DIY History | Transcribe | Hevelin Fanzines | Jinx, v. 2, issue 1, whole no. 5, June 1943

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Jinx, v. 2, issue 1, whole no. 5, June 1943

Page 4

4  
THE BEING THAT IS Lou Goldstone
A Handwriting Analysis by Graph Waldeyer

Although we have personal acquaintance with the being that is Lou Goldstone, we will attempt to demark his character solely from his handwriting; to convict him on the evidence of the graphological sign.

Lou is keenly appreciative of the best in art, literature and music. His capitals are the constructive type and his margins artistic. The clipped letters show dexterity with the pen and the punctiliously dotted "i's" reveal aptitude for fine, detailed work. Summed up, this all spells fine artist.
His talents are such that he can accomplish a great deal when the Divine Afflatus is churned up. But he will not drive himself when such promptings are absent. He never orders himself around. He has to be in the right mood. This is suggested by the very slender horizontal strokes in his writing — especially the "t" bars. Lou's "t-bars" are awfully frail strokes of the pen on which to support so much talent. Yet when activated from On High, he will set himself difficult tasks, and discharge them with more talent and craftsmanship than he knows what to do with the rest of the time.
There is ardor in the slant of his writing, but reserve and control in the compact lettering. He is an aesthete, but not a visionary. His attitude toward things outside of the aesthetic spheres is rather practical and matter of fact, as indicated by the lack of ascending letters. He doesn't take life or himself very seriously. Only Art rates that. He is keenly intuitive, with acute perceptions, and is mostly content to absorb impressions in this way, rather than by the more difficult method of thinking things out. His basic philosophy is "live and let live". 
Yet the Being that is Goldstone has very definite opinions, and there is a rigid quality in his writing indicating an unyielding determination. This determination is a sort of passive will. It is always there, but only gets into action when the Being is hit by a mood.
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PEDENTRY BY PROXY
At the time of his introduction to his future composer Arthur Sullivan, W. S. Gilbert has just completed a play in blank-verse called "The Palace of Truth". Since one of the characters was a musical pedant, it had been necessary for Gilbert to read the article on Harmony in the "Encyclopedia Britannica". From this Gilbert had taken a long sentence and without the slightest idea of its meaning had turned it into blank-verse. Curious to know whether a passage that sounded like nonsense to him would pass muster with a distinguished musician, he switched back into prose and fired it off at Sullivan at the moment of their introduction.
"I'm very glad to have the pleasure of meeting you, Mr. Sullivan, for you will be able to decide a question which has just arisen between my friend Fred Clay and myself. I maintain that if a composer has a musical theme to express, he can express it as perfectly upon the simple tetrachord of Mercury, in which — as I need not tell you — there are no diatonic intervals at all, as upon the much more complicated disdiapason (with the four tetrachords and the redundant note), which embraces in its perfect consonance all the simple, double and inverted chords."
Sullivan, though somewhat taken aback, appeared to be impressed. "Will you oblige me by repeating the question?" Gilbert's repetition was word-perfect. "Well," said Sullivan, "that's a very nice point you have raised. But I fear I cannot answer it off-hand. I should like to think it over before giving a definite reply." He must have considered it worthy of 30 years of thought, because Gilbert had not received an answer at his death.

This issue's cover is by Joe Gibson.

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4 THE BEING THAT IS Lou Goldstone A Handwriting Analysis by Graph Waldeyer Although we have personal acquaintance with the being that is Lou Goldstone, we will attempt to demark his character solely from his handwriting; to convict him on the evidence of the graphological sign. Lou is keenly appreciative of the best in art, literature and music. His capitals are the constructive type and his margins artistic. The clipped letters show dexterity with the pen and the punctiliously dotted "i's" reveal aptitude for fine, detailed work. Summed up, this all spells fine artist. His talents are such that he can accomplish a great deal when the Divine Afflatus is churned up. But he will not drive himself when such promptings are absent. He never orders himself around. He has to be in the right mood. This is suggested by the very slender horizontal strokes in his writing — especially the "t" bars. Lou's "t-bars" are awfully frail strokes of the pen on which to support so much talent. Yet when activated from On High, he will set himself difficult tasks, and discharge them with more talent and craftsmanship than he knows what to do with the rest of the time. There is ardor in the slant of his writing, but reserve and control in the compact lettering. He is an aesthete, but not a visionary. His attitude toward things outside of the aesthetic spheres is rather practical and matter of fact, as indicated by the lack of ascending letters. He doesn't take life or himself very seriously. Only Art rates that. He is keenly intuitive, with acute perceptions, and is mostly content to absorb impressions in this way, rather than by the more difficult method of thinking things out. His basic philosophy is "live and let live". Yet the Being that is Goldstone has very definite opinions, and there is a rigid quality in his writing indicating an unyielding determination. This determination is a sort of passive will. It is always there, but only gets into action when the Being is hit by a mood. -------------------- PEDENTRY BY PROXY At the time of his introduction to his future composer Arthur Sullivan, W. S. Gilbert has just completed a play in blank-verse called "The Palace of Truth". Since one of the characters was a musical pedant, it had been necessary for Gilbert to read the article on Harmony in the "Encyclopedia Britannica". From this Gilbert had taken a long sentence and without the slightest idea of its meaning had turned it into blank-verse. Curious to know whether a passage that sounded like nonsense to him would pass muster with a distinguished musician, he switched back into prose and fired it off at Sullivan at the moment of their introduction. "I'm very glad to have the pleasure of meeting you, Mr. Sullivan, for you will be able to decide a question which has just arisen between my friend Fred Clay and myself. I maintain that if a composer has a musical theme to express, he can express it as perfectly upon the simple tetrachord of Mercury, in which — as I need not tell you — there are no diatonic intervals at all, as upon the much more complicated disdiapason (with the four tetrachords and the redundant note), which embraces in its perfect consonance all the simple, double and inverted chords." Sullivan, though somewhat taken aback, appeared to be impressed. "Will you oblige me by repeating the question?" Gilbert's repetition was word-perfect. "Well," said Sullivan, "that's a very nice point you have raised. But I fear I cannot answer it off-hand. I should like to think it over before giving a definite reply." He must have considered it worthy of 30 years of thought, because Gilbert had not received an answer at his death. This issue's cover is by Joe Gibson.