what he said, but by the warmth of the way in which he would say it. He was an able man, but his ability was secondary in his speaking and his writing. He felt, and he reached out in written and spoken words to touch the feelings of his audiences.

In plate 5 you have a similar emotional makeup, one who would appeal to the feelings of readers and listeners. Ella Wheeler Wilcox was the most popular emotional poet in the early part of the Twentieth Century. Count­less thousands of school boys memorized and delivered her famous verses, "How Salvator Won", in the closing days of school. Ella Wheeler Wilcox was ruled by her feelings. She was talented, a fact about which she was extremely modest. She wrote me on her way to Europe that she had no right to claim talent. "My mother always wanted to write", she said, "and that longing was transmitted to me. Therefore I am merely doing what my mother longed to do but failed to make come true. I've never really worked at being a writer. I feel what I want to say and I say it."

Plate 5. Handwriting of Ella Wheeler Wilcox gives you clear picture of her personality and of the kind of writing she excelled in.

Just as in the case of Hamlin Garland, who wrote plate 3, she wrote romantic verse and stories. Thousands of those who are grandparents today, were her most ardent fans. However, the point that is important to you is that her letters written back in the early part of the century give you a picture of how she wrote because she wrote as she felt. If you hear either of these names spoken in conversation you will have no need to refer to an encyclopedia to know something about this man and woman. Their writing has given you a clear picture and as you gain new rules you will be able to come back and get better acquainted with them.

You have an entirely different emotional nature in plate 6, which is the handwriting of an internationally famous tennis player. The writing is definitely backhand, which means that he not only looks after himself, and looks at matters without bias, but that he goes to extremes in pulling back into himself rather than showing how he feels. While the other two writers were extroverts, this writing by Bill Tilden is that of an introvert, who is not going to rush in anywhere.

Plate 6. This handwriting of Bill Tilden is that of an introvert.

The writing in this illustration has a great many heavy strokes, and heavy strokes have their own value in addition to what they reveal about emotional expression or lack of it. Take for example the illustration, plate 7, which is uniformly heavy all the way through. It is not smudged, but heavy. J. Jefferson wrote with pressure on the pen, and left a strong black line from start to finish. This illustration is to particularly emphasize clearly a new rule which you must make your own in order to understand not only how a writer may express his emotional nature, but how strongly he is affected by emotional circumstances. First, however, examine plate 8, where most of the lines are relatively light. Give these two specimens some thought, for one is light, and the other is heavy, although not exceedingly so. Now here are your two new rules to add to the ones you have already had on emotional expression :

1. Heavy writing reveals a writer who soaks up emotional experiences like a blotter. He is greatly hurt or pleased today, and in six months may have forgotten the incident, but the result of his emotional experience today has become a part of his permanent nature*. He has absorbed that feeling and will be prejudiced
by it long after it has been forgotten as an incident.

2. On the other hand, when the lines of the writing are relatively light the writer may storm, and cry, or bluster around in an emotional tantrum, but when the storm is over, the effect will be gone.

These are important rules. Compare these two handwritings, and the preceding plates and you will find that Ella Wheeler Wilcox in particular was not only expressive of how she felt at the time, but that she carried her feelings over, creating a great reserve of feeling that added to her im­mediate reaction to an emotional situation. When you have extremely ex­pressive writing, and great depth of feeling the expression becomes intense. It is like a hurricane in its effect on the writer as well as those around him or her.

Plate 7. Actor Joseph Jefferson's handwriting introduces a new rule.

• THE PROBLEM OF INTROVERTS AND EXTROVERTS

Joseph Jefferson was one of the great stage performers of fifty years ago. He put feeling into his acting, the same expressive feeling that made Gary Cooper famous and that made little boys sit on hard plank seats and applaud their hero, William S. Hart. Both Cooper and Hart won their spurs as actors by their ability to portray emotions on the screen, while Jefferson was confined to the legitimate theatre.

You have undoubtedly gathered by this time that all highly expressive emotional people are fundamentally actors. They feel, and they want to stir feelings in others. They appeal to the emotions of others. They love it, even though they do not recognize this fact about themselves. This creates a problem in thousands of family arguments when one member of the family slants the writing far forward, and the other is a vertical or backhand writer. They look at things differently, and neither understands how the other faces life.

During the courtship the strongly emotional one looks at the calm poise of the backhand writer—although they pay no attention to the writing, and find strength there, but later that strength becomes a bore for the expressive one. On the other hand, the calm, self-possessed part of the team who was fascinated by the warmth, and emotional fire of the expres­sive one frequently becomes less fascinated. After that there is conflict. The two who might easily still be in love grow farther and farther apart, simply because neither understands the emotional structure of the other.

Plate 8. Cool, controlled type of personality shown in this writing of author Ellis Parker Butler.

Bill Tilden could not be as expressive as Ella Wheeler Wilcox, or Joseph Jefferson. His writing shows he felt as deeply, but not in a way to show it, whereas the poet and the actor could never be as calm, and un-expressive as the tennis player.

When you become familiar with these two distinct approaches to life, you have the key, not the total solution, to many social, family and business problems. Such problems may exist in your own life, and in this case, these rules may help you more than many hours spent with a psychologist, for grapho analysis is a branch of psychology a growing branch which is gaining more and more recognition solely on its merits.

The vertical writer whose pen-strokes are heavy may love just as deeply and sincerely as the most expressive man or woman can ever do, but it is not possible to show it.

Plate 8 was written in 1927 by one of America's great humorists, the famous author of "Pigs Is Pigs" which is still a classic of humor writing.

Ellis Parker Butler was cool, collected, as far as his feelings went. His humor was pure humor, never emotional appeal. He never ridiculed, as he might have done if he had been driven by his emotions. He never wrote a line that did not leave the reader pleasantly in good humor. There was such complete freedom of rancor or emotion, that men and women regard­less of race, or religion could read and enjoy his keen wit.

A writer whose strokes are heavy revealing depth of feeling, reveals a strong development of a sense of color, tone, and flavor. As an illustration of how this works out, an editor sent me a handwriting many years ago. "This man is a writer, but I would like to have you tell me from his writing what you believe he will write. If it is fiction, what kind of fiction ? If it is factual material, what will be his approach?"

You have a specimen of that writer's work in plate 9. After studying it I gave the answer that it was likely to be fiction, because I could not think of any other subject that will permit such a wide range of color in background, and suggested that such fiction would almost certainly be laid in the orient because of the strong color shown in the writing. I had never heard the man's name, let alone having read one of his books, although I was promptly accused of knowing what he wrote because the conclusions from the handwriting were so accurate. The writer of this specimen is Harry Stephen Keeler, who has produced close to a hundred mystery books, filled with intrigue, and many of them laid in the Far East.

When you have become familiar with this last rule covering heavy writing you have learned that such writing has three distinct values, all registered by the weight of the writing; first, the heavy writing shows depth of feeling, the capacity to absorb emotional experiences and make-them a permanent part of the writer's personality; second, the capacity for deep prejudices, loves and hates based on the absorbed emotional experiences as they have occurred; and third, that heavy "writing is a register of the fact that the writer possesses strong development of the senses, tone, odor, color, flavor. Cooks who have a reputation for preparing dishes with fine flavors will show this natural ability by their heavy writing. Public speakers, and actors, such as Jefferson, and Franklin D. Roosevelt, reveal capacity to use words with telling effect by the weight of their pen strokes,

You may have been one of the millions who sat entranced by Franklin D. Roosevelt's "fireside chats". After he was through speaking it is entirely possible that you did not remember much of what he said, because it was the way he said it that held his audience. It was his tone, his choice of words, the color sense he showed that influenced voters, and also made enemies for him. In all history of America, there has never been a greater emotional actor in the White House, no man with a capacity for a play on words than the man who sold himself to the American voter on four different occasions. There are some who feel that history has since revealed that he betrayed his friends, sold out those who trusted him, but through it all he never failed to get votes because of his capacity to speak over the air and influence millions. If Franklin D. Roosevelt had elected to go on the stage rather than enter politics he would have outplayed Gable, Bill Hart, and all of the other emotional stars.

Plate 10. Franklin D. Roosevelt was a great emotional actor as indicated by this handwriting.

LOWELL THOMAS'S ILLUSTRATED TRAVELOOUES: "WITH ALLENSY IN PALESTINE" amo "FREEING HOLY ARABIA

Plate 11. The handwriting of Lowell Thomas shows a deep emotional strength that is held in check.

Another great word painter who has held top appeal with the public for many years is the writer of plate 11. Lowell Thomas. As you have listened to him it has not been possible for you to miss the deep, under­lying strength he has put back of everything he has said. There is strength in his voice, but it is poised strength, not a helter skelter wind storm. He has never played on the emotions of his listeners, but he has held them by his emotional strength, just the same. Study this writing closely. Every line is heavy in proportion to its size. The writing is vertical to backhand—it is not the writing of a plunger, rather a man who could face great danger without losing his head—calm, enduring, a man whose affections are deep rooted, whose capacity for dislike is just as great. Where Roosevelt was expressive, Lowell Thomas shows a deep emotional strength that is held in check, but not actually controlled. It is a strength that is deep, and lasting.

Finally, here is another specimen of writing of a man whose whole history revealed the effect of emotional prejudice. Plate 12 was written by the famous southern novelist, Thomas Dixon, Jr., whose Klansman and other books swept America during the early part of the 20th Century. This writing is heavy, showing deep emotions which you have already learned mean a capacity for deep and lasting prejudices.

Plate. 12. Author of "Klansman," Thomas Dixon, Jr., whose handwriting shows deep and lasting prejudices.

Thomas Dixon reflected the view of the Old South after the Civil War, and his fiction bristled with bitterness. The weight of his handwriting strokes revealed his capacity not only for permanent prejudices or feelings, but it also showed his careful selection of words for strong effect. He was an artist, prejudiced but still an artist who revealed his technique in the depth of his pen strokes.

• THE CALM AND SELF-POSSESSED WRITER

Plate 13. One of the most famous of penmanship experts, H. P. Behrcnsmeyer.

You must, after examining these various specimens and considering how the writers worked and lived, have a very clear picture of what to expect from both the deeply emotional writer who is expressive and the one who is not. You must have figured out for yourself that the light line writer may carry memories but not prejudices based on accumulated emo­tions. This is true. The light writer may storm, and rant or reach a point of near hysteria in the face of tragedy or disappointment, but such indi­viduals, regardless of age, merely have their emotional storm, and it is forgotten. Those who are vertical or backhand writers never have the emo­tional storms, but remain Calm and self-possessed through circumstances that might easily prove the temporary undoing of the highly expressive man or woman.

There is, however, one question that has been asked since the very first class taught in grapho analysis. What about the handwriting of a professional penman? They are trained to write in a certain way. Does their handwriting reveal their feelings, or does the training put a straight jacket on them so that their writing does not reveal their feelings and the way they think?

This is a sensible question. However, it accepts as a fact that all students of Palmerian, Zanerian, Ransomerian and other penmanship manuals stick by the letter formations they learned in school. Even the most loyal of the penmanship enthusiasts will not claim that this is true. For­tunately we have two answers. One is this handwriting of H. P. Behrens-meyer, one of the most famous of all the penmanship experts, whose slant reveals the strong emotional response that won him thousands of friends among the young men and women who attended his penmanship classes through more than fifty years of teaching.

As you study his writing you can recognize the strong emotional respon­siveness of the man, and know for sure that you could not be around him for a few days or months without knowing immediately how he felt when he came in touch with any emotional situation that affected or interested him. Mr. Behrensmeyer could not have had the emotional detachment shown in the writing of Lowell Thomas, or Keeler, or Ellis Parker Butler. He simply had to show how he felt because he was built that way. He felt, and he had to show it in the way he walked, the way he talked, by the look in his eye, and in everything he did.

• HOWSCHOOL TEACHERS USE GRAPHO ANALYSIS

There is still another answer to this question. If an expert's hand­writing revealed how he felt just as if he had not been an expert, can a professional penman learn to analyze handwriting, and with what result? Here is a comment from one of the first professional penmen to study grapho analysis—a woman who has used her skill to assist her husband in selecting personnel in his busines throughout their married life.

"The modern trend in education is toward the development of the individual child. The usual courses in a teacher's training are necessary for successful teaching, yet they are often so theoretical and general as to be of little use when the teacher is confronted with a room full of children; each child a concrete example of the ideology presented as theory during the training period.

"Although teachers are urged to study the child as an individual, yet they have no way of doing this, except by months of contact and observa­tion. The results are haphazard and too often in error.

"Grapho analysis gives the teacher a scientific and accurate means to analyze and understand the character traits, thought processes, complexes, responses and talents of each child. Negative qualities can be uncovered and turned toward improvement. Positive qualities and talents can be pointed out and encouraged. Thus, these children are often saved years of unhappiness and maladjustment because the teacher has been able to help them understand themselves.

"My knowledge of grapho analysis has been a priceless help to me as a teacher. I have also used it consistently to give me more self-knowledge. This latter has resulted in better health, greater poise and peace of mind, and more ability to help others. I sincerely feel that grapho analysis should be a part of every teacher's education."

EXAMINATION FOR CHAPTER 2

(Correct answers for this examination will be found in the back of the book.)

You can start analyzing handwriting now. Not by guess-work, but by using the tested rules you have studied in this chapter. Each of the speci­mens included in this test were clipped from just ordinary mail. They are similar to handwritings that you will find in your old correspondence and in the handwritings of friends who may ask you to start telling them what you find.

The questions following each specimen are simple "Yes" or "No" or selective answers. You can answer them correctly if you have learned to use the Emotional Expression Chart. They are no more complex or difficult than you would be asked in a resident class. The questions are very simple, but do not let their simplicity fool you. They are just as important as they are easy to answer, provided you have mastered the rules on emotional ex­pression. You are not likely to make mistakes, but after you have answered the questions under each specimen, you can check your accuracy with the correct answers as they are provided in the back of this volume.

If you find that all your answers are correct, you are honestly attempt­ing to learn to grapho analyze handwriting. On the other hand, when you find that you are missing as many as five of the questions in this or any future test, you should restudy the chapter and specimens until you can see where you made your mistake.

Specimen A

EXAMINATION

1..Does this writing show an impulsive writer?

YES_ No___

2..Will she stop to think things over before taking action?

Yes_____ ______ No v^

3..Will the writer's feelings influence his or her decisions?

YES " No___

4..Would you expect to find the writer of this specimen always light-

hearted?

Yes______ No__

5..Will this writer go to extremes in reacting to emotional situations?

 YES No______________

6..Or will the writer's approach to an emotional appeal be in-
different?

Yes______ No -

7..Will the writer of this specimen absorb emotional experiences and as a result be influenced by feelings regarding situations that may have been completely forgotten?

Yes______ No /

8..If your answer to the above is "No", are you making the deter-
mination on the lightjiines of the writing?

Specimen B

Yes --" No___

9..Would you say that the writer of Specimen "B" is more deeply
emotional than the writer of Specimen "A"?

Yes_______ . No___

10. . Or does the heavier writing show a deeper emotional nature?

Yes , No___

11.Specimen C
. Is there any difference in the way the writer of Specimen "C" and Specimen "D" will respond to an emotional situation?

YES________ No___

12,What is the difference? Will writer of "C" show feelings more quickly than the writer of specimen "D"?

Yes_ No____

Specimen D

13.. // you made the writer of these specimens angry or otherwise emotionally disturbed, which would show feelings more quickly?

Specimen "C" Specimen "D" ~

14.. Examine Specimens "C", **Z>" and "£T' and determine which of thethree writers would be most expressive of emotions.

15.. Would you expect the writer of Specimen "E" to have emotions as deep as the writer of specimen "B"?

Yes_____ No___

16.. Of the five specimens in this test, which writer would be most
likely to pile up hurts and then explode in a terrific storm?

"A"____ "B"___ "C"___ "D"___ "E"_

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