The Benham Book of Palmistry, Revised: The Essential Work

Index

Introduction

by Rita Robinson

What is called the rebirth of palmistry began near the turn of the 20th Century, aided by the publication of William G. Benham's book, The Laws of Scientific Hand Reading, which in later publications became the classic, The Benham Book of Palmistry: A Practical Treatise on the Laws of Scientific Hand Reading, published in 1988.

From the beginning, Benham, who devoted his life to hand analysis, believed it had been in the hands of tawdry practitioners too long. He wanted to move palmistry from vague fortune-telling into scientific study, and to overcome the ridicule and prejudice anyone studying palmistry had to endure. He said of his journey, No help was found from professionals, for nearly all proved to be ignorant, unlettered, and trying solely to gain money, without any effort in the direction of scientific investigation. During this time the word palmistry was so buried under a mass of public disapproval that a self-respecting person dared not say that he was even interested in it. Fully persuaded that it had a scientific foundation, I set about to discover it.

Despite setbacks, and a skeptical public, Benham eventually befriended prominent doctors, lawyers, ministers, speakers, actors, singers, musicians, literary people, hypnotists, spiritualists, murderers, forgers, and others who painted a broad swath of humanity and who opened doors to enable him to study divergent groups of people. Contemplating his photos of the famous and infamous hands he depicted, from presidential candidate William Jennings Bryan to Ira Marlatt (considered the Prison Demon for his violent behavior), the reader can visualize Benham with his brows furrowed, scurrying about, stopping to study a hand, take a photo, and offer some pronouncement. He made thousands of observations, wrote down copious notes, and eventually published some of his findings.

His studies have stood the test of time, making it a definitive classic not to be dismissed as simply old-fashioned. The language in which it's written was the norm for the late 1800s to the early 1900s. It may seem stilted today, but adds its own beauty to the study of palmistry. Therefore, the printed matter retained for this edition of Benham's book remains in his own words. Many of the graphics, however, are new, as the older photos simply could not be reproduced with any sort of clarity.

Benham believed (and today's scientific brain research and genetic studies have proven him correct) that the palmar lines and other manifestations of the hand had their beginnings in brain functions. Today, we know from fetal sonograms that the major lines on the hand are present by about the 19th week of gestation, and that it does, indeed, correlate with brain development. He believed, as many modern palmists do today, that the hand is best read for a person's character, temperament, personality, and health, which are all intertwined, rather than providing fortune-telling-type predictions. In a sense, hand readers who focus on people's personal qualities are showing them some of their future (based upon the qualities of the hands). Today, most hand-reading experts ascribe to the idea that they read hands for character and other qualities, rather than some type of fate.

Aristotle is thought to have written in about 350 B.C., Palmistry is a judgment made of the conditions, inclinations, and fortunes of men and women, from the various lines and characters which nature has imprinted in the hands, and which are almost as various as the hands that have them.

Many scholars and students of palmistry attribute hand reading, as it is known today, to the ancients of India. Others credit the ancient Greeks, who used the Greek pantheon of gods to name certain markings on the palm and fingers (later changed by the Romans, who inserted their own pantheon of gods). Still others say the Greeks and Romans borrowed it from the Egyptians (chiefly the Chaldean magicians), the priests of Isis in Egypt, or the Brahmins of India. Consider also that the book of Job tells us that Yahweh signatureth the hand of every man, and that all men he hath made may know the man. Some form of hand reading, though, existed prior to written history, with replications found in prehistorical cave art.

So palmistry, or hand reading, has been around in different forms for a long time, reaching great popularity in the Middle Ages and the Renaissance, dying out in the 17th Century, only to be revived in the 1900s. But is has changed form slightly with every revival, which is as it should be, because few things stay as they once were—not our world, the landscape, our beliefs, the work we do, or even our bodies. We are not the ancients, but we borrow from them, the same as our future world citizens 3,000 years from now may borrow from us.

As a student of palmistry, I trust that Benham would have been delighted today with the genetic research taking place, showing the heritable characteristics and tendencies going back for generations, much of which displays itself through different formations in the hand.

Although Benham's book speaks with turn-of-the century language, his observations are 21st Century.

Benham alludes to seven different distinct types of people as shown by certain distinctive formations on the hand, chiefly the mounts lying beneath the fingers on the palm side of the hands. Benham explains that the seven distinct types represent certain strong qualities, aptitudes, virtues, and faults, as well as peculiarities of health and character. They include the Jupiterian, Saturnian, Apollonian, Mercurian, Martian, Lunarian, and the Venusian. He explains that the names are not used in any astrological sense, But because they have been so long in use that the mention of each name instinctively brings to mind certain attributes. I use these names for I have found them a great help to the memory of the student, though any other names would do as well.

Nor did Benham want to tie anyone to one particular type, recognizing that the success of hand reading lies in combining the person's characteristics. The type of a subject must be combined with his energy, brain power, good intentions, vices, health condition, and many other important factors, before a balance can be struck.

So if one line, marking, or shape indicates something untoward in the nature, other lines, markings and shapes counteract the behavior. Benham realized and wrote early on that no one is perfect. Yet, he appeared to look for the best in humans and in the hands of the people he studied. So it may be wise for today's student to keep in mind Benham's own thoughts soon after he began studying hands, following his encounter with an old gypsy fortuneteller: In the beginning it was necessary to take a mere tradition and apply it to hundreds of hands, noting the result.

He would discover one single indication, and study only that marking for at least a year, and then sometimes discount it. He ended up studying medicine because he realized the important part physiology played in hand development.

Most important, he requested that anyone reading his work and taking up the practice of palmistry should: (1) never predict the death of a person, (2) never humiliate or discourage anyone, and (3) never express an opinion without careful thought.

Benham tried to find a place for palmistry in science. While he may not have moved the practice into the scientific community, he was nearly able to remove it from occult traditions. How we read hands today is mostly determined by the practitioner, but we could all take lessons from Benham, who kept his eyes focused on crafting a new dimension into an old art that still reverberated with the keys to an individual's hidden strengths and weaknesses, personality, and general makeup. He was the schoolmaster. And many of today's hand readers inadvertently became his pupils, whether they realized it or not.

Chapter 1

The Basis of Our Work

Wisdom hath builded her house. She hath hewn out her seven pillars.

—Proverbs 9:1

The science of palmistry is founded upon the shape of the hand. It is by the development of what are known as the Mount, seven in number, that lie at the base of the fingers, and along the sides of the hand. By estimating properly their various combinations, we are able accurately to delineate the character of any subject presented to us.

There are other separated elements that enter into and add to a proper understanding of the science (for example, the manner in which the hand is naturally carried and held when walking, the texture of the skin, consistency of the hand, color of the hand, the nails, hair on the hands, the hands divided into three sections [called the three worlds], the shape of the fingers, and their individual phalanges, the shape of the finger tips, knotty fingers, smooth fingers, long fingers, short fingers, and the thumb). All of these will receive separate and minute attention in subsequent chapters, and a thorough knowledge of them all is absolutely necessary.

Chapters on the above-enumerated subjects comprise the first half of the science of chirosophy, and collectively form the science of chirognomy To this branch has always been allotted merely a study of the character of your subject, but it is capable of much greater usefulness, and a far greater scope than has hitherto been given it.

Figure 1.1.

The names that appear on the Mounts are not used in any astrological sense, but because they have been so long in use that the mention of each name instinctively brings to mind certain attributes. I use these names for I have found them a great help to the memory of the student, though any other names would do as well. They are not used because it is considered that planetary influences are necessary, or play any part, in our science.

The Mount of Jupiter is the place from which you locate the Jupiterian type, the Mount of Saturn identifies the Saturnian, the Mount of Apollo the Apollonian, the Mount of Mercury the Mercurian, the two Mounts of Mars the Martian (one of whom is filled with aggression, the other full of resistance), the Mount of Moon the Lunarian, and the Mount of Venus the Venusian. The Plain of Mars is a part of the Martian type. It may be asked with some reason, why do the Mounts identify these types? To this question the answer must be given that at this time we have not fully solved the mystery, but there are some facts leading in that direction which will doubtless, in time, give us a full explanation of the matter; for we know that the human hand, which is the servant of the brain and which executes all of the work we do, only operates in response to the commands of the brain. Sever the connection between hand and brain by cutting the complex system of nerve telegraph uniting the two (as in paralysis), and the hand becomes like a lump of putty, dead and useless. The hand, which is the most wonderful instrument ever created, cannot perform one act by itself, for there is no brain or intelligence located in the hand to direct it, but all that it does is by command of the brain, the seat of mind and intelligence, which is located a considerable distance from the hand itself. This shows that the hand is entirely dependent on the brain for its intelligence, and that, being the servant, it reflects the kind of brain behind it by the manner and intelligence with which it performs its duties. It is a well-accepted fact that the center of the brain, which is in connection with the hand, has been located, and dissections show that different formations of this brain center are found accompanied by differently shaped hands. This proves that the hand physically shows what kind of a brain is directing it.

The success of hand reading is a matter of combination. The type of a subject must be combined with his energy, brain power, good intentions, vices, health condition, and many other important factors, before a balance can be struck.

As we shall refer at times to the lines in the hand before reaching their full consideration, I've inserted a map (figure 1.2 on page 13) showing the seven main lines; the location, character, and general attributes of which should now be learned.

The Line of Heart will show the strength or weakness of the affections, and the physical strength of the heart. The clearer, more even, and better-colored the line is, the better the heart's action is, and the more constant the affections.

The Line of Head will show the strength of the mental powers, and the physical strength of the brain. The clearer, more even, and better-colored it is, the better is the concentration of the mind, the self-control, and the less danger there is from brain disorders.

The Line of Life shows the strength of the constitution, the kind of strength, muscular robustness, or nervous energy. And, as physical strength is a great factor in human life, this line is most important.

The Line of Saturn accentuates the Mount of Saturn, and shows that the balancing qualities of that type are present. One who has these restraining elements is less liable to do foolish things, and the course through life is likely to be more even and smooth. The more even, clear, and straight this line is, the more even the course through life will probably be.

The Line of Apollo accentuates the Mount of Apollo, and brings out strongly the brilliant qualities of that type. The clearer, more even, and better-colored this line is, the more creative power in art, or productive money-making quality in business the subject has. The Lines of Saturn and Apollo do not show defects of health. The Line of Mercury, often called the Line of Health, shows distinctively health difficulties. It will be treated fully hereafter.

Figure 1.2.

I offer these illustrations, and these few general attributes of the lines at this point, only so that you may have a general idea of them, the knowledge of which will be helpful with the Mount types.

Chapter 2

Pose and Carriage of the Hands

We shall now begin at the first step in hand reading, and proceed, by successive stages, to consider everything necessary to a thorough comprehension of the science. The space given to the consideration of each subject is in proportion to its importance. It will help you greatly to adopt a method in your examinations similar to that followed in succeeding chapters, and follow it with each pair of hands you read. First, pose, then texture, flexibility, consistency, color, nails, and so on, in the regular order given here. By adopting a definite method of examination, such as the above, you will never be at a loss where to begin or how to proceed.

The first thing you should consider in reading a pair of hands is the manner in which they are naturally carried. To place yourself in the best position to do this, you should locate your chair on the farther side of the room, opposite the door through which your client will enter. From this point you may observe certain indications given by his bands before he reaches you. It is necessary, in order to arrive at correct conclusions in this matter, that the hands should be held naturally, and that your subject should not feel under any restraint or embarrassment. If the mind is at all disturbed, it will reflect itself in an unnatural carriage of the hands, and you will fail to catch the unconscious gleam of the real inner self. To further this end, your assistant should have the visitor remove hat, coat, and gloves (it will aid materially if this assistant have also the tact to say a pleasant word), so that as the client crosses the floor, he or she may do so carrying the hands in a natural manner, mind at ease, and unconscious that the reading has already begun. It may be stated here that the hand whose owner has little or nothing to conceal opens itself freely to the gaze, and that the hand of one whose deeds and thoughts will not bear inspection wishes to hide itself, or to close the fingers over the palm, studiously concealing it from sight. The mind feels the necessity for hiding its workings, and the fingers, obeying the suggestion, close over the palm. Thus to you will come the knowledge that if your client seems bent on hiding his hands from sight as he crosses your room, or if he seems anxious to keep the hand closed as much as possible, which he may try to do even while you are examining it, he has ideas which he does not like to have exposed; he has a dark side to his character, and is probably deceitful, hypocritical, or untruthful. You must always give these clients the plain truth; do not fear to wound them.

Be sure you are right, of course, and do not judge by any one indication, but look for other indications bearing on the same line of investigation, then tell them all you know, and do not be disappointed when they say that you have entirely misjudged them.

Figure 2.1. Gently clenched fist.

You may next be visited by the man who is merely careful about telling all he knows. He is one who can keep a confidence, or closely hold a business secret. He is not, in gently closing his fingers, hiding a bad thought or a bad trait, but he does not make a confidant of everyone he meets. This man will cross your room without any effort to hide his hand from sight, and without the studied and evident attempt at secretiveness and the lack of openness that characterizes our hypocritical friend. His hands will be held at his side, the fingers partially closed, and while the hand shows life (and does not hang limp), nevertheless, it is not wide open. In this case, the greater part of what the man knows is kept to himself; he is self-contained, cautious, trustworthy; one in whom you may confide; who meets you halfway in confidences, and with nothing frivolous in his character.

You must, in studying all hands, learn to distinguish a hand that is full of life, is springy, and elastic in its outward look, telling you, even before you have touched it, of the vital energy stored in its owner. By pursuing such a study of observation of the hands of all the people you meet, not trying to individualize in the analysis of their qualities, not mentally trying to class them into types, but merely seeking to get impressions of strength or weakness, attraction or repulsion, that develop under such a study. You will find that every pair of hands has eyes and that they seem to look at you, asking pity, maybe, for their owners, or, that they have mouths, and beseech you to hear their story. This study of the impression created by the mere sight of hands must be practiced continually.

By following this line of observation, and observing the other directions as to method of practice suggested at the beginning of this chapter, you will know the kind of person with whom you have to deal before he takes his seat in the chair, and you will thus know better how to handle his case. It has seemed necessary to say this here, for, in hands carried as described by the latter type, it is the life, the spring, the elasticity looking out from them that will say to you, This is the self-contained, prudent man; I must be direct in my statements, say nothing that can imply that I am asking him a question, but tell him the story, not let him tell me.

The next client is one who carries the hands at the side, the fingers nearly open, and the hand dangling in a limp and lifeless manner. The whole impression of this hand is that of indecision, and a lack of fixedness of purpose; it indicates one that it would be exceedingly dangerous to entrust with any secret, unless you want it revealed to the first adroit individual who happens along. In this case the mind is lacking in definiteness of purpose; it is ready to receive suggestions, no matter whether they are correct or not, and the subject, being mentally lazy, will not take the trouble to think for himself. The mind is without a fixed purpose, consequently the hand is one which, by its lifelessness and dangling look, shows that it is the servant of a mind that is ready to be lazily directed by some other mind stronger in purpose than itself. Its fault is in being like a sieve, through which all that is told pours readily, and it is coupled with a lack of ability to be self-contained. For example, consider respectively the close-fisted and open-handed people in regard to money matters: the first thinks before he spends; the second is the one of whom it is said, A fool and his money are soon parted. These undecided hands, in coming toward you, will tell you that you may easily impress their owner, and the only trouble will be to keep him from instantly telling you all he knows.

Figure 2.2. Open hanging limply.

Figure 2.3. Fisted hanging at side.

The next subject for our consideration is the one who crosses your room with his hands hanging at his sides, but with the fists firmly closed. This does not indicate the bruiser or the bully, for you will find those qualities in another type, but it indicates one who is laboring under great determination. The very act of clenching the fist will indicate plainly that the mind is made up, the determination fixed. The clenching of the fist shows the shutting in of the vital energy, the shutting out of all idea of further parley, and the arrival of the time to act. Thus the degree of clenching of the fist shows the quantity of determination as well as the quality, for if it is merely a gentle closing of the hand, it will show you the firm, determined person; if it is the clenched fist with the ends of the fingers pressing hard into the palms, the person is laboring under some pressing excitement, which has brought with it determination. It will thus portray to your mind very strong resolution, either the habitual strength of that quality in the subject, or its temporary occupancy of his mind at the time.

The next person who crosses the room may carry the left hand gracefully at the side, the right forearm vertical and resting against the biceps, the wrist curving gracefully, the fingers of Saturn and Apollo close together and gracefully curved, fingers of Jupiter and Mercury apart and showing a space between them and the other fingers. This will show you one who is dominated by the artistic qualities. You will seldom find this pose of the hand in men, but plentifully among women. It is chiefly useful in distinguishing the really artistic nature from the commonplace one (who carries the hands in a dead, lifeless way at the side), and it will give you the inkling of a love of the beautiful and tasteful things of life, as possessed by your client. It shows more of the psychic qualities than those belonging to the matter-of-fact housewife. You can please this subject at once by speaking of grace and beauty as her mainspring, and it will not be hard to find the way to her heart through these channels. As this pose will be most frequently met among the people of refined society, you will have to inform yourself on all subjects pertaining to proper form, etiquette, and so on. Thus equipped, you will be able better to depict their character and probable outcome than if you were not conversant with the rules of those in the blue book.

Then there is the Miss Nancy, who crosses with a mincing gait, the left hand and forearm held across the abdomen, the hand drooping at the wrist and held loosely, the right arm carried vertically, the forearm doubling back on the biceps, the right hand drooping at the wrist and held loosely, with a pair of eye-glasses, a lorgnette, or a smelling-bottle held listlessly in the fingers, and either whirled or swayed gently as he walks. This person is finicky in the extreme, hypersensitive, and shows an excess of femininity in either man or woman.

It is odd to say that a woman can be excessively feminine, and yet this is true, for many lack the elastic, firm femininity that does not mean boldness, but does mean strength. It is the kind which does not give way under discouragement, but with fine womanliness rises to the occasion, and becomes the support and stimulator of husband or family in times when her strength and encouraging words are needed. The excessively feminine woman sinks collapsed when her help is most necessary, and becomes, for the time, an added burden in place of a tower of strength. In a man it means the Miss Nancy, caring more for the appearance of dress than for the strength of masculinity.

Then there will be the person who seems to find no place for his hands to rest; he carries them first up, then down, then in the pocket, then fingering the watch-chain. This person is uncertain in purpose; emotions are passing rapidly through him, and these emotions are not under the control either of mind or will. These people are very often strong characters but need directing. Then there will come the person who holds the hands in front of the body, or slightly at the side, waving them about as though trying to keep from touching anything. If an object should be brought close to these hands, they would instinctively shrink away from it and avoid contact. It looks as though the ends of the fingers contained eyes which were roaming from one place to the other. This person is suspicious, is sizing up everything about him, making mental notes of the appearance of yourself, the settings of the room, and is looking for trapdoors and concealed things that are to help you to read him. This action of the mind, showing watchfulness, alertness, and investigation is reflected in the hands, which roam around evidently searching for information, and in reading this subject it will be well to point out the places in the hand from which you get your information, give him your reasoning frankly, and conceal nothing from him. Handled in this way, these people become your best advocates.

There will be some who will cross the room with the fingers toying with the handkerchief, a button on the clothes, the watch-chain, or some other trinket or trifle. This subject is nervous, and is momentarily under excitement. It is not the calm, placid, even temper shown by the one who crosses in a stately manner with the hands easily clasped together in front of her, the palm of one hand up, the palm of the other hand resting in it. This is a most eloquent indicator of repose and evenness of temper, one which will present an unruffled front to all exciting circumstances and events. You must not be hurried with this calm person. Her mind acts with dignity, and more slowly than the average. If you should talk fast and not give time for what you said to be absorbed, you would find her saying to her friends in describing your reading, I suppose it was good, but really he talked so fast I could not catch all of it. Then you will be consulted by the bullying person, his fists tightly clenched, his elbows bent, with his arms carried in what I have called the bow-legged fashion. This is typical of a bruiser and fighter, and you must be exceedingly firm in what you say. You will also have the person who crosses the room rubbing his hands together, as is the fashion in washing them; he rubs one hand against the other in a most sly, oily manner. This will tell you of Uriah Heep, slippery, adroit, hypocritical, untruthful. You cannot depend on him at all, and you must bring out all his qualities, for he is the personification of insincerity.

Then will come the haughty and proud, very much impressed with his own importance. He will cross your room with a stately mien, the left hand held at the side, the fingers loosely closing, the right arm bent at the elbow, held horizontally across the abdomen, the palm held upward with the fingers closing loosely over it. This person is full of self-importance, impressed with his own dignity, and will quickly resent anything like an attempt at familiarity, or anything tending to show that you do not fully agree with him in his estimate of himself.

And next you may be visited by a pair of hands hanging limp, heavy in shape, thick and fat, which will seem to belong to a dead person, and mentally they do. All is heaviness, density, coarseness, no chance for flights of fancy on your part, no chance for rhapsody. If you attempt a keen analysis, he will blankly stare at you. No use trying to lift him out of his trough of materialism. It can't be done. He wants to know his brother's name, whether he is married, how many children, how long he will live, whether he will be rich, and you cannot lift him above this plane.

Figure 2.4. Behind the back.

Finally, we meet the person who will cross with an investigating air, the hands clasped behind his back. He is extremely cautious, does not know exactly what is going to be done, does not want to fall into any trap, and is looking over the ground before he shows his hand. Deal gently with him; he is timid, he means well, but is suspicious.

Chapter 3

Texture and Consistency of the Hand

Having carefully noted the indications given in the previous chapter, you are now ready to begin the examination of the hand itself. In order to secure the best results from this investigation, it will be of material help if you have arranged your surroundings so that the client will be comfortable when he seats himself. One of the matters to which you should give most careful attention is the proper arrangement of light. No rule can be fixed in this matter, as the sight of all palmists is not equally strong. It is, however, indispensable that you have the clearest, whitest light possible, and for this purpose nothing is so good as a strong northern exposure of pure daylight. To find the apex of each Mount will require a keen eye and good light, especially if the texture of the skin be very fine. Nothing short of daylight will suffice, and even with this help you will often have to resort to a magnifying-glass. I should advise that you be provided with a strong, clear, reading glass, about 6 inches in diameter, and large enough to cover the palm of the hand; this will bring out any markings that may be only faintly indicated. If your eyes are strong, you will not have to use this glass for the larger and more prominent details, but with a highly strung, excessively lined hand, it is advisable to use the glass. In this way you will often discover faint lines just beginning to form in outline, and these will show you emotions just starting to develop. If you intend to go deeply into your client's life, this minute inspection is necessary.

Now, having comfortable seats, good light, a glass (to use if needed), the temperature at the proper point, say 70 degrees Fahrenheit, you take the hands of your client. In all examinations you should consult both hands, and should never attempt specific statements, unless they are based upon a thorough knowledge of the information which can be gleaned only from the hands considered separately, and then together. Many failures are recorded in palm readings when one hand only has been used, due to the fact that men change as they grow older, and these changes are recorded in the right hand. If you have read from the left hand, you have looked at the man only as he was originally constructed, not as he has developed. To gain a knowledge of him as he is, and thus better to tell whether he is progressing or retrograding, you must read from both hands. This is a matter to which I have given most careful study, and in the course of many investigations have often read in the separate hands how weak people have grown strong, and strong people deteriorated.

The left hand is the infallible index to the natural being, the right hand records unmistakably what has been done with the talents. All that has been said about using the left hand because it is nearest the heart or because it has more lines, grows from a false conception of the matter. The heart no more controls nor feeds the left than the right hand, and it is not for this reason that both hands are used. The left hand is the passive hand, the right the active. There are instances in which the subject is left-handed. In this case, reverse the order and consider the right as passive, the left as active. Invariably, the hand which does the work is the one which records the present, the hand which is passive shows the natural endowments. Thus, if you see the passive hand showing one condition, the active hand an improved state, you know that the course has been upward, and vice versa.

The first matter that should receive your attention in examining the hand itself, is the texture of the skin. We sometimes forget that the human skin is not merely the thin cuticle that peels off when one is sun-burned, but is as thick as the leather from which a pair of calf-skin shoes are made, that it is capable of much coarseness or fineness, and will be covered either with large capillaries, or with capillaries so fine they can hardly be seen. This coarseness or fineness is what we call texture. In considering it, you should largely confine yourself to the back of the hand. The matter of consistency of the hand, a wholly different quality, is to be determined by an examination of the palm; in this way, you will not get the two qualities confused.

Texture is the key to a knowledge of your client's natural refinement. If the texture be fine, soft, and delicate (the greatest fineness being seen in a baby's hand), you have a refined, sensitive person, who is influenced by these qualities in everything he does. He is one to whom coarseness and commonness give actual pain, and it will not be possible for the person with this fine texture of skin to do things in a coarse, common, brutish way.

Figure 3.1. Fine textured skin.

This quality of texture will aid you in estimating character, for it is a softening influence on all the coarser qualities seen in any subject; it makes a Saturnian less morose, melancholy, and moody, and less inclined to shun society (not to mention making his cynicism less cutting); it will make a Jupiterian less of an overeater, less domineering, and less tyrannical, for it will refine him. It will add to an Apollonian a new and quieter love of beauty and harmony, and will make his nature more elevated; it will refine a Mercurian, taking away much of the dishonest side of his character; it will subdue a Martian, refining his brusqueness, his fighting qualities, his war-like