Lao Tzu - The Prosperity Bible - The Greatest Writings of All Time On The Secrets To Wealth And Prosperity

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We proudly present this collection of classic self-help works on how to attract success and money in your life.
CONTENTS:
1. Napoleon Hill – Think and Grow Rich
2. Benjamin Franklin – The Way to Wealth
3. Charles F. Haanel – The Master Key System
4. Florence Scovel Shinn – The Game of Life and How to Play it
5. Wallace D. Wattles – How to Get What You Want
6. Wallace D. Wattles – The Science of Getting Rich
7. Wallace D. Wattles – The Science of Being Well
8. Wallace D. Wattles – The Science of Being Great
9. P.T. Barnum – The Art of Money Getting
10. Dale Carnegie – The Art of Public Speaking
11. James Allen – As A Man Thinketh
12. James Allen – From Poverty to Power
13. James Allen – Eight Pillars of Prosperity
14. James Allen – Foundation Stones to Happiness and Success
15. James Allen – Men and Systems
16. James Allen – Above Life's Turmoil
17. James Allen – The Life Triumphant
18. Lao Tzu – Tao Te Ching
19. Khalil Gibran – The Prophet
20. Orison Swett Marden & Abner Bayley – An Iron Will
21. Orison Swett Marden – Ambition and Success
22. Orison Swett Marden – The Victorious Attitude
23. Orison Swett Marden – Architects of Fate; Or, Steps to Success and Power
24. Orison Swett Marden – Pushing to the Front
25. Orison Swett Marden – How to Succeed
26. Orison Swett Marden – Cheerfulness As a Life Power
27. Marcus Aurelius – Meditations
28. Henry Thomas Hamblin – Within You is the Power
29. William Crosbie Hunter – Dollars and Sense
30. William Crosbie Hunter – Evening Round-Up
31. Joseph Murphy – The Power of Your Subconscious Mind
32. Ralph Waldo Emerson – Self-Reliance
33. Ralph Waldo Emerson – Compensation
34. Henry H. Brown – Concentration: The Road to Success
35. Henry H. Brown – Dollars Want Me
36. Russell H. Conwell – Acres of Diamonds
37. Russell H. Conwell – The Key to Success
38. Russell H. Conwell – What You Can Do With Your Will Power
39. Russell H. Conwell – Every Man is Own University
40. William Atkinson – The Art of Logical Thinking
41. William Atkinson – The Psychology of Salesmanship
42. B.F. Austin – How to Make Money
43. H.A. Lewis – Hidden Treasure
44. L.W. Rogers – Self-Development and the Way to Power
45. Douglas Fairbanks – Laugh and Live
46. Douglas Fairbanks – Making Life Worth While
47. Sun Tzu – The Art of War
48. Samuel Smiles – Character
49. Samuel Smiles – Thrift
50. Samuel Smiles – Self-Help

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Facial Expression is Important

Have you ever stopped in front of a Broadway theater and looked at the photographs of the cast? Notice the row of chorus girls who are supposed to be expressing fear. Their attitudes are so mechanical that the attempt is ridiculous. Notice the picture of the "star" expressing the same emotion: his muscles are drawn, his eyebrows lifted, he shrinks, and fear shines through his eyes. That actor felt fear when the photograph was taken. The chorus girls felt that it was time for a rarebit, and more nearly expressed that emotion than they did fear. Incidentally, that is one reason why they stay in the chorus.

The movements of the facial muscles may mean a great deal more than the movements of the hand. The man who sits in a dejected heap with a look of despair on his face is expressing his thoughts and feelings just as effectively as the man who is waving his arms and shouting from the back of a dray wagon. The eye has been called the window of the soul. Through it shines the light of our thoughts and feelings.

Do Not Use Too Much Gesture

As a matter of fact, in the big crises of life we do not go through many actions. When your closest friend dies you do not throw up your hands and talk about your grief. You are more likely to sit and brood in dry-eyed silence. The Hudson River does not make much noise on its way to the sea—it is not half so loud as the little creek up in Bronx Park that a bullfrog could leap across. The barking dog never tears your trousers—at least they say he doesn't. Do not fear the man who waves his arms and shouts his anger, but the man who comes up quietly with eyes flaming and face burning may knock you down. Fuss is not force. Observe these principles in nature and practise them in your delivery.

The writer of this chapter once observed an instructor drilling a class in gesture. They had come to the passage from Henry VIII in which the humbled Cardinal says: "Farewell, a long farewell to all my greatness." It is one of the pathetic passages of literature. A man uttering such a sentiment would be crushed, and the last thing on earth he would do would be to make flamboyant movements. Yet this class had an elocutionary manual before them that gave an appropriate gesture for every occasion, from paying the gas bill to death-bed farewells. So they were instructed to throw their arms out at full length on each side and say: "Farewell, a long farewell to all my greatness." Such a gesture might possibly be used in an after-dinner speech at the convention of a telephone company whose lines extended from the Atlantic to the Pacific, but to think of Wolsey's using that movement would suggest that his fate was just.

Posture

The physical attitude to be taken before the audience really is included in gesture. Just what that attitude should be depends, not on rules, but on the spirit of the speech and the occasion. Senator La Follette stood for three hours with his weight thrown on his forward foot as he leaned out over the footlights, ran his fingers through his hair, and flamed out a denunciation of the trusts. It was very effective. But imagine a speaker taking that kind of position to discourse on the development of road-making machinery. If you have a fiery, aggressive message, and will let yourself go, nature will naturally pull your weight to your forward foot. A man in a hot political argument or a street brawl never has to stop to think upon which foot he should throw his weight. You may sometimes place your weight on your back foot if you have a restful and calm message—but don't worry about it: just stand like a man who genuinely feels what he is saying. Do not stand with your heels close together, like a soldier or a butler. No more should you stand with them wide apart like a traffic policeman. Use simple good manners and common sense.

Here a word of caution is needed. We have advised you to allow your gestures and postures to be spontaneous and not woodenly prepared beforehand, but do not go to the extreme of ignoring the importance of acquiring mastery of your physical movements. A muscular hand made flexible by free movement, is far more likely to be an effective instrument in gesture than a stiff, pudgy bunch of fingers. If your shoulders are lithe and carried well, while your chest does not retreat from association with your chin, the chances of using good extemporaneous gestures are so much the better. Learn to keep the back of your neck touching your collar, hold your chest high, and keep down your waist measure.

So attention to strength, poise, flexibility, and grace of body are the foundations of good gesture, for they are expressions of vitality, and without vitality no speaker can enter the kingdom of power. When an awkward giant like Abraham Lincoln rose to the sublimest heights of oratory he did so because of the greatness of his soul—his very ruggedness of spirit and artless honesty were properly expressed in his gnarly body. The fire of character, of earnestness, and of message swept his hearers before him when the tepid words of an insincere Apollo would have left no effect. But be sure you are a second Lincoln before you despise the handicap of physical awkwardness.

"Ty" Cobb has confided to the public that when he is in a batting slump he even stands before a mirror, bat in hand, to observe the "swing" and "follow through" of his batting form. If you would learn to stand well before an audience, look at yourself in a mirror—but not too often. Practise walking and standing before the mirror so as to conquer awkwardness—not to cultivate a pose. Stand on the platform in the same easy manner that you would use before guests in a drawing-room. If your position is not graceful, make it so by dancing, gymnasium work, and by getting grace and poise in your mind .

Do not continually hold the same position. Any big change of thought necessitates a change of position. Be at home. There are no rules—it is all a matter of taste. While on the platform forget that you have any hands until you desire to use them—then remember them effectively. Gravity will take care of them. Of course, if you want to put them behind you, or fold them once in awhile, it is not going to ruin your speech. Thought and feeling are the big things in speaking—not the position of a foot or a hand. Simply put your limbs where you want them to be—you have a will, so do not neglect to use it.

Let us reiterate, do not despise practise. Your gestures and movements may be spontaneous and still be wrong. No matter how natural they are, it is possible to improve them.

It is impossible for anyone—even yourself—to criticise your gestures until after they are made. You can't prune a peach tree until it comes up; therefore speak much, and observe your own speech. While you are examining yourself, do not forget to study statuary and paintings to see how the great portrayers of nature have made their subjects express ideas through action. Notice the gestures of the best speakers and actors. Observe the physical expression of life everywhere. The leaves on the tree respond to the slightest breeze. The muscles of your face, the light of your eyes, should respond to the slightest change of feeling. Emerson says: "Every man that I meet is my superior in some way. In that I learn of him." Illiterate Italians make gestures so wonderful and beautiful that Booth or Barrett might have sat at their feet and been instructed. Open your eyes. Emerson says again: "We are immersed in beauty, but our eyes have no clear vision." Toss this book to one side; go out and watch one child plead with another for a bite of apple; see a street brawl; observe life in action. Do you want to know how to express victory? Watch the victors' hands go high on election night. Do you want to plead a cause? Make a composite photograph of all the pleaders in daily life you constantly see. Beg, borrow, and steal the best you can get, BUT DON'T GIVE IT OUT AS THEFT . Assimilate it until it becomes a part of you—then let the expression come out.

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