The reading of what constituted the first chapter stopped at this point. G. listened attentively the whole time. He sat on a sofa, with one leg tucked beneath him, drinking black coffee from a tumbler, smoking and sometimes glancing at me. I liked his MOVEMENTS, which had a great deal of a kind of feline grace and assurance; even in his silence there was something which distinguished him from others. I felt that I would rather have met him, not in Moscow, not in this flat, but in one of those places from which I had so recently returned, in the court of one of the Cairo mosques, in one of the ruined cities of Ceylon, or in one of the South Indian temples — Tanjore, Trichinopoly, or Madura. Fragments: One

“My ballet is not a ‘mystery,’” said G. “The object I had in view was to produce an interesting and beautiful spectacle. Of course there is a certain meaning hidden beneath the outward form, but I have not pursued the aim of exposing and emphasizing this meaning. An important place in the ballet is occupied by certain dances. I will explain this to you briefly. Imagine that in the study of the MOVEMENTS of the heavenly bodies, let us say the planets of the solar system, a special mechanism is constructed to give a visual representation of the laws of these MOVEMENTS and to remind us of them. In this mechanism each planet, which is represented by a sphere of appropriate size, is placed at a certain distance from a central sphere representing the sun. The mechanism is set in motion and all the spheres begin to rotate and to move along prescribed paths, reproducing in a visual form the laws which govern the MOVEMENTS of the planets. This mechanism reminds you of all you know about the solar system. There is something like this in the rhythm of certain dances. In the strictly defined MOVEMENTS and combinations of the dancers, certain laws are visually reproduced which arc intelligible to those who know them. Such dances are called ‘sacred dances.’ In the course of my travels in the East I have many times witnessed such dances being performed during sacred services in various ancient temples. Some of these dances are reproduced in The Struggle of the Magicians.’ More-over there are three ideas lying at the basis of “The Struggle of the Magi­cians.’ But if I produce the ballet on the ordinary stage the public will never understand these ideas.” Fragments: One

I was particularly interested when G. said that the same performers would have to act and dance in the “White Magician” scene and in the “Black Magician” scene; and that they themselves and their MOVEMENTS had to be attractive and beautiful in the first scene and ugly and discordant in the second. Fragments: One

“To establish this fact for oneself, to understand it, to be convinced of its truth, means getting rid of a thousand illusions about man, about his being creative and consciously organizing his own life, and so on. There is nothing of this kind. Everything happens — popular MOVEMENTS, wars, revolutions, changes of government, all this happens. And it happens in exactly the same way as everything happens in the life of individual man. Man is born, lives, dies, builds houses, writes books, not as he wants to, but as it happens. Everything happens. Man does not love, hate, desire — all this happens. Fragments: One

“But the whole thing is: how?” he said. “It is necessary to know a great deal in order to understand that. What is war? It is the result of planetary influences. Somewhere up there two or three planets have approached too near to each other; tension results. Have you noticed how, if a man passes quite close to you on a narrow pavement, you become all tense? The same tension takes place between planets. For them it lasts, perhaps, a second or two. But here, on the earth, people begin to slaughter one another, and they go on slaughtering maybe for several years. It seems to them at the time that they hate one another; or perhaps that they have to slaughter each other for some exalted purpose; or that they must defend somebody or something and that it is a very noble thing to do; or something else of the same kind. They fail to realize to what an extent they are mere pawns in the game. They think they signify something; they think they can move about as they like; they think they can decide to do this or that. But in reality all their MOVEMENTS, all their actions, are the result of planetary influences. And they themselves signify literally nothing. Then the moon plays a big part in this. But we will speak about the moon separately. Only it must be understood that neither Emperor Wilhelm, nor generals, nor ministers, nor parliaments, signify anything or can do anything. Everything that happens on a big scale is governed from outside, and governed either by accidental combinations of influences or by general cosmic laws.” Fragments: One

He told me a great deal about carpets which, as he often said, represented one of the most ancient forms of art. He spoke of the ancient customs connected with carpet making in certain parts of Asia; of a whole village working together at one carpet; of winter evenings when all the villagers, young and old, gather together in one large building and, dividing into groups, sit or stand on the floor in an order previously known and determined by tradition. Each group then begins its own work. Some pick stones and splinters out of the wool. Others beat out the wool with sticks. A third group combs the wool. The fourth spins. The fifth dyes the wool. The sixth or maybe the twenty-sixth weaves the actual carpet. Men, women, and children, old men and old women, all have their own traditional work. And all the work is done to the accompaniment of music and singing. The women spinners with spindles in their hands dance a special dance as they work, and all the MOVEMENTS of all the people engaged in different work are like one movement in one and the same rhythm. Moreover each locality has its own special tune, its own special songs and dances, connected with carpet making from time immemorial. Fragments: Two

This fakir was not merely a clever juggler like those I saw in Ceylon, although he was undoubtedly a “professional.” I had been told that, in the court of the Aurangzeb Mosque on the bank of the Ganges, there was a fakir lying on a bed studded with iron nails. This sounded very mysterious and terrifying. But when I arrived the bed with iron nails alone was there, without the fakir; the fakir, I was told, had gone to fetch the cow. The second time I went the fakir was there. He was not lying on his bed and, so far as I could understand, he only got on it when spectators came. But for a rupee he showed me all his skill. He really did lie almost entirely naked on the bed which was covered with long rather sharp iron nails. And, although he evidently took care not to make any quick MOVEMENTS, he turned round on the nails, lay upon them on his back, his sides, his stomach, and obviously they neither pricked nor scratched him. I took two photographs of him but I could give myself no explanation of the meaning of this phenomenon. The fakir did not produce the impression of being either an intelligent or a religious man. His face wore a dull, bored, and indifferent expression, and there was nothing in him that spoke of aspirations toward self-sacrifice or self-torture. Fragments: Three

“The influence of the moon upon everything living manifests itself in all that happens on the earth. The moon is the chief, or rather, the nearest, the immediate, motive force of all that takes place in organic life on the earth. All MOVEMENTS, actions, and manifestations of people, animals, and plants depend upon the moon and are controlled by the moon. The sensitive film of organic life which covers the earthly globe is entirely dependent upon the influence of the huge electromagnet that is sucking out its vitality. Man, like every other living being, cannot, in the ordinary conditions of life, tear himself free from the moon. All his MOVEMENTS and consequently all his actions are controlled by the moon. If he kills another man, the moon does it; if he sacrifices himself for others, the moon does that also. All evil deeds, all crimes, all self-sacrificing actions, all heroic exploits, as well as all the actions of ordinary everyday life, are controlled by the moon. Fragments: Five

” ‘Matter’ may be regarded as consisting of ‘atoms.’ Atoms in this connection are taken also as the result of the final division of matter. In every order of matter they are simply certain small particles of the given matter which are indivisible only on the given plane. The atoms of the Absolute alone are really indivisible, the atom of the next plane, that is, of world 3, consists of three atoms of the Absolute or, in other words, it is three times bigger and three times heavier, and its MOVEMENTS are correspondingly slower. The atom of world 6 consists of six atoms of the Absolute merged together, as it were, and forming one atom. Its MOVEMENTS are correspondingly slower. The atom of the next world consists of twelve primordial particles, and of the next worlds, of twenty-four, forty-eight, and ninety-six. The atom of world 96 is of an enormous size compared with the atom of world 1; its MOVEMENTS are correspondingly slower, and the matter which is made up of such atoms is correspondingly denser. Fragments: Five

The moon is the weight on a clock. Organic life is the mechanism of the clock brought into motion by the weight. The gravity of the weight, the pull of the chain on the cogwheel, set in motion the wheels and the hands of the clock. If the weight is removed all MOVEMENTS in the mechanism of the clock will at once stop. The moon is a colossal weight hanging on to organic life and thus setting it in motion. Whatever we may be doing, whether it is good or bad, clever or stupid, all the MOVEMENTS of the wheels and the hands of our organism depend upon this weight, which is continually exerting its pressure upon us. Fragments: Five

“At the same time as we watch the work of the centers we shall observe, side by side with their right working, their wrong working, that is, the working of one center for another; the attempts of the thinking center to feel or to pretend that it feels, the attempts of the emotional center to think, the attempts of the moving center to think and feel. As has been said already, one center working for another is useful in certain cases, for it preserves the continuity of mental activity. But in becoming habitual it becomes at the same time harmful, since it begins to interfere with right working by enabling each center to shirk its own direct duties and to do, not what it ought to be doing, but what it likes best at the moment. In a normal healthy man each center does its own work, that is, the work for which it was specially destined and which it can best perform. There are situations in life which the thinking center alone can deal with and can find a way out of. If at this moment the emotional center begins to work instead, it will make a muddle of everything and the result of its interference will be most unsatisfactory. In an ‘unbalanced kind of man the substitution of one center for another goes on almost continually and this is precisely what ‘being unbalanced’ or ‘neurotic’ means. Each center strives, as it were, to pass its work on to another, and, at the same time, it strives to do the work of another center for which it is not fitted. The emotional center working for the thinking center brings unnecessary nervousness, feverishness, and hurry into situations where, on the contrary, calm judgment and deliberation are essential. The thinking center working for the emotional center brings deliberation into situations which require quick decisions and makes a man incapable of distinguishing the peculiarities and the fine points of the position. Thought is too slow. It works out a certain plan of action and continues to follow it even though the circumstances have changed and quite a different course of action is necessary. Besides, in some cases the interference of the thinking center gives rise to entirely wrong reactions, because the thinking center is simply incapable of understanding the shades and distinctions of many events. Events that are quite different for the moving center and for the emotional center appear to be alike to it. Its decisions are much too general and do not correspond to the decisions which the emotional center would have made. This becomes perfectly clear if we imagine the interference of thought, that is, of the theoretical mind, in the domain of feeling, or of sensation, or of movement; in all three cases the interference of the mind leads to wholly undesirable results. The mind cannot understand shades of feeling. We shall see this clearly if we imagine one man reasoning about the emotions of another. He is not feeling anything himself so the feelings of another do not exist for him. A full man does not understand a hungry one. But for the other they have a very definite existence. And the decisions of the first, that is of the mind, can never satisfy him. In exactly the same way the mind cannot appreciate sensations. For it they are dead. Nor is it capable of controlling movement. Instances of this kind are the easiest to find. Whatever work a man may be doing, it is enough for him to try to do each action deliberately, with his mind, following every movement, and he will see that the quality of his work will change immediately. If he is typing, his fingers, controlled by his moving center, find the necessary letters themselves, but if he tries to ask himself before every letter: ‘Where is “k”?’ ‘Where is the comma?’ ‘How is this word spelled?’ he at once begins to make mistakes or to write very slowly. If one drives a car with the help of one’s mind, one can go only in the lowest gear. The mind cannot keep pace with all the MOVEMENTS necessary for developing a greater speed. To drive at full speed, especially in the streets of a large town, while steering with the help of one’s mind is absolutely impossible for an ordinary man. Fragments: Six

“Even at the first attempt to study the elementary activity of the moving center a man comes up against habits. For instance, a man may want to study his MOVEMENTS, may want to observe how he walks. But he will never succeed in doing so for more than a moment if he continues to walk in the usual way. But if he understands that his usual way of walking consists of a number of habits, for instance, of taking steps of a certain length, walking at a certain speed, and so on, and lie tries to alter them, that is, to walk faster or slower, to take bigger or smaller steps, he will be able to observe himself and to study his MOVEMENTS as he walks. If a man wants to observe himself when he is writing, he must take note of how he holds his pen and try to hold it in a different way from usual; observation will then become possible. In order to observe himself a man must try to walk not in his habitual way, he must sit in unaccustomed attitudes, he must stand when he is accustomed to sit, he must sit when he is accustomed to stand, and he must make with his left hand the MOVEMENTS he is accustomed to make with his right hand and vice versa. All this will enable him to observe himself and study the habits and associations of the moving center. Fragments: Six

But G. did not call actions governed by the moving center “automatic.” He used the name “automatic” only for the actions which a man performs imperceptibly for himself. If the same actions are observed by a man, they cannot be called “automatic.” He allotted a big place to automatism, but regarded the moving functions as distinct from the automatic functions, and, what is most important, he found automatic actions in all centers; he spoke, for instance, of “automatic thoughts” and of “automatic feelings.” When I asked him about reflexes he called them “instinctive actions.” And as I understood from what followed, among external MOVEMENTS he considered only reflexes to be instinctive actions. Fragments: Six

First of all G. drew attention to the constant misuse of the words “instinct” and “instinctive.” It transpired from what he said that these words could be applied, by rights, only to the inner functions of the organism. The beating of the heart, breathing, the circulation of blood, digestion — these were instinctive functions. The only external functions that belong to this category are reflexes. The difference between instinctive and moving functions was as follows: the moving functions of man, as well as of animals, of a bird, of a dog, must be learned; but instinctive functions are inborn. A man has very few inborn external MOVEMENTS; an animal has more, though they vary, some have more, others have less; but that which is usually explained as “instinct” is very often a series of complex moving functions which young animals learn from older ones. One of the chief properties of the moving center is its ability to imitate. The moving center imitates what it sees without reasoning. This is the origin of the legends that exist about the wonderful “intelligence” of animals or the “instinct” that takes the place of intelligence and makes them perform a whole series of very complex and expedient actions. Fragments: Six

“For this purpose a man must learn to take, so to speak, ‘mental photographs’ of himself at different moments of his life and in different emotional states: and not photographs of details, but photographs of the whole as he saw it. In other words these photographs must contain simultaneously everything that a man can see in himself at a given moment. Emotions, moods, thoughts, sensations, postures, MOVEMENTS, tones of voice, facial expressions, and so on. If a man succeeds in seizing interesting moments for these photographs he will very soon collect a whole album of pictures of himself which, taken together, will show him quite clearly what he is. But it is not so easy to learn how to take these photographs at the most interesting and characteristic moments, how to catch characteristic postures, characteristic facial expressions, characteristic emotions, and characteristic thoughts. If the photographs are taken successfully and if there is a sufficient number of them, a man will see that his usual conception of himself, with which he has lived from year to year, is very far from reality. Fragments: Eight

“It must be understood that man consists of two parts: essence and personality. Essence in man is what is his own. Personality in man is what is ‘not his own.’ ‘Not his own’ means what has come from outside, what he has learned, or reflects, all traces of exterior impressions left in the memory and in the sensations, all words and MOVEMENTS that have been learned, all feelings created by imitation — all this is ‘not his own,’ all this is personality. Fragments: Eight

“The moving center works with ‘hydrogen’ 24. ‘Hydrogen* 24 is many times quicker and more mobile than ‘hydrogen’ 48. The intellectual center is never able to follow the work of the moving center. We are unable to follow either our own MOVEMENTS or other people’s MOVEMENTS unless they are artificially slowed down. Still less are we able to follow the work of the inner, the instinctive functions of our organism, the work of the instinctive mind which constitutes, as it were, one side of the moving center. Fragments: Nine

I think it was at about ten o’clock that he called me, Dr. S., and Z. into a small separate room. We sat on the floor “Turkish fashion” and G. began to explain and to show us certain postures and physical MOVEMENTS. I could not help noticing that there was an astonishing assurance and precision in all his MOVEMENTS although the MOVEMENTS and postures themselves did not present any particular problem and a good gymnast could have done them without exceptional difficulty. I had never had any pretensions to the role of an athlete but I could imitate them outwardly. G. explained that although a gymnast could of course do these MOVEMENTS the gymnast would do them in a different way from him and that he did them in a special way with muscles relaxed. Fragments: Thirteen

I felt so much in this word that for some time I did not hear myself what I was saying. But after I had collected my thoughts I saw that they were listening to me and that I had explained everything I had not understood myself on the way to the meeting. This gave me an extraordinarily strong and clear sensation as though I had discovered for myself new possibilities, a new method of perception and understanding by giving explanations to other people. And under the impetus of this sensation, as soon as I had said that examples or analogies of the transition of the forces 1, 2, 3 and 1, 3, 2 must be found in the real world, I at once saw these examples both in the human organism and in the astronomical world and in mechanics in the MOVEMENTS of waves. Fragments: Thirteen

“It is possible to experience the enneagram by movement,” he said. “The rhythm itself of these MOVEMENTS would suggest the necessary ideas and maintain the necessary tension; without them it is not possible to feel what is most important.” Fragments: Fourteen

“Besides, a grain of truth in an unaltered form is sometimes found in pseudo­esoteric MOVEMENTS, in church religions, in occult and theosophical schools. It may be preserved in their writings, their rituals, their traditions, their conceptions of the hierarchy, their dogmas, and their rules. Fragments: Fifteen

“If a man were able to work on himself everything would be very simple and schools would be unnecessary. But he cannot, and the reasons for this lie very deep in his nature. I will leave for the moment his insincerity with himself, the perpetual lies he tells himself, and so on, and take only the division of the centers. This alone makes independent work on himself impossible for a man. You must understand that the three principal centers, the thinking, the emotional, and the moving, are connected together and, In a normal man, they are always working in unison. This unison is what presents the chief difficulty in work on oneself. What is meant by this unison? It means that a definite work of the thinking center is connected with a definite work of the emotional and moving centers — that is to say, that a certain kind of thought is inevitably connected with a certain kind of emotion (or mental state) and with a cer­tain kind of movement (or posture); and one evokes the other, that is, a certain kind of emotion (or mental state) evokes certain MOVEMENTS or postures and certain thoughts, and a certain kind of movement or posture evokes certain emotions or mental states, and so forth. Everything is connected and one thing cannot exist without another thing. Fragments: Seventeen

“Every race,” he said, “every nation, every epoch, every country, every class, every profession, has its own definite number of postures and MOVEMENTS. These MOVEMENTS and postures, as things which are the most permanent and unchangeable in man, control his form of thought and his form of feeling. But a man never makes use of even all the postures and MOVEMENTS possible for him. In accordance with his individuality a man takes only a certain number of the postures and MOVEMENTS possible for him. So that each individual man’s repertory of postures and MOVEMENTS is very limited. Fragments: Seventeen

“The character of the MOVEMENTS and postures in every epoch, in every race, and in every class is indissolubly connected with definite forms of thinking and feeling. A man is unable to change the form of his thinking or his feeling until he has changed his repertory of postures and MOVEMENTS. The forms of thinking and feeling can be called the postures and MOVEMENTS of thinking and feeling. Every man has a definite number of thinking and feeling postures and MOVEMENTS. Moreover moving, thinking, and feeling postures are connected with one another in man and he can never move out of his repertory of thinking and feeling postures unless he changes his moving postures. An analysis of man’s thoughts and feelings and a study of his moving functions, arranged in a certain way, show that every one of our MOVEMENTS, voluntary or involuntary, is an unconscious transition from one posture to another, both equally mechanical. Fragments: Seventeen

“It is illusion to say our MOVEMENTS are voluntary. All our MOVEMENTS are automatic. Our thoughts and feelings are just as automatic. The automatism of thought and feeling is definitely connected with the automatism of movement. One cannot be changed without the other. So that if a man’s attention is concentrated, let us say, on changing automatic thoughts, then habitual MOVEMENTS and habitual postures will interfere with this new course of thought by attaching to it old habitual associations. Fragments: Seventeen

“In ordinary conditions we have no conception how much our thinking, feeling, and moving functions depend upon one another, although we know, at the same time, how much our moods and our emotional states can depend upon our MOVEMENTS and postures. If a man takes a posture which with him corresponds to a feeling of sadness or despondency, then within a short time he is sure to feel sad or despondent. Fear, disgust, nervous agitation, or, on the other hand, calm, can be created by an intentional change of posture. But as each of man’s functions, thinking, emotional, and moving, has its own definite repertory all of which are in constant interaction, a man can never get out of the charmed circle of his postures. Fragments: Seventeen

“In order to oppose this automatism and gradually to acquire control over postures and MOVEMENTS in different centers there is one special exercise. It consists in this — that at a word or sign, previously agreed upon, from the teacher, all the pupils who hear or see him have to arrest their MOVEMENTS at once, no matter what they are doing, and remain stock-still in the posture in which the signal has caught them. Moreover not only must they cease to move, but they must keep their eyes on the same spot at which they were looking at the moment of the signal, retain the smile on their faces, if there was one, keep the mouth open if a man was speaking, maintain the facial expression and the tension of all the muscles of the body exactly in the same position in which they were caught by the signal. In this ‘stopped’ state a man must also stop the flow of his thoughts and concentrate the whole of his attention on preserving the tension of the muscles in the various parts of the body exactly as it was, watching this tension all the time and leading so to speak his attention from one part of the body to another. And he must remain in this state and in this position until another agreed-upon signal allows him to adopt a customary posture or until he drops from fatigue through being unable to preserve the original posture any longer. But he has no right to change anything in it, neither his glance, points of support, nothing. If he cannot stand he must fall — but, again, he should fall like a sack without attempting to protect himself from a blow. In exactly the same way, if he was holding something in his hands he must hold it as long as he can and if his hands refuse to obey him and the object falls it is not his fault. Fragments: Seventeen

“The idea of this exercise and its results differ very much. Let us take it first of all from the point of view of the study of MOVEMENTS and postures. This exercise affords a man the possibility of getting out of the circle of automatism and it cannot be dispensed with, especially at the beginning of workwork on oneself. Fragments: Seventeen

“Stop” had an immense, influence on the whole of our life, on the understanding of our work and our attitude towards it. First of all, attitude towards “stop” showed with undoubted accuracy what anyone’s attitude was to the work. People who had tried to evade work evaded “stop.” That is, either they did not hear the command to “stop” or they said that it did not directly refer .to them. Or, on the other hand, they were always prepared for a “stop,” they made no careless MOVEMENTS, they took no glasses of hot tea in their hands, they sat down and got up very quickly and so on. To a certain extent it was even possible to cheat with the “stop.” But of course this would be seen and would at once show who was sparing himself and who was able not to spare himself, able to take the work seriously, and who was trying to apply ordinary methods to it, to avoid difficulties, “to adapt themselves.” In exactly the same way “stop” showed the people who were incapable and undesirous of submitting to school discipline and the people who were not taking it seriously. We saw quite clearly that without “stop” and other exercises which accompanied it, nothing whatever could be attained in a purely psychological way. Fragments: Seventeen

But I will return to the physical exercises we carried out at that time. G. showed us the different methods that were used in schools. Very interesting but unbelievably difficult were exercises in which a whole series of consecutive MOVEMENTS were performed in connection with taking the attention from one part of the body to another. Fragments: Seventeen

It was necessary first to remember the order of the MOVEMENTS and “sensing,” then not to go wrong in the counting, to remember the count of MOVEMENTS and sensing. This was very difficult but it did not end the affair. When a man had mastered this exercise and could do it, say, for about ten or fifteen minutes, he was given, in addition, a special form of breathing, namely, he must inhale while pronouncing om several times and exhale pronouncing om several times; moreover the count had to be made aloud. Beyond this there were still greater and greater complications of the exercise up to almost impossible things. And G. told us he had seen people who for days did exercises of this kind. Fragments: Seventeen

“These substances consist of very strong solutions,” he said. “And if they are left without attention they will poison the organism. They must be used up. But how can they be used up if the organism gets no food? Only by an increase of work, an increase of perspiration. People make a tremendous mistake when they try to ‘save their strength,’ make fewer MOVEMENTS, and so on, when fasting. On the contrary it is necessary to expend as much energy as possible. Then fasting can be beneficial.” Fragments: Seventeen

Later on I several times heard descriptions of experiences very similar to mine from people who were studying dances and dervish MOVEMENTS with G. Fragments: Seventeen

“You must realize that there are three kinds of breathing. One is normal breathing. The second is ‘inflation.’ The third is breathing assisted by MOVEMENTS. What does this mean? It means that normal breathing goes on unconsciously, it is managed and controlled by the moving center. ‘Inflation’ is artificial breathing. If for instance a man says to himself that he will count ten inhaling and ten exhaling, or that he will inhale through the right nostril and exhale through the left — this is done by the formatory apparatus. And the breathing itself is different because the moving center and the formatory apparatus act through different groups of muscles. The group of muscles through which the moving center acts are neither accessible nor subordinate to the formatory apparatus. But in the event of a temporary stoppage of the moving center the formatory apparatus has been given a group of muscles which it can influence and with whose help it can set the breathing mechanism in motion. But its work will of course be worse than the work of the moving center and it cannot go on for long. You have read the book about ‘yogi breathing,’ you have heard or have also read about the special breathing connected with the ‘mental prayer’ in Orthodox monasteries. It is all one and the same thing. Breathing proceeding from the formatory apparatus is not breathing but ‘inflation.’ The idea is that if a man carries out this kind of breathing long enough and often enough through the formatory apparatus, the moving center which remains idle during this period can get tired of doing nothing and start working in ‘imitation’ of the formatory apparatus. And indeed this sometimes happens. But so that this should happen many conditions are necessary, fasting and prayer are necessary and little sleep and all kinds of difficulties and burdens for the body. If the body is well treated this cannot happen. You think there are no physical exercises in Orthodox monasteries? Well, you try to carry out one hundred prostrations according to all the rules. You will have an aching back that no kind of gymnastics could ever give. Fragments: Eighteen

“But as I have already said, there is a third way — breathing through MOVEMENTS. This third way needs a great knowledge of the human machine and it is employed in schools directed by very learned people. In comparison all other methods are ‘home­made’ and unreliable. Fragments: Eighteen

“The fundamental idea of this method consists in the fact that certain MOVEMENTS and postures can call forth any kind of breathing you like and it is also normal breathing, not ‘inflation.’ The difficulty is in knowing what MOVEMENTS and what postures will call forth certain kinds of breathing in what kind of people. This latter is particularly important because people from this point of view are divided into a certain number of definite types and each type should have its own definite MOVEMENTS to get one and the same breathing because the same movement produces different breathing with different types. A man who knows the movement which will produce in himself one or another kind of breathing is already able to control his organism and is able at any moment he likes to set in motion one or another center or cause that part which is working to stop. Of course the knowledge of these MOVEMENTS and the ability to control them like everything else in the world has its degrees. A man can know more or less and make a better or a worse use of it. In the meantime it is important only to understand the principle. Fragments: Eighteen

Having explained the meaning of various kinds of breathing he began to divide those present into three groups according to type. About forty people were there. G.’s idea was to show how the same MOVEMENTS with different people produced different “moments of breathing,” for instance, with some inhalation, with others exhalation, and how different MOVEMENTS and postures can produce one and the same moment of breathing — inhalation, exhalation, and holding the breath. Fragments: Eighteen

In December, 1923, G. arranged demonstrations of dervish dances, rhythmic MOVEMENTS, and various exercises in Paris in the Theâtre des Champs Elysées. Fragments: Eighteen