FIGURE 3. Angular Connection:

The writer of the angular connection, as in Figure 3, has a lively, vibrant personality and is alert and competitive. He has a critical mind, and when he starts a job, he finishes it. He is hard and aggressive and can be difficult to get along with-as shown by the angles, which indicate rigidity. He is quick, both physically and mentally. He will often clash with the person writing the arcade form of connection, since the arcade writer tends to be slower coming to decisions. The writer of the angular connection often loses patience with the arcade writer for his procrastination. The arcade writer, in turn, feels persecuted and badgered for acting in ways that are natural to him.

FIGURE 3A. Observe the angular, rigid handwritings of Otto Von Bismarck (Figure 3A) and Robert F. Kennedy (Figure 3B). Bismarck's writing is angular both on top (mental rigidity) and on bottom (emotional toughness); Robert F. Kennedy's is angular on top, showing his mental keenness, but rounded at the bottom, showing a pliability of emotions.

FIGURE 3B.

FIGURE 4. Thready Connection The example of the thready connection, as in Figure 4, should speak for itself. It looks as though the connections were being held together by pieces of thread. This is very quick writing. The thready writer is unsure of both the world and himself, with emphasis on the latter. It is difficult for him to make up his mind, and he would prefer not to be pressed for decisions. This writing often shows hysteria.

Notice the handwriting of former President Richard Nixon:

FIGURE 4A. FIGURE 4B.

Figure 4A was written in 1959, when Nixon was Vice-President of the United States. It is written with strength and clarity. Figure 4B was written during the Watergate affair, a most sensitive period. This form should not be mistaken for the threadlike dying out of words shown in Figure 5.

FIGURE 5.

Here the middle zone starts at a certain height and dwindles to about the size of a thread as it ends. This shows powerful intuition, always wiggling out of difficult situations (notice how the form resembles that of a snake). This writer definitely prefers not to commit himself to any definite course of action. Many diplomats write in this threadlike form.

As the understanding of the thready connection writer speaks for itself, the following clarification of the other forms should be noted.

Really deep, calixlike garlands seem better suited to a deeply rooted impressionability and sentimental conservatism than to dancing and quick progress.

But the platter or cup or calix necessarily has a bottom. We must therefore ask how deeply do those new ideas and suggestions sink into the writer’s mind? Does he permit his unconscious to emerge, does he allow "the imponderables" to enter his consciousness? Obviously, the garland writer’s world is the visible, tangible, measurable world; he shuns the mystical, the deep, the abstract. And because he avoids the "depths of life," we can understand why the garland writer remains young, naive, or as some call it, "immature," all his life. One who habitually cuts himself off from his unconscious, who never draws upon his intuition, may not suffer but he can never experience life fully. Certain letters, such as a's, u's, d's, and b's, have a garlandlike bottom. (See figure above) If this bottom has an unexpected and irregular opening, we should be on our guard against criminal tendencies in the writer. We have seen such writing "against the rules" in the hands of murderers and very dangerous swindlers. To them, this opening, where it is not expected or permitted, seems a proud symbol of their lawlessness; at the same time, they provide themselves with "direct access" to the lower zone, the zone of instinctual drives and the unconscious which, if there is no inner check, can be supposed to be "at the bottom" of many criminal activities. (Graphological ethics does not permit one to mention criminal tendencies unless there are in the script other indications of similar import.)

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