The Benham Book of Palmistry, Revised: The Essential Work

by William G. Benham, Rita Robinson (Introduction)

Overview

The book that for more than a century has been the standard reference for reading the hand, now in a completely reformatted edition.

Palmistry is one of the ancient arts, practiced in Egypt, India, Greece and Rome and prized as a sacred and peculiar gift. Its practitioners were highly respected philosophers, oracles and priests. Yet by the 17th century, it had become a lost art, kept alive almost solely in gypsy camps. And by the end of the 19th century, it was seen as little more than quackery, a small step up (or down) from fortune telling and alchemy.

When it was originally published (as The Laws of Scientific Hand Reading), Benham's book immediately transformed the image of palm reading from a huckster's trick to a practice with a firm scientific basis. It quickly became an essential reference work for anyone serious about palm reading.

The Essential Edition brings Benham's original text back in print. It also updates many of the graphics, which have become obscured through numerous printings. Benham's words remain as viable today as they were 100 years ago, as they form the foundation of modern palmistry.

Product Details

ISBN-13:	9781564148551
Publisher:	Red Wheel/Weiser
Publication date:	03/22/2006
Edition description:	Revised
Pages:	384
Product dimensions:	6.00(w) x 9.00(h) x 1.00(d)

About the Author

William G. Benham continued his study of palmistry throughout his life — also authoring How to Choose Vocations From the Hand in 1932. His work has stood the test of time and influenced generations of students and practitioners of palmistry.

Rita Robinson is a published writer of non-fiction and short stories that have appeared in more than 1,200 magazines on three continents. A former reporter and award-winning journalist, her syndicated column, "Healthy Notions", appears in dozens of regional senior publications throughout the country. She is also the author of 11 books, including: The Palm: A Guide to Your Hidden Potential, Discover Yourself Through Palm Reading, and Survivors of Suicide. Many of her works have also been published in a number of other countries, including Russia, France, and China. A student of palmistry for more than 25 years, she has been quoted as an expert in numerous publications, including Martha Stewart Living.

Read an Excerpt

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.

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.

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.

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.

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.

(Continues…)

---

Excerpted from "The Benham Book of Palmistry"
by .
Copyright © 2006 William G. Benham.
Excerpted by permission of Red Wheel/Weiser, LLC.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

---

Table of Contents

Introduction by Rita Robinson,
Chapter 1: The Basis of Our Work,
Chapter 2: Pose and Carriage of the Hands,
Chapter 3: Texture and Consistency of the Hand,
Chapter 4: Flexibility of the Hands,
Chapter 5: The Nails,
Chapter 6: The Hand as a Whole,
Chapter 7: The Fingers in General,
Chapter 8: The Finger Tips,
Chapter 9: Knotty and Smooth Fingers,
Chapter 10: Long and Short Fingers,
Chapter 11: The Thumb,
Chapter 12: Mounts and Fingers — How to Judge Them,
Chapter 13: The Mount of Jupiter,
Chapter 14: The Mount of Saturn,
Chapter 15: The Mount of Apollo,
Chapter 16: The Mount of Mercury,
Chapter 17: The Mount of Mars,
Chapter 18: The Mount of the Moon,
Chapter 19: The Mount of Venus,
Chapter 20: Character of the Lines,
Chapter 21: The Line of Heart,
Chapter 22: The Line of Head,
Chapter 23: The Line of Life,
Chapter 24: Lines of Influence,
Chapter 25: The Lines of Affection,
Chapter 26: The Line of Saturn,
Chapter 27: The Line of Apollo,
Chapter 28: The Line of Mercury,
Chapter 29: The Minor Lines,
Index,