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Product Details
| ISBN-13: | 9780877287209 |
|---|---|
| Publisher: | Red Wheel/Weiser |
| Publication date: | 01/15/1993 |
| Pages: | 288 |
| Product dimensions: | 6.00(w) x 9.00(h) x 0.84(d) |
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The PRACTICE of CLASSICAL PALMISTRY
By Madame La Roux
Samuel Weiser, Inc.
Copyright © 1993 Madame La RouxAll rights reserved.
ISBN: 978-1-60925-668-5
CHAPTER 1
Basics of Hand Reading
There are several basic methods that a good palmist uses in order to read a set of palms. In the following pages, a variety of techniques have been arranged for both beginners and advanced palm readers. Good palmists keep their eyes on many things simultaneously when looking at a pair of hands. Shape, color, skin texture, the depth of the lines, the length of the fingers and their accompanying fingertip shapes are all valuable clues to the person's character and professional inclinations. I will outline my basic overall methods and give explanations as to why these clues are of value. In later chapters we will take a more in-depth look at these clues, and what they reveal.
Spotting the Clues
The first of many clues we look for when searching a hand is its color. This will describe the circulation and the dietary habits of the person in question. The color also indicates enthusiasm—a direct result of the circulation or lack of it. The next clue is found by assessing the muscle tone in the various areas of the hand. The muscle tone provides information regarding talents and special interests. Flexibility of the hand will reveal the amount of agility the person has, as well as the amount of mental flexibility he or she possesses. Another important factor when considering the palm is the overall depth and clarity of the lines themselves. Stamina as well as the ability to recover from illness is revealed by the depth and clarity of the lines. The texture of the skin (fine, medium or coarse) reveals the person's taste and sense of style. The length of the fingers provides still more information regarding patience, reasoning ability and power of analysis.
After considering all these areas of the hand, we are ready to examine the lines. First, examine the Life Line to discern the vitality and the enthusiasm of the person in question. The Heart Line is then examined to assess the strength of the heart organ itself. The Heart Line also gives information about the depth of the emotions as it is the blood circulation which considerably influences the individual's emotions. We then look to the Head Line to see what kind of mental concentration power the person possesses. Next, we look at the Fate Line to examine the career. We use the Health Line to verify any health problems found in other areas of the hand. Finally, a glance at the Girdle of Venus will give a clue to the person's sexual nature.
As you can see, modern palmists are not soothsayers. They look for specific information, and know exactly where to look for it. Palmistry is an applied method of physiological analysis. It examines the nerves, the skeleton, the vital organs and the disposition that clothes them all.
—Summary—
1) Check color
2) Check muscle tone
3) Check flexibility
4) Check depth and clarity of lines
5) Check texture of skin
6) Check length of fingers
7) Check Life Line
8) Check Heart Line
9) Check Head Line
10) Check Fate Line
11) Check Health Line
Right and Left Hand Comparison
Palmists need to compare one hand with the other to get the most accurate interpretation possible. No two hands are alike, not even two hands belonging to the same person. A proper comparison can provide a great deal of information regarding past occurrences and future trends for the client. To begin a comparison of the two hands, ask your client which hand he or she writes with. Many people are ambidextrous when it comes to sports or other hobbies, but very few are able to write with both hands. The hand the person writes with represents present and future trends. The reason for this is quite simple. The hand a person writes with is the hand which is used to send messages from the present into the future. We will refer to this hand as the sending hand. The other hand will be referred to as the receiving hand, and, to the palmist, it represents past influences regarding the person's conditioning and circumstances as a child. This hand also reveals the kind of health or temperament that resulted from the childhood environment.
Assuming for a moment that the client is right-handed, the left hand will show what was inherited from the parents in terms of health and conditioning, while the right hand will tell what was actually done with these qualities. Sometimes, we will find a left hand that indicates talent, and a right hand that is a mishmash of snarled lines, flabby muscle tone, and other unfavorable markings. A minute's glance will be enough to disclose that the client came into this world with talent that might have led to many opportunities. However, as the right hand—the message-sending hand—was so unfavorably marked, it would lead us to believe that these talents and opportunities have not been utilized. We then return to the left hand to discern the age at which the person began to misuse or squander his or her energy. There will always be at least one telltale spot on this otherwise marvelous hand that provides the clue to unraveling the mess that later ensued. If there is no clue to indicate where the trouble began, look closely at the thumbs. It is not unusual for the thumb of one hand to differ slightly from that of the other, but if the thumbs differ radically, the person's willpower and reasoning—or lack of it—was the culprit in creating this chaos. Read more about the thumbs in the subsequent chapters for more specific information.
Flexibility
Another thing to look for when comparing the two hands is the flexibility of one hand as compared to that of the other. If the receiving hand is stiff and the sending hand is flexible, we can deduce that the person was brought up rather rigidly and had a somewhat conservative approach to life as a result of early conditioning. This rigidity lessened as the person matured, and the future is likely to loosen up the personality even more. In this case, the person's present attitude has outdistanced an uncompromising past. If the reverse is found (the receiving hand flexible and the sending hand stiff), it will not be as pleasurable a discovery. The receiving hand—the past—shows us a very flexible upbringing, while the sending hand—the present—tells of unyielding formality. The future trend of this hand, therefore, may not look as happy.
The Mounts
The next thing to look for when examining the hands for comparison is the raised pads of flesh known as the mounts. If the mounts of the receiving hand (the past) are firm and pink in color, and the other hand has mounts that are flabby and white, a serious health depletion and laziness is indicated for the present, and is likely to continue into the future. The same comparison technique applies if only one mount shows this kind of deficiency and is modified in some way by the same mount in the other hand.
An example of this would be a right-handed person with a pink cast to the Mount of Venus in the left hand and a pale, flabby Mount of Venus in the right hand. The pink mount—that of the past—shows a healthy capacity for love, and a warm, outgoing disposition. This person loved heartily as a child and was not inclined to hold back love in any way. However, laziness, lack of openness and a reluctance to express a loving nature became the habit as the person grew older. Undoubtedly, the person's love relationships suffered accordingly.
Depth of Lines
The overall depth of the lines should be compared from hand to hand. If the lines are shallow in one hand and deep in the other, the hand with the deeper lines will indicate the period of better health. The same is true for the overall color of the skin. If the color shows a pink cast on one hand, and is pale in the other, apply this factor to interpretation.
When examining the lines, it is essential to compare each line to its counterpart found in the other hand. When a break, or some other unfavorable marking is found in a line, check the line in the other hand at the exact same spot. If the break occurred in the hand that represents the past, and the other hand shows a healthy, unbroken line, we can assure the person that the health debility indicated by the break will be overcome. If the reverse is seen, prepare the person for a possible health difficulty concerning that line. Explain that his or her constitution has been healthier in the past than it appears to be now. Show the person this particular marking, and advise how he or she can strengthen health in that area.
Be sure to leave your client feeling hopeful and encouraged. Palmists can convey concern for a client's health without intimidating the person. If a client's health appears to be in serious jeopardy, we cannot in good conscience gloss over what we see. Palmists never know what is to be found in someone's hand until they look and compare specific features from the left hand to those of the right. Whether we find tremendous good or tremendous danger in a person's hand, we are obliged to aid and encourage this person in whatever way we possibly can.
Always check the Life Line to ascertain what kind of vitality the client possesses. This is one of the major keys to understanding the temperament and recovery power the person has inherited from the collective gene pool. Look at the nails to see if any other debility would offset recovery. Always give the person whose health is in danger undivided attention, no matter how long it may take, and have alternatives ready to augment any present methods of health care. Encourage clients to care for themselves, rather than leaving health solely in the hands of others.
Skin Texture
Conclusions cannot be drawn from skin texture alone when practicing proper palmistry. However, skin texture will provide a valuable clue to the nature of a person's taste, and how he or she is likely to respond to the physical senses. We will not discuss the medium texture of the skin, as there is nothing extreme or conclusive about it. But we will discuss very fine texture, as well as coarse texture to help understand the kind of role skin texture plays in a person's attitude.
Fine Skin
Fine skin tells of refined taste and a sensitive disposition. These people are likely to have expensive possessions and are attracted to the world of luxury and fine arts. People with very fine skin often come from wealthy homes where they are pampered and protected by a somewhat sheltered environment. These people are appalled by crassness in any form, and will seek beautiful surroundings wherever they find themselves, adding a sense of refinement to whatever they touch. On the bad side, these people can be hypersensitive and squeamish. They are intolerant of any coarseness they might find in more down to earth people, and they can be suspicious and easily offended. In addition to this, fine-skinned people can be selfish, luxury-seeking, and highly unsympathetic to the needs of those less fortunate than themselves.
Coarse Skin
Coarse-skinned people are the complete opposite of the fine-skinned type. They can be crass and aggressive in their mannerisms. They do not abide by social customs, and are more at home with animals and pets than they are with people. Loud and brash, coarse-skinned people have unmatched stamina, and are more likely to keep their heads in a crisis than their fine-skinned counterparts. These people are anything but squeamish, and will fight vigorously to maintain independence and an uncompromising style. On the bad side, coarse-skinned people can be pigheaded, argumentative, brash, belligerent, and violent. Much depends on the thumb (the willpower) and the shape of the hand. These will disclose whether the aggressions have sufficient powers of self-control to keep the coarseness of the type from being too forceful and assertive.
Hand Gestures
The physical posture and the hand gestures of a person can be instrumental in telling us who they are. Always note these factors silently for a better understanding of what is shown by the shape of the hand and its lines.
Hand gestures will tell the person's current mood, and his or her attitude toward palmistry in general. Always take special care to note the way a person delivers the hand to you for examination. If the hand is extended to you in a tightly closed position when you ask for it, the client's mind is also likely to be tightly closed. This gesture reveals that the person is reluctant to open up. He or she may have secrets we are not supposed to know, or this person may just be closed-minded to the subject of palmistry. This person is also likely to be tightfisted with money and, if the thumb is tucked tightly in toward the palm, this will be especially true. A person with a tightly closed hand and thumb will press us to prove everything we say when reading.
When a hand is presented with fingers open and widely spread, this is an indication of broad-mindedness. These people will be open to the subject of palmistry, and their openness will help us to understand their hands. These people are curious and outgoing, and are usually delighted with whatever information we provide for them. They are usually quite healthy in their attitude toward the opposite sex and will be warm and demonstrative in most everything they do.
If clients are wringing their hands, they are obviously worried about something. Do not press them to tell what it is because by making them more nervous than they already are, they are likely to freeze up and become very introverted. This will hamper our hand-reading ability considerably! Look at these people and tell them to relax. We already know that something is bothering them, so make it easy for them to talk. Aside from curiosity, most people come to palm readers seeking advice for a problem in one of four areas—love matters, health problems, financial problems, or mental problems.
When I say mental problems, I am referring to those people who may be having difficulty applying their minds to jobs or home life, who feel unable to fit in with the environment. With regard to love problems—these people may have difficulty getting along with a spouse or loved one, and may need to make some adjustments in attitude before abandoning an otherwise good relationship. Sometimes the temperament is not suited for the work environment. Palmists can spot these things from the hand and counsel accordingly.
Clients must first be made aware of who they, themselves, are in the present, in order to assess where to apply their talents in the future. For example, people who long for the applause of the theater may not be happy or successful in a less glamorous environment, such as banking or medicine. These professions may be contrary to the basic temperament, and no matter how long they work in these areas, they will always be at odds with their surroundings. It is also important for palmists to realize that people may be talented in one area, but may content themselves with pursuing an area wherein this talent is not required.
Good and Bad Hands
It is no easy task to separate the good hands from the bad hands in life, but palmistry can help to guide us in selecting friends who will be easiest for us to get along with. No matter how repulsive a hand may look at first glance, there are always good qualities to be found in it somewhere. It is our duty to comb this bad-looking hand for the most promising qualities we can find. Every human being is good at something, or good for something, and palmists never discuss the negative qualities people possess unless asked about them directly. The best policy is to foster good and encourage positive traits. Remember, people strain to listen to every word we say, and any opinion may be remembered for a lifetime. So, when we look at a hand, we should try to begin reading on a favorable note. Announce the most positive qualities first. For example, suppose we are looking at an overly red, thick, flabby hand with short fingers, a short thumb, and very coarse skin. By the standards of classical palmistry, these features tell us that the person is hot-headed, lazy, impatient and crass, but do we say this? No! A person of this nature will surely be outraged. Instead, keep in mind that this person (no matter how disagreeable) is allowing us the opportunity to continue our study of palmistry—and at his or her expense. Try not to frown because we know he is watching. If we look up at this fellow and smile wryly, saying, "My good man, your idea of a good time is to lounge away the day without a care in the world," we have addressed his laziness without offending him. Now he will be laughing at his problem. One of the best ways to get someone to look at a shortcoming objectively is to introduce it with humor. Now the person is ready to receive whatever observations we make, and will do so with humor and open-mindedness. We can see from the redness in his hand that he is irritable and does not like to be kept waiting (short thumb), so we take special care to be as brief as possible. This short-fingered fellow is not going to want to labor over details and cross-references. Details are abhorrent to people with short fingers, especially those with a red tone to the skin. Therefore we will do our best to spare him this discomfort. Rather than confronting him on the subject of his irritability, encourage him to relax, and slip him this information in a way that is more palatable for him. He is likely to meet this kind of reading with enthusiasm, and will always remember the advice that was given with fondness. If we blurt out observations, the results of this reading could have quite a different effect. Therefore, it is very important to refrain from making judgments, and to take the nature of the person into consideration before saying anything. Palmistry is a tool for observing the nature of human beings, and if we use it well, we can work wonders.
(Continues...)
Excerpted from The PRACTICE of CLASSICAL PALMISTRY by Madame La Roux. Copyright © 1993 Madame La Roux. Excerpted by permission of Samuel Weiser, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
Contents
Introduction
CHAPTER 1. Basics of Hand Reading
CHAPTER 2. Reading Fingers
CHAPTER 3. The Mounts
CHAPTER 4. The Mount of Jupiter
CHAPTER 5. The Mount of Saturn
CHAPTER 6. The Mount of Apollo
CHAPTER 7. The Mount of Mercury
CHAPTER 8. The Mount of Venus
CHAPTER 9. The Mounts of Mars
CHAPTER 10. The Mount of Luna
CHAPTER 11. The Lines of the Hand
CHAPTER 12. How to Read Palms
Appendix A—How to Make a Palm Print
Appendix B—Reading the Palm Prints
Appendix C—Worksheets for Readings
Index
About the Author