The Trinal Approach to Personality

                                                                                  
Extract of an article first published in "Graphology" No 73, May 2006
© Usha Mullan, 2006 (for permission to reprint, contact author)

When doing an "in-depth" analysis Usha Mullan utilizes three different approaches to understanding the personality. By combining the primary  areas of her research: graphology, the Enneagram and projective drawings, she obtains a three dimensional perspective of the individual, which she finds is more comprehensive than that which could be obtained by the use of any one of these techniques on its own. She calls this the Trinal Approach. 

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Graphology is based on the observation and interpretation of graphic gestures which, when decoded, provide an insight into the human psyche. Drawing and handwriting have much in common: both are unconscious movements and an extension of personal expression. However, drawing (especially of an inanimate object, such as a tree) has the advantage of being less personal and somewhat removed from self-description. Whilst a person is typically aware that his handwriting and, more particularly, his signature are  attributed uniquely to him, he is less likely to identify less with his drawing of a tree. Where adults are concerned this is especially useful, as they are less likely to summon ego-defences when they draw. Drawing permits a freer expression and allows for undesirable personal traits or self-feelings to be projected onto an inanimate object. Analysts such as Ernst Kris (1952) theorized that in the process of creating something [drawing] the barrier between the Id and the Ego becomes "permeable and allows the unconscious material to reach the preconscious more readily".
 
The Analysis of Tree drawings is increasingly being used as a diagnostic tool in psychological and psychiatric evaluation and for therapeutic use. The Tree "test" is simple to administer and the lack of artistic skill does not interfere with the final analysis. The response time is short, and the standard of education of the drawer is of little importance. With handwriting a certain inhibition can hinder spontaneous movement as people are conscious of the appearance of their writing. The drawing of a tree, on the other hand, suffers no such constraining influence and has the advantage of being insensitive to nationality, level of literacy, language script or proficiency.  
            
The approach to the analysis of tree drawings is similar to graphology in many respects. Both rely on symbolism  as a means of communication, and both rely on the unconscious projection of the inner-self. Both are assessed as positive or negative depending on
the gestalt or the whole picture. Both are assessed in terms of structure, use of space, direction of movement, size, regularity and consistency of energy (seen through pressure) and the style or form used.
 
There are also differences. Whilst both use the symbolism of space, they differ in the way that space and time are understood. In the analysis of tree drawings, Koch  refers to Grunwald's interpretation of "time" and "space", as starting from the bottom of the page and moving upwards, vertically. Whilst in graphology, Max Pulver , viewed time and space as moving from the left hand corner of the page to the right, horizontally.

Handwriting in most scripts progresses from left to right,  whereas the tree grows upwards. In handwriting analysis the origin of the word is considered to be the lower left corner, while in the tree drawings the origin is the centre of the lower margin.  In handwriting, space is considered primarily in terms of a rectangle on its long axis, with time expressed in the left to right linear flow. In a Tree drawing, the progression of the developing life is compressed into the centre fold of the vertical page. The tree develops upwards towards the crown which expresses the expectations and goals of individuals.

As in graphology, the Tree drawing is analysed by reference to the three zones [upper, middle and lower].

 

One unique attribute of the Tree drawing analysis lies in its ability to date events that have left a negative impact on a person's life. These are seen as scars on the tree trunk or erasures and over-drawings. Graphology does not offer this capability. Episodes of a traumatic nature may not be consciously remembered by the drawer, but may be unconsciously represented in the drawing of the Tree. The act of putting pencil to paper can be therapeutic: drawing "problems" out into the open.
 
Dr. John Buck (1948) and Dr Graf von Wittgenstein, among others, recognised that scars on the trunk of a tree, broken or damaged branches almost invariably represented "felt scars" left by psychic trauma. This led to the Wittengenstein-Index by Koch and to the work of Dr Karen Bolander who developed a simple formula to correlate the relative position of the scar to the person's age.

The Enneagram enriches these two methodologies (Graphology and the analysis of Tree drawings).  This is an ancient typology, the origins of which probably lie in 5th century BC, reflecting Plato's philosophy and the mathematical genius of Pythagoras. The Enneagram remained largely obscure for centuries, and only a few select groups, based in the mountains of Afghanistan, preserved its knowledge, until it was re-introduced to the western world by G.Gurdjieff (1877-1949) and Oscar Ichazo (1931). They both set up schools for the understanding of personality, applying the philosophy of the Enneagram. Today the Enneagram is offered at Berkley College, California, as part of a psychology course. It has also been correlated with the DSM [Diagnostic and Statistical Manual of Mental Disorders]. 

The Enneagram can evaluate personality in its own right, based on observation and evaluation of completed questionnaires. This process is, however, laborious and subjective. Identifying the Enneagram Type through graphology makes it less subjective and is more time efficient. It also has the advantage of not requiring contact with the subject. Once the primary personality Type has been identified through the critical graphological signs, the dominant "wing" established, and the motivating or basic need identified, and the level of development assessed, the Enneagram's considerable capabilities can be assessed.

The Enneagram is unusual in that it is dynamic and presents intricate patterns of behaviour which make it unique. It provides for over four hundred sub-Types through its permutations and combinations, more than any other typology. It can trace development on a continuum, which gives it the ability to predict a set pattern of behaviour as the individual's personality develops or deteriorates. 

There are nine primary Types placed around the Enneagram circle. Understanding each Type with its own set of motivating factors, fixations and defence mechanisms provides depth and insight into an individual. The Types are classified under triads of anger, affect and fear; emotions that may obstruct development. Each Type is influenced by its neighbour ("wing") and by the dominant basic or motivating need. There is a fixed direction of movement for each personality Type: either developing towards "balance" or deteriorating in the direction of "imbalance".

The Trinal Approach

The combination of graphology, the analysis of Tree drawing, and the Enneagram provides a three-dimensional perspective of the individual which is more comprehensive than that which could be obtained by the use of any one of these techniques on its own.

Man is an individual. Each gesture or movement contains personal elements and a host of meanings. It is up to the analyst to unveil these hidden elements and recognise that a comprehensive understanding of the personality cannot be arrived at by one method alone. The more methodologies that can be called upon the more profound will be the final analysis.