To understand the qualities that form the basis of the art of diplomacy, we need to start from the following observation: every time the individual authorises itself too direct an expression of the egoistic movement it triggers an immediate reaction of closure in others, aimed at protecting their own individuality, understood in the material and psychological sense. Thus, the angular movement, even if it can achieve its goals by appealing to motivations linked to aggressiveness, and therefore fear, so that others submit to the interests of the Self, cannot ever be the winning card to obtain spontaneous collaboration. In fact, monitoring the social environment by means of the aggressive movement requires constant attention to check that subordinates do not respond in the same way by rebelling.
Considering the fact that the first basic rule of our democracies, which reflects our evolutionary level, is given by the social consensus, today the art of government, whether it be of a state, a company or even a community, cannot use instruments that are psychologically too crude. Therefore, if on the one hand the ability to tenaciously pursue specific objectives is needed – which are the skills associated with the angle – at the same time the person who operates every form of power must be able to convince others about the legitimacy and desirability of what is proposed, so that people collaborate spontaneously up to a point where, in certain contexts, they act until they sacrifice themselves to satisfy the needs of others.
These considerations led Moretti to find a third type of angular writing, called C Angles, indicating the personality’s ability to manipulate individuals (or groups of individuals) in order to achieve its aims. This is a behavioural strategy which has nothing to do with manifest egoism because it is based on a apparent adaptation movement when in reality the aim is that of «the triumph of its own will». (51) Already from this first definition we can deduce that we are dealing with a psychological ability that few people really master and one which is rather difficult to defend ourselves from because it is a spontaneous artistic tendency equipped with remarkable power of fascination.
Graphologically it is a rather complex sign because it does not indicate a specific movement of the psyche, as in the case of A Angles and B Angles, but represents the results of a series of tendencies which, in order to achieve the art of savoir faire, must work in perfect harmony.
On the graphological level, the first requirement is given by the presence of blunt A Angles and B Angles, since the personality has to feel the impulse towards competition and fight, but not be overwhelmed, so as to maintain a certain level of mastery and freedom of action with regard to the egoistic movement it wants to implement. Furthermore, we have to remember that an inconspicuous egoistic movement allows the personality to proceed to its own advantage without provoking excessive defence reactions and alarmism in others. For this reason Moretti writes that «the graphological sign of savoir faire consists in the same sign of resentment and tenacity regulated by an expert hand, so that they give that result which springs from the desired objectives». (52)
This insistence on emphasising the need to contain manifest egoism is completed by the second requirement of «handwriting with curved bends at least on the lower vertices. These bends are sought in all letters» (53), because «benevolence attracts and subjugates». (54) These two first indications characterise a frequently diffused basic savoir faire: through the relationship movement, given by the curved bends on the lower vertices, we enter the sentiment of others, at the same time keeping some fixed points. Therefore, in this way the ability to insinuate, more or less sweetly, is guaranteed, so too is the malleability in presenting the individual’s own needs to make them more acceptable; but there is no trace of manipulation itself. With these two requirements, the sign does not exceed 5/10.
Fig. 20 – Handwriting with 5/10 C Angles
It is only the third requirement which, by combining with the previous two, qualifies the above average C Angle sign: handwriting must have «curvatures and artistic intertwining scattered here and there, including flourishes provided they are not exaggerated, in other words everything that constitutes decoration». (55) At this point the sign begins to mean manipulation and shrewdness, a «sorting to draw out what is necessary according to necessity and opportunity». (56) The image is that of a magician who, depending on the number he has to perform, extracts and emphasises different objects, which in themselves many not mean anything but when exposed in that particular circumstance, or in a certain order, tend to confirm the subjective point of view. For this reason «C Angles always involve something deceptive, though deceit can only be subjective, i.e. it may contain only the art of making the truth acceptable» (57); «abusing it results in opportunism, hypocrisy, playing on the naivety of others, manipulated truth». (58) Simply stated, it is the equivalent to «being diplomatic in everything». (59)
The tendency to falsify given by the presence of curvatures and artistic intertwining is further enhanced by two other characteristics, the fourth and fifth requirements: the presence of pointed angles in the accessory parts of each letter, since «savoir faire signifies that sometimes those who are equipped with it by nature know how to take offence even beyond the right measure in order to make an impression and achieve the desired purpose. These points must be scattered here and there since after resentment the person with savoir faire has to know how to pick up his ordinary manner of doing things» (60); and lastly «fluidity of writing» (61) as the totality of the qualities considered achieves its full effect only with full spontaneity and naturalness of movement.
The first four requirements are indicated personally by Moretti in his Trattato.
Fig. 21 – Handwriting with high values of C Angles (62)
As far as the graduation of the sign is concerned, in the presence of the first two requirements the sign cannot exceed 5/10, with the basic psychological value already indicated. While if there are curvatures and artistic intertwining we «consider the C Angle has a value of at least 7/10, though much more if these curvatures and intertwining are combined with fluid handwriting». (63) Evaluating the angularity spread throughout the movement is crucial, because if the intertwining and curvatures occur in a predominantly curvilinear context, the art of presentation meaning is confirmed but not that of egoism except in a very bland sense of the term: it is the same as the ability to nonchalantly change the cards on the table, not to do something if one does not feel like it without expressing a direct refusal, the ability to embarrass, etc.
Fig. 22 – C Angle sign: the art of presentation but not direct egoism owing to the lack of widespread angularity
Fig. 23 – C Angle sign 7/10 because the handwriting contains artistic intertwining, many widespread angularities and is quite fluid (from Moretti’s Trattato) (64)
Only the fulfilment of all five requirements brings the sign to its maximum intensity, which is impossible because as soon as the movement tends towards expressing greater attention to the needs of the Self in the form of widespread small angularities, egoism becomes more manifest and it therefore alerts the defence systems about those who should be manipulated.
Moretti underlines several times the difference between C Angles which indicate psychological know how, and the psychological penetration ability which is indicated by the Sinuous sign, as we shall see later. An individual with the C Angle sign possesses the qualifications of a practical psychologist, since its purpose is to engage the individual, or even the collective soul of a crowd, in order to manipulate them to his advantage, and in this he is guided by a particularly keen nose. For example, «the person who has savoir faire shows a humble or imperious demeanour as needed» (65) because at times, in order to achieve victory over another, it is necessary to demonstrate a total material disinterest.
If the sign exceeds 5/10 it indicates a very complex psychological tendency which is always active. Those who have it never find rest: «When talking they are always cautious and say the words with a double meaning. They question to confuse, to compromise, to worm a secret out of someone. They fight by turning, never face-to-face». (66) Above the average it is a personality trait that «tends to affect all the qualities of the intellect and the will by reducing them to means to achieve an end», (67) ending up making the subject too interested materially. For these reasons, C Angles do not belong either to the sciences or arts, but they become a rather important prerequisite in all those sectors requiring diplomatic abilities. From this detailed description by Moretti we see what is meant exactly by «diplomacy» and how complex and refined the movements comprising it can be: «C Angles are, in some way, shrewdness and cunning in presentation, manipulation, machination of the faculties and human activities in order to apparently adapt oneself to unreasonable intractability, to support – whether apparently or not it does not matter – the good faith of one’s neighbour, to make rough, difficult, unacceptable objectivity acceptable, to surprise one’s adversary with ad hominem arguments, to illustrate and make bright what one finds obscure, to make obscure what one finds bright, to manipulate exhibitionistically in a positive or negative sense what the public pays attention to in order to judge its goodness or its deficiency». (68) It is clear that the person who has such weaponry naturally at her disposal is likely to use it.
In short, the basic meaning of the sign revolves around «the artistic faculties of adaptability, even seeming adaptability, in order to be able to win over and conduct men and things to its own side». (69) Under 5/10 the C Angle is a rather common sign because nearly everyone has a certain amount of effectiveness in practical action, and this is also guaranteed by the simple combination of the blunt Fluid/Angles signs. While what differentially qualifies the C Angle sign are the graphological requirements given by artistic intertwining and widespread angularity.
In addition to the different combination of the five basic prerequisites, what characterises the tendency is also the graphological context it appears in. For example, if the widths are contained, the personality is attracted to more material objectives and can therefore easily use its ability to trade, in the form of the art of presentation.
Fig. 24 – The C Angle sign as the aptitude for trade
Where there are broader mental horizons (above average triple width), the sign shows the predisposition towards high level diplomatic tasks.
Fig. 25 – The C Angle sign as the aptitude for tasks of high diplomacy: Pope John XXIII
It may be surprising to see the «diplomatic» judgement applied to a Pope who made history as the «good Pope», in other words for aspects that are mostly linked to a sentiment which is undoubtedly benevolent, but also naive. The misconception is so deeply rooted that it is based on important historical, though inaccurate, opinions. Pope John XXIII was unmistakably a deeply refined and elegant man, capable of duties involving high diplomacy and farsightedness; his speeches were not only not «spontaneous», that is to say delivered from a generally benevolent expression of the Curved sign, but on the contrary they were aimed at achieving a very precise effect, to the point where listening today to his famous farewell: «Dear children, go back home to your little children. Give them a kiss and say: “This is from Pope John”», a speech that stirred up the enthusiasm of the crowd, we can consider it as proof of his considerable oratory skills. In any case, a personality unequipped with a high disposition towards diplomacy but just a good heart, would not be able to conclude such a complex negotiation as that represented by the Second Vatican Council.
- Lidia Fogarolo
- gennaio 1st, 2003