body will seem to be gradually drawn to an
imaginary centre in the lower part of the trunk,--which simply means
withdrawing superfluous tension from every part. The exercise to help
establish this equilibrium is graceful, and not difficult if we take it
quietly and easily, using the mind to hold a balance without effort.
Raise the right arm diagonally forward, the left leg diagonally
back,--the arm must be high up, the foot just off the floor, so that as
far as possible you make a direct line from the wrist to the ankle; in
this attitude stretch all muscles across the body from left to right
slowly and steadily, then relax quite as slowly. Now, be sure your arm
and leg are free from all tension, and swing them very slowly, as if
they were one piece, to as nearly a horizontal position as they can
reach; then slowly pivot round until you bring your arm diagonally back
and your leg diagonally forward; still horizontal, pivot again to the
starting point; then bring leg down and arm up, always keeping them as
in a line, until your foot is again off the floor; then slowly lower
your arm and let your foot rest on the floor so that gradually your
whole weight rests on that leg, and the other is free to swing up and
pivot with the opposite arm. All this must be done slowly and without
strain of any kind. The motions which follow in sets are for the better
daily working of the body, as well as to establish its freedom. The
first set is called the "Big Rhythms," because it takes mainly the
rhythmic movement of the larger muscles of the body, and is meant,
through movements taken on one foot, to give a true balance in the
poise of the body as well as to make habitual the natural co-ordination
in the action of all the larger muscles. It is like practising a series
of big musical chords to accustom our ears to their harmonies. The
second set, named the "Little Rhythms,"--because that is a convenient
way of designating it,--is a series meant to include the movement of
all the smaller muscles as well as the large ones, and is carried out
even to the fingers. The third set is for spring and rapid motion,
especially in joints of arms and legs.

Of course having once found the body's natural freedom, the variety of
motions is as great as the variety of musical sounds and combinations
possible to an instrument which will respond to every tone in the
musical scale. It is in opening the way for this natural motion that
the exquisite possibil