POSITION OF THE LUNGS, DIAPHRAGM, STERNUM AND RIBS, WHEN IN REPOSE JUST AFTER EXHALATION

1. Upper part of lungs.

2. Sternum.

3. Lower edge of lungs.
4. Diaphragm.

The dark portions of the ribs near the sternum are cartilage formations. Note the close attachment of ribs 1, 2, 3, 4 and 5 to the sternum; the loose attachment of ribs 6 and 7, caused by the curved shape and the long cartilage formation at the joint; that 8, 9 and 10 are not attached to the sternum at all; and that 11 and 12 are floating or unattached in front.

ing over the vocal cords. Therefore a new point is to be established in breathing, the sensation of breath control.

Involved in the act of breathing are the intercostal muscles, connecting the ribs; the dorsal muscles, extending from the dorsal vertebrae and controlling the adjacent ribs; the abdominal wall, protecting the abdomen; the chest muscles, sometimes called thoracic muscles, which control the breastbone or sternum, and extend downward, interlacing with other external lower-rib muscles; and the diaphragm, the muscular partition between the thorax and the abdominal cavity, which is connected with the ribs.

The twelve ribs are attached to the spine, and their position is determined to a considerable extent by its action. Seven of them are attached to the sternum, which easily controls the first five. This upper portion of the torso is commonly spoken of as the chest. The other two ribs of this group are so loosely attached to the sternum, and curve downward so much, that they act quite independently. Of the five ribs below the sternum, three are joined respectively to the seventh rib and to each other. The last two are unattached in front.

When one inhales a breath the entire set of ribs should be pushed outward to increase the space about the lungs and allow them to be filled to their greatest extent. The chest muscles control the five upper ribs with the sternum; the others are moved outward and upward by the interaction of the diaphragm and the upper abdominal, the thoracic and the dorsal muscles.

These muscles interlace with such complexity that it is difficult to say which ones are most active in doing the work. One must have in his mind a picture of the diaphragm and the abdominal muscles pushing the lower ribs outward and upward, while at the same time the dorsal muscles and those extending downward from the thorax are pulling them from the outside. During this process the diaphragm, which was originally dome-shaped, has flattened itself with the lifting of the ribs and lies tense and firm between the rib walls. Until recently the theory was that the intercostal muscles had a powerful influence upon these movements, but that is no longer believed by the leading authorities.

As the breath is exhaled under normal conditions, the chest muscles still hold the sternum away from the lungs to allow for rapid refilling; but the lower ribs, which are not easily controlled by the sternum, drop inward and downward, and the diaphragm relaxes its tension and again becomes dome-shaped. These movements force the air out of the lungs all at once.

In "deep breathing," for health exercises or for other purposes, the lifting of the lower ribs should be done by the muscles controlling them and should be quite independent of the pressure caused by the filling of the lungs. Their inward and downward movement should be assisted by a strong gripping of the muscles. A breath may be inhaled at the time the ribs are lifted outward and upward, and it may be exhaled at the time the ribs are drawn inward and downward, but its action must not be allowed to influence the action of the ribs.

One who wishes to control the breath for speaking or singing must not allow the ribs to force the air out of the lungs all at once, but must prevent the lung-space from closing in by pushing out against the tendency of the ribs to move inward. Then the diaphragm is kept stretched between the sides of the wall-cavity to help support the tone. The vibration of this powerful muscle, caused by the gripping inward movement of the upper abdominal and the dorsal muscles, sends the breath upward from the lungs gradually or violently, as one wishes. Breath control depends, therefore, upon having a sufficient cavity for the lungs and upon measuring the outgoing stream so skilfully that there will always be a steady, even stream flowing over the vocal cords to produce tone. The twofold object of the following exercises is to create and control this space and to teach the art of measuring the breath.

CHAPTER I

CORRECT POSTURE FOR SPEAKING

When beginning to speak or sing, whether for practice or for an audience, the body must be in perfect position. This is necessary, not only because it is healthful and allows the muscles to work to better advantage, but because it has a decided effect upon the audience, giving the impression of alertness, mental and bodily poise, interest and authority. Whether one is talking to children or to adults, he finds a definite response if his body expresses strength, freedom and grace. So important are these details that some attention should be given to them here.

One should stand erect, with lightness and animation, as if upheld by some buoyant spirit. The head should be directly above the shoulders, not shot forward at an ugly slant; the ribs should be held forward; the shoulders should be free and not held stiffly back, with the arms hanging easily at the sides; the abdomen should be in; the hips back; the weight resting on the balls of the feet; heels together and just touching the floor; toes pointing outward at an angle of about sixty degrees. The ear, the point of the shoulder, the point of the hip and the arch of the foot should be in line.