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Mental

Control Through
in the

Rhythmical Influence

Learning of Typewriting

BY
A. B. CROSIER DEPARTMENT SCHOOL ACCOUNTANCY AND SECRETARIAL WORK OF COMMERCE AND BUSINESS ADMINISTRATION,

UNIVERSITY

OF

MISSISSIPPI

;THERN F^ANir

NEW YORK
CHICAGO

4r!^779
BOSTON
SAN FRANCISCO

THE GREGG PUBLISHING COMPANY

LONDON

,ii}u^iij^

AT

:MARY
V
-

COPYRIGHT, I921, BY THE GREGG PUBLISHING COMPANY

C58

^ "^

'^'^

FOREWORD

THE

object of this pamphlet

is

to

pass on to those

who

are inter-

ested in typewriting work,

some of the

about typeyears, twenty writing during the past while engaged in college and university
things that I have learned

work.

While the principles advocated

not be entirely new,
subject matter
is

may

and some of the

but a modified form

of what has gone before,

tion leads
is

my

observa-

me

to believe that neither

quite fully understood, nor generally

used.

For this reason,

proved
its

submit what has

it

worth, in the hope that

may

be found of practical value. A. B. Crosier

MENTAL CONTROL THROUGH RHYTHMICAL INFLUENCE IS THE SECRET OF TOUCH TYPEWRITING

THERE
the subject
discuss.
less

is

nothing

strangely

new
in

about the principles involved

I

have

set

before
is

me

to

Mental Control

more or

perfectly understood to

mean the

power of mind to govern physical conduct in an act of self-expression; and

rhythmical influence, stated broadly,
is

the playing out of this energy in such

a

way

as to

maintain a balanced

state,

or poise, of mind that induces uniform

control of physical

movements of the
is,

body.

But the great teaching problem

how

to

impress

an

already

acquired

general knowledge of the principles on

a student's

mind

in
5

such a

way

that

Mental Control

he may employ these principles to his own advantage while learning to typewrite by touch. The object of all education, as
I

understand

it,

is

to teach

one to think straight,

rately,

logically^

accu-

and

in sequence.

To

accomplish

this

end,

no
an

small

amount of paco-operation
is

tience

and

intimate

between students and teacher

sary.

neces-

What

applies to all education,

naturally enough, includes the art of

typewriting,

mental

act

because typewriting
natural

is

mode

oj

self-

expression.

Now,

to get the right perspective, let

is

us assume that each individual

the

center of the universe, in so far as his

individual
life
is

concerned.

His chief

concern
life

is

to

know how

to relate his

to other lives about him, and to

impress his personality upon environ-

ment,

in order to get the

out of life.

This

is

most possible accompHshed through

mental control.

For instance, he sets

Through Rhythmical Influence

j
a

up an mind
is

ideal in his

mind and develops

picture;

but the object desired

remote, with

many
way.
is

intervening obIf the impres-

jects to block the

sion in his
his

mind

vivid enough, and

it

desire to attain

ardent enough,

he will set about to remove these inter-

vening objects that block

manifest
it.

his

way, and

The methods by which

be attained are so vari-

that thing

may

ant that care must be exercised to

know

which of the
position to

many methods

is

the right

one to employ, and before we are in

make such

decision,

we must
different

take

into

consideration

the

types of mind to be impressed.

general way, the different

In a

mentalities

may
(i)

be classified

into

three

groups:

Those minds that are acutely active

their

in
(2)

reaction

to mental

stimulus;

those that are neither acutely ac-

tive

nor

sluggish

in

their

reaction;

(3) those whose reactions are sluggish, even to a point of dullness. Therefore,

Mental Control
all

about
a

a teacher can do
is

is

to strike

happy medium that

all-inclusive.

MENTAL CONTROL

Now,
this

let

us

reason together about

Mental Control.

As was previously stated, the mind set up an must conceive a thing

ideal

and visionize

it

before
of

the in-

dividual, with

any degree of certainty,

can manifest
manifest

it.

The time
conception

required to
possible

any

manifestation,

is

conditioned upon (i)

of the individual;

the natural
(2)

ability

the number of obstacles between

and the object of his desire to be overcome; and (3) a determined will to persist, under proper
the individual
direction,
until

the object shall have

been attained.

Thus,

in

typewriting,

after a student gets a clear conception

of what he desires to accomplish, that remains to be done

is

all

to co-ordinate

Through Rhythmical Influence

the physical part of his body (the hands)

involved in such act of self-expression

with the mental impulse, to manifest in

concrete form the finished page.
it

Thus,
brain

follows logically that his hands are

inseparably

connected with

his

impulse;
his

and,

when

his

brain thinks,

hands

thetically

symparespond to that impulse in an

automatically

and

act of writing.

For the sake of name,

process
autosuggestion.

let us call this

Just
is

how

this

power of autosuggestion
typewriting,
I

developed in

shall try to set out clearly

when

presentation

method

is

reached.

RHYTHMICAL INPLUENCE
Then, let us inquire what is meant by Rhythmical Influence. Broadly stated, rhythm signifies symmetry, proportion,
it

and division;

and

suggests action that conforms to the

laws of co-ordinated movement.

Rhyth-

10

Mental Control
it-

mical adjustment naturally divides

self into

multiples of three and four,

first

with an accent on the

in three-four

count;

as

and

in four-four

time in
it
is

musical rhythm.

In typewriting

any
in a

characteristic

arrangement of

letters

word, corresponding to the number

operation,

of letters in that word.

From

its

judge rhythm

to be a force or vibration that maintains a state of stable

equihbrium of the

object

it

influences.
is,

As

to just

what

this force

am

not clear.

Neither
does seem
all

do

know what
to
is

electricity,

magnetism,

gravity, are.
clear

But

this

much

an observing mind: that

matter
fluence,

subject to this rhythmical inthis

wavelike recurrence, the

is

frequency of which

conditioned upon

the object influenced.

less stable

Not only

are the
air

forms of matter, as
its

and

water, subject to

influence, and exert

an influence on

all

other forms of matter,

its

but each particle of matter has

own

Through Rhythmical Influence

rate of vibration

il
influ-

which

may

be

enced by some external vibration.

as an illustration:

Take

dog trotting across

Soldiers ap-

a bridge at a uniform pace will set the

whole structure
proaching
a

in

motion.
are

bridge

required

to

break step to prevent vibration that

might
Again,

cause
it

the

bridge

to

collapse-

has been said that a single

sustained tone from a violin that cor-

responds to the keynote of a large building,

if

persisted

building.
sets

would wreck the And again, a moving train

in,

up a vibration that may cause winrattle,

dows miles away to heavy speculators

and

further,

not

infrequently

closet themselves for a

few minutes at
catch

the beginning of each business day and

allow their minds to drift
till the}'-

up the
before
tasks.

financial

current

of thought,
their

entering

upon

daily

We

can

see

the operation
all

of this
us
in

rhythmical

influence

about

12

Mental Control

nature.

What would happen

if

the

planets did not maintain their uniform

rhythmical movements?
see

We

expect to

change of seasons come around about

the same time each year.

The moon,

the tide, night and day, return of hunger

and

sleep, the pulse beat, respiration

in fact,

everything

is

under the influence

of this force.

Then,

why

should not the

further,

mind be under the same influence? And is it unreasonable to assume

that the
bration,

mind has
and
that
is

its

own

rate of vi-

this

rate

may

be

changed, and

changed through edu-

cative influences?

Granted that
lem

this

suggestion

holds

true to fact, the teacher's greatest probin presenting the subject of type-

writing (or any other subject, for that matter, that involves physical conduct)
is

to put this notion clearly into the

student's

mind, that he

may have
how

definite, specific

understanding

to

proceed in order to get the most out

Through Rhythmical Influence

of his work.

13

From the

outset teach

him to measure his movements, not by some external impulse, but by silently
counting out his operations.

By

such

method, the rhythmical impulse originates in his mind, and leads him to give
himself over completely to that thing for

the time being.

This rhythmical habit

first,

develops slowly at

but in a

rela-

tively short time, autosuggestion takes

control of his mental processes;

and

as
i

speed increases, his movements automatically adjust to

his

new conditions as mind center changes. In the course

his

of time,

entire

conscious

mental

energy
in

is

directed to the subject matter

little

an act of self-expression with

or no thought of his physical movements.,,^

Now
views

that

have
these

expressed

my

regarding
let

pre-approach

principles,

us

take

up

discus-

sion

of

how

these

principles

apply

in training students to

do touch type-

writing.

14

Mental Control

METHOD

When the student has

been thoroughly

acquainted with the care and adjust-

ment of his machine, he is told how to assume a rhythmical position before his
machine:

Body supported
the
floor,

slightly inclined forward;

and upon forearms extended about on

at

the

hips,

feet flat

a level with the shift key, elbows very

slightly

extended, the wrists elevated

the knuckles lowered, and
**;'*

just a little;

the fingers arched, as in piano playing;

the Httle fingers resting on *'a" and

and the
of

first,

second, and third fingers

both

hands

hovering lightly over

In such

the adjoining keys "Ikj sdf."

position, he

can make free use of the

finger tips to exercise control over

any
too,

character on the keyboard.

his

And,

body

is

perfectly poised in a rhyth-

mical state.
It

sometimes happens that a stu-

Through Rhythmical Influence

dent

15

who

has employed the "hunt and

in

pick" method

learning

The only
rightly
fact,
is

possible

way
him

to align

comes in. him up

In

to treat

as a beginner.

he demands more personal atten-

tion than a beginner, because incorrect

habits of expression can be controlled

only by new correct habits that are

strong

under control.

enough to keep the old ones Typing, as in all ex-

pressions involving physical

movements,

demands complete conservation in each movement. Otherwise there is lost motion

and a consequent
also

loss in efficiency.
is

Lost motion

very apparent

when he
and

disregards a rotary

movement

of hand in throwing the carriage back

in the use of

fumbling movements

to insert the paper in his machine.

But

the faulty habits are corrected without

much
vision.

difficulty

by

a little timely super-

Now
cleared

that the preliminary has been

away, the student

is

brought

l6

Mental Control
first

face to face with his

drill:

co-ordination

"jhfg, fgjh, juyj,

frtf,

jmnj, fvbf."

These symbols are chosen because they

call into action

the index fingers, about

which

the

mind

has

centered

since

infancy in

pointing to objects,

or in

picking up things.
tal

Consequently, menreason

control

has been acquired uncon-

sciously.

For

this

they

are

given double duty to perform.

This

simple

drill

affords

splendid oppor-

tunity to impress upon his mind from

the beginning the importance of rhyth-

mical influence, by having him measure

out his operations to very slow counting.

By

such method, the impulse to

the
brain
is

influence
brain,

originates

in

the

and hence

more

effective

than
prac-

some external impulse picked up from

a metronome, for instance.
tice

In

all

work,

insist that

he watch the copy,

not his hands, while operating.

drill is

This

used until he works out a per-

fect page.

By

the time this

is

done, he

Through Rhythmical Influence

is

ly

beginning to think of the characters

in

collectively,

groups, rather than as

isolated

symbols

In short, he has put

into his

mind

a nucleus of typing expe-

rience around

which to build larger ex-

periences as the

work

progresses.

Then, he

is

taught to translate this

as,

group thinking into words,

"jug,

fur, but, buy, rug, thumb, untruth," which give him power to express the knowledge gained, in concrete form.

(A perfect page of

this drill

is

required.)

In order to facilitate development of

muscles engaged to do writing, the

fol-

lowing

finger

drills

(to

be

practiced

twenty or thirty minutes daily outside

of class) are suggested.
ing to bed
drills,
is

Just before go-

the best time to do these

for the reason that the

subcon-

scious
sions,

mind works over the impresduring sleeping hours.

taking

Before should

up

this

practice

he

make

a chart of the keyboard,

to fasten to his study table.

On

this

Mental Control
be two small
circles

chart should

for

thumb
is

rests

about where the space bar

This chart

of the machine would come.

to be used with Drills

and

II.

In

Drills III

and IV the forearms should

not touch a table.

An

interval of one second should be

used for each count.

Drill
I.

Place both hands in writing position, as

instructed, fingers arched

and knuckles low.

Begin-

ning with the index finger of the right hand, on count

one, raise in curved position as high as possible; lower

on count three raise, and lower on the same exercise with the second, Go through the same drill third, and little fingers. with the left hand while the right hand is held in Then, repeat with both hands in writing position.
on count two;
count four.

Do

unison.

Drill

II.

Put hands

in writing position, as above.

On

count one, spread the fingers of the right hand

just as far apart as possible while the fingers

in curved

remain

position.
close

Close on count two.

Open on

three,

and

with the
unison.

left

on fourth count. Do the same way hand while the right hand is held in

writing position.

Then

repeat with

both hands

in

Drill
tion,

III.

Extend the forearms to writing

posi-

with wrists about on alignment with the arms,

but keep the knuckles lowered.

Then

separate the

Through Rhythmical Influence

fingers

19

and

fingers back,

claws.

as widely as possible; throw and grip the hand into shape of a bird's But use care not to close the hand; don't

thumbs

close the fingers into the palms, but hold

them apart
you and relax

and
can.

rigidly

curved while you

this position
till

,grip

as tightly as
four,

Hold

you count

on

fifth

count.

Drill IV.
back;

Forearms extended
close
first

as

above.

On

count one, throw the palms out

on count two,

and the finger tips the first and second joints

thumbs.

of the fingers and the

joint of the

Draw

the finger tips against the fingers above the knuckle

joints just as firmly as possible

and hold the thumb

L shaped and
hand perfectly
thing.

extended.

On

the third count, while

holding the fingers in this rigid condition, close the

tight, as if in
still

an act of hitting some-

On

count four,

holding the fingers rigid,

return to position of a bird's claws,

seizing something.

when

in

an act of

OBJECT OF DRILLS

What
drills?

are

we accomplishing

in these

conscious rhythmical control

over the writing muscles;

lates

that stimu-

wonderfully mental control over

finger
sential

movements.
in

doing

rapid

Both of and

these, es-

accurate

typing work, soon sink into the automatic, thus leaving the full conscious

20

Mental Control
in inter-

mental energy to be expended

pretation.

In

fact,

his

thinking and

acting are as one.

It

does not follow, however, that this

oneness can be

accomplished without

prolonged

and patient practice.

Far

from that.
attain.
this

The

things of

life

that are
effort to
if
is

worth while require time and

But what I do contend is, rhythmical mental control idea

go

once understood and put into practice,

he
will

much
he

faster,

and with
ease,

infinitely

than

and much farther; more versatility and would be able to do

It

without such influence.

to nature,
it is

conforms

and her rhythmical laws;

basic.
I

hence,

How
I

do

know

that a student has

grasped the big idea?

judge from his finished work, in the

same way that an experienced mind would judge the quality of English from
spoken or written words.
one
standard
in

There

is

but
is

typewriting

that

Through Rhythmical Influence

21

worth while

perfect work,

technique,
is

placement, balance.

This fact

early

impressed on the student's mind.

He

naturally sets up a high ideal, or standard.

this
is

Further, the importance of doing

constantly suggested to him by

notations

on

his

manuscript.

These
Step by

notations tend to drive

ples that

home

the princi-

we want him
is

to get.

step mental control

acquired;

and

what is most encouraging of all, the mind and hands co-ordinate so sympathetically that as the mind center changes (as it does from day to day)
an automatic readjustment takes place
without conscious
accuracy
effort,

and speed with

of the

maintains

regardless

nature of the subject matter he

writing.

may

be

On
is

the other hand,

if this

conclusion

not true,

why

does the

penmanship, as taught
a drawing method, go

in the grades

by

all

to pieces

when

the student puts himself to the test in

written expression,

when he

gets along

22

Mental Control

to high school or college

work?

To my

way

of thinking he had not been taught

the importance of mental control under

rhythmical

influence;

and

when

his

mind center changed there did not exist proper mind and hand co-ordination.

When

the student has covered about

in his text,

five or six lessons

a daily

review from the beginning of ten high

frequency words, singly and in

is

series,

taken up; these ten words are placed

on a chart in the front of the room. First each word is timed one minute;
later these

same words

are written over

and over in serial order (in sentence form) to build up power of rhythmical
progression.

When

these

drills

have

been gone through with, each student

grades his

own manuscript; and as a penalty for each error committed, ten

are

words

deducted

from

the

total

number of words written. This remainder divided by ten gives the net number of words a minute.

Through Rhythmical Influence

23

While
to

this drill

is

intended secondarily
in

increase

speed

writing through

rhythmical influence, the main thought

is

to build mental control,

by counting

out each movement, to give versatility.

This counting out practice serves the

same purpose
singing
or

in

typewriting that re-

hearsing a song or an oration does in

speaking.
it

This

habit

of

versatility grows;

becomes a matter

of habit;

as,

for instance, in the case

of a juggler,
balls,

who

tosses his clubs, or

with no particular thought to each

the time the ninth lesson in the

movement.

By

text has been covered, figure drills are

introduced.
is

Finger control over figures

acquired just as logically and naturally

as control over letters, if the practice

is

properly directed.

The
with

idea

is

to

connect

each

figure

an

already

acquired habit
of the inductive

simple application

method of presentation.
and
in reverse order,

Practice, in order,

24

Mental Control
first,

very slowly at

the letters of the

alphabet, each followed by the

number
series

immediately below

in

whatever
Series
5,

you may be working; between groups, thus:

C3, etc.

and space once

i,

ai, b2,

to z6; or, Series

35, b6, 07,

to zo; or again, Series 10, ao, bl, C2, to

Z5.

A
all

glance at the table will

show that
followed

every letter of the alphabet

is

by

of the digits and the cipher.

When sufficient skill

has been acquired

In locating figures as units

on the keyto

board, the following groups should be

practiced

slowly

and

persistently

translate this unit thinking into group

expression.

This control

is

accomplished
the figure to
series i, 2,

by placing the letter to be impressed,

in a position just before

be related.
3,

Thus, following

4 (which give the digits and cipher in regular and reverse order of progression),
it

will

that

next to

"x" "2"

be observed in series 5 at the end of "affix" comes

in the

group "21597," and

Through Rhythmical Influence

N

25

26
'a"

Mental Control

"s" **d" and

*'f,"

following in suc-

cession at the end of the

*'

words "medio,"
all

vices,"

"would,"
is

"gruff,"

occur

before

"2" which

the key figure to

the group of figures, "21597."

You

will

notice, too, that the endings of all these

words are selected with a view to cover that section of the keyboard immediately underneath the figures to be selected, just as fully as possible.

1.

Through Rhythmical Influence

10.
fling

27

41086

tutor
11.

topic

hound
12.

sting

minor
13.

rheum
black

14.

swamp
adieu idiom smirk
crisp

16.

16.

noyau
17.

odiimi

pluck
18. crisp

perdu
19.

swarm
brick

20.

trump
adieu

28
{a)
(b)
(c)

Mental Control
ab cd ed gh
zy
ij

kl inn op qr st

wx vu

ts rq

po

nm

Ik

ji

hg

uv wx yz fe dc ba

{d)
(c)

(/)
(g)

ih)

abc def ghi jkl mno pqr stu vwx yza azy xwv uts rgp onm Ijk ihg fed bca abed efgh ijkl mnop qrst uvwx yzab bazy xwvu tsqr ponm Ikji hgfe dcba abcde fghij klmno pqrst uvwxy zabcd dcbaz yxwvu tsrqp onmlk jighf edcba

3.

Hold down the

shift

key and prac-

tice the

alphabet in regular, and reverse

order, without spacing.

4.

Hold down

shift

key with the

little

finger of the left hand,

and practice the

{h) in-

alphabet as shown above {a) to

clusive;

but release the shift key each

time when spacing.

The
velop

object

of these

drills

is

to de-

skill in

manipulating the keys and

the shift key and to give alertness of mind and dexterity of hand to adjust quickly to any syllabic division in a word, just as scale practice on a musical instrument gives power to handle constantly changing arrangements of notes
in a musical passage.

Through Rhythmical Influence

29

CO-ORDINATION DRILL IN THE USE OF PUNCTUATION MARKS

" Is that
is?
that, that that, that

they say that that

No

That that,
is
;

is

not that that, that they

say that that

that that
is,

but:

(1) that that, that

we

think

is (2)

that that."

THE SENTENCE UNIT

By

the time the theory of the text

has been completed, he will have progressed sufficiently in sentence building

to be able to think connectedly.

His

mind center has changed

enable him to grasp

sufficiently to

thought expres-

sion as a unit rather than the a

unit;

word

as
all-

therefore,

the

following

keyboard sentences
selected

which have been from various sources, are in-

troduced.
a chart
is

Ten minutes'

practice from

devoted to these sentences

is

each day before regular work

Up.
his

taken

The student is own work, and

required to check
to pass
it

in

for

30
criticism.

Mental Control
Later
it is

passed back to

him.
1.

The boy was not

lazy

and jumped up quickly

before the box gave way.

2.

My

help squeezed in and joined the weavers

again before six o'clock. 3. They provoked a quarrel by jealously mixing

a few jet black cats. 4. You spoke about having a ten quart zinc box joined firmly forward. 5. Whenever the black fox jumped, the squirrel

gazed very suspiciously. 6. We dislike to exchange job lots of sizes varying from a quarter up. 7. The judicious advocate will never forget that a good cause may be quickly lost by too much zeal. 8. Dazzling jewels, pendant from her neck, were thrown quite in the shadow by exceeding wit, which ever flashed from her brilliant mind. 9. Old and quaint maxims filled the pages of that very curious book, on which, with quiet joy, he gazed for hours together.
10.

The

lazy,

brown-eyed lynx often jumps

over a log.

quickly from
11.

its lair

Young

quails

were baked

for

the

buxom

lady from Xenia, she also has a cup of coffee.

12. "Please, sir," she said, "I have 54,067 boxes of quails and 2385 crates of coffee." 13. Just after making queer discoveries the explorer was frozen in his big kayak. 14. With a qualm the jolly first mate expected a song about the greasy viking.

Through Rhythmical Influence

31

16. The composer White just managed to see a convict quickly fix the buzz saw. 16. The lazy queen who expected to live by working very Uttle jammed her fingers.
17.

The question

of prizes

was
jury.

fixed up with

the government
18.

and the Black

will

My

Exide truck

probably haul a dozen

slyly

loads of gravel just as quickly.

19.

Joe asserted that the quick brown fox

jxunped over the lazy dog.

ALL-KEYBOARD LETTER
Union City, Tennessee January 10, 1920
Messrs. D. B. Ibsen
Louisville,

&

T. Z. Quixly

Kentucky

Gentlemen:
In confirming our message of yesterday
cept offer 450 barrels
*

**

Aclike

let us urge immediate shipsample at $6.37 " ment: and send bill to Ashton & Vance, c/o Hous-

Young

&

Osgood CCC,'

ton Station, So. York

C.

St., this city.

M. &

St.

P. R. R. car #6336, and C.

&

N. W.
fully

R. R. car #7385 are in;

but

we

find

one car

below grade, due to dampness gathered in a leaky car. We shall probably have time tomorrow to make a thorough examination, and will
report fully Friday or Saturday.

25%

can furnish clean new barrels in car lots, our siding: Gum 37^; Red Oak 29i; Hickory 461. We can supply unbranded,
.

We

o. b.

32
"

Mental Control
5^ in quantity seamless cotton sacks (bianded " XXXX "), 19^ in lots of 500 or more. At what can you furnish shelled com in car lots?

Virginia " Jute Sacks, sewed,

lots:

Very truly yours,

E. L.

PAXTON &

CO. (Lunited)
Audiior

By

ABP/ZUK
(inclosure)

THE PARAGRAPH UNIT

By

the time

these

sentences

have

been standardized

in his Hfe, his

mind

center again has changed from a single

sentence, as a unit, to the paragraph as
a unit.

At At

this point the all-keyboard

business letter,

shown below,
till

is

intro-

duced.

least

one copy each day

fifty perfect

should be written
shall

copies

have been completed.

this point on, ten
first

Then, from
is

minutes

devoted, the

part of each inter-

val, to writing

Underwood, Remington,
drills,

and other similar typewriting

connection with speed
drills

in

of the text.

Through Rhythmical Influence

Direct dictation from these exercises
stressed

33
is

to

give

the student

adapta-

bihty.

By

the time tabulating, bilHng,

shall

law forms,

have been completed

in the text, the

student has gained such

mastery over the keys, through mental

control under rhythmical influence, that

he can write with the same

curacy,
clearness

facility, ac-

that

he can

speak.

He
to

has

made

the machine subservient

hand

control; and his hands, through

autosuggestion, are completely subservient to mental control.

so does he act.

As he

thinks,

Now,

let

us pick up the various threads

of argument that

we have gone through

what
is

and weave them into some practical

conclusions
as

to

gained

by

learning touch typewriting

by the

fore-

going method.

Aside from the art of typewriting he

has gained mental control that
translated into other conduct:

may
(i)

be

He

has unified in his Hfe one particular

34

Mental Control

thing that serves well as a standard by

which to gauge other things;

has kindled desire to excel;
learned
(3)

(2)

he he

he has
(4)

many

things about form;

has whetted his will to overcome obstacles

(5)

through patience and persistence;

bearing

he has developed observation that

a
vital
(6)

has

on

all

mental
con-

processes;

he

has

acquired

centration the

complete giving over

of self for the time being to one particular

aim

which

intensifies all effort.

And, note carefully, all of these spring from a mental state that is built up under Rhythmical Influence. It seems
perfectly logical to conclude, then, that

mental control through rhythmical

fluence is the Secret of
writing.

in-

Touch Type-

42779

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