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Secrets of Graphology: the five laws

Secrets of Graphology: the five laws

The Graphology

Since the beginning of time humanity writing has appeared as a consequence of man's need to communicate with his fellow man. This need, in principle covered by oral transmission, finds in the written word a broader and more lasting means of dissemination. Already in prehistory the first representative drawings and written signs that are the background of modern writing emerged.

What is graphology?

The Graphology is a technique that studies personality through the writing of the individual in all its facets.

Graphology is a way of knowing people, both intellectual, labor, social and personality. Although it is not recognized as a science in the strict sense, it does not mean that it does not have an important scientific character and is always a very valuable tool for Psychology.

Graphology is actually something equivalent to a Projective Test.

Much has been studied about the personality traits that hide after writing Over time and the first pioneers of Graphology date back to the 17th century. Today in this article we want to make a brief review of the five graphological laws that exist, some are already surpassed by subsequent studies, but all have their value today.

The five laws of Graphology

Next we will give you a brief introduction to the five laws of Graphology, which are the following: Mimic Law (Jules Crépieux-Jamin, French School) that elevated graphology to scientific discipline, the Symbolic Law (Max Pulver, Swiss School) that gave universal significance to Graphology, the Emotional Law (Curt A. Honroth, German School), the Profound Law (Solange Pellat and Ludwig Klages -German, student of Abate Michon with Jules Crépieux-Jamin-, French School) which is the one that has developed the Spanish Society of Graphology and finally the Inductive Alphabetical Law, in which all graphologists continue to investigate today.

First Law: the Mimic Law

It comes from the so-called "French School" of Graphology. Enunciated by: Jules Crepieux-Jamin.

In this Law, two main characteristics of a text must be distinguished:

  • Positive sense It is one that belongs to eminently cheerful, optimistic, enterprising, uninhibited personality types… represented by the upward and rightward movement.
  • The negative sense he is the fearful, cautious, indecisive, sad, ashamed personality type… represented by the movement down and to the left.

Logically, it is difficult for someone to meet all the characteristics of one type or another, so the final assessment will depend on the level of predominance of a particular style, and hence its intensity of character will arise in one sense or another.

Characteristics of the text in a positive sense:

  • Lines are in the upward direction.
  • The letter is tilted to the right.
  • End of word or letters up or to the right.
  • Small or absent right margin.
  • Small or normal upper margin.
  • Bars of "t", "A", "H", accents and points of "i" and "j" located more to the right.
  • The graphic gesture always builds the letter to the right, does not go back to link with the previous one.
  • It is proportionate, the size or dimension of the letters does not show noticeable inequalities, and all graphics save a proportion.
  • The letters are linked or grouped, joined by strokes between them.
  • Its speed is normal or fast, with simple or simplified features.
  • The letters are clean and the stroke is net.
  • Signature located to the right of the sheet and does not differ substantially from the text.

Negative text characteristics:

  • Direction lines down.
  • Inverted letter (tilted to the left).
  • End of word or letters down or to the left.
  • Small or absent left margin.
  • Wide right margin.
  • Upper margin greater than the norm.
  • Lower margin does not exist.
  • Bars of '"t", "A", "H", accents and points of the "i", "j", located rather to the left.
  • The graphic gesture tends to go back.
  • The letter is detached, there are practically no strokes of union.
  • The size of the letters is irregular, generally giving disproportion.
  • The speed is rather slow.
  • It is a complicated letter; there are unnecessary ornaments and features
  • It is dirty; the ovals appear blinded, there are ink discharges, cross-outs, etc. The overall aspect is neglected.
  • Signature located on the left of the sheet and there are differences between it and the text.

Second Law: the Symbolic Law

This law comes from the "Swiss School" and was enunciated by: Dr. Max Pulver.

The basis of this law is symbology.

This Law tells us that paper is the playing field (graphic field), where time and space are represented. The text of a carte is the scenario where the actor plays his role, the individual within the social context.

The firm is the man outside the scene, alone, in his family environment; He reveals his passions and deep emotions.

Subsequently, it has been added that the writing of the envelope represents the individual as it appears when we see it for the first time, walking on the street, getting on a bus, etc ..., when we still have no relationship with him or him with us: "the image that he intends to give. "

The Symbolic Law is based on the consideration of symbols that rest in the Collective Unconscious, with its well represented situations and spaces and that symbolize:

Examples of the symbolic zones of M. Pulver

The symbolism has an essentially general value. It is an intuitive image whose roots go back to the very origins of life. We find symbolism in religions, in all legend and mythology, and in the same unconscious reasons of our life.

Third Law: the Emotional Law

Its origin is from Germany, although it was enunciated in Argentina by Curt A. Honroth (German who emigrated to Argentina).

The Emotional Law is based on writing as a lie detector. He uses the "lapsus calami" (similar to the lapsus tongue used in psychoanalysis): "When the mind doubts, the hand shakes" says Honroth and the word that has produced the doubt is written differently from the rest of the text.

Everything that is or represents something pleasant and positive for the individual, is written larger, more readable, with a stronger pressure, in a more upward direction, more inclined to the right, etc ... While what is or represents something negative , embarrassing, which is intended to hide, is written smaller, with touch-ups or cross-outs, more illegible, with weaker or trembling pressure, in a downward direction, with an inverted inclination even if the rest of the text is to the right. Analyzing these differences you can draw very clear conclusions about the individual.

Often these differences are not found in a specific word, but in a letter that has a specific meaning, such as the first letter of the name of someone who has left a mark on his life.

Fourth Law: the Deep Law

The origin of this law is the "French School".

Enunciated by: Ludwig Klages (German) and Solange Pellat (French, expert calligrapher of the Seine courts and thorough investigator of the Egyptian writing). Both were students of Julos Crepieux-Jamin.

This law studies the differences between the conscious plane and the unconscious plane: the individual's struggle between the "ideal self" (what he wants to be) and the "real me" (what he is).

Writing is a compound of conscious elements (descending traits) and unconscious (ascending traits).

On the other hand, every beginning of the letter, word, line or page is always more conscious than the end. When we start writing, like when we meet someone, we want to make a good impression. But as we move forward in writing (or in our speech if we speak), it is impossible for us to control our impulses, as we would be artificial, false.

From here we deduce that:

  • The initial features of the letters are more aware than the final features.
  • The first part of the word is more conscious than the last.
  • The first half of the line is more conscious than the second.
  • The first part of a writing is more conscious than the last.

According to this law, every positive feature will be more positive if it appears at the end of the letter, word, line, letter, etc ... than if it appears only at the beginning and then changes.

At the same time, every negative trait is less negative if it is only at the beginning but disappears at the end, than the other way around.

This law applies to everything: size, shape, address, etc ...

Fifth Law: the Alphabetical Inductive Law

This is a law with diverse origin and at the same time unfinished.

The authors of this law are several: the first to work on this law was Jean H. Michon, considered "Father of Graphology" and have continued their studies Carton, the German Society of Graphology and especially Roseline Crepy, of the French School.


Why do we say that this is an unfinished law? Actually The Alphabetical Inductive Law is the study of each and every one of the letters, uppercase, lowercase, even numbers. The advances that this law has achieved, whose statistical verification is very laborious, is the identification of some letters with parental, social figures, stages of life and ways of facing certain situations of an individual.

Roseline Crepy makes a primary division between the most important or major and the least important or minor letters, both uppercase and lowercase.

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