Graphology books usually refer to Margaret Hartge as the foremost researcher of the writing line. Following a suggestion by neurologist and graphologist Arthur Muthmann, Hartge had been the first to examine it. She established the definitions “dynamic” and “adynamic stroke.”[1]

According to Hartge, a harmonious contraction-release pattern is typical for a dynamic stroke, whereas the adynamic stroke is either (a) lax, not swinging or (b) rigid, stiff.

Hartge’s studies inspired Wieser’s research of the writing line; however, he studies were far more extensive.

During her research for the first edition of “Der Verbrecher und seine Handschrift” (The Criminal and his Handwriting)[2] Wieser first came across Hartge’s theory of “movement elasticity of the writing line.” She states that apparently, Hartge did not realize what she had discovered, namely, rhythm in the sense Klages had meant to use it. With her own “ground rhythm theory,” Wieser developed Harge’s hypothesis into one of the most important graphological principles.

In 1938, Wieser established the theory of “ground rhythm,” but to many analysts, even today, the concept is still an enigma. That is not surprising since in various writings Wieser herself offered differing explanations for it. Closer investigation, however, reveals that basically, she was always defining the same concept.

Ground rhythm, teaches Wieser, is revealed through one and only one indicator. This indicator is the rhythm of the writing line (or its “movement elasticity,” as Wieser calls it).

With strong ground rhythm, the writing line shows a rhythmic light/heavy pattern of narrower and wider strokes. With weak ground rhythm, this pulsating pattern is disturbed. She hastens to add that this “pulsating pattern” goes beyond mere periodicity because it also includes the “elasticity” of the stroke. Wieser uses a comparison with another expressive movement to make this definition clearer. “Elastic movements in dance, “ she reiterates, “are full of life, vibrant; in contrast, lax or rigid movements are lifeless and stiff. Likewise, with strong ground rhythm, strokes are vigorous and energetic; with weak ground rhythm, writing lines are vague, loose and slack. Incidentally, Wieser says, strong ground rhythm can never be found with extremely light or extremely heavy pressure.

Wieser admits that it may be easier to ascertain graphological indicators of form, spacing, or arrangement than to evaluated the level of ground rhythm. At least, cautions Wieser, this is true initially. To the trained eye, she adds, it is something that reveals itself almost automatically. So, she suggests, analysts should scrutinize as many writings as possible. After not too much time, she assures, they will notice ground rhythm without difficulty.

Wieser emphasizes that it is important to focus only on the ductus (writing line) and exclude everything else in the writing picture. For the purpose of detecting ground rhythm it is meaningless whether a writing is regular or irregular, large or small, embellished or simplified, whether pressure is heavy or light, or whether the writer is educated or uneducated.[3]

Ground rhythm, declares Wieser, is evaluated independent of special personality characteristics, but also independent of educational level or environmental influences.

Ground rhythm affects each writing zone, however, it can be observed more easily in a series of strokes. According to Wieser, the letters best suited for the assessment of ground rhythm are the i’s, m’s, n’s and u’s because in straight strokes, even minute disturbances in movement elasticity are immediately discernable.

As stated above, Wieser defined the meaning of ground rhythm differently in various books. At one time, she declared: “Ground rhythm manifests the willingness to disregard self-interest in favor of others’ concerns.”[4]

At another time, she explained: “Ground rhythm symbolizes an all-inclusive, human love principle which ‘saturates’ the individual’s whole being and governs his thinking, actions, and behavior.”[5]

On still another occasion, she formulated: “Ground rhythm interprets as love consciousness of a moral person who acts and thinks benevolently and so proves to be a humane being.”[6]

In another book, she describes ground rhythm as evidence of “inner essence, of benevolence and the ability to love.”[7]

Wieser defines vocation as “producing something of social value and benefit” and states that the quality of each occupational activity is affected by the worker’s

4. personal dedication to create something of benefit to others or humanity in general

Personal dedication, says Wieser, is clearly related to the principles expressed through ground rhythm in handwriting. Accordingly, she concludes, the stronger the ground rhythm in a person’s writing, the greater the assurance of high quality productivity; the weaker the ground rhythm, the poorer the overall work output. Wieser adds that this holds true for all work at any level of skill.

According to Wieser, in the handwritings of so-called criminals, ground rhythm is weak to very weak. “This factor,” she commiserates, “contributes to a vicious cycle. It is no secret that most criminals are poor workers and that this, in turn, contributes to a continuing decline of their social situation. Poverty, on the other hand, increases the likelihood of criminal deeds.”[8]

For the above reasons, Wieser proposes the systematic application of the concept of ground rhythm on a much broader scale. She says that it unquestionably offers the tool to identify potential vocational effectiveness as well as potential criminal tendencies

Early recognition of such trends, she says, may go a long way in helping to find preventive means.

[1] Margarete Hartge, “Die Schriftspanning” in “Die Schrift,” Rudolf M. Rohrerverlag, Brünn, 1935, p. 28.

[2] Roda Wieser, Die Verbrecherhandschrift, Bd. 1, Julius Springer Verlag, Wien, 1930.

[3] This, incidentally, is where ground rhythm differs from Klage’s “form level” or “form niveau.” Form level presupposes not only good rhythm but also writing facility. Kluges speaks of writing ”talent” and of the “curious relationship between a low level of formal education and ‘not really low but impeded’ form niveau.”

[4] Roda Wieser, Neurose und Grundrhythmus” in “Zeitschrift für Menschenkunde,” 1/1980, p. 233.

[5] In a speech during the Congress for Handwriting Psychology in Salzburg, 7 October, 1979.

[6] Roda Wieser, Grundrhythmus und Ganzheit, in “Zeitschrift für Menschenkunde,” XXVI/3, 1962, p. 345.

[7] Roda Wieser, Der Rhythmus in der Verbrecherhandschrift, Julius Springer Verlag, Wien, 1930, p. 208.

[8] Roda Wieser, Der Rhythmus in der Verbrecherhandschrift, Julius Springer Verlag, Wien, 1930, p. 212.