Certain Success Part 20

Tense jaw muscles, whether large or small, denote the characteristic of persistence. But loose, flabby cheek muscles do not necessarily prove the habit of over-eating, or of sensuality. They may mean that the man who has them does not habitually allow his feelings to show in his face.

When the muscles of facial expression are flabby they prove only that they are slightly used. Therefore when you encounter a man with loose cheeks read his characteristics from other muscle-structure signs, and from his actions. Do not misjudge the heavy face as a sign of grossness.

[Sidenote: Courage And Bluff]

If a man holds his head up easily, and moves it in this upright position without stiffness or effort, you may be sure his back neck and shoulder muscles are strongly developed. Such strong development suggests that he is courageous, for these muscles are directly co-ordinated with the mind center of bravery. Therefore the head and shoulders easily held back and up; not a high chest, signify courage. The bulging chest often indicates no more than pouter-pigeon bluff temporarily put on.

[Sidenote: Indications Of Intellect And Power]

A man's high chest, however, is a sign that his predominant characteristics are intellectual; because his chest has been developed by the student's habit of upper-lung breathing. The nerves running from the upper part of the lungs are directly connected with the brain centers of _intellect_. On the contrary the nerves that lead from the lower portions of the lungs center first in the plexus through which are manifested the _vital emotions_ and the emotions of _s.e.x_. Hence the man who breathes deeply by habit indicates a great deal of vitality and has marked "he-man" traits. He is not of the intellectual type so markedly as he is a man of _power_. The man who breathes only from the upper part of his lungs is not a man of power, but may have a fine intellect.

[Sidenote: Significance Of Postures]

The postures of the body are significant of characteristics. If your prospect stands with his feet wide apart and his arms folded conspicuously across his high-held chest, he probably has a habit of bluffing. His widely spread feet indicate that he has to prop himself in that physical posture; so it is unnatural to him. Similarly he has had to prop himself in his mental posture. _Push your ideas hard and he will lose his mental balance;_ just as he would lose his physical balance if you were to jolt him. He is obliged to prop himself. He is bluffing. You can make him quit. The folded arms and expanded chest of the bluffer mean no more than the high-arched back of a cat. Stroke "Tom"

soothingly, and he stops bristling. Stroke the human bluffer tactfully with persuasion, and he will not act pugnacious for long.

[Sidenote: The Balanced Body]

But if, when making a statement, your prospect stands or walks about easily with his feet close together; if he balances his body without difficulty or artificial postures--it is certain that he has a good deal of determination in his make-up. You cannot influence him to change his mind by making emotional appeals to him. In order to secure the favorable decision of such a man, you will need to use the most conclusive, solid evidence of your capabilities.

[Sidenote: Wavering Minds]

Suppose your prospect shifts his feet continually and rather jerkily.

While you are talking with him, he frequently changes his weight from one foot to the other. He is suggesting that he has little confidence in his own judgment, that he is not sure of his own thoughts. _Take the lead strongly with such a man._ Do his thinking for him. It is up to you to bring his vacillating mind to definite conclusions, following your lead. First make it clear to him that your proposal is really to his interest. Then proceed with a manner of absolute a.s.surance, as if you did not question his doing what you wish. With your skillful salesmanship you can stop his wavering and induce him to act as you indicate.

[Sidenote: Quick Thinkers]

The _rate_ of one's _muscular_ activity is directly a.s.sociated with the rate of one's _mental_ activity. The man who _moves_ slowly by habit is also a plodder in his _thoughts_. On the contrary, quick actions indicate quick thinking; which, however, may be mistaken. Only the quick motion that is _under perfect control_ suggests an _unerring_ conclusion reached swiftly. The man who s.n.a.t.c.hes up a pencil with sure fingers, and without fumbling it begins to write at once, demonstrates that he has an electrically fast mind perfectly harnessed to his purpose. When another man reaches swiftly for a pencil but misses his sure grasp at the first attempt; or when the dash of his hand to the paper is followed by a momentary delay for adjustment of the pencil in his fingers or by hesitation before he begins to write, he denotes mere impulsiveness.

[Sidenote: Self-Control]

Sometimes a quick thinker will purposely develop the habit of making very deliberate motions. This trait is the result of his determined repression of a recognized inclination to act on impulse. He has accomplished perfect self-control in order to guard against the danger of making up his mind too quickly on his first thoughts. But his slowed-down movements will be so _precise_ and _certain_ as to indicate his characteristic of self-control and that his mind has moved in advance of his acts.

If you have occasion to size up such a man, you should perceive that the movements of his muscles do not correspond with the rate of his mental activity, as a superficial observer might mistakenly conclude. If your prospect sits or stands immobile; or if his actions give no indication of what he is thinking, watch his eyes and his facial muscles of expression. Eyes that fairly dart from one object to another, expressions that flash on and off the face; prove swift mental activity, no matter how quietly the body may be held. For instance, a strong, quick thinker may have his muscles under such perfect control that he will pick up a pencil very deliberately because he has trained himself to repress his impulses. But when he has finished using the pencil, he will drop it cleanly and not let it slip slowly from his fingers. His self-training in precaution applies only to what he does _before_ acting on a purpose. The moment he is done writing, he also is done with the pencil. His hand does not linger with it over the paper. Unconsciously his characteristic quickness manifests itself in his inclination to get rid at once of the tool he has finished using.

[Sidenote: Tightened Thoughts]

Any indication of _muscular tensity_ suggests a _tightening of the mind_ on thoughts. It is often a sign of mental resistance or of persistency.

If, when talking to a man you observe that his muscles seem taut, avoid forcing the idea you want him to accept, for his mind is opposing it strongly just then. Perhaps he has a persistent thought of his own, at variance with yours. Either give him a chance to express his idea in words, so you can dispose of it, or switch him away from it by changing the trend of the conversation. When you perceive that his muscles are normally relaxed, you may safely return to the postponed point. You will encounter lessened mental resistance. Very likely he will then have no impulse to persist in the thought he previously had fixed in his mind.

[Sidenote: What a Man's Walk Shows]

Note how your prospect walks forward to meet you, or how he moves about his office. If his stride is long and free and easy, it proves that the back muscles of his thighs are strong. Those muscles function in direct co-ordination with the mental action of _willing_. Therefore when a man walks easily with a long, free stride he indicates that he has a strong will. He may be sized up confidently as a fighter for his rights, as a man with a great deal of resolution once he makes up his mind.

[Sidenote: Determine Mental Speed]

It is very important when sizing up a man to determine the _degree of his mental speed_. If you have brought your best capabilities for sale to a prospective employer, you need to know whether or not he is getting clearly all the ideas you present. It is necessary for you to make sure on the one hand that you are not presenting ideas too fast for his mind to comprehend each point fully. On the other hand, you wish to avoid harping on details after he understands them. It will aid you very much in your salesmanship if you know _just how quickly_ the mind of your prospect acts. There is no better way to find out than by noting the speed of his _muscle_ response to test ideas. Since the rate of _muscle_ activity is directly indicative of the rate of _mental_ activity, you can often learn from observing the _movements_ of your prospect _how quickly his mind takes in_ points you state or suggest.

You might test him by asking that he write a name or set down some figures you give him. If without hesitation he reaches for a pencil, you may be sure his mind responds quickly to your ideas. But should there be a moment or two of delay before he picks up the pencil, his _slower physical response_ to your request is to be read as an _indication that his mind does not grasp ideas at once_.

[Sidenote: Keep Mental Pace]

After making your size-up of the degree of his mental speed, you can govern your presentation by what you have learned. If you are dealing with a mind that acts slowly, give your prospect plenty of time to get each idea you want to impress upon him. But proceed briskly from point to point with the man whose mind grasps ideas instantly. You would make a poor impression on him were you to go at a lagging pace.

It is not necessary, however, to make special or artificial tests to learn how quickly your ideas are being grasped. Observe the facial expressions of your prospect, which will indicate how soon your thought is appreciated after it is presented. Should you say something with a touch of humor, the time it takes him to smile or twinkle his eyes will measure the speed of his mind in catching ideas.

[Sidenote: Head and Eye Movements]

The movements of the head and of the eyes, according to which are predominant in the case of an individual, tell much of his character.

The villain on the stage habitually looks out of the corners of his eyes. So does the mischievous ingenue. But the hero turns his whole head when he looks about. And the look of innocence in the eyes of the heroine is straightforward; her head is pointed directly in line with her gaze. _Apply the principle in your salesmanship._ When you observe a man who turns his head freely and easily for a square look at a person who comes into his presence, size him up as one who is not afraid to face either facts or people. If you note that another prospect glances obliquely at persons or objects, or that he habitually turns his eyes to one side or the other while keeping his head still, judge him to lack the characteristic of frankness. He is likely to be evasive and shifty in his dealings. Perhaps the sign you have perceived indicates no more than that your prospect is "stalling." It is evidence, nevertheless, that his mind is not meeting your ideas squarely. You will need to compel his attention to come back to your point, time and again perhaps.

[Sidenote: Strength Of Mind]

The full-arm movement denotes strength, and bigness of conceptions. A mere wrist gesture suggests littleness, flippancy, weak traits.

Similarly if a man walks from his hips, he suggests the characteristic of strong personal opinion. If he walks princ.i.p.ally from the knees, or over-uses his ankles and minces along, he indicates that his mind is not certain and that he holds his opinions weakly.

A straight gesture denotes pure _mentality_. A single-curved movement indicates some _emotion_, rather than only a thought. Action in a double curve suggests _power_ behind the expression.

[Sidenote: Honor and Straightforwardness]

A gesture outward from the chest and on the _same level_ denotes the qualities of honor and straightforwardness. If your prospect makes such a motion in response to some idea you present, he is thinking on the same man-level as yourself--he is treating you as his equal.

A characteristic movement of the arm _above_ the shoulders signifies vivid imagination, or impracticability. It may be read as an indication of lightness of character or of a tendency to go off on a tangent.

Conversely, gestures outward from the _lower_ part of the body denote power, or an inclination to depreciate values.

[Sidenote: Selfishness]

If a man gestures _toward_ himself, he indicates limited conceptions, or selfishness, with a tendency to materialize everything. Movements in any direction _away from_ the trunk of the body and on its level denote a.s.sertiveness, sincerity, creative ability, or willingness to cooperate in thought.

[Sidenote: Affirmation And Denial]

_Vertical_ movements suggest the _life_ of ideas, and symbolize _affirmation_. _Horizontal_ gestures accompany the _denial_ of ideas and the _death_ of interest. The _diagonal upward_ curve indicates _idealism_. A similar curve _downward_ is a sign that an idea presented to the imagination is _concretely realized_.

[Sidenote: Frankness and Dodging]

The person who gestures _directly in front_ of himself proves he is _willing to meet you face to face_ regarding the idea presented. But when a man gestures _slightly_ to one side or the other, he is not dodging. His movement denotes only that he is _thinking seriously_.

However, if you present ideas to a man who gestures _far_ to the right or left, you may feel certain that he is not giving his thoughts in harmony with yours, but probably is trying to get your ideas out of his mind.

[Sidenote: Study Tones]

While we have emphasized that "muscular indications" are of princ.i.p.al importance in making a certain size-up, the tones and words of the prospect should not be altogether neglected. Often a man will unintentionally reveal in his tones the very things he means his words to conceal. You would not depend on the words of a person if they were contradicted by his acts and tones.

Mental, emotive, and power characteristics are signified by various tone pitches. _The degree of a man's determination_ and his _persistence in thought_ are denoted by the _number of tone units_ he habitually employs when speaking. The _genuineness_ of a statement is suggested or disproved by the tone _intervals_ in the statement. "Yes" spoken in one unit without inflection means unqualified a.s.sent. "Y-es" in two tones may mean doubtful a.s.sent, or false agreement, or even a contradiction.

The _middle-of-the-mouth_ tone proves a _well balanced_ mind, in contrast with the _unreliable_ mind that is denoted by the _lip_ tone, and the _secretive_ mind which is suggested by the tone that comes from _far back_ in the mouth.

In a five minute conversation an alert observer who has studied a few of the elemental principles of tone a.n.a.lysis can size up a great many of the most p.r.o.nounced characteristics of a prospect.

[Sidenote: Don't Offend By Scrutiny]

It is better to make no size-up at all than to _strain_ in observing the other man and make him aware of your close scrutiny. Such an inartistic size-up impresses a prospect disagreeably. He feels that you are prying into his personal characteristics. Therefore _teach yourself to observe without seeming to look closely at the object of your size-up_. Learn to observe un.o.bserved; especially to perceive details without looking _sharply_. Your eyes and ears can take in specific points about your prospect without making their keen activity apparent.