How to Read Human Nature: Its Inner States and Outer Forms

In Fig. 12, we see the Round Face. This face is indicative of the Vital Temperament. It is usually associated with broad shoulders, short neck, full chest, and plumpness, with enlarged abdomen in middle life. These people love ease and physical comforts, good eating and drinking, and not too much hard mental or physical work. They are solicitous of the comfort of their bodies, and generally "look out for No. 1" in this respect. They are generally good-natured and sociable, and often jolly.

In Fig. 13, we see the Oblong Face. This face is indicative of the Motive Temperament. It is usually associated with a compact firm body, which while well filled out can scarcely be called plump, certainly not fleshy. These people are generally strong and active, persevering and sparing neither themselves or others in the direction of work. They are apt to have a very fair share of common sense; are practical; and are generally reliable.

In Fig. 14, we see the Pear-shaped Face. This face is indicative of the Mental Temperament. It is usually associated with a delicately formed body, and finely proportioned physical shape; the shoulders often being narrow, and the neck long. These people manifest the characteristics of mental and nervous force, rather than of vital or motive energy. They often have bright, expressive eyes, and show other signs of the artistic or literary character. They are inclined to be sensitive and impressionable, and to suffer and enjoy keenly.

In addition to the aforementioned general types, there are several others which are modifications thereof, and which we shall now consider.

In Fig. 15, we see the Square Face. This face indicates a combination of the Motive and Vital Temperaments, with the Religio-Moral Qualities deficient and the Selfish-Qualities predominant. These people usually have square, stocky bodies, strong and wiry, and are tenacious of life. They are Materialistic to a degree, and cannot understand others who differ temperamentally from them. Usually, they have Combativeness and Destructiveness large; strong Perceptive Qualities; and but moderate Conscientiousness. They look out for themselves, pushing others aside, and not being disturbed by "the higher feelings." They are generally stubborn; and their weak point is apt to be Amativeness.

In Fig. 16, we see the Egg-shaped Face. This face indicates the Mental Temperament with the Psychic Qualities largely in the ascendent. The Selfish Qualities are weak, while the Qualities of Mysticism, Reverence and Ideality are large. These people are generally known as "spiritual," and are often very "psychic." They are generally impractical and dwell in an ideal world apart from the things of earth.

In Fig. 17, we see the Inverted-Egg-shaped Face. This face indicates the extreme form of the Vital Temperament, associated with an absence of the active qualities which should accompany it. The Mental and Motive Qualities are quite deficient, while the purely Animal Qualities are strong. The result is a pig-like nature, content with wallowing in the mud of the animal propensities and having a full swill-barrel. These people are essentially lazy, gross, worthless, and animal-like. Note the large lower-face (without the strong jaw), and the small upper head. Note the broad nose, and general lazy expression.

In Figs. 18 and 19, respectively, we see the contrast between Broad and Narrow Faces. The rule is that Broad Faces indicate fight, destructiveness, and acquisitiveness—the Selfish Faculties, in fact; while Narrow Faces indicate a lack of these qualities. The broad-headed animals are the fighters, while the narrow-heads are the timid and peaceful, as a rule. The same principle applies in the case of men. Look over the charts of the Qualities, and see why this is.

The above mentioned several types or classes of faces have, of course, innumerable variations and combinations, but a careful study of these several types will give one the general key to all faces. It is well to obtain a side view, as well as a full-face view, of the face one wishes to study.

In studying faces, not only the general shape of the face must be observed, but also the various features thereof, as for instance: the chin; the mouth; the nose; the eyes; the ears; etc. These features form the subject of the following chapters.

CHAPTER XVII
CHINS AND MOUTHS

In Fig. 20 we see the first point to be observed in the study of chins. The rule is to draw an imaginary perpendicular line from the point at the root of the nose, between the two eyebrows. In the normal and average type, the line touches the upper lip and chin. But we find the normal condition in but comparatively few cases, the majority manifesting a variation backward or forward. When the chin is found to recede from the line, it is interpreted as an indication of weakness, lack of stability and firmness, and a general vacillating and unstable character. When the chin projects beyond the line, it is interpreted as indicating firmness, stubborness, and a generally selfish nature, which is considered "strong" by contrast with the "weak" receding chin. When the projecting chin is pointed, it indicates that the strength is manifested as grasping, miserliness, etc.; while if it is square, it indicates Combativeness and Destructiveness as well as Acquisitiveness; and if it is very broad and square, it indicates the domineering, "bossy," tyrannical, self-willed character.

The above points regarding the chin must always be taken into consideration. The following points are based on the shape of the chin when in normal position, that is when the perpendicular line descends in a straight line from the root of the nose to the chin:

The narrow-round chin indicates idealistic feeling not manifesting in decided action. These people have high desires, longings, and aspiration, but lack the will to act upon the same.

The narrow-square chin indicates the idealistic nature, accompanied by the will to act upon the same.

The broad-round chin indicates substantial feeling, without the will to manifest it in decided action. These people desire ordinary, plain, practical things, but lack the initiative, will and nerve to overcome obstacles to acquire them.

The broad-square chin indicates that the feelings are plain, practical and substantial, with the will to back them up.

From the above, it will be seen that roundness indicates feeling; and that squareness denotes will; that narrowness denotes ideality; while broadness denotes practical, substantial, plain desires and tastes.

The dimpled or indented chin indicates the warm artistic temperament with its accompanying desire for love of the opposite sex, desire for affection, and alas! too often a fickleness and lack of loyalty and fidelity in love affairs.

JAWS

A broad, firm jaw indicates strong Combativeness, Destructiveness and Firmness.

A narrow, loose jaw indicates the reverse of the qualities above noted.

A loose, drooping jaw and open mouth indicates timidity, weakness, shyness, or despondency.

The fighters in all walks of life manifest the strong, firm jaw. It is the survival of the primitive "bite" in the animal or cave-man.

MOUTHS

The Orientals have a proverb which runs as follows: "By a man's eyes, know what he might have been, or may be; by his mouth, knew what he has been, and is." The study of the mouth is one of the greatest interest, and one which will richly repay one for his time and thought. It will be noticed that there is a great difference between the mouth and lips of an individual in childhood, in youth, and in middle-age, which fact shows the truth of the Oriental proverb just quoted. The mouth indeed shows what a man has been and is.

Small mouths generally denote undeveloped, childish, or babyish character, neither good nor bad.

Large mouths denote matured character, good or bad. When firm, they denote force and energy. When half-open, they denote dullness and heaviness. When showing full protruding lips, they denote sensuality and selfish passions and tastes. When very large and flexible, they denote the "windy" person who is fond of talking and hearing the sound of his own voice—when one says that another is "big-mouthed" he states a truth which physiognomy bears out.

An upward curve of the corners of the mouth, denotes a cheerful, optimistic disposition and mental attitude. Likewise, a downward curve denotes a despondent, pessimistic disposition and mental attitude. A graceful bow-like curve, shows a well-balanced and "all around" disposition.

Tightly closed lips indicate a firmness, and often a "closeness" of disposition. Loosely closed lips indicate a lack of firmness, and often a spendthrift tendency. Lips that touch lightly and protrude slightly in a "kiss-like" shape, indicate vanity, love of praise and flattery, and often a desire to be petted.

Puffed-out lips indicate sloth, dullness, lack of energy and ambition, general heaviness. Coarse lips indicate lack of refinement, and often grossness. Particularly full lips indicate Amativeness and sometimes Sensuality.

Slanting mouths indicate trickiness, "foxiness" and general unreliability. Crooked mouths, or mouths greatly out of symmetry, are held by many authorities to indicate lack of Conscientiousness, and often criminal tendencies.

Full, red, middle-lips indicate love of the opposite sex. Thin, pale middle-lips denote the opposite traits.

A long upper-lip indicates Self-Esteem. A short upper-lip denotes deficient Self-Esteem, but often also a strong Approbativeness. (John D. Rockefeller has an almost abnormally long upper lip.)

The affectionate faculties are believed to manifest in outer form in the center of the lips, because of certain nerve centers at that place. A fullness and enlargement there denotes strong affection, while deficiency in the affectionate qualities manifest in the opposite direction.

Will and self-control is shown by the relative firmness and "set" of the lips and mouth.

Besides the above mentioned characteristics, the student will soon perceive that there are certain "expressions" of the lips and mouth which, although impossible of expression in words, nevertheless may be almost instinctively recognized by the careful observer. Lips, like eyes, tell their story plainly to the careful and practiced observer. It is a safe rule to avoid those whose mouths arouse an instinctive distrust in your mind. Watch closely the mouths of people speaking to you, and you will receive many a plain signal of danger, and many an assurance of safety. The eyes, while full of information, often deceive those not fully versed in their secret code—but the mouth tells its tale in plain, simple, understandable terms, signs and symbols.

CHAPTER XVIII
EYES, EARS AND NOSES

It has been said that "the eyes are the windows of the soul," and indeed they do express a something that is not possible to any other part of the face or body. When unrestrained the eye correctly portrays the innermost feelings and emotions affecting and influencing us, and in many cases we are able to get a clear and unobstructed view of the soul behind the eyes by gazing into them. But, alas! it is possible to mask the expression of the eyes, and to counterfeit emotions and feelings which do not exist within the mind. Men and women trained in the arts of dissimulation and concealment, may, and do, conceal their thoughts and feelings which ordinarily would be reflected in their eyes; and many, especially women, are able to counterfeit feelings which have no real existence in their minds or souls. We have seen women bestowing upon the unsuspecting "mere man," the most artless, ingenuous "baby stare," while at the same time their minds were filled with craft and cunning. We have seen others whose eyes portrayed the most absolute innocence and truth, while their hearts were filled with selfish, base feelings, and their minds with cunning schemes. The trained diplomat and skilled gambler successfully mask their thoughts, and their eyes reflect nothing of their secrets; and, upon occasion, they are able to throw into their eyes any desired expression. The best authorities on Physiognomy hold that the mouth is a much more reliable index of thought and character than the eye—for the eye may lie, while the mouth betrays itself even when attempting the counterfeit.

But, nevertheless, the eyes do betray character, not by their expression but by their shape and form. Habitual mental states reflect in the outer form of the eyes, in spite of the care of their owners not to let them tell the secret of the thought and feeling of the moment. The story is told not by the expression of the eye, but by the muscles surrounding the eyes, the eye-lids, etc. In fact, the eye-lids supply the greater part of that which we call the "expression of the eye," their contractions and relaxations producing the effect.

Secretiveness, cunning, and closeness are denoted by closely drawn eye-lids, a furtive look often being imparted thereby. This position of the eye-lids has been likened to an instinctive inclination to draw the eye-lids together to hide the expression of the eye, but it probably arises from the original trait of the animal to protect his eyes from attack when engaging in a fight, or raid. As an instance of this, it will be found that a feeling of cruelty, or desire to hurt another, will manifest in a compression of the eye-lids, and a tightening of the upper eyelid which assumes a straight form. Frankness, truthfulness and honesty are, in the same way, indicated by open, free looking eyes. This expression may be counterfeited upon occasions, but the counterfeit may be detected by observing the eyes when the owner is off guard.

The fighting, destructive, motive feelings are indicated by straight lines of the lids. Affection, benevolence, sympathy, and love, manifest in curving, drooping, full eye-lids, the absence of straight lines being marked. Amativeness and Alimentiveness show in very thick eye-lids, giving a sensual gross expression to the eyes. Destructiveness manifests in a tightening of the upper lid, and a bearing down upon the eyeball. Approbativeness gives a peculiar "coquettish" relaxation of the upper eye-lid, which is suggestive of the desire to wink in a meaning manner. Humor gives a peculiar contraction to the eye-lids, and at the same time producing the little lines radiating from each outer corner of the eye-lids—the "laughing wrinkles." Ideality, Optimism, and Mysticism impart an open expression to the eyes. Cautiousness, when large, also gives to the eyes an open, almost startled, surprised expression.

Large, protruding eyes are held to be indicative of wordiness, talkativeness, and lack of careful thought—the desire to talk for the pleasure of hearing oneself talk.

In connection with the subject of the outer form manifesting in the eyes, we would call your attention to the quotation from Prof. O. S. Fowler, appearing in Lesson XIII, in which he speaks of certain of the Perceptive Qualities which indicate in outer form in the region of the eye, as follows: "The shape of the eyebrows reveals the size, absolute and relative, of each, thus: When all are large, the eyebrow is long and arching; when all are deficient, it is long and straight; when some are large and others small, it arches over the large ones, but passes horizontally over those which are small. This rule is infallible." In connection therewith, we suggest that the student re-read carefully Chapter XIII, which deals with the Perceptive Qualities which manifest outer form in the region of the eye.

EARS

Many physiognomists pass lightly over the subject of the ears as an index of character, while others seem to specialize on this feature.

The round ear is held to indicate the Vital Temperament. The oblong ear, the Motive Temperament; and the pear-shaped ear the Mental Temperament.

Quality is held to be indicated by the relative delicateness in the moulding of the ear, a coarse, misshapen ear being held to indicate an uncultivated nature; while a delicately moulded, shapely ear is held to indicate culture and refinement.

A long, narrow ear is held to indicate an ambitious, striving nature. An ear pointed at the tip (upper part) is held to be indicative of selfishness and general "foxiness."

NOSES

All physiognomists agree upon the importance of the nose as an index of character. The majority of people recognize the sign of a large, strong nose, on the one hand, and a small, weak nose on the other.

In Fig. 21 we see the three general forms of the nose, the Roman; Grecian and Cherubic; respectively. The Roman nose is held to be indicative of Self-Esteem, Combativeness, Destructiveness and Acquisitiveness. The Grecian nose is held to be indicative of Ideality, Conscientiousness, Reverence and other "higher qualities." The Cherubic nose is held to be indicative of feminine qualities, social attractiveness, and emotional qualities. There are of course innumerable modifications and combinations of these three general classes.

In Fig. 22 we see the classification adopted by some authorities, who divide the nose into three general parts, each of which is held to indicate one of the three Temperaments, and the Qualities which are related to each. Thus the hard bony part, including the bridge, indicates the Motive; the tip and end, the Mental; and the "wings" on each side of the nostrils, the Vital. There is much truth in this classification, and a careful study of this illustration will aid the student in his understanding of noses as an outer sign of character. In fact, this illustration may be used as a basis for the whole subject of the meaning of noses as outer signs of character.

Large nostrils indicate strong Vitativeness and physical well-being, and often strong Emotive Qualities. Narrow, small, or tight nostrils indicate weak Vitativeness and Vital Force. An authority says: "If the nostrils are wide-apart, the man is merciful. If the nostrils are wide-open, like those of a bull, resemblances to that animal prevail in violent wrath and hard breathing."

The tip of the nose indicates the several mental qualities. The sharp pointed tip indicates an inquisitive, prying, investigating nature—a general "sharpness" so to speak. A blunt tip indicates a lack of "sharpness" and inquisitiveness. The upturned tip, or "pug," indicates a trifling, superficial, gossiping tendency. As a general rule the sharp tip indicates thought, while the rounded tip indicates feeling.

The bony part of the nose, when prominent, indicates the strength of the Motive Qualities, such as Combativeness, Destructiveness, Acquisitiveness, Constructiveness, etc. It generally accompanies the people who push forward and "do things" in spite of obstacles—it is the nose of the great generals, and the majority of great financiers.

CHAPTER XIX
MISCELLANEOUS SIGNS

There are seven general types of hands, viz: (1) The Spatulate; (2) the Square; (3) the Artistic; (4) the Elementary; (5) the Mixed; (6) the Philosophic; and (7) the Psychic. Following we give a brief recital of the qualities held to be indicated by each.

In Fig. 23, we see the Spatulate Hand, the special peculiarities of which are the straight, smooth fingers and the "splay" tips. This type of hand is held to indicate an active, energetic nature, that is satisfied only when it is employed and doing something useful. This hand is eminently "practical," and its owner cares very little for art, poetry, or literature.

In Fig. 24, we see the Square Hand, the special peculiarities of which are its general "squareness" of the palm, and generally of the finger-tips. This also is a useful hand, and its owner is amenable to authority, and makes a good employee or helper. It indicates a quiet, peaceable disposition, and its owner is usually found to be careful, orderly, and dependable—the sense of order being especially strong.

In Fig. 25, we see the Artistic Hand, the special peculiarities of which are the suppleness and softness of the hand; its symmetrical form; and its long, tapering fingers. Its owners are of the poetic and artistic nature, with a taste for beautiful and refined things, artistic environment, bright and witty speech, and "choice" things generally. The Qualities of Ideality and Words are apt to be well developed in these cases, and "the artistic temperament" is found in its full development here.

In Fig. 26, we see the Elementary Hand, the special peculiarities of which are its short, thick fingers, and its thick heavy palm. Its owners are "of the earth, earthy," and have but very little imagination and fine taste.

In Fig. 27, we have the Philosophic Hand, the special peculiarities of which are its large thumb, rounded finger-tips, and its projecting joints. Its owners are thinkers, investigators, and reasoners along practical lines, and are generally skeptical and inclined to demand proof of anything and everything.

In Fig. 28, we see the Psychic Hand, the special peculiarities of which are the extreme slenderness of the entire hand, and the long thin, pointed fingers. Its owners have Mysticism highly developed, and incline toward the mysterious, supernatural, occult, and imaginative, and are generally of an extremely nervous, sensitive nature.

Very few hands adhere strictly to any one of these several types, but are more or less composite or "mixed." In such cases the characteristics of each type mingle and blend, and must be interpreted accordingly. The following peculiarities are also noted by the authorities:

The Thumb. The thumb is divided into three parts, each indicating a certain quality, as follows: (1) the top part or division, which indicates Will; (2) the second or middle part, which indicates Logic; (3) the "ball" or fat lower portion, which indicates Passion. The comparative size of either of these parts indicates the strength of its particular qualities.

The Fingers. Hard fingers indicate work, activity, and energy. Soft fingers indicate love of ease, disinclination for work, laziness. Very hard hands denote heaviness and general stupidity, also gross tastes and undeveloped nature. Smooth fingers denote artistic tastes, etc.; while knotted fingers denote philosophic thought and argument, orderliness and taste for material facts and things. Short fingers denote quick judgment and impatience of detail; while long fingers denote a love of detail, elaboration and "fussiness." Spatulate fingers indicate tidiness, usefulness, and a desire to be doing useful work.

The Palm. Hardness of the palm, as of the fingers, denotes activity, energy and work; while softness denotes love of ease, laziness, etc. Wideness of the palm denotes generosity, broad-mindedness, etc.; while a narrow palm denotes the reverse. Firm palms generally denote the Motive Temperament; while soft, flabby palms denote the Vital temperament.

THE WALK

The study of the Walk as an index of character is favored by many authorities. There are three general types of walks, viz (1) the long stride, in regular time; (2) the short, quick, and somewhat jerky step; (3) the short but regular step.

Those who walk with a long stride generally take a broad view of things, but if their walk is also slow they are apt to lack energy and push. The short, quick step denotes activity, but small ideas and often pettiness. The combination of the long stride and the quick movement is held to indicate both large ideas and activity. A draggy, shuffling walk is held to indicate a careless, shiftless nature; and a springy movement is indicative of mental activity. A mincing walk is held to denote "finickiness," affectation, and general artificiality; while a careless walk denotes a disregard for appearances and a general unconventional nature. Those who walk in a straight line, direct to the object they seek, are apt to move in the same way in other affairs of life; while those who zig-zag from side to side display the same lack of directness in business affairs and other activities of life. In the same way, one who makes short-cuts across corners, etc., is held to have the same tendency in active affairs.

Approbativeness shows itself in a strutting walk; while Self-Esteem manifests in a dignified carriage. Deficient, Self-Esteem shows itself in a cringing walk; while strong Reverence produces a respectful, deferential carriage. Approbativeness causes a slight swagger, with a defiant carriage of the head, while Combativeness manifests in a "get out of my way" pushing walk, the head being slightly lowered as if to "butt" a way through. Cunning manifests in a foxy, sly walk; while Cautiousness shows in a timid, hesitating step; and Acquisitiveness in a general carefulness and watchfulness as manifested in gait. A combination of Cunning, Cautiousness and Acquisitiveness, which is quite common, manifests in a light, stealthy step, giving the suggestion of "tip-toeing," and in extreme cases may show even the "snaky" gliding motion from side to side, in noiseless progression.

A little study and observation will convince anyone that the walk and carriage of an individual correspond very closely to his general character. And just as we may recognize one's mental characteristics when reproduced in outer form in the walk; so may we deduce the existence of mental characteristics in a stranger, from the outer form of his walk and carriage. The study of walk and carriage is very interesting, and will repay one for the time and trouble expended upon it. One may practice by observing the walk of an individual whose character is known, for the purpose of seeing the outer form of these characteristics; and also by observing the walk of those whose characters are unknown, and endeavoring to form an idea of their mental states and characteristics by means of their peculiarities of gait and carriage. One will be astonished at the proficiency attained in a short time by a little practice along these lines.

VOICE

The Voice is a great revealer of character. Prof. O. S. Fowler says: "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 the maker's 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, the swinish grunt, the sweet warblings of birds, in contrast with the raven's croak and the owl's hoot, each correspond perfectly with their respective characteristics. And this law holds equally true of man. Hence human intonations are as superior to brutal as human character exceeds animal. Accordingly, the peculiarities of all human beings are expressed in their voices and mode of speaking. Coarse-grained and powerful 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."

Prof. L. A. Vaught says: "Affectionate voices always come from the backhead. Heavy, thunderous voices always come from the sidehead. Egotistical voices come from the crown of the head. Kind, respectful and straightforward voices come from the top-head."

A clear, distinct utterance is held to indicate clear, logical thought, while indistinct, confused, slurring utterance is indicative of careless, illogical and hasty thought processes. Sharp and shrill notes denote nervous tension and lack of restraint, as witness the voice of the shrew or the hysterical woman, or the high-strung nervous man. Self-restraint is shown by calm, deep, forceful utterances. Slowness in delivery denotes slow, deliberate mental processes, while quickness, and "snappiness" in speech, denotes quick, active habits of thought. The cheerful voice of the optimistic person, and the rasping whine of the chronic pessimist, are well known. The voice of self-reliance, and the voice of fear and lack of self-esteem, are easily recognized. The strident, overconfident note of the boaster and vain-glorious person, is easily distinguished from that of the modest, careful, reliable person.

All the several mental Qualities manifest in the voice, in tone, pitch or feeling. The Emotive Qualities give the affectionate voice; Self-Esteem gives the confident voice; Approbativeness gives the voice of affectation and conceit; Combativeness gives the "let me alone" tone; Destructiveness gives the "get out of my way" note; Cunning and Acquisitiveness give the tone of deceit and flattery; and so on, through the entire scale. In studying voices it will help you to ask "What Quality or Qualities produce this voice?" in each case. Study the voices of those whose characteristics you know, and then apply the experience to others whose characteristics are unknown.

LAUGHS

Laughter is full of the expression of character. One may often accurately determine the character of a person whose face is not seen or known. A hearty laugh is indicative of sympathy, companionship and general sociability, as well as a well developed sense of humor. A giggle is indicative of pettiness, trifling and general mental light-weight. The repressed laugh shows self-control and often caution and cunning, the tone denoting the difference. The vulgar "haw-haw" denotes a correspondingly gross nature. The peculiar shrill, rasping, parrot-like laugh of the courtesan is typical, and when ever heard should act as a note of warning. It is difficult to state in words the various qualities of the laugh, but each is distinctive and well expresses the Quality causing it. It may be said that each and every mental Quality has its corresponding note in the laugh, which note may be learned and recognized by a little practice and actual observation.

THE HAND-SHAKE

The manner of shaking hands is indicative of the characteristics of the individual. Handshakes may be divided into three general classes, viz, (1) the hearty handshake, which indicates good-feeling, earnestness, and interest; (2) the mechanical handshake, which denotes indifference, lack of feeling, and lack of interest; and (3) the selfish handshake, which denotes cunning, heartlessness, and desire and disposition to take advantage of the other party. There is a "something" in the handshake which is almost impossible to express in words, but which is recognized instinctively by those having Human Nature well developed. It is more of a "feeling" of certain Qualities manifested by the other person. A little thought and attention paid to this subject will tend to develop this recognition on the part of one deficient in it. One may, with a little practice, learn to distinguish between the honest and the dishonest; the moral and the immoral; the active and the passive; the energetic and the slothful; the grasp of good-fellowship, and that of superciliousness; the friendly and the antagonistic; the candid and the deceitful; and all the other various kinds of handshakes. Mental states manifest in outer form in handshakes as in many other physical actions and appearances.

First study the several Qualities in their inner aspect, and then learn to distinguish the various outer forms of each. From the inner proceed to the outer, and having learned the way you will be able to retrace your steps from the outer to the inner in the case of other persons. The principle once grasped, the rest is all a matter of practice and experience.

FINIS.