00011301.gif _HITLER: THE NEW YORK TIMES MAGAZINE - June 13, 1943 By: Elizabeth M. Ullstein_ The most important feature of Hitler's handwriting is one which we analysts recognize as the common sign of the actual or potential psychopath. I refer to the fact that the writing runs like a "thread" across the page. This is clear in the so-called middle zone of the script, which includes the vowels and certain consonants, c, m, n, etc. The pen seems to trail along in this zone, so that the contours are lost, just enough of the form remaining to make the letters legible; they present little more than a thread from which the other letters are extended. Graphologists distinguish three ways of writing - the "garland" style, in which letters are rounded at the base, so that an 'n' is written like a 'u'; the "arcade" style, in which letters are rounded at the top; and the angular' or pointed style. A person who is psychologically unstable does not use any of the them but trails indecisively in the famous "thread" method. It is in this middle zone that the most personal phase of character is reflected, and here Hitler shows his meagerness, in an unpleasant thinning out of the script. To the expert this indicates a lack of creative power, a hurried and senseless drive from point to point, a character unsuitable to private life and love. When Hitler is not slurring his letters he uses the angular form of connecting that is a sign of willfulness, of the person who lives in a continuous state of tenseness and dissonance with his surroundings - who does not compromise to avoid conflicts but seeks them through an instinctive drive toward tragic complication. The rapidly changing, almost flickering pressure of his pen shows an impulsiveness which friends and foes alike have called a "demoniac" power. Despite the ugliness and lack of distinction of Hitler's individual letters, a curious rhythm seems to be superimposed on his thread of writing. To me it mirrors the extraordinary magnetic power of this man who keeps a whole nation spellbound. Finally we look at his signature. Here we find a remarkable fact: the Adolf is written in Gothic script but the Hitler in Latin script. Here we have portrayed the dual nature of the man, the little bourgeois Adolf of the beer halls and the Hitler who wants to dominate the world: the reality and dream-pose. We also find another amazing fact. From the beginning until the 't' in Hitler the signature ascends - then it tumbles down the page in the most startling fashion. The downward impulse is so precipitate that the end of the name does not seem to have satisfied the falling tendency and an extra 'v' or loop is stuck on without any justification. There is no graceful finished end, but a sudden catastrophic decline. It is signature that may well reflect its writer's destiny.
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