The Theory and Practice of Handwriting/Chapter 7

by John Jackson

CHAPTER VII

POSITIONS OF WRITER BOOK AND PEN

The Hygienic demands upon the teacher with respect to the teaching of Handwriting have already been fully established. The obligation cannot be evaded, for as we have seen in Chapter II. the posture in writing is a matter of the highest importance, and we must add of vital consequence. Moreover it must be understood here at the very outset that we tolerate no compromise with half measures or superficial treatment. The question is too grave to be tampered with, and no honest mind after reading the reports of medical men, who have given this special subject their most earnest attention, can remain indifferent to its claims.

Ever since the incursion of Slope have its followers been trying–but in vain–to find and fix the best posture of the body in the act of writing. Every conceivable attitude, from the extreme right side to an equally extreme left side position, has been in turn tried, advised, and ultimately abandoned, the bewildered experimentalists in despair giving it up and crying out with a last gasp "Sit as you like, everybody to his own fancy. It doesn't matter how you sit." Teachers have indeed been heard to say, (did I say teachers? I will add eminent Educationists have declared, even in print) that "rules for posture in writing are absurd. Every writer should find his own easiest position, hold the pen as he feels best he can, and move or tilt his book to suit his own convenience." This is after all not a bit surprising, for there are no lengths to which "Slopers" will not go to justify the obliquity of their penmanship: and so when "Sit up straight to the right," "Sit up straight to the left," and all the intermediate degrees of twist and erectness have been exhausted to no avail the only safety is in pooh-poohing the necessity of any rule at all. Hence we have had the convenient “carte blanche” system insisted upon for years by numerous exponents of the caligraphic art, scattering dismay through the ranks of all law-abiding teachers, and destruction through the masses of victimised pupils, whose misfortune it has been to come under their jurisdiction. This trilling with serious matters is not to be tolerated, it is unique in the whole range of Instruction and Education. In no other domain of Literature Science or Art is such a state of things permitted or even mooted.

Robust bodies and reckless minds may ignore and even deny the evil effects of bad postures, but in these days it can only be at the sacrifice of either veracity or prestige.

The straight upright position of the body then must be insisted upon, the arms of the writer being freely and equally placed on the desk–at what distance from the sides the elbows are to be, will be regulated by the relative heights of the desk and seat–the left hand steadying the book or paper in use. Every advantage must be taken of the back-rest (where it exists) as it is calculated not only to yield support and diminish or prevent weariness, but also to impart confidence to the writer and strength to the writing. Make the posture as natural and easy as possible, and the healthier it is, the better for both writer and writing. The head should not remain stiffly erect in a constrained manner, but should incline forward sufficiently to command the most perfect view of the writing, the feet being supported on a footrail or drawn up somewhat under the body.

Crossing the legs or sprawling them about is both undesirable, and injurious to the cause of good writing.

In the act of writing the body should be well braced up and held together; laziness and looseness of posture beget looseness and slovenliness in the caligraphy. A distance of from twelve to twenty inches or even more will thus be maintained between the eyes and the book, varying of course in accordance with the heights of the writer and of the desk.

If the opinions concerning bodily posture in writing have been countless and conflicting, equally so do we find them in the matter of position of the Copy Book. Nothing definite or determined has been arrived at amongst the advocates of Sloping Writing, but in striking contrast to all this uncertainty we have with Vertical or Hygienic writing but one possible position, and that is the straight middle position.

To Dr. Paul Schubert, the eminent oculist of Nürnberg, belongs the honour of triumphantly demonstrating by numerous measurements and observations the only practicable and truly Hygienic position of the Copy book. The results of his able and exhaustive experiments are given in the Journal of School Hygiene 1889, from which we quote largely in the following arguments.

The question as to what position of the Copy Book is hygienically the best and least dangerous to the spinal column and eye of the writing child has for many years been occupying the minds of teachers.

We have at the outset to distinguish between a middle position and a right position of the Copy Book according as the latter, in the writing, lies exactly in front of the middle of the body, or to the right of it.

Left positions do not concern us in right-handed penmanship.

Further we must make a distinction between straight and slanting positions of the Copy Book, according as its edges have or have not the same direction as the edge of the desk.

In our right-sloping caligraphy oblique position consists exclusively in making the upper edge of the Copy Book revolve towards the left.

There are accordingly four positions to be considered Straight and Oblique Middle positions, and Straight and Oblique Right positions. Each of these stands in closest relation to direction of writing.

In the Straight Middle Position only Vertical Writing can be produced, in the other three positions only the ordinary Sloping Writing.

If from the point of the writing pen a line is drawn towards the middle of the breast and termed the line of direction of the last written downstroke, then for all four positions of the Copy Book the proposition holds good that downstroke and line of direction approximately coincide. This relation can be confirmed by measurement in every School, where the children write without being subject to influence or constraint. Experiments made by Dr. Schubert with 316 Scholars embracing some 1586 measurements fully supported this hypothesis. It would lead too far to pursue in detail the process of movement in writing, in order to explain the agreement of the downstrokes with their lines of direction in every position of the Copy Book. Suffice it to say that the relation put forward is abundantly approved. Since therefore in Middle position the downstrokes stand perpendicular to the edge of the desk, they will stand perpendicular also to the edge of the Copy Book and to the writing line if the Copy Book is placed straight.

If however the latter be turned with its upper edge towards the left, the writing lines rise from left (below) to right (above) but the downstrokes remain as before perpendicular to the edge of the desk, hence they come to stand in a right oblique position as regards the writing line, and their obliquity depends on the degree of the turning of the Copy: we repeat consequently that Vertical Writing only can be written in Straight Middle Position, and Sloping Writing only in the oblique. In all right positions the downstrokes like their lines of direction stand right oblique to the edge of the desk. If now the edge of the Copy Book is parallel to the latter the letters stand just as oblique to the writing line also. Should the Copy Book be turned towards the left the inclination of the down strokes towards the writing line increases. But never in right position can vertical writing be produced; for to attain this object, the Copy Book would have to be turned in the direction in which the hands of a watch move, so that the lines would run from left above to right below. To write in this way is impossible.

Consequently in straight and oblique right positions, only sloping writing can be produced.

From this standpoint we then advance to the principal question viz. in which position of the Copy Book does the child adopt the best bodily posture, endangering or unduly burdening no organ? The most gratifying unanimity prevails with the whole body of investigators on the fact, that all right positions of the Copy Book are thoroughly injurious and utterly to be rejected.

For: They compel the head to turn to the right, the shoulders follow more or less, the right arm slips on the desk to the right and to a certain degree downwards, the left arm is pushed up causing the shoulder to rise, the right sinks, the spinal column loses its upright posture and assumes a bending towards the left, the body–to which this wearisome distortion becomes in the long run uncomfortable–collapses more and more, the lateral bending is accompanied by a similar one forward, and the head, approaching the writing in a way extremely threatening for the eye, even sinks down upon the left arm which is pushed before the middle of the body.

Beginnings of this bodily distortion are found in every child who adopts the right position of Copy Book, and in the majority of cases the result is really wonderfully Cramped postures, on which the stamp of danger to health is unmistakeably imprinted.

There are two organs in particular which are distressed by this, the Spinal Column and the eye, as we have seen in a previous chapter, for according to Dr. A. Baginsky amongst 1000 cases of crooked growth 887 or 88.7 per cent. took their rise between the ages of six and fourteen. Dr. Mayer found that the faulty posture of body, most frequently observed in the case of children writing with right position of Copy Book, exactly corresponded to the permanent distortions which were most common in those very school classes, viz. the C-shaped bend of the whole spinal column towards the left.

Dr. Schenk (“The Actiology of Scoliose” Berlin 1885), with instruments of very exact action examined and measured 200 children, with the result that 160 were found to sit at the writing so that they displaced the upper body opposite the pelvis towards the left, manifestly in order to convert, for the sake of easier production of sloping writing, the original middle position of the Copy Book into a right position. All these 160 were found to be more or less affected with pronounced curvature of the spine.^[1]

As to the position of the head, a bending forward is common and more or less necessary in all positions of the Copy Book, but the right position of the Copy Book requires two other movements, a turning of the head towards the right, and a moving forwards of the left eye which causes it to stand deeper or lower down than the right, thus constituting the first step in the deterioration of the whole bodily posture.

Fig. 25.

The eye is endangered by the right position because every deviation from an erect posture of body, every twisting of the trunk, and every cramping contraction of whatever kind bring the eyes nearer the writing and force them to stronger convergence of the lines of vision and to greater exertion of their power of accommodation by which the genesis of Shortsight is encouraged. (See Fig. 25.) These observations are the outcome of investigations by different authors such as Schmeller, Hähnel, Berlin, Florschütz, Remboldt, Schmidt-Rimpler, Seggel, Emmet, &c., which involved the examination of no less than 21,949 cases.

There is accordingly a sufficiency of reasons for prohibiting the right position of the Copy Book, and there appears to exist entire unanimity on this point amongst medical experts.

It remains only to determine whether the Straight Middle position with Vertical Writing, or the Oblique Middle position with Oblique Writing is the better. Here also observation and measurement are the decisive agents employed, which show that in oblique middle position the head is inclined considerably more than in straight middle position.

In 400 experiments in writing with straight middle position, the inclination amounted to 2.8°, but in 543 experiments with the Oblique middle position to 7.9°. In 258 positions of the copy where no directions were given but where the right position predominated, to 9° and in many extreme cases to 16°.

These results are borne out by general practice, and it is conclusively proved that the oblique middle position of the Copy Book not only induces the inclination of the head, but draws the body after it, bending and twisting the spinal column, thus producing according to Dr. Schenk that form of spinal curvature which we find described as the most frequent and characteristic school Scoliosis.

It is moreover an error to suppose that everything has been done, if the child is protected hygienically in the School building itself. The influence of the teacher is often limited to School hours, but in the question of caligraphy an excellent opportunity offers itself for demanding and exerting such influence in the preparation of home lessons, when the supervision of a teacher no longer exists. For if Vertical Writing be introduced into the School we may be sure that what is done at home is also, without any supervision whatever written in the Straight Middle position, as Vertical Writing can be produced in that position of the Copy Book only, and therefore there is no lateral Curvature of the spine.

Unless however the Straight Middle Position with its inseparable accompaniment Vertical Writing be insisted upon, there can and will be no security against the continuance of the prevailing evils, since Oblique Writing can be produced just as easily (if not indeed more easily) in the obnoxious and injurious Right positions of the copy book as in the Middle.

The final conclusion is then, that the Copy Book should lie before the writer, not outside to the right of him. Nevertheless we are not inclined to go quite so far as our German critics, who say that the middle line of the paper should if produced be coincident with the line down the middle of the chest or sternum as this position would necessitate the right hand stretching over, across and beyond the medial line. Such a requirement would inevitably bring with it a tilting or bending over of the entire upper trunk, which would cause a most painful twist of the spinal column.

The diagram (Fig. 26) will illustrate all the positions hitherto considered.

When in the middle straight position the book must be so

Fig. 26.

adjusted, laterally, that at no time is the writing carried to the left over the medial line of direction.

Any one can satisfy himself of the essential character of this restricting clause by testing in actual writing the postures as described.

Writing is easiest all round when the writing surface lies well before the writer in the straight position and covering the space bounded by the medial line on the one side and (shall we call it) the right shoulder line on the other, as indicated in No. 5 of the diagram above.

Position of the Pen

The pen should be held firmly but not tightly between the thumb and two fore-fingers. One writer informs us that the pen should be grasped only by the thumb and fore-finger but the experiment has only to be tried to entail a speedy abandonment. If the pen be properly held the first finger can at any time be lifted without danger of the pen falling from the hand. Whilst the thumb is bent up away from the ends of the fingers the latter are to be kept easily straight, perhaps slightly but only slightly bent and not approaching too near the point of the nib, or soiled and inky fingers will be the result. The end of the second finger may rest on the side of the penholder or may fall somewhat below it at the discretion of the teacher or writer. The penholder furthermore should ever remain on or above the principal knuckle of the fore-finger never being allowed to sink into the hollow near the second joint of the thumb. As to direction let the pen follow the hand and arm which are in one and the same straight line.

A common and not less pernicious habit is to allow the pen to take an outward direction to the right, when as an inevitable consequence the writing takes a backward slope and all the curves and lateral lines become thickened at the expense of the downstrokes, which attenuate off into hairlines imparting to the writing an appearance as peculiar as it is illegible. Broad nibs (as the J) conduce greatly to this abuse which appears to be prevalent amongst female writers.

Another danger is in holding the pen in a nearly upright position. This mistake often happens. People think vertical writing calls for a vertically held pen which latter brings in its train spluttering blots and not good temper. Let the pen slope at an angle of 40° or 45° to the paper, when it will be found to write with a maximum of ease and safety. Do not turn the pen on one side, but use, and press on, both points of the nib equally. Juveniles are particularly prone to write on the side of their pens, it being universal experience that the worst penmen hold their pens in the worst fashion. Instructors of youth in Elementary departments where pens are first used in the Writing Class should see to it that they are held in the correct way. A little labour bestowed on this point at the beginning of a child’s writing will save a ton of trouble in after years.

Eccentricities in the modes of holding the pen must not be entertained or encouraged for a moment, such as placing the pen between the first two fingers or between the 2nd and 3rd. These and similar vagaries are as absurd as they are clumsy and unscientific, and remind one of the directions given in a manual treating (in part) of writing and how it should be taught. Said this author “let your scholars hold their pens as they like; it is quite immaterial how they hold the pen so long as they learn to write well!”

Briefly then we may consider the positions to be as follow, of:–

1. The Writer; square, erect, easy, natural.
2. The Book; the Straight Middle Position.
3. The Pen; obliquely between thumb and two forefingers, in a line with arm.

By a consistent observance of these rules much will be done towards a great and marked improvement in the writing of our School-children.

At this point it will be appropriate to speak about the direction of the light under which children should write. Obviously pupils should not sit with their backs to the light, neither should a brilliant South light fall directly upon them from the front, the effect of which would be injury to the eyes from the insupportable glare and the reflection from white paper. Side lights are therefore to be preferred, and of the two the left side-light is superior and should be secured whenever possible. This conclusion harmonizes with general experience, in the office, the study and the Schoolroom.^[2]

It is highly gratifying to learn that on the Continent many Educational Bodies have decreed that Vertical Writing be adopted in their Schools, and have also issued directions and instructions for the use of their teachers.

For example, the Imperial and Royal National School Board of Bohemia appends to its decree concerning Vertical Writing the following recommendations to its teachers.

1. Careful attention should be paid to the strict maintenance of the straight middle position of the Book so that the lines of writing run parallel to the edge of the desk.
2. In the initial teaching the lines should be short. For this reason the pages of existing books must be divided by perpendicular strokes into two sections and be written consecutively like separate pages.
3. Copying from subject-matter lying sideways to the left is to be avoided, because otherwise the children would sit between the writing surface and the matter to be copied, and so the Middle position of the former would be lost.
4. Both lower arms must rest two-thirds on the desk, quite symmetrically, so that they meet before the middle of the body and there form a right angle. Both elbows, and therefore also the right, should be at least a handbreadth distant from the trunk.
5. The hand in the act of writing should be placed in such a way that the palm (the inner surface of the hand) is perpendicular to the desk, or only a little inclined to the left. The little finger edge of the palm must not touch the writing surface, the hand must rest on the outer edge of the nail joint of the little finger, which should be slightly bent like the ring finger resting on it, on which again, the middle finger and through it the whole group of the three fingers that guide the pen-holder have to be supported.
6. The pen-holder should be light, thick, not smooth, and suitably long. It should be lightly grasped at a distance of 3 c. m. from the point of the pen, the middle finger should be laid on the holder in such a way that the latter is pressed lightly against the middle of the nail-joint of the middle finger by the thumb lying on the left side. The fore-finger forms a plain curve without any cramping of its joints.
7. The upper end of the holder must be directed towards the elbow, but never towards the shoulder of the writer and be inclined about 45° to the surface of the writing. The pen should not be too fine but somewhat broad and elastic.
8. The writing arm must again and again be pushed to the right so that its successive positions always remain parallel. This gliding takes place on the nail-joint of the little finger, but not on the ball of the hand which should be slightly elevated over the base point of support.
9. The book or paper must, after every line, be pushed up accordingly, in order that a suitable distance may be always preserved between the point of the writing pen and the lower edge of the desk.
10. The upper body ought not to bend forward, the breast should not be supported on the edge of the desk, the head should be bent only slightly, the distance of the eyes from the writing should amount to from 30 to 35 c. m.
11. The writing never ought to last for a long time uninterruptedly, but should be broken by a few minutes at short intervals, and in the pause thus made easy free-exercises should be executed.
12. With respect to the fact that the first part of the primers hitherto in use is still written in the oblique style, the exercises in the reading and writing of the Vertical Style are to be taken on the black-board so long as no primers with Upright Penmanship are approved.

Other bodies are issuing similar instructions. Indeed the seven rules drawn up by the Commission on Vertical writing, appointed by the Society of Public Hygiene at Nürnberg, are identical with a corresponding number of those already given from the Bohemia School Board.

How closely these approximate to the English instructions formulated and circulated by the Author seven or eight years ago the reader can observe for himself.

No teacher need have the slightest hesitation in introducing and adopting the Upright Style and Posture. Even without a knowledge of the principles of the system, it can advantageously be employed in classes and schools with the assurance of satisfactory and superior results.

The only variation on the above canon is in Ornamental Penmanship, a subject which we do not contemplate discussing at length in this work. A passing reference is all that is necessary. The phrase includes the production of Ornate Alphabets such as Old English, German Text, and the like, and also the department of Striking or Flourishing which consists in embellishing alphabets or letters with free graceful and intricate curves, and further in striking out animals, birds and other objects in flourishing outlines with the pen. Our Writing Masters from the 16th Century to some fifty years ago excelled in this Artistic acquirement, indeed their specimens of elaborate design and flourish are something wonderful to behold. In order to arrive at any degree of perfection in this branch an immense amount of time and much laborious practice are required. Consequently Ornamental Penmanship is now almost entirely relegated to the lithographer and engraver, as even were it easily acquired (which it is not) the pressure of modern commercial life would render it both superfluous and impracticable. Hence nothing beyond plain Handwriting is taught in our best Schools, and Writing Masters, whose recommendations consisted in the marvellous Caligraphic and beautifully written specimens of flourishing Designs they could display, have disappeared and left not a vestige behind, save in the preservation of some of their Masterpieces in our National Museums and Libraries.

The rules for holding the pen in flourishing are quite different to those obtaining in plain writing. The pen should point quite outwards to the right and the two forefingers must be bent up and not kept straight or nearly so as in ordinary current hand.

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1. See Appendix III. for further details.
2. The light must be sufficiently strong and fall on the table from the left-hand side, and, as far as possible, from above (Dr. R. Liebrich, “School-life in its influence on Sight.”).