8. Fifth practice. — Let him practice mental concentration 
during the dance, and investigate the following experiments: 
(a) The dance becomes independent of the will. 
(b) Similar phenomena to those described in 5 (a), (b), (c), (d), 
occur. 
9. A note concerning the depth and fullness of the breathing. 
In ail proper expiration the last possible portion of air should be 
expelled. In this the muscles of the throat, chest, ribs, and 
abdomen must be fully employed, and aided by the pressing of the 
upper arms into the flanks, and of the head into the thorax. 
In ail proper inspiration the last possible portion of air must be 
drawn into the lungs. 
In ail proper holding of the breath, the body must remain 
absolutely still. 
Ten minutes of such practice is ample to induce profuse sweating 
in any place of a température of 170 C. or over. 
The progress of the Zelator in acquiring a depth and fullness of 
breath should be tested by the respirometer. 
The exercises should be carefully graduated to avoid overstrain 
and possible damage to the lungs. 
This depth and fullness of breath should be kept as much as 
possible, even in the rapid exercises, with the exception of the sixth 
practice following. 
10. Sixth Practice. — Let the Zelator breathe as shallowly and 
rapidly as possible. He should assume the attitude of his moment 
of greatest expiration, and breathe only with the muscles of his 
throat. He may also practice lengthening the period between each 
shallow breathing. 
(This may be combined, when acquired, with concentration on 
the Visuddhi cakkra, i.e. let him fix his mind unwaveringly upon a 
point in the spine opposite the larynx.) 
11. Seventh practice. — Let the Zelator practise restraint of 
breathing in the following manner. At any stage of breathing let 
him suddenly hold the breath, enduring the need to breathe until 
it passes, returns, and passes again, and so on until consciousness 
is lost, either rising to Samadhi or similar supernormal condition, 
or falling into oblivion. 
407 —