Handwriting And Character Quotes

Over and over I feel as if my characters know who they are, and what happens to them, and where they have been and where they will go, and what they are capable of doing, but they need me to write it down for them because their handwriting is so bad.

When the character of a person is not clear to me, i look at their handwriting.

A pen is more personal and that gives me some control over it—a feeling of power as the words flow with the electric thrill that runs down my arm, through my fingers and onto the clean white page. It is a sensuous act, writing by hand. The feel of the paper, as my hand glides over it, its touch, and its texture. The flow of ink, the gliding motion of the pen, the letters themselves as they appear as if by magic in my individual script. No two people have the same handwriting. Your character, your personality is revealed the minute you put pen to paper. I'm

The so-called ‘ego’ — We are none of us that which we appear to be in accordance with the states for which alone we have consciousness and words, and consequently praise and blame; those cruder outbursts of which alone we are aware make us misunderstand ourselves, we draw a conclusion on the basis of data in which the exceptions outweigh the rule, we misread ourselves in this apparently most intelligible of handwriting on the nature of our self. Our opinion of ourself, however, which we have arrived at by this erroneous path, the so-called ‘ego’, is thenceforth a fellow worker in the construction of our character and our destiny. —

I read a wonderful passage in an interview with Carolyn Chute, the author of The Beans of Egypt, Maine, who was discussing rewriting: “I feel like a lot of time my writing is like having about twenty boxes of Christmas decorations. But no tree. You’re going, Where do I put this? Then they go, Okay, you can have a tree, but we’ll blindfold you and you gotta cut it down with a spoon.” This is how I’ve arrived at my plots a number of times. I would have all these wonderful shiny bulbs, each self-contained with nothing to hang them on. But I would stay with the characters, caring for them, getting to know them better and better, suiting up each morning and working as hard as I could, and somehow, mysteriously, I would come to know what their story was. Over and over I feel as if my characters know who they are, and what happens to them, and where they have been and where they will go, and what they are capable of doing, but they need me to write it down for them because their handwriting is so bad. Some

This book is so huge, that the mythology took many months to create. There are literally hundreds of characters , and many different worlds described in great detail. It's not the sort of thing that you can simply dash off. I hand-write everything. Now, I've done three drafts on Imajica, which comes to about 14,000 pages. When you're working on a novel, you really must give your life over to the project. This is my eleventh book, and I'm fortunate to know that the audience is there for it. I'm not just writing in the dark.

For most, handwriting reveals character. For me, the pen is a weapon in my arsenal, the ink a splatter of personalities I rotate between. Each blot is a Rorschach test only I can see. I am not one character; I am an ensemble.

A University of Washington study demonstrated that elementary school students who wrote essays by hand were far more likely to write in fully formed sentences and learn how to read faster. Much of this is due to how handwriting accelerates and deepens our ability to form—and therefore recognize—characters

Among the conventional adab anthologies, we encounter a somewhat different organization of the traditional material in the Kitâb Adab ad- dunyâ wa-d-dîn of al-Mâwardî (d. 450/1058).84 The five large chapters of the work deal with 1. the excellence of the intellect and intelligence and the blameworthiness of instinctive desire and blind prejudice (hawâ); 2. the âdâb of knowledge; 3. the âdâb of religion (dealing mainly with the negative aspects of the material world); 4. the âdâb of this world; and 5. the âdâb of the soul. As the plural âdâb indicates, the various ways in which intellectual, religious, practical/material, and spiritual/ethical behavior is to be practised are illustrated by preferably brief and aphoristic statements in prose and, quite often, in verse. As is to be expected, the chapter on knowledge shows no systematic arrangement. It starts out with strong expressions of praise for knowledge and the appropriate Qur- ânic citations and statements by the Prophet and early Muslim authorities. Evidence is presented for the superiority of knowledge over ignorance. The impossibility of attaining complete knowledge is explained, and the need to acquire knowledge of all kinds wherever possible is stressed. The relationship between knowledge and material possessions is explored in the usual manner. It is recommended that the process of studying begin at an early age. Knowledge is dif- cult to acquire. Again, the prevalence of ignorance is discussed. The objectionable character of using knowledge for ulterior purposes comes in for customary mention. There are sayings explaining the best methods of study and instruction, the qualities students ought to possess, the need for long and strenuous study, and the drawbacks of forgetfulness. Then, we read remarks about handwriting, about the usually bad handwriting of scholars, and about their constantly being engaged in writing. Remarks on the qualifi cations of students, the hadîth that “good questions are one half of knowledge,” and sayings about the character qualities of scholars complete the part of the work devoted to knowledge. Its predominantly secular outlook is indicated by the fact that knowledge here continues to precede the discussion of religion and ethics. The basic role conceded to the intellect with respect to both intellectual/educational and religious/ ethical activity is formally acknowledged by placing the chapter on it at the beginning, as was also the case in the work of al-Marzubânî.

The equanimity with regard to my handwriting vanishes when I look at the corrections I make to a script...here my handwriting is big, childish, clumsy with no evidence of character and purpose... mine reverts to the all-over-the-place stuff I used to write while I was in the army and before I got to University... why I’ve no idea. But it is so.

Beholden by Stewart Stafford All luminous things harbour flaws, If you permit the mask of judgement, To drag your eyes down to see them, Missing Chimera joys of the voyeur. Flirting looks at the sun are all we have, Save for the shadowy beard of clouds, Sunspots dappling the magisterial orb, Freckles of the wrapping skin merging. Smudged handwriting overlooked, Granting character to spidered scrawl, Blind alleys serve as crooked prizes, A third eye, newborn-viewing the self. © Stewart Stafford, 2023. All rights reserved.

The assumption that sadistic trends are the expression of a perverted sexual drive has no basis in fact. It is true that they can be expressed in sexual behavior. In this they are no exception to the general rule that all our character attitudes are bound to manifest themselves in the sexual sphere—as they do in our way of working, in our gait, in our handwriting. It is also true that many sadistic pursuits are carried on with a certain excitement or, as I have said repeatedly, with an absorbing passion. The conclusion, however, that these affects of thrill or excitement are sexual in nature, even when they are not felt as such, merely rests on the premise that every excitement is in itself sexual. But there is no evidence to substantiate such a premise. Phenomenologically the two sensations of sadistic thrill and sexual abandon are entirely different in nature.

It proves nothing against inspiration, as some have asserted, that the writers of the Bible have each a different style. Isaiah does not write like Jeremiah, and Paul does not write like John. This is perfectly true,—and yet the works of these men are not a whit less equally inspired. The waters of the sea have many different shades. In one place they look blue, and in another green. And yet the difference is owing to the depth or shallowness of the part we see, or to the nature of the bottom. The water in every case is the same salt sea.—The breath of a man may produce different sounds, according to the character of the instrument on which he plays. The flute, the pipe, and the trumpet, have each their peculiar note. And yet the breath that calls forth the notes, is in each case one and the same.—The light of the planets we see in heaven is very various. Mars, and Saturn, and Jupiter, have each a peculiar colour. And yet we know that the light of the sun, which each planet reflects, is in each case one and the same. Just in the same way the books of the Old and New Testaments are all inspired truth, and yet the aspect of that truth varies according to the mind through which the Holy Ghost makes it flow. The handwriting and style of the writers differ enough to prove that each had a distinct individual being; but the Divine Guide who dictates and directs the whole is always one. All is alike inspired. Every chapter, and verse, and word, is from God.

Some papers hired graphologists to analyze Mary’s character on the basis of photos of her handwriting from the diary. Another psychologist, Dr. Frank Payne, said only, “Writers of intimate diaries are victims of infantile exhibitionism.