How to Add Ten Years to your Life and to Double Its Satisfactions, S. S. Curry [best romance books of all time TXT] 📗
- Author: S. S. Curry
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In this exercise be sure to accentuate the four elemental parts of an exercise. Taking breath, the active stay of the breath, the gradual release and then the complete surrender of the direct respiratory muscles: that is, accentuate the four steps or elements as in most exercises and avoid the temptation to jerk and to exaggerate minor parts or actions. Constrictions, inharmonious and unrhythmic jerks are always out of place in any exercise. The best results can be obtained only by observance of principles.
Do not force the breath out. Allow it to pass out easily and normally. Increase the inspiration rather than the expiration. The air will tend to pass out too quickly, reserve it and allow it to pass out steadily and regularly.
We find that the taking of breath is associated with the result of expansion and vitally connected with the conception of impressions and expression, and so is a necessary part.
The expanding of the chest causes greater room in the thoracic chamber and breath flows in naturally. This exercise, however, implies that we should consciously and deliberately accentuate expansion and the taking of breath. It aids in the realization of life and the diffusion of activity.
Man breathes over twenty-five thousand times in twenty-four hours. He can get along very well on two or three meals of food and six or eight glasses of water, but with as low as fourteen thousand breaths a day, he is flat on his back and has hardly enough power to move hand or foot.
We live on air. This is one reason why the expansion of the chest is so important. It gives room for breath. In fact, in breathing we do not suck breath into the lungs. Air presses fifteen pounds to the square inch to get into the lungs. Expansion is, therefore, the primary element in breathing. We should, however, at times not only expand fully but consciously draw in breath. We can expand the chest while sustaining it and drink breath into the very depths of our lungs.
Thus the exercise requires us to take as much breath as possible, to retain it a moment, then slowly give it up and at last to relax completely the diaphragm, all the time sustaining the chest expansion. Preserve still the quadruple rhythm. Of course the exercise can be done with dual rhythm, and it will be helpful, but the accentuation of all four of the primary actions will accomplish more than double the beneficial results not only for health but for the voice. It develops the retental action of the breath. A true use of the voice demands a full chest. This exercise strengthens the muscles that reserve the breath and support the tone.
The process of respiration is most directly necessary to all the actions of the human organs. It is an essential part of circulation. The breath we take meets the blood. The blood is carried from the heart through the lungs and back to the heart, then out through every organ of the body and back again to the heart. The whole circulation is a mighty process by which the blood receives sustenance, bears this to every organ of the body and carries back the refuse which is oxidized and given out by the lungs. The blood, according to the earliest tradition, is the life.
All ancient writers on long life "regard the control of the breath as a fundamental sign." A person with little control of his breathing is doomed to a short life.
Nature has so constituted us that at the moment of some excitement, or the reception of some impression, or the instant we try to do something unusual, we take a greater amount of breath. In any exercise, always allow the breathing to act freely. Observe that breathing is the initiatory act or condition of all human effort. It is a sign of the reception of an impression and is thus one of the conditional acts of expression. Breathe deeply and freely at all times. A deliberative breathing exercise, such as the preceding, strengthens all the respiratory muscles and corrects abnormal tendencies.
5. PRIMARY CO-ORDINATION IN LEVITATIONSimultaneously lift and expand the summit of the chest as you actively extend the balls of the feet downwards.
The opposition between the lifting of the chest and extending the balls of the feet takes place in all good positions in standing and walking. This exercise initiates or accentuates the co-ordination of the muscles used in standing. It tends also to harmonize and bring into unity all the conditions so far attained, and gives practical application to those parts of the body which are active all day, in standing, walking and in sitting.
All exercises must be performed rhythmically. There are many elements in rhythm, one is activity and passivity, and another is the alternation of parts:—one limb is active and this helps alternation or rhythm.
6. HARMONIC AND RHYTHMIC EXTENSIONLift the chest and extend the right foot downward, then lift the chest with the downward extension of the left foot, rhythmically alternating from one to the other. This is the first step in the development of rhythm.
This alternation is still more akin to the action of the body in standing and walking.
Allow the hip to extend outward on the same side which is being extended.
Co-ordination, that is a simultaneous and sympathetic union of many parts in one action or a harmonious variation of a primary response in many parts, is one of the primary characteristics of the organism. It can be secured by a certain feeling that the whole nature shares in the exercise, that the whole body responds to the whole being of man. It is a direct expression of joy and sympathy. In an involuntary performance there is always less co-ordination than in a sympathetic motion. These are feelings vitally necessary to co-ordination and we must not only have and feel them, we must express them in the body.
The alternation of exercises introduces rhythm, which has been found to be one of the most fundamental elements in training. Rhythm consists of proportion in time. This proportion is in alternation: alternation of activity and passivity, and in alternation of one part with another, as in walking.
Rhythm is the continuity of co-ordinations. Co-ordinations cannot be properly preserved without rhythm nor can there be rhythm without co-ordinations.
The exercises 2 to 6 should all be included in No. 1. They should also be individually practiced in order to accomplish the best results and to avoid the omission of any of these primary elements which should be present in and co-ordinate every true exercise.
After being practiced individually, exercise No. 1 should be practiced several times with a greater co-ordinating union of all the elements. The feeling of satisfaction and joy should be realized at once.
7. CO-ORDINATION OF PRIMARY CONDITIONSRepeat Exercise No. 1; stretch first the right arm and also the leg, bend the left arm and left leg and so on in alternation. Preserve all the movements.
The difference between this exercise and No. 1 is the stretching of each side in alternation. The same elements should be included.
8. PRIMARY CO-ORDINATE VOICE CONDITIONSSustaining all the foregoing conditions; extension, expansion and diffusion of feeling, the retention of the breath and the simultaneous openness and relaxation of the throat, laugh low but heartily:—ha ha, he he, etc.
The tone should be soft and pure. The softer the better. If there is any danger of waking or disturbing someone the exercise should not be omitted but practiced softly.
Joy must not only be felt, it must be expressed. This series of exercises is based upon the fact that the greatest exercises are expressive movements. The smile on the face and active laughter should be used as direct exercises, not only for the body but also for the voice.
This exercise implies some understanding of the fundamental elements of vocal training. The primary co-ordination of voice conditions, that is, the sympathetic, harmonious and elastic retention of the breath causing the co-ordinate passivity at the throat has been explained in "Mind and Voice." This was my discovery and the mastery of it has helped thousands out of ministerial sore throats and other abnormal conditions, and, to my mind, is proved as a fundamental principle. It is of the utmost importance that this little exercise should be practiced in accordance with the principle. The great point of the exercise is the elastic, sympathetic retention of the greatest possible amount of breath and the simultaneous passivity and openness of the throat. The study of laughter or the best possible tone anyone can make will enable him to realize this deep but simple principle.
The effect of this exercise is to centre the breath and to harmonize the activities of the whole man. The central organs should always be exercised before the organs of the surface. The laughter must be sincere, genuine, hearty and natural.
No one can imagine what wonderful effects can be brought to the voice by such simple exercises as these. The voice is an index, not only to mental and emotional conditions but to health. The voice cannot improve truly without improving health.
We reserve breath and have a certain sympathetic fullness due to retention of the breath in the middle of the body. Simultaneously there is an openness of the whole throat and tone passage. All the organs of voice are thus brought into right conditions. When this condition is violated there is a misuse of the voice.
Vocal training consists in the use of such simple exercises as will establish all these conditions that have been mentioned, especially the last. The conditions of voice must be co-ordinated, the vocal organs must respond to thinking and feeling. We cannot ignore, we must demonstrate on every plane. Man is given the greatest opportunity for progress. It is an opportunity he must take. There is no growth, no advance without labor. The labor may not be voluntary, it may not be hard, but man has his work to do. It is a joyous work. Man has an instinctive desire for right exercise which will enable him to really unfold his faculties and demonstrate his powers.
9. FREEDOM OF VITAL ORGANSLying as before, placing both hands flat upon the stomach, keeping the body extended and expanded, breathing full and free, manipulate in a circular, triple rhythm or backward and forward, in dual rhythm, all the vital organs. The thumbs may be placed up under the floating ribs.
This exercise is usually given first in Swedish medical gymnastics. It is especially for the stomach, though it has a vital action upon the liver and other organs. Such manipulations are beneficial to a dyspeptic or to one suffering from congestion of the liver, or from constipation. It is a very important exercise and stimulates all the parts so that they will receive more benefit from the following exercises.
When any particular part, such as the stomach or liver, is found a little tender or sore, special attention should be given to this spot.
10. FREEDOM OF THE TORSOPreserving primary conditions, turn the hips vigorously as far as possible one way and then the other.
This gives a vigorous twist through the centre of the body. It affects the stomach, liver and all the vital organs, and if the chest is kept expanded and a full breath is retained, it greatly affects the diaphragm and action of the respiratory muscles.
These movements may be taken also with dual and with quadruple rhythm. If done slowly and steadily, in true rhythm and sequence, they will accomplish surprising results, and bring about a deep harmony. If there is congestion the exercise should be performed twenty or twenty-five times.
This exercise
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