Rider 4 (1903): A scientific guide to the ancient art of face reading
Appearances are all we have to make judgements. Even supernatural beings cannot be divested of shape. We even speak of projecting thought-forms, and any author or artist is aware that he has to conjure up, before his "mind's eye," the appearance or shape of his plot or picture or composition before it manifests in form. Businessmen who direct large numbers of employees might pride themselves on being quickly able to judge human character -- yet when questioned how they do it, few can tell. If one could only be brought to a realizing sense of how one can read human nature from its only visible sign – the face – he could thereafter do so with celerity, precision and ease.
For the form of appearance breaks down into essential forms, ideals. The sphere, for example, pertains to the primal stage of development, and is the receptive, sustaining form that preserves and will supply the foundation for subsequent stages of development. The second stage – that of the curve – suggests fixing of arched brows, convex eyes, oval cheeks – the muscles now come into play, and thus locomotion, imitation, emotion, the play of the will, power, self-control and also the passions now expressed through the muscular system. As the atmospheric wave motions get more circular and the gestures more finely rounded, we get music, speech, the realization of art. And with curves develop lines and then angles, the mouth and brow, the exact, habitual and structured mode of linear thought – forming squares and cubes through mental analysis rather than natural appearance.
These different shapes become dominant in individuals and form temperaments. The Eastern temperaments are Tamas/Kapha- inactive, receptive and soft – corresponding with a sphere; Rajas/Pitta – active, ambitious, passionate – a curve; Sattva/Vata – transactive, responsive, mental – the line. In the Western traditions there are four temperaments or humours: Sanguine – representing the element of air heated and in motion - fully open and engaged in experience – corresponding with the curve; Phlegmatic – cold and moist as the element of water – receptive of energy and emotion – like a circle that ripples ever outward; Melancholic – cold and dry as the element of earth - - mentally acute, prone to pessimism, highly sensitive to surroundings -- corresponding with the line; Choleric – warm and dry as the element of fire - strong-willed, ambitious, energetic, hot tempered – corresponding with the cone or connection of focal point with base.
The science of physiognomy applies precision to the signs of these temperaments in physical appearance, having developed methods of handwriting analysis, phrenology, palm and face reading over centuries of observing patterns. Scientists and mathematicians show a good rectangular type of face, for example, while in artists of all kinds muscles dominate the bone structure. There is the clerical chin, the lawyer's chin, the actor's chin, the musician's chin. A depression in the chin indicates susceptibility to flattery. Relatively long fingers imply mental activity, love of perfection and finish, keen critical faculty and inclination to dwell upon trifles, accustomed to have things “just so." Comparatively short fingers, on the contrary, belong to persons who abhor "hair-splitting," have less power of discrimination, less sensibility, and more impulse and instinct than judgment or calculation. And, when the palm and the fingers are of about the same length, we have the "balanced" mind.
Students of face reading should note three rules when examining someone: Length = Intensity; Width = Permanence; Sharpness = Excitability. Fullness of the eye, for example, indicates a greater capacity to receive light for vision (like a deer, cat or owl). Large-eyed people are impressible, sensitive, liable to be controlled by their feelings, but can accumulate knowledge by seeing, retain knowledge thus gained, and have a more developed organ of language. Prominent, projecting eyes are quicker in receiving impacts from surrounding objects than those which are deeply set and overhung by the brows; yet, by reason of the comparative length of the passage of the nerves to the brain, their perceptions will be less keen, discerning, reliable, definite, accurate and permanent. The better protected the eyeball is by the lids, the less visionary, uncertain and impressionable the subject will be. The eyes of occultists, those who are interested in the unseen and mysterious laws and forces of nature, will be found to be, as a rule, large, and set well back under the brow, brilliant in colour when their owner is gifted with magnetic or mesmeric influence. During the exercise of their gifts, the eyeballs of clairvoyants turn upward and inward. Materialists ' eyes will be seen to be smaller, as a general rule, less luminous.
There are dull and transparent eyes, far-sighted and squinty, weeping, laughing, penetrating, restless, distraught eyes. Black-eyed persons are most liable to be jealous and have great power of physical endurance. Grey-eyed persons are lively, resolute, quick tempered, and anxious for notoriety. Blue-eyed persons are full of soul and are truthful, affectionate and confiding, fond of change and progress. Hazel-eyed persons are fickle, sharp-witted, impatient yet shrewd. The lines around the eyes can indicate subterfuge, resentment, love of amusement. Parallel lines along the upper part of the forehead can indicate wisdom, judgement and mercy. Wavy wrinkles that descend to a point in the centre of the brow, on the other hand, indicate genius, eccentricity, or insanity.
Eyes have a language of their own, that saves much talking. The eye is the greatest photographic establishment in the world. We have only to open our eyes and a durable likeness is taken as quick as a flash of lightning. Indeed, it is quite possible to sketch in outline the entire character from an inspection of that one distinguishing trait alone, as the careful student will discover.
From the Poet Tree record: Onion
