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Lost in the Form, Looking for Sung _ Jiulong Journal

Lost in the Form, Looking for Sung _ Jiulong Journal

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07/14/2013

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original

 
Ji
 
ul
 
on
 
g
 
Jou
 
rnal
 
The Li
 
vi
 
n
 
g
 
Practi
 
ce of 
 
 Ni
 
n
 
e Drag
 
on Bag
 
u
 
azhang
Welcome
 
Wel
 
come to th
 
e Ji
 
ul
 
on
 
g
 
Jou
 
rnal
 
. Here you
 
wi
 
l
 
l
 
 
i
 
n
 
d i
 
n
 
orm
 
ati
 
on
 
i
 
n
 
a v
 
ari
 
ety
 
of 
 
medi
 
a, h
 
i
 
g
 
hl
 
i
 
g
 
h
 
ti
 
n
 
g
 
th
 
e Ni
 
n
 
e Drag
 
onexperi
 
en
 
ce. Ni
 
n
 
e Drag
 
on
 
Bag
 
uzazh
 
an
 
g
 
h
 
as been
 
a f 
 
orce i
 
n
 
th
 
e i
 
n
 
tern
 
al
 
arts worl
 
d f 
 
or …[R 
 
ead More...]HomeLearning JiulongCome to the GompaBecome an Instructor All ArticlesGompa WebsiteAugust 31, 2012You are here:Home 
 
/Lessons 
 
/ Lost i
 
n th
 
e Form, Looki
 
ng
 
 
or Su
 
n
 
g
Lost in the Form, Looking for Sung
Apri
 
l
 
13, 2009 By
 
Dr. John
 
Pai
 
n
 
ter 
 
by Dr. John P. Painter
In
 
tern
 
ati
 
on
 
al
 
Copy
 
ri
 
g
 
h
 
t IAM Co. 2008Al
 
l
 
ri
 
g
 
h
 
ts reserved pl
 
ease do n
 
ot di
 
stri
 
 bu
 
te wi
 
th
 
ou
 
t permi
 
ssi
 
on of 
 
au
 
thor.th
 
eg
 
ompa@aol
 
.comThe pri
 
n
 
ci
 
 pl
 
es of 
 
Bag
 
u
 
azhang
 
are n
 
ot exactl
 
y the same as th
 
at of 
 
T
 
ai
 
 ji
 
quan
 
.
Th
 
e two arts sh
 
are some si
 
mi
 
l
 
ari
 
ti
 
esand common words. One of 
 
these words i
 
s
sung
 
. Fi
 
n
 
di
 
n
 
g
 
sun
 
g
 
 
or i
 
n
 
tern
 
al
 
marti
 
al
 
arts i
 
s n
 
ot so mu
 
ch
 
abou
 
t doi
 
n
 
g
speci
 
 
i
 
c thi
 
ng
 
s or speci
 
 
i
 
c acti
 
on
 
s, i
 
t i
 
s f 
 
or me about i
 
n
 
tern
 
al
 
 
eel
 
i
 
n
 
g
 
s an
 
d
awaren
 
ess resu
 
l
 
ti
 
ng
 
 
rom a very
 
 person
 
al process of 
 
ex
 
 peri
 
en
 
ti
 
al
 
l
 
earni
 
ng
 
.On
 
e of 
 
th
 
e more di
 
 
 
i
 
cul
 
t bu
 
t essenti
 
al
 
 pri
 
n
 
ci
 
 pl
 
es to g
 
rasp i
 
n
 
Bag
 
u
 
azhan
 
g
 
 practi
 
ce, especi
 
al
 
l
 
y
 
or Western
 
ers, i
 
sth
 
at of 
 
SUNG (Son
 
g
 
); of 
 
ten ref 
 
ereed
to as rel
 
ax
 
ati
 
on
 
an
 
d si
 
n
 
ki
 
n
 
g
 
of 
 
th
 
e body. Ask most Bag
 
uazh
 
an
 
g
 
 pl
 
ay
 
ers
 
wh
 
at
th
 
e word means and they wi
 
l
 
l
 
say that i
 
t mean
 
s to rel
 
ax, si
 
nk, or g
 
et l
 
oose
when y
 
ou
 
do the f 
 
orm. You
 
cansee stu
 
dents by the hundreds acti
 
n
 
g
 
l
 
i
 
ke l
 
i
 
mp
di
 
sh
 
rag
 
s, f 
 
l
 
oppi
 
ng
 
l
 
oosel
 
y
 
abou
 
t wh
 
i
 
l
 
e f 
 
l
 
ai
 
l
 
i
 
n
 
g
 
th
 
ei
 
r han
 
ds and arms i
 
nsl
 
ow
moti
 
on
 
as th
 
ou
 
g
 
h
 
th
 
ei
 
r bones had just di
 
ssol
 
ved away
 
.A f 
 
ew mi
 
sg
 
u
 
i
 
ded i
 
ndi
 
v
 
i
 
du
 
al
 
s bel
 
i
 
eve th
 
at i
 
n some my
 
steri
 
ou
 
s way
 
thei
 
r Qi
 
wi
 
l
 
l
 
 beg
 
i
 
n
 
to mov
 
e th
 
ei
 
r bodyi
 
n
 
dependentl
 
y of 
 
mu
 
scu
 
l
 
ar or men
 
tal
 
acti
 
on
 
. A
 
wel
 
l
 
-known
 
Ch
 
i
 
n
 
ese Bag
 
uazh
 
an
 
g
 
i
 
nstructor on
 
ce sai
 
d to me, “
 
Ihav
 
e achi
 
eved a
state i
 
n
 
my
 
Bag
 
uazh
 
an
 
g
 
that, when I practi
 
ce, my muscl
 
es n
 
o l
 
ong
 
er mov
 
e my
 
 body. I am sol
 
oose an
 
d rel
 
axed th
 
at my Qi
 
mov
 
es me i
 
n
 
stead!” He ev
 
en
 
wrote
th
 
i
 
s i
 
n
 
an
 
arti
 
cl
 
e i
 
n
 
a promi
 
n
 
ent marti
 
al
 
arts publ
 
i
 
cati
 
on
 
.Let us understand real
 
i
 
ty
 
rom the beg
 
i
 
nn
 
i
 
ng
 
, mov
 
emen
 
t of 
 
y
 
ou
 
r ph
 
y
 
si
 
cal
 
 body
 
wi
 
th
 
ou
 
t men
 
tal
 
l
 
y
 
and/or neu
 
rol
 
og
 
i
 
cal
 
l
 
y
 
acti
 
vati
 
n
 
g
 
mu
 
scul
 
ar con
 
tracti
 
ons i
 
s a
 ph
 
y
 
si
 
ol
 
og
 
i
 
cal
 
i
 
mpossi
 
 bi
 
l
 
i
 
ty
 
. You si
 
mpl
 
y
 
can
 
n
 
ot move wi
 
th
 
ou
 
t
 
l
 
ex
 
i
 
ng
 
a muscl
 
e
an
 
d every
 
ti
 
me y
 
ou
 
 
l
 
ex a muscl
 
e to wal
 
k, stan
 
d, si
 
t, pu
 
n
 
ch, ki
 
ck, ch
 
ew
 
 
ood,
tal
 
k, or rai
 
se y
 
ouarms th
 
en
 
your mi
 
nd/brai
 
n
 
an
 
d nerv
 
ou
 
s sy
 
stem are
i
 
nvol
 
v
 
ed.Un
 
derstandi
 
n
 
g
 
the proper rol
 
e pl
 
ay
 
ed by
 
 bal
 
an
 
ci
 
n
 
g
 
mu
 
scul
 
ar con
 
tracti
 
on
 
(ten
 
si
 
on) wi
 
th
 
muscu
 
l
 
ar rel
 
ease(rel
 
ax
 
ati
 
on) i
 
n
 
Bag
 
uazhan
 
g
 
 practi
 
ce i
 
s a
sadl
 
y n
 
eg
 
l
 
ected subject f 
 
or m
 
an
 
y
 
devotees of 
 
Bag
 
u
 
azh
 
ang
 
. I am not su
 
re
exactl
 
y
 
wh
 
ere th
 
ese i
 
deas of 
 
 becomi
 
ng
 
l
 
i
 
m
 
 p as a di
 
shrag
 
or Qi
 
movi
 
n
 
g
 
th
 
e body
w
 
i
 
th
 
ou
 
t the h
 
el
 
 p of 
 
th
 
e externalskel
 
etal
 
mu
 
scl
 
es beg
 
an
 
. They
 
certai
 
n
 
l
 
y
 
do
n
 
ot seem to be i
 
n h
 
armon
 
y
 
wi
 
th
 
th
 
e Bag
 
u
 
azh
 
ang
 
cl
 
assi
 
cs. T
 
h
 
e masterswh
 
o wrote
th
 
e def 
 
i
 
n
 
i
 
ti
 
ve l
 
i
 
teratu
 
re on
 
Bag
 
uazh
 
an
 
g
 
al
 
l
 
say
 
th
 
at i
 
t i
 
s the mi
 
n
 
d an
 
d n
 
ot
th
 
e Qi
 
that mov
 
es the body
 
.
WHAT IS SUNG?
Let’s ex
 
ami
 
ne the concept of 
 
Sung
 
 
rom a practi
 
cal
 
 perspecti
 
v
 
e. T
 
h
 
e word Su
 
n
 
g
 
i
 
n
 
th
 
e Chi
 
n
 
ese di
 
cti
 
on
 
ary h
 
asnumerou
 
s def 
 
i
 
ni
 
ti
 
ons. The f 
 
i
 
rst of 
 
whi
 
ch
 
i
 
s
su
 
rpri
 
si
 
ng
 
l
 
y
 
en
 
ou
 
g
 
h
 
: A pi
 
n
 
e tree. Th
 
e secon
 
d def 
 
i
 
n
 
i
 
ti
 
on ref 
 
ers t
 
o a statei
 
n
 
whi
 
ch
 
a th
 
i
 
ng
 
 becomes rel
 
axed, wi
 
thout excess tensi
 
on
 
. It i
 
s i
 
mportan
 
t to
remember at th
 
i
 
s poi
 
n
 
t that th
 
eCh
 
i
 
n
 
ese wri
 
tten l
 
ang
 
u
 
ag
 
e i
 
s compri
 
sed of 
 
symbol
 
s th
 
at do not al
 
ways i
 
n
 
di
 
cate preci
 
se con
 
crete th
 
i
 
n
 
g
 
s as i
 
nEng
 
l
 
i
 
sh
 
.
Chi
 
nese characters of 
 
ten
 
have l
 
ay
 
ers of 
 
mean
 
i
 
ng
 
that represen
 
ts f 
 
eel
 
i
 
n
 
g
 
s an
 
d
i
 
deas.At
 
i
 
rst g
 
l
 
ance i
 
t i
 
s n
 
ot so easy
 
to see wh
 
at a pi
 
ne tree has to do wi
 
th
 bei
 
ng
 
rel
 
axed, yet th
 
i
 
s i
 
s ex
 
actl
 
y
 
the i
 
mag
 
eth
 
at conveys th
 
e concept of 
 
wh
 
at
tru
 
e Sun
 
g
 
i
 
s al
 
l
 
about. T
 
h
 
e dog
 
g
 
erel
 
abou
 
t th
 
e anci
 
ent pi
 
n
 
e an
 
d th
 
e snow by
m
 
yteacher Li
 
Lon
 
g
 
dao at the open
 
i
 
ng
 
of 
 
thi
 
s arti
 
cl
 
e was the way
 
he expl
 
ai
 
ned
Su
 
n
 
g
 
to me as a y
 
oung
 
 boy
 
.he pi
 
n
 
e i
 
s an
 
anci
 
ent Daoi
 
st sy
 
mbol
 
of 
 
l
 
on
 
g
 
evi
 
ty and etern
 
al
 
y
 
ou
 
th
 
, as th
 
e
tree remai
 
n
 
s g
 
reen an
 
d f 
 
l
 
exi
 
 bl
 
e nomatter what the season. Its roots are deep
an
 
d stron
 
g
 
and the l
 
i
 
mbs are l
 
on
 
g
 
an
 
d can support g
 
reat w
 
ei
 
g
 
ht. As i
 
nth
 
e
 poem, wh
 
en
 
th
 
ere i
 
s an ou
 
tsi
 
de f 
 
orce appl
 
i
 
ed to the l
 
i
 
mbs, they
 
do n
 
ot resi
 
st
or become ri
 
g
 
i
 
d. The l
 
i
 
mb bowssl
 
i
 
g
 
h
 
tl
 
y u
 
n
 
der the wei
 
g
 
ht of 
 
th
 
e sn
 
ow,
al
 
l
 
owi
 
n
 
g
 
th
 
e wei
 
g
 
h
 
ty mass to sl
 
i
 
de of 
 
 
. Th
 
e pi
 
ne tree i
 
s n
 
ot l
 
i
 
mp or f 
 
l
 
acci
 
d.
Ithas ju
 
st the ri
 
g
 
ht bal
 
an
 
ce of 
 
 
i
 
rm, f 
 
l
 
ex
 
i
 
 bl
 
e resi
 
stan
 
ce wi
 
thout ri
 
g
 
i
 
di
 
ty
 
to su
 
stai
 
n
 
i
 
tsel
 
 
thoug
 
h al
 
l
 
types of 
 
weather. Iti
 
s i
 
n thi
 
s same way
 
th
 
at I
 bel
 
i
 
eve we shoul
 
d vi
 
ew th
 
e concept of 
 
Sung
 
i
 
n
 
Bag
 
uazh
 
an
 
g
 
.
ON THE LONG ROAD TO NOWHERE
The l
 
ate master Jou Tsu
 
n
 
g
 
Hwa, a hi
 
g
 
h
 
l
 
y
 
reg
 
arded au
 
thor and teach
 
er of 
 
Tai
 
 ji
 
qu
 
an
 
rom New York, tol
 
d me,
 
Man
 
y
 
 peopl
 
e practi
 
ce thei
 
r T
 
ai
 
 ji
 
qu
 
an
 
and
Bag
 
u
 
azhang
 
 
orms f 
 
or years an
 
d years an
 
d never ach
 
i
 
eve tru
 
esu
 
ccess. If 
 
y
 
ou
 
conti
 
n
 
u
 
e to depend on
 
l
 
y on
 
y
 
ou
 
r teacher, or merel
 
y try
 
to reprodu
 
ce, copy
 
,
and preserv
 
e a parti
 
cu
 
l
 
ar teacher’s approach, you wi
 
l
 
l
 
n
 
ot reach
 
your hi
 
g
 
h
 
est
 poten
 
ti
 
al
 
. You
 
must take th
 
e l
 
esson
 
s an
 
d researchth
 
em on y
 
ou
 
r own. Fi
 
n
 
d out
wh
 
at i
 
s keepi
 
n
 
g
 
y
 
ou
 
 
rom success an
 
d el
 
i
 
mi
 
n
 
ate i
 
t.
 
The bel
 
i
 
ef 
 
th
 
at con
 
stan
 
t f 
 
orm repeti
 
ti
 
on wi
 
l
 
l
 
 produ
 
ce Sun
 
g
 
ski
 
l
 
l
 
or Qi
 
i
 
s a
 path man
 
y
 
 
ol
 
l
 
ow. Mi
 
ndl
 
essl
 
y
 
repeati
 
nga f 
 
orm ov
 
er an
 
d over ag
 
ai
 
n i
 
s real
 
l
 
y
 
a
l
 
on
 
g
 
road to n
 
owh
 
ere. A f 
 
ew y
 
ears ag
 
o at a marti
 
al
 
arts tou
 
rnamen
 
t a top
competi
 
tor wh
 
o has won
 
a number of 
 
medal
 
s pu
 
l
 
l
 
ed me asi
 
de an
 
d sai
 
d, “
 
Dr.
Pai
 
n
 
ter, can y
 
ou
 
tel
 
l
 
me h
 
ow to f 
 
eelth
 
e Qi
 
i
 
n
 
th
 
e f 
 
orms? I copi
 
ed my
teacher, bu
 
t I don
 
’t f 
 
eel
 
an
 
y
 
th
 
i
 
ng
 
. How do I f 
 
eel
 
i
 
n
 
tern
 
al
 
en
 
erg
 
y?”Li
 
ke so man
 
y
 
oth
 
ers h
 
e h
 
ad been doi
 
ng
 
i
 
n
 
tern
 
al
 
arts ex
 
tern
 
al
 
l
 
y. I tol
 
d h
 
i
 
m
wh
 
at my
 
teach
 
er h
 
ad sh
 
ared wi
 
th me,
 
The f 
 
orm or styl
 
e i
 
s n
 
ot i
 
mportan
 
t. Wh
 
at
i
 
s i
 
mportan
 
t i
 
s wh
 
at th
 
e mi
 
nd or the Yi
 
(i
 
n
 
tent) does duri
 
ng
 
themov
 
emen
 
t an
 
d
th
 
at th
 
e body al
 
i
 
g
 
n
 
men
 
ts are correct f 
 
or th
 
e speci
 
 
i
 
c movements i
 
nten
 
ded
 purpose.”I f 
 
eel
 
i
 
n
 
th
 
e case of 
 
Su
 
ng
 
, “
 
eel
 
i
 
ng
 
Qi
 
” as a resu
 
l
 
t of 
 
trai
 
n
 
i
 
n
 
g
 
Su
 
ng
 
ari
 
ses
as th
 
e by
 
-product of 
 
correct men
 
tal
 
an
 
d physi
 
cal
 
acti
 
v
 
i
 
ty. To f 
 
eel
 
th
 
e Qi
 
i
 
n
y
 
ou
 
r Bag
 
u
 
azhang
 
, what you must do i
 
s caref 
 
ul
 
l
 
y
 
exami
 
n
 
e i
 
n
 
sl
 
ow moti
 
on
 
each
 
acti
 
on
 
you make; f 
 
eel
 
i
 
ng
 
the mu
 
scl
 
es f 
 
l
 
ex
 
i
 
ng
 
, stretchi
 
n
 
g
 
, and rel
 
ax
 
i
 
n
 
g
 
harmoni
 
ou
 
sl
 
y
 
. Wh
 
en
 
y
 
ou
 
consci
 
ousl
 
y work to sl
 
owl
 
y an
 
d del
 
i
 
 beratel
 
y con
 
trol
 
the acti
 
ons of 
 
y
 
our body
 
i
 
n
 
sequ
 
en
 
ce, you l
 
earn
 
to rel
 
ax
 
th
 
e mu
 
scl
 
es n
 
ot
needed i
 
n
 
a speci
 
 
i
 
c acti
 
on
 
.As thi
 
s h
 
appen
 
s you
 
r au
 
tonomi
 
c n
 
ervous system wi
 
l
 
l
 
di
 
l
 
ate bl
 
ood v
 
essel
 
s
acti
 
v
 
ated thou
 
g
 
h
 
your men
 
tal
 
desi
 
re to
 
 
eel
 
”. Th
 
e n
 
erves wi
 
l
 
l
 
 become more
sen
 
si
 
ti
 
v
 
e an
 
d you wi
 
l
 
l
 
ex
 
 peri
 
en
 
ce th
 
ese sensati
 
on
 
s as Qi
 
 
l
 
ows. Th
 
i
 
s f 
 
eel
 
i
 
n
 
g
 
of 
 
Qi
 
i
 
s th
 
e end resu
 
l
 
t of 
 
a proper rel
 
ease of 
 
muscu
 
l
 
oskel
 
etal
 
ten
 
si
 
on. The
g
 
oal
 
i
 
s to l
 
earn
 
to f 
 
eel
 
al
 
l
 
of 
 
th
 
i
 
shappen
 
i
 
ng
 
an
 
d to g
 
ai
 
n con
 
trol
 
ov
 
er y
 
ou
 
 body
 
i
 
n
 
acti
 
on
 
.
THAT CERTA
 
IN FEELING
Sung
 
trai
 
ni
 
ng
 
h
 
as two major parts. Mi
 
n
 
d/body coordi
 
n
 
ati
 
on an
 
d rooti
 
n
 
g
 
ski
 
l
 
l
 
s.
In
 
th
 
e beg
 
i
 
nni
 
n
 
g
 
, to trai
 
n
 
Su
 
ng
 
weembark u
 
 pon
 
a process of 
 
consci
 
ousl
 
y
 
i
 
n
 
di
 
n
 
g
 
and rel
 
i
 
ev
 
i
 
ng
 
u
 
n
 
i
 
n
 
tenti
 
on
 
al
 
tensi
 
on i
 
n the body
 
i
 
n order to
 
aci
 
l
 
i
 
tatemore f 
 
reedom of 
 
movement and arti
 
cul
 
ati
 
on of 
 
the joi
 
n
 
t stru
 
ctu
 
res.
In
 
short, becomi
 
n
 
g
 
aware of 
 
the u
 
n
 
necessaryand excessi
 
ve tonu
 
s i
 
n
 
ou
 
 
l
 
ex
 
ors an
 
d extensors and l
 
etti
 
ng
 
g
 
o of 
 
any
 
ten
 
si
 
on
 
th
 
at i
 
s u
 
nnecessary. On
 
ce
we cando thi
 
s we can
 
l
 
et th
 
e body “
 
settl
 
e” i
 
n wi
 
th
 
g
 
rav
 
i
 
ty
 
and dev
 
el
 
op a
dy
 
n
 
ami
 
c stabi
 
l
 
i
 
ty
 
cal
 
l
 
ed rooti
 
n
 
g
 
energ
 
y
 
.We mu
 
st n
 
ot col
 
l
 
apse to l
 
earn
 
Sung
 
. We stri
 
v
 
e f 
 
or a harmoni
 
c bu
 
t dy
 
n
 
ami
 
c
 bal
 
ance of 
 
 
l
 
exi
 
on
 
i
 
n the prot
 
ag
 
on
 
i
 
sti
 
cmu
 
scl
 
es, coupl
 
ed wi
 
th an
 
equal
 
rel
 
ease an
 
d exten
 
si
 
on
 
i
 
n the opposi
 
ng
 
antag
 
on
 
i
 
sti
 
c mu
 
scl
 
e stru
 
ctures. Wh
 
en
correct ki
 
n
 
eti
 
c equ
 
i
 
l
 
i
 
 bri
 
u
 
m i
 
s achi
 
ev
 
ed, th
 
e antag
 
on
 
i
 
sti
 
c muscl
 
es wi
 
l
 
l
 
 be
rel
 
easi
 
ng
 
ten
 
si
 
on
 
i
 
n
 
a bal
 
an
 
ced, dy
 
n
 
ami
 
cacti
 
on
 
wi
 
th
 
th
 
e f 
 
l
 
ex
 
ors of 
 
the
 protag
 
on
 
i
 
sti
 
c mu
 
scl
 
es. Th
 
ere wi
 
l
 
l
 
 be ach
 
i
 
eved a true Bag
 
u
 
azhan
 
g
 
 
l
 
ow state i
 
n
 
th
 
eacti
 
on
 
. The rel
 
axi
 
n
 
g
 
muscl
 
es wi
 
l
 
l
 
act l
 
i
 
ke y
 
i
 
n
 
l
 
owi
 
ng
 
smoothl
 
y
 
i
 
n
 
h
 
arm
 
on
 
y
 
wi
 
th
 
th
 
e f 
 
l
 
ex
 
i
 
n
 
g
 
mu
 
scl
 
es, y
 
ang
 
; ju
 
st
 
as i
 
nth
 
e Chi
 
n
 
ese ph
 
i
 
l
 
osophi
 
cal
 
 pri
 
n
 
ci
 
 pl
 
e of 
 
the T
 
ai
 
 ji
 
symbol
 
i
 
sm.The f 
 
i
 
rst part of 
 
Su
 
n
 
g
 
i
 
s mental
 
and ph
 
y
 
si
 
cal
 
. You
 
l
 
earn
 
to f 
 
eel
 
these
chan
 
g
 
es at al
 
l
 
l
 
ev
 
el
 
s of 
 
mu
 
scul
 
ar acti
 
vi
 
tyduri
 
ng
 
your mov
 
ements. Th
 
i
 
s i
 
s n
 
o
smal
 
l
 
 
eat, because Bag
 
u
 
azhang
 
i
 
s a dy
 
n
 
ami
 
c an
 
d mov
 
i
 
n
 
g
 
ex
 
erci
 
se an
 
d th
 
e
mu
 
scl
 
es are con
 
stan
 
tl
 
y
 
ch
 
an
 
g
 
i
 
ng
 
, rel
 
ax
 
i
 
ng
 
, stretchi
 
n
 
g
 
, and f 
 
l
 
ex
 
i
 
n
 
g
 
. T
 
h
 
i
 
s i
 
s
one of 
 
the reason
 
s f 
 
or doi
 
ng
 
the f 
 
ormsl
 
owl
 
y. You
 
hav
 
e th
 
e ti
 
me to u
 
se you
 
mi
 
n
 
d to scan th
 
e body
 
 
or areas wh
 
ere y
 
ou
 
are h
 
ol
 
di
 
n
 
g
 
mu
 
scl
 
es (n
 
ot u
 
sedi
 
n
 
the present acti
 
on
 
) that contai
 
n
 
non-essenti
 
al
 
ten
 
si
 
on
 
an
 
d to rel
 
ease i
 
t.To attai
 
n Su
 
n
 
g
 
the mi
 
n
 
d mu
 
st be di
 
sci
 
 pl
 
i
 
ned. It i
 
s necessary to be f 
 
u
 
l
 
l
 
y
 present i
 
n
 
the n
 
ow momen
 
t. To be awareof 
 
each
 
and ev
 
ery acti
 
on y
 
ou
 
are
maki
 
n
 
g
 
as y
 
ou do th
 
e f 
 
orm. There mu
 
st be, especi
 
al
 
l
 
y
 
 
or th
 
e beg
 
i
 
nner, n
 
o
di
 
stracti
 
ng
 
thoug
 
h
 
ts, no thoug
 
h
 
ts that bri
 
ng
 
on
 
an
 
x
 
i
 
ety
 
or ten
 
si
 
on
 
.
Rooting and Sung