How to Add Ten Years to your Life and to Double Its Satisfactions Part 18

MORNING LEAGUE QUESTIONS FOR REPORT

Text-books--"The Smile" and "How to Add Ten Years to Your Life"

After a week's exercise for a few minutes either on waking up or on retiring, write out a report of your experiences or answer the following questions. It is not necessary to repeat the questions, simply use figures. These questions follow the first series, published at the close of "The Smile."

22. Do you practice the exercises on waking in the morning?

23. What exercises do you usually take? How long?

24. What are some of the effects of these exercises?

25. How many times do you repeat each exercise?

26. Do you practice exercises in dual, triple, or quadruple rhythm?

27. Can you keep your chest expanded and laugh at the same time?

28. Can you keep your chest fully expanded and pivot the torso?

29. Do you feel great satisfaction after stretching?

30. What constrictions or congestions have you found?

a. In the region of the stomach b. Chest c. Neck d. Face e. Scalp f. Back

31. Do you find any special weaknesses?

32. Do you walk with expanded chest?

33. Do you walk rhythmically?

34. Can you keep your chest well expanded during the stretch?

35. Do you practice exercises standing at an open doorway?

36. Have you a pole from which you swing in your closet?

37. Do you sleep well?

38. What exercises do you take on retiring?

39. Do you relax completely in the middle of the day?

40. What chaotic movements have you discovered in your standing? In sitting? In walking? In lying down?

41. Do you breathe through your nose or through your mouth, especially when asleep?

42. Do you sleep with your windows wide open?

43. Can you laugh out a tone?

44. Taking a full breath and laughing, do your feel your throat pa.s.sive?

45. Can you co-ordinate an open throat and active retention of breath in laughing out a tone?

46. After walking a short distance do you feel exhilaration or depression?

47. Do you use soft gentle tones in every day conversation?

48. When talking to someone who speaks in a high pitch can you act in the opposite way, and speak in your softest tones?

49. Can you make tone as easily as you smile?

For other questions, see "The Smile."

Province Of Expression. Principles and method of developing delivery.

An Introduction to the study of the natural languages, and their relation to art and development. By S. S. Curry, Ph.D., Litt.D. $1.50; to teachers, $1.20, postpaid.

Your volume is to me a very wonderful book,--it is so deeply philosophic, and so exhaustive of all aspects of the subject.... No one can read your book without at least gaining a high ideal of the study of expression. You have laid a deep and strong foundation for a scientific system. And now we wait for the superstructure.--Professor Alexander Melville Bell.

It is a most valuable book, and ought to be instrumental in doing much good.--Professor J. W. Churchill, D.D.

A book of rare significance and value, not only to teachers of the vocal arts, but also to all students of fundamental pedagogical principle. In its field I know of no work presenting in an equally happy combination philosophic insight, scientific breadth, moral loftiness of tone, and literary felicity of exposition.--William F.

Warren, D.D., LL.D., of Boston University.

Lessons in Vocal Expression. The expressive modulations of the voice developed by studying and training the voice and mind in relation to each other. Eighty-six definite problems and progressive steps. By S. S.

Curry, Ph.D., Litt.D. $1.25; to teachers, $1.10, postpaid.

It ought to do away with the artificial and mechanical styles of teaching.--Henry W. Smith, A.M., Professor of Elocution, Princeton University.

Through the use of your text-book on vocal expression, I have had the past term much better results and more manifest interest on the subject than ever before.--A. H. Merrill, A.M., late Professor of Elocution, Vanderbilt University.

The subject is handled in a new and original manner, and cannot fail to revolutionize the old elocutionary ideas.--Mail and Empire, Toronto.

It is capital, good sense, and real instruction.--W. E. Huntington, LL.D., Ex-President of Boston University.

Imagination and Dramatic Instinct. Function of the imagination and a.s.similation in the vocal interpretation of literature and speaking. By S. S. Curry, Litt.D. $1.50; to teachers, $1.20, postpaid.

Dr. Curry well calls the attention of speakers to the processes of thinking in the modulation of the voice. Every one will be benefited by reading his volumes.... Too much stress can hardly be laid on the author's ground principle, that where a method aims to regulate the modulation of the voice by rules, then inconsistencies and lack of organic coherence begin to take the place of that sense of life which lies at the heart of every true product of art. On the contrary, where vocal expression is studied as a manifestation of the processes of thinking, there results the truer energy of the student's powers and the more natural unity of the complex elements of his expression.--Dr. Lyman Abbott, in The Outlook.