Interpretive criteria of graphical movement

After describing the function of graphoanalysis in psychodiagnosys and the relationship between personality traits and graphological signs, now we can identify the criteria for graphic movement’s interpretation which enable us to carry out the peculiar work of reading and shifting from the graphic to the psychological level.

Though Moretti utilized his amazing psychological intuition in practical application of graphology as a psychodiagnostic tool, theoretically he could develop his method for personality analysis by analogy, individuating the relationship between the graphic features and the matching writer’s characteristics. The use of causal thinking clarifies horizontal links between different phenomena (before/after), analogical thinking follows the original principles vertically, across all the plans they express in. Analogy, that proceeds according to similarity of context in different forms, is, in this sense, a metatheory, i.e. a principle that cannot be scientifically proven and still can inspire or generate more specific, verifiable theories. Importantly, analysis of the writing seen as an expressive behavior is rooted on a psychological assumption: all kinds of expressive behavior are typical of the person that express them or of some of his/her characteristics. Such characteristics, according to the  principle of analogy-i.e., all levels of manifestation are ruled by the same laws- can be noticed in gesture, voice, gait, because the “whole human being can express him/herself in just a single, spontaneous movement coming from the inside.” (10)

After defining theoretical principles, the practical criteria Moretti used to identify the different graphological signs appear highly diversified; consequently, here we can offer just suggestions in regard to a possible agreement on the analogical process described above.

Sometimes we see associations that we can consider absolutely obvious, as demonstrated both by psychological and graphological research; this happens, for example, in the interpretation of the curved or angular movement, seen as a soft adaptation the former and a sudden reactivity or tendency to break up the latter. Within the graphological landscape, in some cases Moretti agrees with other Authors; however, sometimes his view is very different from “classical” interpretations. For instance, Moretti essentially agrees with other graphologists in identifying the sign Methodically Uneven and utilizes a widely shared analogical interpretive criterion: that is, excessive graphic evenness implies a low ability for breaking with convention and, consequently, little originality. Differently, a less even writing implies a – more or less structured – inventive disposition, both for the ability of focusing on differences and the tendency to express a movement free from the conditioning of pre-existing rules.

On the other hand, we should be able to identify also the actual difficulties and traps typical of analogical thinking. For instance, many Authors related large size of letters with the expansion’s need of the Ego, to – with the increasing of such a tendency – megalomania. On this interpretive principle, shared also by Moretti, the opposite psychic feature – related to small size of letters – was consequently seen as a sign of inhibition, assuming that the Ego is expressing its fear of showing itself. This category appears homogeneous, as it can strictly follow an interpretive principle; in fact, it is essentially wrong, as practice shows evidently: small size is not always related to fear, but, on the contrary – as Moretti correctly pointed out – it can reach a high level of stubbornness and self-conceit. This complex graphic feature highlights the original perspective in Moretti’s sign system that can explain the meaning of medium, small and large size of letters by means of one alternative interpretation: we can realistically infer, starting from medium size, what can be thought about both its expansion and reduction.

Actually, the traps of analogical method can be detected just by experts of different theoretical graphological systems and of the troubles such elaboration implies. I believe everybody can appreciate the conceptual originality and practical effectiveness, easily proven for many sign categories defined by Moretti.

To be mentioned, the bright elaboration of the Triple Width sign, which enables us to understand differentiated and highly complex personality facets. For instance, almost in a glimpse we can realize if the person is thoughtful (Spacing between Words above norm) or instinctive (Spacing between Words below norm), guided by sentiment (Curved, Fluid) or intuition (Rushing). As immediately, we can verify if the mind’s judgment is prone to equity, to generosity or if it is too strict (Spacing between Letter below norm), to the point of a very selective sentiment, so that nothing from the outside is considered acceptable.

The present volume introduces the Morettian sign system’s categories by previously describing the precise psychic movement to be analyzed and the reasons such a movement is believed to be mirrored in the writing. For instance, the following principle is seen as vital to rule the expressive behavior: an expanding movement, mirrored in the writing as a graphic dilatation, depends on a trusting attitude towards the world; on the contrary, a contracted movement suggests – in increasing order – attention, cautiousness, anxiety, distrust or total closure. The complex Morettian sign system is so precise in movement’s analysis – of physical, psychic and also graphic movement – that allows us to pinpoint details. For instance, similar psychic features, such as tenacity, firmness and inflexibility, in a graphological perspective correspond to different, distinct and precisely defined features, respectively to B Angle, Stable on the Line and Straight Extensions; this makes it clear that the three terms cannot be used as synonyms.

As it is carried out through movement’s analysis, it is not based on and cannot be performed by means of a mnemonic knowledge of signs and sign combinations. Understanding the psychic experience of each personality structure proceeds through the activation of an analogical knowledge (recently attributed to mirror neurons); through movement’s reading and interpretation, referring to his/her inner complexity and differentiation, a graphologist can understand the other’s condition and the experiences that shaped him/her.

In addition to this pivotal assumption, grounded on the concept that – in order to understand human issues – we should make them our own, at a deeper level than mental level only, really graphology ought to keep tightly connected to psychological research seen in its widest perspective; actually, research provides theoretical explanations on the background of subjective experience to enable graphologists to grasp the high complexity of problems, inner tensions, contradictions and shadows which mark individual personality and, consequently, color and shape the relational world all around the Self.

(traslated by Carla Bertolli)