Adolf Hitler

Graphological elements: rigid ,sharp and pointed handwriting. The dimension of the letters are so small that it makes the writing almost illegible. Narrow ovals and narrow spaces between the letters and between the words; strong adherence to the “imaginary” base line with evident falls at the end of the lines. The stroke is lightly inked, but the pressure is heavy, a marked inclination to the right, spasmodic, rich in hook, spike and harpoon forms. The ‘affective’ letters (relating to the emotions), the o and a are contracted in their form and are completely inked in.


Adolf Hitler: a short personality outline
on a graphological basis

Hitler’s personality is characterized, in its more obvious manifestations, by a thirst for power, austerity, ruthlessness (1) , intellectual acumen and a great gift for oratory (2) .
His affective aspect is distinguished by the marked “coldness of feelings” (3) , the great vital energy and the “irascible” and often, uncontrolled nature of his reactions (4) .
Hitler - whose personality structure is not without psycho-pathological elements and conditions of conflict (5) – appears extremely “arid of feelings” but, at the same time, needs to exact affection and manifestations of consideration from others.
According to the science of graphology, the outcome is an individual “unable to love”, but who expects from his “fellowmen” exactly what he himself denies to them.
The consequence of these traits cannot but result, according to psychologists, in a deep and lacerating inner “imbalance”, which also affects the behaviour of the individual (6) .
The lack of affection leads him to a sort of “self induced affective isolation” from which emerges – with strong “conviction” - a distorted vision of reality. This expresses itself in a personal system of values and reference points where the entire universe revolves around his own ego (7) .
According to scholars of the human psyche, it concerns an “ideal system” of a “narcissistic” type which (basing itself on extremely strong principles and inflexible rules) permits the subject to reach an “absolute” and inviolable objective; the unconditional domination of everything that surrounds the subject and the complete command of inter-personal relations is all (according to historians) at the base of the “despotic” need to control the masses (8) .
To reach such a goal Hitler is obliged to make self-referenced cognitive choices, to consider each minimum obstacle as a difficulty to be overcome, without too many scruples, even if the choice could bring damage to his own person (9) .
From the intellective point of view, Hitler appears gifted both in his observational capacity and in his strictly analytical capacity (characteristics which are typical of people with above average intelligence) (10) .
However, at the moment in which the intellective component interacts with the emotional component, an evident limitation in objective judgement, a scarce reflection on elaborated criticism and little verification of produced “reasoning”, emerges (11) .
Finally, there is an elevated capacity to discuss proposed theses in an irresistible manner, and to sustain them with ardour and aggressiveness in verbal disputes (12) .
Conclusively, Hitler’s personality, on the basis of what has emerged from the graphological analysis, is complex, rich in contradictions, oriented towards neurotic and obsessive characteristics, unbending, directed in an “univocal and peremptory” manner, to sustain his perceptions of a reality, constructed, at times, (as psychological exams have shown) on delirious bases.
The subject enhances his cognitive and ideological structure with dogmatic mental constructions and tries, with his decisions, to realize, without hesitation, strategies which inebriate and dominate him. Girolamo Moretti, the father of Italian graphology, in 1966, compared Hitler, very aptly, “….to a racing car which runs, although rashly, with marvellous dexterity so that it overtakes the others in the race and, consequently, becomes the winner, without ever doubting the contrary and yet, being amazed to be so, to the point of being dazed at his victory” (13) .


Benito Mussolini

Graphological elements: : sharp, pointed writing, partially illegible, with mostly large letter dimensions, but with sudden and striking reductions, with a strongly marked pressure and with well-inked strokes, with ample and “exuberant” movements, with notable superior and inferior elongations, with a good degree of adherence to the “imaginary” base line. Graphic strokes written with a forceful downward or forward inclination in a cut-off manner. The t crosses are pronounced and drawn with energy towards the right, m and n are ‘arch’ and ’garland’ shaped and are pointed and narrow. Presence of original and, sometimes, elegant graphic forms.


Benito Mussolini: short personality outline
on a graphological basis

The graphological analysis of Benito Mussolini’s handwriting reveals that the subject possesses an out of the ordinary ”pride” (characteristic of an hypertrophic ‘ego’) which, in determinate situations, can lead him to moments of unrealistic excitement (14) .
The subject emerges as a polyhedral and chameleon-like personality, capable of audacity and determination, gifted with brilliant intelligence, has a high level of self- esteem, with a necessity to put himself to the test without failing, in such as way as to appear, with respect to the environment of reference, “exceptional and unique” (15) .
Mussolini has the need to appear a brilliant man of action, sure of what he says, generous towards the weak, rapid in taking initiatives and decisions, capable in handling people and is an indefatigable worker (16) .
He gets satisfaction in imposing himself on others and, in this way, emphasises his capacity to express vital energy (17) .
The subject pursues his goals with determination, trying to impose his ideas and destroy those of the others, especially those which he perceives as a threat to his own identity (18) . Subjects of this type tend to manipulate reality when it differs from their own existential aspirations (confrontation reality/ambition).
Thus, these subjects are inclined towards a continual “redefinition of reality” in the egocentric sense, in order not to see their affirmations regarding the world around them, put in question (19) .
The graphological examination shows a certain tendency to “mood changes”: euphoria (phase when the passage from thought to action is rather unexpected and frenetic), followed by a depressive condition in front of unforeseen failures, (the subject is not always able to dominate this last phase) (20) .
On the whole, from what emerges from the examination of the handwriting specimen, Mussolini’s personality appears well sustained by a good intellective level (rather intuitive intelligence with a distinct practical and organizational sense) although it risks being invalidated in the areas of prudence, deliberation and objective evaluation because there emerges a tendency to under-estimate problems, and the difficulties in surmounting obstacles.

Detailed analysis of a handwriting
specimen of Adolf Hitler

In a very rigid graphic context, characterized by strong nervous tension, spasms, distinct illegibility, narrowness of the forms, marked pressure and lightly inked strokes: the following graphological signs – distinguished by colours – show the relative personality traits of A. Hitler:

Red : strong adherence to the “imaginary” base line.
- Difficulty in social adaptation, hard character, intransigent, tenacious to the point of stubbornness, extreme determination.
Green: very small characters, clearly disproportionate with respect to the inferior ands superior elongations, affective letters – o and a –contracted in shape and completely inked-in.
- Profound aridity and affective avidity, coldness of sentiments, analytical intelligence although lacking objectivity in judgement.
Light Blue: rigid lateral elongations of the letters, parallel and inclined to the right.
- Insensibility towards fellowmen for lack of “human warmth”; unscrupulous person - lacking any sense of guilt; inclined to exploit and manipulate other people to his own advantage. Quite schematic and unilateral reasoning.
Blue: very sharp graphic strokes.
- Aggressive attitude, irascibility, susceptibility, selfishness, unreasonable defence of his own rights and interests with an inclination to damage the interests of others.
Violet: : “plunging” at the end of the lines of writing.
- Inclination to mood instability, interior conflicts tied to alteration of the psychic equilibrium.



Detailed analysis of a handwriting
specimen of Benito Mussolini

In a graphic context, characterized by a notably marked pressure, well-inked strokes, letters prevalently large, partial illegibility and rigidity, variability of the width of the graphic elements, usage of space not homogenous, the following graphological signs – distinguished by colours – show the relative personality traits of B. Mussolini:

Yellow: ample and “exuberant” gestures, original and elegant graphic forms.
- Pride, ambition, desire to be the first, to excel, theatrical exhibitionism, considerable vitality and sensuality, inclination to forms of fanatic exaltation.
White: graphic traits drawn with strength downwards and in a cut-off manner.
- Passionate temperament, intransigent with an inclination to violent and not always controlled reactions, assertiveness and capability of taking decisions, attitudes and behaviour marked by brusqueness and essentiality.
Green: evident reductions in the size of the letters.
- Pronounced though contained emotionality, moody, and oscillations in self-esteem.
Blue: graphic stroke rather pointed.
- Aggressiveness, touchiness, fits of temper, individualism to an extreme, pugnacious character not without harshness.
Red: good degree of adherence to the “imaginary” base line.
- Strong determination and perseverance, some inflexibility.
Violet: very pronounced t cuts strongly drawn towards right.
- Impetuous and impulsive nature, which – for impatience, enthusiastic fervour, idealistic impetus – can easily change into imprudence and superficiality.


Handwriting comparison: similarities and
differences between the two personalities

The comparison between the handwritings of Hitler and Mussolini – for the very fact of highlighting the reciprocal similarities or differences – allows us to describe the personalities more accurately and to outline (always taking into account the limits of the investigative instrument) the interaction and the psychological dynamics between the two.

Similarities- In general, both personalities are complex and contradictory, authoritarian and despotic, but, however, charismatic. They often relate in a brusque way and are both aggressive and resolute, centralizers and decision makers. Both characters are inclined to inflexibility and intransigence, to the exaltation of their egos, disproportionately proud and ambitious, both wishing to be protagonists and with a strong desire for “dominion and social conquest”. Both Hitler and Mussolini have great ability of communication and powers of persuasion on their ambient, and in favouring relations of dependence in those who come into contact with them. Both are gifted with an above average intelligence, brilliant and sharp, fed by rapid and dynamic thinking, supported by a, decidedly, above average mnemonic capacity.
All this, however, does not seem to guarantee them a constant effectiveness and the proper equilibrium in the cognitive/emotive evaluation of events.
Clearly, these intellective and character traits are not possessed in equal proportion by the two subjects under examination, but become “personalized and polarized” (through different psychological tones and shades) in the moment in which they relate to the other components of the personality.

Intellective differences - Both Hitler and Mussolini possess optimum capacity of analysis and synthesis, great intuition, powers of observation, inventiveness and taste for originality.
Nevertheless, the former tends to prefer the field of analysis rather than that of synthesis (showing a deepness and an analytical accuracy, as well as a capacity for psychological introspection, by far superior to Mussolini) with a marked inclination to meticulousness, minuteness, precision and care to detail, which in some situations could flow into the obsessive and compulsive model.
Vice versa, Mussolini has a superior aptitude for seeing things in their entirety, the global picture; the synthesis capacity.
On the whole, compared to the subtle satisfaction of Hitler for a certain “intellective sophism”, Mussolini presents a less abstract and more concrete forma mentis, less theoretical and speculative, but more realistic, able to unite the fervour of the idealistic enthusiasm to the propulsive impetus of the imagination, always in accordance with the dictates of pragmatism and opportunism.
As for the mental dynamics of the two personalities, Hitler’s is extremely strong and consequential in its logical processes, to the point of easily sinking into a “cold hyper-logic” (given the absence of the mediation work of the affectivity) and, therefore, strictly ties the theory to the practice, the premises to the conclusions, without having the least doubt of errors for the consequences of his actions and decisions.
Compared to such a rigid, schematic and unilateral way of thinking, Mussolini’s mental dynamics appear to be – within limits - more flexible, variegated and adaptable.
From the cognitive aspect, Hitler appears to have a higher capacity for attention, concentration and assimilation with respect to Mussolini. However, the possession of these faculties seems to be the result of a remarkable effort of self discipline, of a rigorous control imposed by a strong will.
The two subjects are extremely gifted in the art of rhetoric, which, in their cases, is characterized by imperious tones and dogmatic expressions.
It is possible that from this derives the judgement passed by observers on Hitler’s oratory. He was likened to a ‘man possessed’, having a ‘hammering’ and obsessive rhythm, verbose to the point of becoming wearisome, with unscrupulous, polemic and aggressive connotations.
Mussolini’s oratory appears, in this analytical context, rather “pompous and redundant”, markedly theatrical, full of impressive phrases and characterized by a high-sounding vocabulary.


Character differences- The two subjects being studied have two very different nature: Hitler, so suspicious and sombre, grey and gloomy, disquieting and enigmatic, with an irritating character, unpredictable in actions and reactions, inscrutable, a cold and ruthless calculator, capable of passing from an apparent glacial calm to a sudden and furious rage.
Mussolini, vice versa, seems to be (and the graphic examination confirms this) “genuine”, and impetuous, hyperactive and exuberant, of a passionate nature (elements which are certainly not present in Hitler’s personality), with manners, attitudes and expressions that can be considered, at times, as coarse and brutal, but, in no way, impregnated with the aggressiveness which emerges from the handwriting of Hitler.
Furthermore, although both are intransigent, determined and tenacious, Mussolini seems, on the whole, less inflexible and more inconstant than Hitler. The two subjects also differ in their spirit of enterprise, which, together with their considerable organizational capacity, they possess to a very high degree.
In fact, while Hitler’s initiative spirit is even too meticulous (and according to psychologists who have studied it, is close to the obsessive–phobic neurosis with shades of paranoia, which are passed off as an excess of method and planning caution). Mussolini, instead, is characterized by a boldness which is often oriented towards a “taste for improvisation and superficiality”.
The graphological analysis shows, however, that the two subjects have personalities which border between the area of the so-called “normality” and that area where a non-homogenous disturbance of the personality is present. A disturbance, which manifests itself in alternating phases and is, sometimes, acute. Specifically, in the case of Hitler, traits similar to hysteria, paranoid elaborations, and hints of a personality split, are recognized.
A psycho-pathologic complex which leads to “….intense phases of agitation, accompanied by prodigious expenditures of energy, which alternate with phases of depression and prostration.” (21) . In these “negative” phases, feelings of inferiority can emerge in the subject, which is not always compensated by assuming choleric, violent and aggressive behaviour.
On the other hand, the psychological unease of Mussolini appears to be of lesser psycho-clinical interest. In fact, it could be considered similar to a Cyclotimic syndrome with the typical oscillation between euphoria and depression, with the consequent increase of self-esteem, followed by marked feelings of inadequacy.


Psychological considerations based
on the graphic analyses

From the comparison of the handwriting specimens of the two dictators, certain considerations arise:
- apart from the political and ideological ties between Mussolini and Hitler, more differences than similarities emerge. Moreover, with the rigorous application of the science of graphology, the final outcome of the comparison reveals a distinct prevalence of thedissimilarities with respect to the analogies.
- the two subjects, and the other psychological analyses have confirmed this, both are extraordinary “animals of the stage” (according to some people, unchallengeable and fascinating masters of the crowd). Such a characteristic, however, - given the emotional and cultural differences – is expressed in a qualitatively different fashion: Hitler, as his writing has shown, prefers the use of a “language” (both of the body and in speech), which is hypnotic, mystic and transcendental. Mussolini, vice versa, tries to “manipulate” the crowd, using a “language”, which is theatrical chameleon-like and histrionic, with tones that emphasise his own vitality, exuberance and virility.


Conclusion

The psychological indications which have been brought to light by the graphological studies of Hitler and Mussolini, especially, by the reciprocal comparison, represent, not only a contribution to the already vast literature on these two people, but an experimental confirmation of the appreciable introspective and cognitive potential offered by graphology.
As fresh proof of this, it appears emblematic what has been referred by the historian, Antonio Spinosa, regarding the psychological profile of the young Adolf Hitler, written in 1924 by a German graphologist: “He felt he had an impetuous soul and wanted to submit himself to the judgement of an expert graphologist, being himself, a passionate student of this science”. From the report from the graphologist, who did not know to whom the writing under examination belonged, certain traits, characteristic of his personality emerged: ‘a tormenting restlessness’ and an ‘extreme irritability’; a ‘prevalently aggressive behaviour which, for lack of goodness of heart and of consideration, could vent itself, without control, upon his fellowmen’; a ‘very high degree of intelligence … of shrewdness, ability…’.. His personality was ‘anything but mediocre and colourless’, on the contrary, it revealed itself ‘powerful although with many negative aspects’, in addition, supported by an ‘aggressiveness which could have led him to a hostile confrontation with the world around him’” (22) .
A profile of the young Hitler (at that time, a long way from the evolution of his historical path), induces us not to omit the instrument of graphological enquiry from the complex analytical work of the intelligence.