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.
[Illustration: FIG. 21 A, ROMAN; B, GRECIAN; C, CHERUBIC]
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.
[Illustration: FIG. 22 THREE TEMPERAMENTS]
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
While the subject of hands may be thought to belong to the study of
Palmistry, with which we have no concern in this book, nevertheless we
think that we should include herein a brief reference to the several
classes of the hand as indicative of the outer form of mental states.
That the shape of the hand often reveals information regarding the
character of its owner is admitted by the best authorities on the
subject. Many persons who discard the theories of Palmistry still regard
the subject of the shape and meaning of hands as apart from that study,
and believe that an understanding of the indications of the several
classes of hands is important to the students of Human Nature.
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.
[Illustration: FIG. 23 SPATULATE HAND]
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.
[Illustration: FIG. 24 SQUARE HAND]
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.
[Illustration: FIG. 25 ARTISTIC HAND]
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.
[Illustration: FIG. 26 ELEMENTARY HAND]
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.
[Illustration: FIG. 27 PHILOSOPHIC HAND]
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.
[Illustration: FIG. 28 PSYCHIC HAND]
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.