You And Your Hand – By CHEIRO (1932 GB)
THE HAND OF LILLIAN GISH
THE impression of the right hand of the famous Lillian Gish (Plate 1, Part III) is in itself a remarkable illustration of the expression of character shown by the shape of the hand as well as the lines. The type of hand is that of the artistic, but one dominated by a long thumb showing will power and strength of character, while the bent or direction of the first and second fingers leaning outward over the Mount of Jupiter shows strong ambition making the entire nature unsatisfied until it has accomplished great things.
It will be remarked that on the palm all the lines are extremely fine, even the ridges or whorls in the skin of the hand being of this quality. It may be noticed that the autograph, Lillian Gish, 1927, shows her hand-writing to be fine and light, but with every letter perfectly formed. This is all in keeping with the basic character of this remarkable woman, who has made a name for the delicacy and fineness of her work in every play or picture in which she has appeared. Nothing coarse or vulgar has ever been connected with the name of Lillian Gish.
Her early life on the stage was a difficult, uphill fight against odds that might have discouraged others made of stronger material. The difficulties of the early years can easily be discerned by following the “twists and turns” of the first part of the Line of Fate-the one nearest to the Line of Life. As these lines are so fine I suggest the use of a magnifying-glass for the examination.
The second or outer Fate Line which joins the first a little below the middle of the palm, I have referred to in my description of other hands as the indication of what I may call “the soul nature” of the subject. This is a most significant indication when seen on any hand. It denotes a hidden or inside force, backing up as it were the Fate as it appears to the “eyes of the world”, and which if it succeeds in the end in joining, or taking the place of the first Line of Fate, gives a wonderful promise of ultimate success in whatever the desires or ambitions of the subject may be.
It is that inexplicable “something” in the lives of those who hold on to their purpose in spite of every obstacle and every discouragement, until eventually their life or work becomes what they have in their dream life imagined that it would eventually be. There is nothing of that element called “luck” in the hands of Lillian Gish. The Sun Lines do not appear early, and when they do, from about the period of the twenty-fifth year coming from the Line of Fate, they show that success and fame come from work and effort and not from luck.
It is only after middle life that the straightest and best Sun Lines appear, denoting great promise for the future. The curved or drooping lines of the Line of Heart under the Mount of Jupiter denote she has not been fortunate in her affections, although she is of an intensely affectionate disposition.
The Line of Head being so closely joined to that of Life tells of her extremely sensitive, retiring nature, while the line itself having such a graceful slope towards and into the upper part of the Mount of Luna increases the artistic qualities shown by the shape and type of hand.
Many short lines may be noticed in or under the Line of Head. These show the mental strain the brain has undergone at various times. She has fortunately got both an “inner Life Line” and one from the Mount of Mars under the commencement of the Life Line and continuing for some time. These two lines it will be seen form a distinct triangle, a splendid indication of presence of mind and calmness in danger. In many of Lillian Gish’s film experiences she has taken considerable risks, on one occasion being nearly swept away on an ice flow where only her presence of mind saved her from death. At the last moment before going over the falls she caught a rope thrown to her by men on the banks of the river.
The Line of Health from the Mount of Mercury is split into many pieces denoting overstrain of the nervous system. There are also too many of these lines. If it was not for her unusually strong will and determination she could not have stood the tension of her public career.
Cheiro – 1932 (published in Great Britain)