Everyday Palmistry E-Book

Heather Roan Robbins

• Herausgeber: Ryland Peters & Small
• Kategorie: Ratgeber
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Beschreibung

Heather Roan Robbins brings you an accessible and practical system of palmistry that is easy to integrate into your daily life and deepens your understanding of yourself and the people you meet. Distilled from decades of experience, palmist and astrologer Heather Roan Robbins has developed a uniquely grounded but soul-centred approach to palmistry. She teaches you how to explore the landscape of the hand and come to know the hills and valleys of the hand's contours, recognize the deep rivers of the major lines and listen to the bend of the fingers. When you understand the shape and form of a person's hand, you can understand their disposition. Get a glimpse of their lines and get a clue as to how they communicate. Understanding the hand's topography will help you accept and deal with yourself, clients, family and co-workers alike. For those who want to become a professional palmist, Everyday Palmistry lays a good foundation in an accessible and memorable format. And for those of us who just want to know more about ourselves, this approach to palmistry offers a visual portrait of the patterns of our soul and can give us clues to how to bring ourselves and our lives into a better balance. Because the landscape of the hand changes over time, it reflects shifts in our life habits and the consequences of our major decisions. The hand is your energy conduit to the world. So let's paint a beautiful future with the power of our choices now.

Leseprobe

EVERYDAY

PALMISTRY

EVERYDAY

PALMISTRY

The key to character is in your hands

Heather Roan Robbins

This book is dedicated to the memory of Annie Laurie Walker Hemsworth, the grandmother who still guides me through my dreams.

Published in 2016 by CICO Books

An imprint of Ryland Peters & Small Ltd

20–21 Jockey’s Fields 341 E 116th St

London WC1R 4BW New York, NY 10029

www.rylandpeters.com

10 9 8 7 6 5 4 3 2 1

Text © Heather Roan Robbins 2016

Design and illustration © CICO Books 2016

Extract on page 11 from The Diary of Anaïs Nin, Volume 1: 1931–1934. Copyright © 1966 by Anaïs Nin and renewed 1994 by Rupert Pole. Reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.

The author’s moral rights have been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior permission of the publisher.

A CIP catalog record for this book is available from the Library of Congress and the British Library.

eISBN: 978-1-78249-509-3

ISBN: 978-1-78249-373-0

Printed in China

Editor: Marion Paull

Design concept: Louise Leffler

Designer: Geoff Borin

Illustrator: Stephen Dew

Commissioning editor: Kristine Pidkameny

Senior editor: Carmel Edmonds

Art director: Sally Powell

Head of production: Patricia Harrington

Publishing manager: Penny Craig

Publisher: Cindy Richards

PICTURE CREDITS

Images © Ryland Peters and Small/CICO Books, photographers as follows: pages 1, 59: Amy Louise Evans; 2, 125: Tino Tedaldi; 14, 39, 41: Geoff Dann; 46: Daniel Farmer; 56: Peter Cassidy; 57: Matthew Dickens; 97: David Merewether

Images © Getty Images, photographers as follows: pages 3: ManoAfrica; 5, 54: Image Source; 7: Jeneil S; 9: Klaus Vedfelt; 12: PhotoAlto/Odilon Dimier; 13, 43: JGI/Jamie Grill; 15: David Jakle; 16: Thinkstock; 18, 36, 52, 80, 94: Thomas Northcut; 19: Robert Rowe/EyeEm; 20: Martin Barraud; 21: Dave and Les Jacobs; 22: JGI; 23: Juan Silva; 24: Ethan Miller; 25: Donna Ward; 26: Handout; 27: Pictorial Parade; 28: Sean Gallup; 29: Patrick Smith; 30, 63, 64, 81, 91, 124: simarik; 33: Sawayasu Tsuji; 35: petek arici; 45: Don Arnold; 47: Max Mumby/Indigo; 48: Comstock; 49: Clemens Bilan; 53: Superstock; 55: William Sherman; 67: Pedja Milosavljevic; 71: Vince Bucci; 75: Zhong Zhi; 77, 93: Pool; 78: Shaun Curry; 79: DRB Images, LLC; 85: Tobias Schwarz; 88: Bernd Eberle; 91: Nithin Varghese/EyeEm; 98: Tijana 87; 102: Sitade; 104: Sebastian Willnow; 106: Jose Luiz Pelaez Inc; 108: Marie Docher; 110: Willowpix

CONTENTS

Introduction

PART I

THE LANDSCAPE OF THE HAND

PART II

THE ROADMAP OF THE HAND

PART III

PUTTING IT ALL TOGETHER

Index

Resources

Acknowledgments

INTRODUCTION

An easy philosophy of palmistry

My funny, wise high-school art history teacher, Sushil Mukherjee, was also a wonderful tabla player and palmist. One day he pulled me aside and asked me to take special care of Coal, a friend nicknamed for her glowing spirit, because she had a nearly invisible life line, among many other worrisome signs. “Just keep an eye on her,” he said. I was curious. I had already been studying astrology for several years but now I became obsessed about the hand, and pumped him for all the information I could get. He showed me the lay of the hand and taught me how to use the details to peer into this window of the soul.

Once the word got out, friends started giving me any book on palmistry they found as long as I looked at their hands in return, and my library built up quickly. I collected Xerox copies of hands and old-school palm prints made with an ink roller and wood block ink. I took many prints of my contemporaries’ hands, young people whose lives and hands were still so malleable, and watched the patterns on their hands change in response to their choices to pick up or give up drugs or to apply their mind to study. In more dramatic cases, I saw their lines strengthen when they walked away from abusive families or gave up thoughts of suicide and chose to live. The lines in our hands change much faster when we are young and still forming the path of our life’s journey, but we can see these changes at any age when we turn a major corner or make an effort to improve our condition.

Coal had many habits that prioritized living intensely (a wiry head and heart line) but not safety or health (faint, barely visible life line with many blocking lines, small mount of the Sun). A few years later she was murdered while hitchhiking alone, manifesting the concerns Sushil saw in her hand, but everybody else had missed.

I came to realize that Coal had a great map for healing in her hand. If she wanted to create more balance, she could use this map to prioritize self-care and probably live a longer time. But palmistry also gave me a map to accept my friend and her choices. Although I missed her dearly, I realized that if Coal truly felt she had only a little energy to spend in this life, she chose to live it with gusto. Since then, I have seen people with faint life lines make healthier choices, grow stronger and more vital, and live a nice long time.

After seeing this evidence of palmistry’s validity, I read everything on it I could get my hands on. I found that the early source material, from the late 1800s and early 1900s, had invaluable information from early massive surveys of hands. Both Cheiro (Irish astrologer William Warner) and William G. Benham gave us original theories and some great case histories, but neither had distilled their systems down to an accessible pattern. Several Middle Eastern and Asian books contained great information not found in the West, but you often had to read through sexist misconceptions, such as “in a man’s hand this brings great scientific insight, in a woman’s it makes a good housekeeper.”

A line of palmistry books came out in the 1980s and 1990s, incorporating a new, humanistic, psychological awareness. A few of them, such as Judith Hipskind’s Palmistry: The Whole View, were fresh, clear, and focused, but too many of them just imposed an undigested form of pop psychology combined with personal projection on traditional palmistry.

While my children were young, I took a day job in the human-resources field, worked psychic fairs across New England, and grew my private practice, and this gave me ample opportunity to test out all my theories. I watched the hands of people I met in business, at the store, in schools. I tossed out parts of traditional palmistry that just didn’t seem to hold up, and distilled what worked, so I could teach palmistry through understanding rather than memorization.

A few articles were written about my work in palmistry in the 1980s and 1990s, but as I traveled, I found that astrology was an easier tool to use with distant clients than palmistry, although I’m always excited when clients send in photographs of their hands. Outside of my work, I use palmistry every day to give me more information to relate comfortably to people I meet.

When I sit with a client in person, I use astrology, palmistry, tarot, and runes to direct my intuition, counsel my clients, and walk with them through the twists and turns of their life. I find astrology describes the overarching patterns of the soul and the influences of this moment; palmistry describes character and the consequences of choices; and tarot and runes allow us to talk to the archetypes and look down each possible way at a crossroads in order to make informed decisions.

In Everyday Palmistry I share with you my accessible, open, and practical system of palmistry, distilled from my decades of experience. It is easily integrated into your daily life to deepen your understanding of the people you meet. Basic palmistry can be helpful to the clerk, body worker, politician, therapist, employer, and lover alike.

For those who want to move beyond basic palmistry to become a professional palmist, this book lays a solid foundation in an understandable and memorable format. For those who just want to know more about themselves, this approach to palmistry offers a visual portrait of our soul’s patterns; it can help us to accept exactly who we are and give us clues about how to bring our lives into greater balance.

Every palmist begins to develop his or her own system, metaphors for understanding personality through the shape, form, and lines of the hand. This is mine, informed by all the hands I’ve seen over 30 years’ experience. Try it for yourself—look at the hands of people whom you know and love, test out the theories, and see what works for you.

TERMINOLOGY

I have made some changes in traditional nomenclature that you may need to translate for further studies. Traditional palmistry books call each section of the finger a phalange, which technically means a digital bone. I use the word “section” instead, because I am not just referring to the bone.

As well as a palmist, I am an astrologer. I see the reflection between the two, but I have found that these two disciplines work better if I let each one offer its own information. Some palmists have worked hard to marry the systems and find all the details of the chart reflected on the hand. While this may be helpful to a fully fledged astrologer, I have not found it helpful to new palmists.

I use astrology to map the choices with which we were born, the structure of a person’s life, her place in time and space, and her resonance with the big universal patterns. Palmistry is personal; it reflects personality, family patterns, and daily choices. It lets me see what someone is doing with the potential of her chart.

But I can’t go against the priorities of astrology. Traditionally, the ring finger is called the finger of Apollo, or the Sun, and the ball of the thumb is called the mount of Venus, but I switched their names. The Sun is so huge that it would take 1.3 million Earths to match its size. It is the source of heat, light, and life on our planet. Why would all that be connected just to one of four fingers? I see the Sun’s role echoed in the thumb, that expression of will that helped us humans to evolve. The ball of the thumb reflects our root energy, our internal sun. It is correlated to our sexuality as our health and physical energy reflect in our sex drive, not as our Venusian sense of romance might do.

For that we look to the ring finger, the mount underneath the ring finger, and the line heading toward the ring finger. That finger is the bearer of a wedding ring and marriage dreams, and reflector of all things Venusian—creativity, charisma, romance, and personal relationships. While this makes sense to me, if you choose to study further, you will need to translate and transpose these two mounts. Try the theories for yourself, and see what works for you.

PART I

THE LANDSCAPE OF THE HAND

FIRST IMPRESSIONS

PROPORTION

THE SHAPE OF US

THE MOUNTS OF OUR HAND

THUMB AND FINGERS

“What we call our destiny is truly our character and that character can be altered. The knowledge that we are responsible for our actions and attitudes does not need to be discouraging, because it also means that we are free to change this destiny. One is not in bondage to the past, which has shaped our feelings, to race, inheritance, background. All this can be altered if we have the courage to examine how it formed us. We can alter the chemistry provided we have the courage to dissect the elements.” Anaïs Nin

CHARACTER AS THE FOUNDATION OF OUR HISTORY

Our hands are our energy conduits to the world. All we do and all we express with our hands become imprinted upon them. Their patterns describe how we give and receive energy and information. Our palms become our own personal mural; we paint our lines with our life history.

What we see in a hand does not define or limit the future—it describes our disposition and our disposition creates our future. We don’t see the results of outside events. For example, a car accident caused by another’s driving may not show up on a future line, but one caused by driving while texting might. We see the consequences of our decisions and our behavior, if we stay on the road we’re now traveling.

Our hands don’t change quickly or easily once we are adults, but they do evolve with our soul’s progress. The mounts, the rolling landscape of our hand, change as we develop different aspects of our personality and parts of our musculature. If we use our hands in a new and different way, the bones can shift and change the line-up of the fingers. Our lines shrink or grow as we change our responses, make major decisions, develop or diffuse our life force. If, for example, a person begins to drink heavily, a network of fine lines begins to form on the hand, which diffuses the energy of the major lines, but if that person begins to live in a healthy and self-directed way, those major lines strengthen while the fine interrupting lines often fade away.

OUR PUBLIC HANDS—HOW TO USE THIS BOOK

We can read people from their handshake alone. The person on the left is likely to have good common sense, seen in the long lower section of the thumb, and a competent attitude, shown by the healthy musculature of the hands, and also an intuitive nature, indicated by strong, smooth fingers with smooth knuckles and skin. The person on the right is sensitive and receptive, shown by the pointed fingertips and refined skin, but has strong, pragmatic willpower—note that the top section of the thumb is broader than the base, and the thumbnail is rectangular and wide.

We can garner a lot of information from the public hand, that is the hand we see as we watch a person talk or hand us change over the counter. In Part 2 we will look at the lines and details of the hands we see only when we have permission to hold them and peer intimately. But all those details must be interpreted in the light of the basic personality, and that you can see in the public hand.

The terms we use to describe elements of palmistry are all relative, so right now, begin to notice hands. Even before you know what to look for, notice gesture, musculature, the size of hands in proportion to the body. Watch people talk with their hands or hold an object. When you shake someone’s hand, notice its shape, the texture of the skin, and how firm is the handshake. Comments such as “soft” hands or “small” hands or “wide-spaced fingers” won’t make sense until you begin to notice all the variations in the hands around you.

Then read this first section to learn what to look for in the landscape of the hand. Some of the information will seem like common sense, and you may realize you already notice these things. Take notes about the hands of people you know and love. Think about how these people approach the world and express their feelings, and begin to notice the relationship between the texture, shape, proportion, and bend of the hand, and what you know about their personality and life. Then all the commentary in this and other palmistry books will easily make sense.

Take this new understanding and look at the hands of people you meet, and people you work with but don’t know very well yet. Develop a theory from what you observe of their hands, and then watch to see who they really are. Hands may surprise you. They may show you sides of a person that you had no idea about; we humans are so complex. So look at hands without judgment but with great curiosity. Remember that we are all a curious mix of skills and gaps, interests and blind spots. How we use our skills or minimize our deficits is our soul’s choice; we can always make the most of what we have.

An organic disease, such as a connective-tissue disorder, or injury will invalidate or modify the description, so ask before jumping to conclusions. The person in question may have a healed broken bone or arthritis rather than be a stiff-necked personality.

This direct, clear-thinking person reaches out to shake your hand. Notice the strong, uncluttered lines on a muscle-toned hand with fine skin. He exudes healthy physical vitality, even sensuality—seen in a long and healthy life line that arches out with enthusiasm—but also sensitivity; the palm is concave, and we can see the tendons, while the fingertips flatten, even though the nails are large. This is a sensible, independent thinker. The head line is strong and level, and breaks away from the life line at an early stage.

FIRST IMPRESSIONS

The size, flexibility, color, and texture of a hand

The hands can be seen as an opening for the energy of the mind and body. The relative proportion of the hand doesn’t describe the quality or quantity of our energy; it does describe how easy it is for us to pour that energy into the world. The muscle tone of the hand describes the muscularity of our engagement with the world. Do we engage with our heart and mind, or do we engage with actions, or both?

SIZE AND TONE

Large hands in proportion to the body show energetic physical engagement with the world. The owner tends to be an extrovert who has a can-do attitude. Friendliness from large-handed people may just be their way; it may not be personal. When they are angry, they may want to get physical and chop wood, hit a wall, or throw a plate. If a person with large hands has strong muscle tone, don’t ask him to sit still, give him a job to do instead. Large soft hands may indicate a more passive affability. These people care but may be less active in response.

Smallish hands with muscular fingers and slightly pointed endings suggest a friendly, creative person who can handle detailed work. She has a sociable personality, seen in her rounded fingernails. The short but strong top section of the thumb indicates that she does not like to be pushed around, nor to push others around, while the long, thick bottom section of the thumb means she has strong common sense and steady habits. She appreciates tradition but can also be stubborn.

Small hands in relation to the body tend to show a more introverted personality, someone who has condensed, internal energy. These people are thinkers who need time to consider their actions. They can be as competent as large-handed people, but with more focus and less energy expenditure. Small soft hands indicate someone who keeps a lot within, for better or worse. Those with small muscular hands can be detailed planners, thinkers, and craftspeople.

FLEXIBILITY

Notice how hands move and bend. Are the owners flexible in hand and soul?

Flexible hands can show adaptable, malleable people. Extreme flexibility can show a disposition that is hard to pin down. These people can be so chameleon-like that they reflect their surroundings to the point where it’s hard to get a bead on who they really are or what they really believe.

Stiff hands come about with age. As we get older, our hands grow stiffer and we become more focused and more set in our ways. Look at where the stiffness sits. If it’s in the root of the hand, it reflects a fundamental approach to life, and may be built by years of working in the same way, because it gets the job done. Stiffness in the fingers can show people are more focused and strong about their approach to life, but less flexible in their thinking.

These are the flexible wrists of a fundamentally adaptable person who probably travels well and easily takes to new situations and foreign cultures. She handles unexpected events with pragmatism—indicated by the thin but long bottom section to the thumb, and wide, square thumbnail.

COLOR AND TEXTURE

Feel the warmth of the hand, and note the color of the palm in comparison to overall skin tone.

Is the person hot-blooded and prone to passionate engagement? The hands will tend to show red undertones for skin type. Or is the person as cool as a cucumber, more reserved and a little harder to activate? Notice paler tones, perhaps with a blue cast, relative to skin. If the hands are noticeably cool, take it as a working hypothesis that so is this person’s disposition, but do not assume it is so—health conditions may interfere with circulation.

Thin skin on the hand echoes a thin-skinned personality, someone who feels everything acutely, and may be seen by the world as too sensitive. These people may be averse to roughness or harshness and seem effete in their choices of food, textures, and surroundings, but they are honestly affected by their environment.

Coarse and thick skin may show an emotionally thicker hide, someone who can boldly wade in where angels fear to tread. These people don’t react quickly to the opinions of others and so tend to stay on course whatever the feedback. They usually do not like clutter, and their tastes encompass bold statements with clean, simple lines, rather than anything subtle or fancy.

Hairiness on the back of the hands brings in a primal energy. Primal energy is strong, direct, and must be harnessed with consciousness. So look for evidence of talent or awareness in other places on the hand as a way to integrate and channel this primal energy.

The best artists have a combination of refined elements and signals of access to primal energy—the tension between these elements can produce that notorious artistic temperament. An example would be coarse hair on the back of fine skin, or low-arched fingerprints on long and delicate fingertips, or square and strong hands, with a strong thumb and mount of the Sun, and clear, graceful lines.

It would be good for this person to have a creative outlet for his strong emotions, sensitivity, and reactiveness, which has primal undertones. Note the refined skin on muscular hands with coarse hair growing toward the knuckles. He wouldn’t want to hurt anyone. He values friendship and interpersonal connections and may try to keep his feelings inside, as shown by his small fingernails, which all have a rounded base.