Dr. Marco Paret
The Magnetic
Gaze
What is and how to acquire it
Applications of Fascination to Hypnotic Practice Self Fascination and other techniques
ISBN13 978-0-935410-65-5
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Preface
Can we not see that a stronger force is exercised by the human eyes which, through a mere look, almost bring about life or death, cause blood to flow away and come back, wrest away strength and restitute it, and, even more remarkably,
corrupt the judgment of human minds”
(Sonnet by Lorenzo de’ Medici, known as “Il Magnifico” 1)
Who would not like to prove attractive and to fascinate? To «fascinate» bears the connotation of “producing a spellbinding effect or enchanting through one’s look or speech”.
The present book is devoted to the power of the eye and the secrets which are correlated to it.
By means of this organ, in fact, astonishing results can be achieved. The influence exercised by man over another member of the species is no doubt the product of a multiplicity of causes, yet no one of those underlying causes is comparable, in terms of its potency, to the one possessed by the look. Our thought, too, is influenced by the look. The very phrase “vision of the world” is traceable back precisely to that reality. After all, even in the most mundane aspects of human life, we are accustomed to judge on the basis of the outward appearance. We create a certain opinion of one person firstly on the basis of his physiognomy and, secondly, on the basis of what dress he is wearing. For sure, speech helps fashion ideas and beliefs, but what happens when such action is not validated by one’s look? When one listens to a person without seeing him, the content of what he is saying is only understood by creating
1 Cf. “Works” by Lorenzo de’ Medici known as “Il Magnifico”, Volume 4, at p. 109.
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some mental images, imaginary mental images. Words gain in potency when they are backed up by the look.
A proficient orator deliberately trains the way he looks at the audience in order to lend greater force and persuasive efficacy to his verbalizations.
In the course of this book, we shall discover how such a force is susceptible of being developed by recourse to a self-disciplining method. Indeed, already when we limit ourselves to looking around without any specific purpose, even without any specific instructions, we are in fact communicating a myriad of different messages.
If, however, we develop conscious awareness of what we do, we will manage to ultimately learn how to subjugate these energies possessed by the look. Indeed, in extreme circumstances, the ability we will have gained thereby is going to extend, in the sphere of interpersonal relationships, to the power to “enchant” whoever watches us, to create “an instantaneous hypnosis”; at the same time, from the viewpoint of the receptive side of looks, we will understand and perceive many more things than those we would otherwise regard as possible.
The present work is the world’s most profoundly comprehensive text on this subject. It has its roots both in practical experience and in the attentive study of all the relevant literature we have been able to lay our hands on. We have accordingly referred, in the course of our footnotes, to hundreds of varied historical, scientific and experiential sources.
An other result, one more closely connected to everyday life, is to learn to use the power of the eye so as to develop your Presence, Status, Prestige, Charm, Self-caring, Charisma, and Leadership, up to the point that you literally become capable oh hypnotizing and magnetizing whichever person is watching you.
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Attractive charm, according to the ancient way of looking at things, is in fact “a far-reaching power that is exercised by a look over another look, one charged with such a force that whoever was subjected to it was unable to extricate his self from it, and was accordingly compelled to be fascinated by it”.
We are able, in this context, to record an age-long uninterrupted sequence, running across centuries, of witnesses’ first-hand descriptions of how such force would materialize. This ongoing chain of consistent records spans the medieval, Roman and pre-Roman ages without exception.
The most recondite aspects of such tradition appear to have been incessantly transmitted in Italy more than in any other part of the world, though such transmission took place within the most exclusive elites of special affiliates.
This ancient mode of looking at things has in fact always been practiced on the basis of a direct transmission from master to disciple, without resorting to written texts, other than, at the most, some allusive documents carrying meanings which were concealed from non-adepts, and odd systems of arcane symbols.
In order to lend efficacy to this force, it is essential for us to develop awareness of the strength inherent in our look, as well as to develop a different vision. Though this is a practically orientated tradition, in order to understand and, even more, to put this art into practice, what is indeed required is an approach to reality which opens up to different and all-encompassing dimensions. They have to differ, in other words, from the linear and limited dimension of modern man. For modern man, the eye is a mere passive organ. If we, however, desire to appropriate the power inherent in the eye, we have to actively employ it and draw close to quantistic physics, which teaches us precisely that “the observer influences the observed”.
In fascination we detect transformation, both the transformation of the one who actively inspires it and the one
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who is the passive recipient thereof. Fascination is additionally able to confer a scientific basis on the otherwise inexplicable thereapeutic ability possessed by several healers.
The original sources of our interest in the subject Everything originated at first in our odd encounter with “the last of the fascinators”: Virgilio T. 2, who currently lives in
a state of deliberate obscurity by the valleys of Piedmont. He appears to be the last custodian of one part of the secrets of this most ancient school.
During a series of subsequent meetings, spread over a period in excess of twenty years, he has gradually introduced us to the strange and arcane power of the gaze, and has passed onto us increasingly more mysterious and secret exercises.
The first one to meet him was actually a friend of mine, Max, who, having approached him in order to seek information on what hypnotism was, received a very practical reply to his inquiry.
Virgilio T., who at that stage worked as a barber, asked those who were present at the barber’s shop whether they agreed to take part in an experiment. Once he received a positive reply to his said request, he closed the door of the shop and firmly fized his gaze on one of the customers, who had moreover assumed a somewhat defiant look. His defiant posturing only lasted for a very short period. Within a few seconds, in fact, that customer took on a livid appearance. Virgilio told him that the cigarette was bad. The customer thus addressed began to cough so much that Virgilio was forced to slap him in the face a few times in order to bring him back to his senses.
2 The surname is abbrievated at the relevant person’s specific behest, since he (now aged 80) only desires to be visited by friends.
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When it came to the second customer, he did not even utter a single word to him. He fixed him closely, and this other customer’s look turned pallid and diaphanous as if it was made of wax. At that point, Virgilio carried out a facetious probative exercise: Faced with the question on what his name was, such customer answered by mentioning a woman’s name which had not even been verbally suggested (to him by Virgilio), only through the power of thought.
Virgilio thereupon woke him up.
Moved by his curiosity, Max took to Virgilio a number of his friends, and witnessed similar events on several other occasions.
Even I succeeded in experiencing on my own skin the power of this seemingly quiet person who, besides the ability I have just described, had also developed a special sensitivity to energies, to such an extent that he was a capable medical diviner equipped with the talent to retrieve an object concealed inside a room.
Where does all of this originate?
Having intuitively realized that recourse to such technique might have stretched even beyond what we had been witnesses to, and that this power might be used for the additional purpose of making people feel better, we resolved on becomingVirgilio’s students and intimate associates, to whom he could have confided his secrets. We then realized that, in order to attain such power, what is needed is a disciplined work upon one’s own self, which is also grounded on a series of techniques and exercises encompassing self-control as well as self-development and self-improvement.
Virgilio is not, however, the only exponent of such school which we owe our knowledge of the subject to.
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A contribution to the completion of this work was also made by the late Prof. Erminio from Pisa 3. He used to refer to
fascination by the term of “instantaneous hypnosis”.
In spite of the fact that both Virgilio T. and Erminio from Pisa were consummate masters in this art, the former, albeit capable of producing rapid results, operates only by leaving a superficial and short-term imprint, at a time that the work carried out by the latter pushes this technique onto a different level, one that has a deep effect and succeeds in healing plentiful pathologies on an enduring basis. In so doing, it traces itself back to a long tradition of therapeutic fascination.
After all, Virgilio, fully aware as he was of his limits, made use of his brand of hypnosis, never mind how spectacular, only as a game or for theatrical effect, whereas Prof. Erminio from Pisa was accustomed to assiduously cure dozens of people on a weekly basis, within his study, as part of his regular professional activity. Most of these persons would get cured in a single session lasting ten seconds or so. Even those who were most amenable to recurrent relapses, needed no more than 2 to 3 sessions before the beneficial effects of fascination accomplished through the look embedded themselves firmly in their organisms. Prof. Erminio was a person marked by a forceful personality. In his work methodology, as was the case with the ancient people, he always strove to be in a state of balance with the universal harmony, which he used to discern as a result of his astrological studies.
It is thus from him that we have learnt how to employ this art for healing purposes. This is a technique that we are going to lay out in the second part of the book.
Prof. Erminio, too, had been directly introduced to this discipline by an existing master: Prof. Caravelli. The latter was a masterful expert in the so-called art of “bi-location”, so much
3 He is the author of a manual on “Practical Hypnomagnetism” published by the Meb.
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so that he could be simultaneously perceived in two different places.
That is how we have made our acquaintance with this technique, which is as ancient as it is beneficial.
These keys had remained hidden up to now. Indeed, although, since the days of the most remote past, testimonies had been adduced of people who were able to exercise a powerful influence with the look, the true method of bringing that about had in fact always been kept secret, or at least transmitted only on condition of maintaining a high degree of confidentiality.
Even a very committed devotee of this type of subjects such as William Atkinson, who is one of the few people to have consecrated an entire book to the subject, one that bears the title of “Mental Fascination” 4, deals with it from the outside,
in the process mentioning that he had interviewed some people, while clarifying the fact that had not been personally initiated to the technique.
Likewise, Seligmann, a German ophthalmologist who authoured in this regard a monumental work comprising more than 2500 literary sources he had quoted therein, had never been let in the art from inside. Accordingly, as with many authors in the field, he offers us a puzzle without however being able to provide us with a true solution to it.
It does not end here, however. Though we have been introduced to the technique, we can personally attest to the fact that there are still many obscure points in need of clarification, as regards the degree of potency of this hidden and extraordinary power.
4Cf. William Atkinson, “Mental Fascination”. The Italian title of
the book is “La Fascinazione Mentale”, Ed. Bocca. The book is additionally available in a free of charge online format from our
school, simply by requesting it at the address
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Fields of utilization of fascination
“Fascination is actualized by a lucid and subtle virtue which the heat of the heart gives birth to as one equipped with a purer blood. This heat is emanated in the form of rays which,
emitted by open eyes fixing their gaze with strong imaginative power, ultimately produce a wound in the object
of their look, touch the heart, and succeed in afflicting the other person’s heart and spirit, either with love or hatred, with envy, melancholia, or some other kindred emotional force. Feeling the attraction of love is a phenomenon which
takes place when two people frequently eye one another through a direct, intense look. In that case, visual rays, mutually radiating, meet one another, and light is wedded to
light. It is at that point that spirits are conjoined together, and that the superior light, by indoctrinating the lower one,
shimmers through the eyes, and races to penetrate into the inner spirit, the one that is rooted in the heart; it is in that fashion that an amorous conflagration is stirred into being.
If, however, you do not want to fall into the spell of fascination, you must be extremely cautious, and guard your
eyes specifically, as the eyes are largely the only windows of the soul when it comes to love. That is the reason behind the
famous saying: “Averte, averte oculos tuos!” 5. Let this
instruction suffice for now!” [Giordano Bruno 6].
“Fascination” is the technical term which is used to indicate the capacity of captivating people through the eyes. The image of the Medusa which petrifies by the look is certainly the metaphorical transposition of such a reality. It is the
5Literally, “deflect, deflect your eyes away!”.
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equivalent of the action we were able to notice in Virgilio T., as he literally “turned” his subjects “into statues”.
Though it might be deemed strange that merely through the use of the sight it is possible to freeze a person by placing him in a state of “incantation”, the action exercised by this on the brain is given greater intelligibility if we were simply to pay notice to what happens after all to simple animals when they are dazzled by light. They stop dead in their tracks, as if immobilized in a state of astonishment, no longer able to decipher the situation they find themselves in. Mosquitoes go as far as incinerating themselves, a typical feature which is exploited by people in order to spend their summer without suffering too many bites.
A possible way of explaining the phenomenon is that a direct look produces a restriction of the attention field in respect of the recipient of it, whence the gamut of different uses of the technique as applied in daily actions of persuasion.
So long as, therefore, you keep some person under the grip of your look, you will learn that he will gain a greater capacity to perceive emotions and feelings. You will, at the same time, increasingly reduce the force of his subjective judgment and will 7.
7 That is due to some experimental proofs which show how
refraining from deflecting one’s eyes (and thereby keeping one’s look firm) diminishes a person’s critical ability. See in this connection http://www.psychology.stir.ac.uk/staff/lcalderwood/GazeAversionR esearch.htm. You can further refer to "Physiological Aspects of Communication via Mutual Gaze", by Allan Mazur, Eugene Rosa, at http://www.jstor.org/pss/2778851: This series of experiments evinces 1) how reciprocal looks occasion responses at a physiological level, 2) the fact that a person can bring about changes in somebody else’s physiology through his look, and 3) the truth that look is linked to facets of domination accruing to one side to a conversation in the course thereof.
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In order for the eye to be endowed with an effective strength, however, it is necessary to educate it through a specific training, and to attain an alert cognizance of its power. You ought to train yourselves, fundamentally, on how to acquire a fixed, interested, sweetly penetrating and expressive look. Once you have succeeded in doing so, you will be able to hold the first key among those which, provided they are used correctly, are going to open for you new doors in life.
It is imperative that your vision should be simultaneously panoramic and incisive, such that it can encompass both the totality and the detailed particulars. This state occurs to many people during moments of enthusiasm. In order for you to bring it about at will, however, self-training is a mandatory duty.
The practical benefits of that are manifold. In the field of persuasion, for instance, the eyes can produce an irresistible effect, and practical experience teaches us that such effect will be even stronger if we learn how to keep them open in a motionless state, studiously avoiding to deflect our look, albeit for a split second, away from the base of the other person’s nose, and simultaneously having a clear idea of what we desire to achieve.
The exercises, apart from having the capacity to powerfully develop your eyes, will additionally sharpen your attention and evolve other indispensable faculties in life.
An essential requirement is that you should learn to achieve firm power over your own selves. The first level of exercises which help develop this power properly is in fact based on mastering one’s own body and its impulses, emotions, violent desires, and the mental plane with its characteristic digressions and instability. The aim behind it is that all of the aforesaid should submit to the higher self and should transform into a positive instrument that guides our strengths and our eye in a conscious fashion, one which is not
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abandoned to dependence on mere instinctiveness. The ability to enchant, indeed, is not only human, yet only man is capable of steering it toward positive and delopment-bound purposes. Animals capture prey through the look as well, but only in an unconscious manner. There have always been tales of snakes gifted with special faculties to cast their charm upon their victim and thereby disable it from shunning its spires; their power reaches such an extreme degree that they cause birds to step down, draw closer, and let themselves be grabbed without being able to offer any resistance in an attempt at self-protection. A similar narration had also been reported to us by our master. The protagonists of that story consisted in a fox and some hens 8. A friend of his owned a hen house, and was
astounded by the fact that some of the hens would go missing. Imagine how much did his astonishment escalate when he realized that such hens used to climb over a branch, while underneath, on the ground, a fox used to look at them and wave its head in the process. It appears as if, on their own initiative, the hens would then throw themselves underneath, where they would be devoured by the fox.
Fascination is also the historical basis of the classical “give me your eyes, please” of the hypnotizers of yesteryear. Though such a personage is still alive in popular perceptions, he has effectively become extinct by now, given that the techniques of hypnosis which are currently utilized on a preponderant basis are both lengthy and based on the use of words. They mostly derive from a practice strand of American origin which is disconnected from the ancient tradition 9. No one among
8 We are unaware of whether Virgilio used to recount it for the purpose of teaching us something, in other words, as something of metaphorical value, or for merely narrative reasons. Virgilio is in fact fond of spinning stories as opposed to relating concepts directly.
9 Most of the hypnotic techniques that are currently practiced
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present-day professional hypnotists, not even among the most celebrious ones, is really capable of making use of the look. Nevertheless, look might, if and when it is understood, function as a valuable aid to any hypnotic influence, due to the fact that it engenders by itself a suspension of certain critical faculties, and does so in a totally natural manner.
Summary of the methods of utilization of the technique 1. In everyday life and in the sphere or relationships: The reason why a certain person makes an impact on us, and seems to us “alive”, lies in the self-confident mastery exuded by a look which seduces, attracts, enchants. Our eye can be educated in this respect and guided to the attainment of those effects.
2. Within the therapeutic field: Since ancient times, healing power has been attributed to the look. Both Hippocrates 10 and Dioscorides 11, as well as Theophrastus 12,
forcefully maintain that healing power could be exercised through the look, gestures and specific rituals. Our own master Erminio from Pisa 13, therefore, perpetuated such tradition by
causing the instant healing of pains of the muscles and the skeleton, tinnitus, and several other disorders. A theory that might provide justification for such results is the one set out here under: The mind is sometimes caught in the grips of what is usually referred to as «fixed ideas». We keep on thinking the same things, and we let ourselves be constantly chased by the
Milton Erickson, Dave Elman and other individuals, and essentially rest on the use of verbalizations.
10Cf. Hippocrates, “De Sacro Morbo de Magis”. 11Cf. Dioscorides, Book ii, chapter 10.
12Cf. J Theophrastus, “De Histor. Plant”, Book IX, chapter 4.
13 At our institute, we keep a very beautiful video which shows how, within the space of a few seconds, he was able to remove pains and a wide array of blocks.
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phantom of old thoughts and go round and round the same set of concepts. The charming attraction of the look, therefore, smashes such deeply engrained ideas. It is as if through the means of fascination, moreover, we succeeded in “entering the other person”. Every person’s world is fenced off by a limiting boundary consisting in the narrow space of what his sight encompasses and reaches up to. Accordingly, by meeting such person’s look we simultaneously penetrate inside the interpersonal reality of our interlocutor, and we are then able to help him “from within”. Even the phase of concentration and meditation techniques that one passes through with the aim of strengthening the eye contains within itself a practical usefulness in the field of personality reinforcement.
3. Within the arena of personal growth: We must possess awareness of the look. The exercises that are utilized for the sake of fascination might additionally prove to be of great avail if one seeks to acquire a clearer, neater and more magnetic personality, as well as to attain greater "Presence".
4. To induce a «hypnotic trance» in a natural way. Fascination might represent the key to develop a specific form of instant hypnosis. Besides, all hypnotic techniques are speeded up by prior recourse to the use of fascination.
Fascination in the relationship between the two sexes Fascination is also a fundamental component of the forms which the relationship between man and woman take. What is it that, ultimately, makes a man distinguish a woman from thousands of unknown members of her sex who cross his way in the streets? Why is it that this man who, notwithstanding the fact that he has witnessed countless eyes staring at his, directs his look only to these particular eyes? It was but a flash, and yet that flash has unveiled to him an ocean of happiness and mystery. The relevant man, spellbound and enraptured, is forced to retrace his steps so as to meet again that look which
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has made his restless, which has unleashed into his soul a storm that is unable to subside unless he can again look out from the thresholds of this divine enigma. The reverse is likewise true: Man, with his look, captivates the woman, gazes at her, and she, in turn, lowers her gaze in order to attract him
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The modern world is saturated with a plethora of social conventions, and no one can really attempt to make a loud confession of the feelings that are dearest to his heart, or give voice to the aspirations buried in his innermost being. Even though a person might wish to love and be loved, he can often do nothing other than reconciling himself to a state of wait. There is, however, a magical tool of communication, a hidden accomplice: The look, the silent lamp in one’s eyes. The eye caresses, the eye invites, the eye promises, exasperates desire and vanity, and is capable of throwing one into despair or suddenly thrusting one back to the pinnacle of human joy. Through the look, we communicate ourselves and our idiosyncractic reality. It is in our look that the person facing us discerns the truth of who we are and where we are heading for.
Eye in the Tradition
The eye has always been at the heart of human culture, transmuted into a symbol, at the center of ritual ceremonies, and a protagonist in metaphors.
It is the most precious sensory organ in the human body: It allows us to become aware of the surrounding environment, and assists us in creating the three-dimensional perception of space.
The eye has been perennially linked to “knowledge”, owning the world and dominating it.
14 Inspired by “Occhi Fascinatori”, a book authored by an
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The eye is, moreover, the sensory organ that is most closely related to light, which is an element that is fundamental to life
15. The eye is an essential organ of man, both as regards his life
and his distinct individuality.
We can discern both the following in the traditions that relate to this organ:
• An attention that is extended to each one of the two eyes, which are related to pairs of opposite principles (sun and moon, male and female, etc);
• An attention which is focused on the point between the two eyes, seen as a central locus and as the point in which intuitive faculties might be developed.
In the practice of fascination through the look, both these elements are of significance, due to the fact that the median point between the eyes is one of the points which were traditionally used in order to observe this point itself.
We are now going to pay notice to how we are capable of coming across these very same elements in different civilizations.
According to the ancient Egyptians, for instance, the eye of Horus might be both the right eye and the left eye. Traditionally, the right eye is linked to the sun, while the left one is connected to the moon 16.
15The sun is also the irradiating eye of heaven, the eye of Jupiter,
Zeus, Wotan, (among Germanic nations), Osiris and Horus (in ancient Egypt), Mitra, Varuna and Agni (India), Ahura-Mazda (in Persia), Maui (in New Zealand), Ama-terasu Oho-mikami (in Japan), P’an-ku (in China), etc.
16In terms of an ancient Egyptian legend, the sun and the moon
were the eyes of a large divinity, Hor-jerti, i.e. “Horus of the two eyes”. This pair of eyes is similarly linked to two snakes as part of a tradition reminiscent of the Indian tradition which is part of kundalini, and in accordance with which ida and pingala are the names of the two lateral channels around the sushunna. This tradition about the two lateral parts of the body sill goes on even in
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In the East, Shiva is often depicted with three eyes: Two such eyes, which correspond to the sun and the moon, are directed towards the outside world, towards the things, which accordingly seem to exist in a state of “duality”. There is yet a third eye, centrally located, a unifying eye which faces a different dimension, one of consciousnes and self-intuition, which is symbolized by a spiral in the drawing set out here under.
From an anatomical point of view, we can notice how in man the location of the right eye and the left eye corresponds to the two hemispheres of the brain, and are often related to rational value (linked to the masculine principle) and emotional value (which is more feminine).
The eye in the middle or third eye, therefore, is neither masculine nor feminine.
At a physiological level, this point corresponds to the epiphysis, which is where the pineal gland regulating man’s day / night cycle, and which secretes melatonin, is situated.
Such pineal gland has a relation with intuition.
The eye lying on the median point between sun and moon might bring to mind the importance of a higher vision and the possibility of attaining thereby a superior vision.
A concept which is shared by plentiful traditions is “the reawakening by the third eye”, which signifies an opening that gradually leads to an amplification of consciousness.
the fascination school of Virgilio T., as it confers special importance on the two hemispheres.
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A link might be established between such phenomenology and factors which are both physiological and purely connected to percepton.
A French researcher, Dr. Lefebure 17, used to observe the
fact that this central point of the “third eye” corresponded to a certain physiological position where the normal three-dimensional vision was suspended. In theory, we could then simultaneously discern an object placed on that point from every side. Dr. Lefebure’s hypothesis was that such a suspension of the ordinary mode of perception might have a significant impact on the brain, by steering it “beyond space”.
According to many traditions, such a third eye is also portrayed as being contained inside a triangle which functions as a symbol of fire as well. Fire is in fact the element endowed with the highest level of vibration 18.
This link between the triangle and the eye is similarly present, in Europe, in both medieval and renaissance iconography, in terms of which the eye, often inserted within a triangle, was after all seen as an explicit image of the trinity.
We find a similar symbolism in the East, where Buddha (often called "the eye of the world") is represented in the form of a triangle known as Tiratna or threefold gem.
It is important to understand that such an intuitive center or third eye, though already quite present as perceptive centre in man, and recognized by for instance the Indians as ajna chakra, is nevertheless in a state of slumber in most cases. Being in a stage of embryonic development, it has to be fashioned through development and opening itself up in
17Cf. Lefebure, “Initiatic Techniques”.
18 An illustrating example of that is the eye depicted even on US
dollars. The eye as represented in it, moreover, is placed in such a manner as to form the summit of a pyramid, almost as if to complete it and symbolically allude thereby at the fact that the building is incomplete without such a superior vision.
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consonance with the appropriate rhythm, which varies from person to person.
Our own interpretation is that, essentially speaking, it is as if this physiological point was “occupied”, at least physiologically, by the task of delineating a specific identity and mental constitution, engaged, that is, by the conceptualizations which engross the mind, and by the dualistic vision of the world.
It is only when this type of “mental block” is released, that intuition is able to wake up again and be harmoniously reactivated, thereby enabling a correct development of consciousness.
In this connection, we can observe the fact the various hypnotic pratices 19 resort to the method of touching that area,
due to its capacity of facilitating the task of letting go of oneself and precipitating into a state of hypnosis, as the process is in fact disturbed in that manner.
The full reawakening on the part of the third eye is connected to a development of one’s consciousness that is achieved over a period of time, as the consequential fruit of individual effort and working on oneself.
The more one progresses in the practice of fascination, the more one can discern a greater sensibility in that area.
Finally, as far as the level at which the eye operates is concerned, the Kabbalists are of the view that it acts on an ethereal plane, “the universally shared book, where all the
19 In an even more ancient epoch, Abbot Faria used to inter alia resort to touching that area as a hypnogenous method. More recently, we have personally been able to notice how Jerry Kein, an American hypnotist, used to repeatedly touch that point so as to facilitate the inducement of a hypnotic state. Various French hypnotists and magnetizers at the start of the 20th century (cf. Moutin, “Le Magnétisme Humain”) make mention of this point as an important one to press in order to “let go of the personality” and thereby ease the fostering of a hypnotic condition.
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instances of man’s conduct are recorded in writing, namely, the ether. In it, all the units of human behaviour are inscribed, including the look of the eyes, or whatever nice or evil is said”
20.
It is odd that this theory antedates the more recent one of Rupert Sheldrake (1998-1999-2000) that concerns “morphic fields”, i.e. the theory of resonance fields which are not directly perceptible but which have a tendency to “thrust” forms into a particular direction 21.
In terms of an ancient Egyptian legend, the sun and the moon were the eyes of a large divinity, Hor-jerti, i.e. “Horus of the two eyes”. This pair of eyes is similarly linked to two snakes as part of a tradition reminiscent of the Indian tradition which is included in the kundalini, and in accordance with which ida and pingala are the names of the two lateral channels around the sushunna. This tradition about the two lateral parts of the body sill goes on even in the fascination school of Virgilio T., as it confers special importance on the two hemispheres.
20 Cf. Esarah Maimeroth, 49.
21Cf. Rupert Sheldrake, “The sense of being stared at”. This book
also quotes many interesting experiments where people react to a look even when they are stared at from behind. Refer in particular to the following articles – Sheldrake, R. (1998): ‘The sense of being stared at: Experiments in schools’, in JSPR 62, 311-323; (1999) ‘The sense of being stared at confirmed by simple experiments’, in Biology Forum 92, 53-76; (2000a) ‘The sense of being stared at does not depend on known sensory clues’, in Biology Forum 93, 209-224; (2000b) ‘Research on the feeling of beng stared at’ (submitted to Skeptical Inquirer).
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The art of conferring fascination on the
eyes
Let us now talk about the practical art of making eyes strong, attractive and regaled with charming attraction. This in fact represents the central phase of the method. As several elements need to be coordinated, this part of our work is divided into 3 sections:
1. Fixity of the look; 2. Rapidity of the look; 3. Expression of the look.
It is recommended that our prescriptions should be scrupulously followed, as they will quickly lead you to a truly surprising result. In no other work than this text of ours are you in fact going to come across so many exercises with so much power at the same time.
I. – FIXITY OF THE LOOK
As we know very well, the capacity to maintain a fixed look is one of the main prerequisites of a proficient fascinator. In addition to developing the fixity of your look, these exercises will also gift you a resolutely decisively and potent will.
Exercise 1
While in front of a mirror, you should fix your gaze on the third eye without batting your eyelids. You should pursue this exercise gradually, until you can manage to extend its duration. Refer in this regard to the instructions applicable to the next exercise.
23 Exercise 2
Take a business card and, at the back thereof, sketch the contour of a large coin. Thereafter, blacken the whole of the inside with some China ink leaving a strong mark, save for a minuscule little circle in the middle you are going to leave it white. Thereupon, affix the small cardboard piece onto the wall at your eyes’ level, while you remain seated. You should set your self at a distance of some half a metre, which will then need to be increasingly reduced. Focus your look firmly upon the central white spot for a minute. During this period, no effort should be spared to avoid lowering the pupils of your eyes. In the event that you are gripped by an irresistible desire to lower them, you ought to engage in the opposite muscular effort, that is, striving to lift the pupils. Once you have mastered how to effortlessly stare at the disk for half a minute, you should then gradually extend the session until you can manage to fix your gaze on the disk for 15 to 20 minutes. It must be clearly understood that the eyes should not limit themselves to look at the small white dot, but should actually see it; throughout such period, your mind must refrain from wandering absent-mindedly, and must rather concentrate, with the greatest possible energy, on the thought that you are carrying out this exercise for the purpose of strengthening your eyes.
By pursuing this exercise on an ongoing basis, you will discern a series of effects:
a) After a while, the strain will diminish, and you will feel a surge of calm and tranquil stillness inside your self;
b) The white dot might disappear, it will turn grey, it will undergo a change, and it will stretch into the black area; c) The black space is going to acquire a distinct splendour, and you might go as far as feeling a kind of fine sand under the eyelids;
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d) You will experience a most potent inducement to close your eyes, but that is something you must studiously avoid to do at any cost.
Exercise 3 – The exercise of the luminous ball Get yourself a crystal ball of the type that stationery shops sell as paperweight. If you cannot find such a ball, you can settle for a round crystal container filled with clear water. Thereafter, place the ball or the round container on the table, in such a manner that the surrounding light is going to concentrate on a precisely demarcated and shining spot. Thereupon, as you are comfortably seated in front of the object, half a metre away from it, you should fix the luminous point, at first for one minute, and then for a progressively longer period that eventually reaches up to a quarter of an hour.
Exercise 1 – The glass
Create in yourself a state of relaxation and calmness. You might even look at the aforesaid crystal ball, or alternatively at a glass. Take that object and, as you look inside it, issue the following instruction to your self: “My look is getting strong”.
25 Exercise 2 – The mirror
Implement now the very same exercise in front of a mirror. Keep in mind, as you proceed with it, that you should always retain self-consciousness. 22
Exercise 3. The oblique disk
Affix the cardboard disk onto a mirror. After you have sat down in front of the cardboard, you should slowly turn your chair (it would be even better for you to use a swivel chair) without taking your eye off the central white spot, all the way until you succeed in seeing it clearly. At that point, you ought to keep on staring at the disk for increasingly longer periods. After you have originally turned the chair to your right, do so to your left as well.
NB: It is the chair that must turn under you, as opposed to your body or head, which must in fact remain throughout in the right position against the back of the chair. 23
22 It is necessary to look at a mirror in a state of self-consciousness, lest some people “might lose themselves in the mirror”, as it occurred to Narcissus. As stated by Baron Karl von Reichenbach (1788-1869), who carried out a number of experiments in this regard, “there are some people on whom looking at themselves in the mirror confers ... an imppression of weakness ... Such people do not usually look at themselves in the mirror, and in fact cannot even stand their own look” (Cf. Reichenbach, “Briefe”, p. 6). In several German and Hungarian traditions, it is believed that children below the age of 1 year should abstain from looking at themselves in a mirror (Cf. Seligmann, p. 285).
23 The exercise might even be carried out by affixing the small piece of cardboard onto the wall. The purpose of this exercise is to develop lateral vision, as that makes one’s look even stronger.
26 Exercise 4
While you look at the spot which lies between your eyes, draw closer and more distant as you incessantly look at the same spot. This exercise develops a person’s magnetic look even if he is in motion.24
Exercise 5. The oblique luminous ball
It consists in repeating the motion-related exercise in its different positions, with the sole variation of replacing the black disk with the shining ball.
Exercise 6 The needle of the watch
Place in front of your self, no more than 40 centimetres away, your pocket watch, and then begin to fix your look on the needle that indicates the seconds, following its head as it rotates clockwise, without your sight letting go of it. By means of this exercise, you will become capable of maintaining automatic control over the increasing resistance of your look.
Exercise 7. The wall
Sit comfortably in the middle of a room in such a way that you are freely capable of observing the four corners of the wall in front of you. Once that preliminary step has been taken (and while you unerringly keep your self still), you must then begin to stare for a minute at the top left corner. You follow that up by staring at the top right corner, whereafter, once more for the duration of one minute in each instance, you should fix your look on the bottom right corner and the bottom left corner respectively.
This exercise, too, which avails a far-reaching extension of the shape of the eyes and the strengthening of the orbicular muscles of the eye, must be progressively stretched time-wise.
24 The present exercise might additionally be done together with the “close-far” exercise which is going to be described a bit later.
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Exercise 8. The rotation of the look
This exercise ought to be carried out in some open space by the countryside, or else in a place boasting a vast horizon. As you unflinchingly keep your head motionless, you should then begin, starting from either a real or an imaginary point in front of you, to trace with your look a gradually expanding spiral, until you are eventually able to encompass the largest possible portion of earth and sky, to your right and to your left, above and below you.
Once you have accomplished that, you should move back to the central point and then begin to trace a new spiral, though in an opposite direction compared to the first one. We can discern that all the exercises requiring us to move the pupil of the eye possess a mental benefit alongside their mental usefulness.
The different positions of the eye, in fact, tend to correspond to different points of access to the brain. 25 By
motioning the eyes in every direction, we accordingly confer on the brain a global stimulation.
Exercise 9. The central point
Using a pen, draw a small black dot at the base of your nose which is situated between the eyelashes, whereafter you should place yourselves in front of a mirror, comfortably seated, and
25 Refer, for instance, to Bandler, Dilts, Grinde, “Programmazione Neurolinguistica”, edited by Astrolabio, or else to the EMDR technique followed by Shapiro. Many problems are solved by means of ocular movements. Dr. Lefebure, too, makes mention of an exercise based on motioning the head, which is aimed at more thoroughly activitating one’s cerebral faculties. Cf. “L’initation de Pietro”.
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intensely fix your gaze on that point for growingly longer time periods.
Exercise 10. The oblique mirror
Turn your right shoulder in the direction of the mirror and, as you keep your head straight ahead of you in a motionless state, you must then attempt, by turning the eyes, to meet your own look. If you fail to bring that about, turn your head as little as possible, until you have managed to meet your look. At that point, you should stare at your eyes intensely for progressively more extended time spans. Repeat the exercise by your left side. Lift the mirror or sit in a low position, so that, for you to meet your own look, you will be required to lift up your eyes as high as you can.
In front of the mirror, you should analyse the various possible blends of combinations, in such a way that the pupils respectively turn to the right top, the right bottom, the left top, and the left bottom. The exercise is implemented more comfortably in the event that you have at your disposal a revolving mirror which turns around a fulcrum, or, better still, a “psyche” (which consists in the combination of three different mirrors that cast their reflections from different angles).
Exercise 11. The exercise of the line
Stare at the corner of a table, and then go through one of its edges with your look, all the way until you reach the opposite corner, whereupon you move backward. You then keep following this process.
The ocular itinerary must be gone through in a gradually slower manner, «by being careful neither to let your sight halt at any one specific point nor to jump any one point with your look». The most thorough consistency is an imperative must.
Repeat then the exercise verticall,y along the seam of a wardrobe, window, tent and so on.
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Exercise 12. The exercise of the book
Take a book and begin to run through its lines with your sight, in such a way as to cover every alternate page in an opposite sense, as was the case with the ancient Greek script. In other words, once you have run through the first line normally (from left to right), you should proceed in the contrary direction with the next line, i.e. from right to left, and so on and so forth. While doing that, you ought to lower your look constantly. Repeat this exercise by covering an increasingly larger number of lines.
N. B. What is of course required is not to understand what one is reading through.
Exercise 13. The policeman’s look
This exercise, which is the consequential fruit of all the previous ones, is so called because it tends to bestow on policemen the special prerogative of watching objects from right to left, while making as if they are not actually seeing them.
You must thus walk along the road while you keep your head down, as if a stiff neck precluded you from turning it in any direction.
As you keep still in the said fashion, you should strive to see and recognize the people walking to your right or to your left, read the posters, count the windows and the trees, etc.
This exercise is of a capital importance, and it should be adopted as an invariable norm. It is after all the secret of the mobility and variety of one’s look.
Exercise 14. The farewell look
While on the road, a bus, a train compartment, a railway, stare at any object that has popped up in front of you (ahead of you, to your right or to your left), and, while you unceasingly keep your head motionless, begin to fix it as the vehicle draws you close to such object. When you are about to move past it, you should not let go of the object with your sight. Rather, you
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should follow it all the way until some intervening hindrance wrests it away from your sight. It will be good if you can alternate the exercise by fixing objects on your right as well as on your left, so as to train both eyes.
Another option is for you to implement the exercise by staring at the objects moving around on the road while you yourself keep still.
II. – THE RAPIDITY OF THE LOOK
. Repeat now, this time at the highest possible speed, the previously mentioned exercises that are based on motion.
Such exercises, which are taught in order to train the fixity of one’s look, must be carried out afresh, save that this time they will aim at achieving a quite different objective, namely, training the rapidity of the look.
Here is how it should be done: In the exercise of the wall, the look will be required to race as fast as possible from one corner of the wall to the other; as regards the exercise of the rotation of the look, the spiral will need to be traced at an ever growing velocity; when it comes to the exercise of the line, such line will still have to be followed backward and forward, but no longer with increasing slowness, rather, at a constantly accelerated pace; and finally, as far as the exercise of the book is concerned, the lines must be covered very quickly, as if in a the flash of a lightning.
31 Exercise 15. The restless eyes
As we emulate – we would be tempted to say – a suspicious individual, you should move your eyes continuously and restlessly, thrusting your look upwardly, to the right and to the left, indeed, in every possible direction, and you should do so as rapidly as you can possibly manage, for a time span of 5 to 10 minutes.
It is however imperative that the look should really settle on the objects which it turns to for a sufficiently long period to enable it to recognize them, whereupon you should detach your look from any such object at once in order to direct it firmly, in the selfsame manner, on some object situated on the opposite side.
III. – EXPRESSION OF THE LOOK
It is by now an empirically demonstrated fact that the intense and constant desire to perfect some demarcated sensory organ or specific faculty is truly capable of substantially improving it.
If such reality might seem to be dubious with regard to the lower senses, it is nevertheless indisputable and even intelligible when it comes to the sight, and even more when we turn to the expression of the eye.
The expression of our eyes reflects, in a precise and unconscious manner, the state of our inner cores, exactly as a placid surface of water reflects the condition of the sky above. As a result, whereas the lip is capable of a lie, it is quite difficult for the eyes to lie.
When we fix our gaze on something that is ardently desired or vehemently loathed, our eyes naturally become expressive.
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It is at this juncture that the problem emerges: How can we possibly perpetuate the expressiveness of our eyes?
To a great extent, this question is solved by the exercises that we have been listing up to now. A pair of healthy, vigorous and fast-moving eyes is full of charm on that ground alone.
This is nonetheless insufficient. We want to regale our eyes with that inward fire which is a telling indicator of a fervent soul.
It is here that the problem defines itself. It is clear that a young lady might not desire a dominant, Napoleonic look for herself, at the same time that a soldier or a businessman will certainly have no inclination to possess a normally voluptuous look. Every one should accordingly pose the following question to his or her own self:
— Which expression am I going to bestow upon my eyes? The said question might in turn be subsumed under the one set out hereunder:
— Which is the expression of the look that accords best with my physiognomy, my profession, my condition, the purpose I am seeking to accomplish?
Each one of us can easily solve such problem, whereupon his efforts will be fully concentrated on acquiring the desired expression.
What is particularly helpful in that regard is self-persuasion by one’s suggestive will.
Persuading oneself bears the connotation of counselling oneself, giving oneself to believe that one is found in the specific physical or mental state that is desired by such a person, and then acting accordingly. We plead with our readers to reflect properly about the import of that definition.
The one who, for instance, desires to persuade himself in order for him to acquire a shiningly radiant and expressive look, ought to begin by deeming himself already in possession of such a look.
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But how can self-persuasion be accomplished? The following exercise will help you.
Exercise 16. Suggestive persuasion
Here is the simplest system to actualize it. Self-persuasion might take place at any time of the day, but the most propitious moment is in the evening, as one is lying in bed prior to catching sleep. We are thus going to start by you forcing your thought into a state of tranquillity, by making sure that you forget the events and worries of that particular day.
When you eventually feel you are immersed in a state of perfect calm, you will have to focus your mind on the thought that your look becomes exquisite, luminous, glowingly bright, and that in future other people cannot but concur that what you are busy thinking in that connection is actually true.
You will have, in other words, to perceive yourself as already endowed with a particular look, whichever one you might happen to crave for.
Take care to fall asleep with this thought. In the morning, when you wake up, you will undoubtedly still recall the self-persuasion of the previous night. You are encouraged in that instance to confirm it to your own self, in the invariable sense we have alluded at, i.e. not merely desiring for yourselves, but rather believing yourselves to be already factually endowed with the look you prefer, and thus imagining its manifold effects, agreeable consequences, etc.
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Exercise 17. Always keep the eyes wide open 26
While following the said advice — especially at home — one must make sure that the eyes are not opened widely with an astonished look. On the contrary, the sight must be sharp and expressive. The purpose behind the exercise is to automatically enlarge the shape of the eye. While keeping the eyes open, therefore, take care not to cross the eyebrows, and to leave them instead in their normal position.27
Exercise 18. The spot on the mirror
This is an adaptation of the preceding exercise, which is however carried out for a different reason. By resorting to a pen or a pencil, you should draw a large black spot over the surface of a mirror. Place then yourself in front of the mirror, in such a manner as to perceive that spot by the base of your nose rather than on the mirror.
26 As we have remarked in a previous footnote, Tommaso Campanella used to take notice of how the impact by the eyes manifested more easily in wonderment and love for a person or a thing. Tommaso Campanella accordingly advised to keep the eyebrows lifted up and the eyes opened, so that the spirit might flow out (Campanella, “De sensu rerum”, Book IV, chapter XV, 326). Other writers, too, had discerned that truth, as well as the fact that, for instance, people in love tended to enlarge both the spirit and the eyes (Cf. Fracastor, “Sympath.”, Chapter XXIII, 139). In our own practice, we have always noticed that the greater is the white part of the eyes, the greater is the influence that is perceived. A larger opening of the eyes, moreover, enables more elements in the pupil to get reflected.
27 Each person has a specific configuration of eyelids and eyelashes. Every one among us, accordingly, possesses a position of the eyes which best suits the beauty of his eyes, comparatively with all other positions. You have to devise clever ways to discover such position, and turn it into one which is instinctive and familiar to your own person.
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You ought to simultaneously inject your look with an intense expression, in so doing striving to be truly permeated by that feeling which you want your eyes to give expression to.
Exercise 19. With one eye only
Repeat now the immediately preceding exercise, only that this time you shall carry it out by using one eye only, covering with your hand, alternatively bandaging, the right eye or the left one at alternate times.
Exercise 20 – Gather your attention in the middle Take a makeup mirror, and fix the black spot within the white circle with such an intensity that it is as if through it you were looking at the brain. Do that with each eye in turn for four seconds, whereafter you will stare at the median point situated between your eyelids.
Exercise 21. The vowel “eee”
This particular exercise lends the sight a magical strength. It is sufficient if you were to calmly look at yourself in the mirror and then breathe deeply and slowly, until you eventually feel calm and harmonious, at which point you pronounce the vowel "eee"28 so long as there is air in your
lungs. You must feel the sensation that your whole head is oscillating at once. This exercise massages the nerves of your eyes and the whole skull in a very powerful manner.29
Exercise 22. The look of the glands
Erase the spot you had previously drawn on the mirror, and fix the look on your own self, moving ever more closely forward. In doing so, you should look at yourself by the corners of your lachrymal glands.
28 Eee should be pronounced ih or as the “I” at the begin of italy 29 See in regard to this exercise Peter Livers, “Deine Wesensaustrahlung”. Unlike the previous exercises, the origin of this specific one is found in Yoga.
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This is the very same method in terms of which you are later going to look at people you deal with.
Looking at the pupils, as every one is aware, will tire you very quickly. By contrast, looking at the point we have demarcated can be prolonged indefinitely (the more so if one keeps on shifting the look from one gland to the other), and that has the effect of compelling your interlocutor to unfailingly lower his own eyes and feel perturbed by yours, without being able to understand why that is so.
Exercise 23. Exercises combining rapidity with massage
An alternative practice is to shut your eyes as firmly as you can, in order for you to open them widely to the maximum possible extent while you squeeze your temples with the palms of your hands by pulling toward the ears, as indicated in the illustration here below.
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You must alternate your looks between your right and your left as much as it is feasible. Repeat the action 12 or more times.
Look down as much as possible, while you squeeze your temples in the above-illustrated manner.
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Look up as much as you can manage as you keep on squeezing the temples.
Lift your eyes to your right to the greatest possible extent, and then let them trace a full circle. As you engage in this motion, the palms of your hands, similarly to the preceding exercise, must press firmly against your temples.
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Exercise 24. The look on the road
We are going now to teach a rule aimed at impressing whoever happens to approach you on the road.
If you want to make him take notice of the power of your look, you cannot begin by fixing your gaze on him from afar. You should rather figure out the most appropriate point at which you will start fixing the look of your eyes on his person.
This point coincides with the moment in which your pupils are bound, in order to meet his pupils, to cover the largest space in their motion. This is something which confers on the eye a special and unforgettable glow.
Accordingly, if the relevant individual were to stand right in front of us, we would only lift up our eyes to his person, in a flash, precisely when he is close to us. If, on the other hand, he happened to accost us from the side, we might safely begin to fix our look upon him a little earlier, but only on condition that you have first turned your head in the opposite direction. The look will thus be projected out twice: Firstly in order to reach
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the other person’s eyes, and secondly in a persistent manner, while turning the head slightly, for the purpose of watching him further in a more comfortable and intense fashion.
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Comprehending ocular expressions
The eyes provide a clear idea of the feelings ensconced in our heart and soul. By looking into the eyes, we can discern the most intimate emotions, the eye appears to be in a direct relationship with the soul, and it appears as if it touches the soul and shares all its impulses. It is on account of such reason that Galen termed the eyes divine organs. In his view, the head was made exclusively for them. Pliny deemed the eye to be the residence of the soul and its natural dwelling, whereas others defined it as “the wrist of the reasonable soul”.
In love, eyes open up along their median line: The white part remains still, and the pupil sparkles. When desire grips the eyes, they light up, become more lively and comely, and the pupil spurts out fire – as it is normally put –. If they are steeped in intimacy, shame, or reticence, the eyes are lowered; whereas the pupil is stirred up by a disquieting motion in a state of joy and satisfaction. As for moments of merriment or when one is laughing, the eye, too, is worried, sad, it does not shine, it is as if switched off, and it fixes the ground, nearly shut, or else looks ahead without really seeing. In anger, when eyes redden, the agitated pupil is set into motion in every 30
sense.
The position of the eyelid
We have spoken about the importance, for the sake of exercising a captivating charm, of keeping the eyes open. There are essentially three ocular postures which are the most significant, and which are shaped by the position assumed by the eyelid vis-à-vis the eye:
30 Refer also to the booklet published in the 20’s by the Milan-based publishing house Hermes, titled “Fisionomia”.
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• At the eye’s level: It normally indicates a pensive state. It is
quite common among the majority of people. It is indeed the condition of the average person
• By the edges of the iris: It is characteristic of emotional
liveliness, and it is useful even in respect of a “glance”
• Above the iris: It indicates a strong emotional involvement,
and it is one of the pointers of fascination The eyelid
The pupil, too, corresponds to a large extent to the attitude of a person, thereby identifying his approach to the world.
• Contracted Pupil (needle’s eye). It is typical of the act of
observing, be it detached or attentive, as well as of the electrical profile of the person concerned. The person is imposing his own reality.
• Enlarged Pupil (mydriatic profile). It is characteristically
representative of the attention to the here and now. It typifies a magnetic and attractive profile. The person concerned is entering the world of the other human being. In the image set out here below, the woman evinces a clear mydriatic profile, which is precisely what makes her eyes particularly “magnetic”.
Methodical study of the expression of the eyes Look consists therefore in a two-fold reality: It is the way of laying one’s sight upon a subject, but it is also a vehicle of expression which, independently of any act of seeing confers life on the totality of the face, under the influence of some feeling, thought or state of being. It is in the eyes that one instinctively attempts to read, to guess the thoughts, the state of being and the intentions of the people in whose presence he
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happens to be. That is so because of the fact that it is in the eyes that the reflection of one’s inner life, feelings, passions, signs of approval or disapproval, attraction or repulsion, exteriorize. The eyes speak.
In order to acquire firmer possession of the impression we transmit outwardly, and with a view to practically attaining that goal, we are now going to utilize a series of images. This study, which is pregnant with most rapidly achievable results31,
has to be conducted by adhering to the following instructions: a) You ought to hide every image other than the one you are studying at any given time;
b) You should sit yourself in a comfortable position, as well as in a thoroughly serene state of being;
c) You must have a mirror in front of your person, so that you can control the expression you eventually manage to attain;
d) You are required to analyse in detail each image we are going to provide and its relevant explanation, whereupon, as you stop looking at it, you should strive to reproduce the same expression by putting yourself in the spiritual condition indicated by the title which accompanies the pertinent image;
31 This study is taken from the book “Occhi Fascinatori” by the anonymous Italian author who has been mentioned by us in the historical notes on the images, as well as, in other respects, from Luzy’s work titled “La puissance du renard”. As regards our master Virgilio T., it should be remarked that he was a painter who had amply studied the expressions which a look can take.
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e) Every exercise will have to be repeated until you feel you have achieved the perfect imitation of the original;
f) It is necessarily incumbent to repeat these exercises systematically, until such a point where each and every expression detailed in them is capable of being instantly reproduced.
Scrutinizing look.
Eyebrow following a normal line, eyes opened half-way, pupils turned upwardly through an angle.
Fluffy look.
Eyebrows slightly lowered, eyes half-shut a little, pupils centralized.
