Beloved from pole to pole.
Coleridge.
If life be a succession of ideas, says Dr. Binns, then sleep is the interval1; “consequently, we may say that sleep is the art of escaping reflection.” If one could follow the Chinese advice, divest2 the mind of all unpleasant images, “the secret of sleep at will,” Dr. Binns thinks, “would be in the possession of all men.” This accords in its essence with the very modern theory of Dr. Henry Hubbard Foster of Cornell University, that sleep results from the absence of stimulations. It is conceivable that things that stimulate3, or rouse us, may come from inside as well as from outside. A sudden thought, a new, delightful4, or horrible mental picture will arouse us and send sleep flying as effectually as a sudden noise or an exciting commotion5 from without.
We might amend6 the Chinese advice thus: put out of the mind all images, pleasant or un85pleasant, or, as Dr. Gardner puts it, “bring the mind to a single sensation.” It has long been known that monotony will induce sleep. Not merely the monotony of silence, but sometimes even the monotony of great noise, such as the ceaseless firing of heavy guns which have lulled7 the wearied soldiers into rest. There is a sleepy sound in “The distant boom of a random8 gun which the foe9 was sullenly10 firing.” It is the sudden, irregular noise which disturbs. If anyone listens for several hours to soft, flowing music, he will have great difficulty in keeping awake, no matter how great a lover of music he may be, particularly if he has to sit in the same position all the time. Let a musical number with strongly marked staccato movement be introduced, let the drum throb11 loud at intervals12, the horns blare, then the sleeper13 will awake and find renewed enjoyment14, not because he loves noise, but because the monotony has been broken. The mind has responded to the new stimulus15.
Professor Boris Sidis, of the Harvard Physiological16 Laboratory, says that “the fundamental conditions of sleep are monotony and limitation of voluntary movements. Sleep,” adds Sidis, is not so much due to cutting off impressions through the senses, be they intense or faint, as to the monotony of the “impressions that reduced the organism to the passive state which we experience in sleep.” In other words, monotony has such a benumbing, deadening effect upon the mind that sleep naturally ensues.
Although Binns did not know Foster’s and Sidis’ modern views, yet accepting Gardner’s theory of “bringing the mind to a single sensation,” he worked out a plan for inducing sleep which he said nearly always succeeded. During his long practice he had known of only two instances where it failed when faithfully and intelligently tried.
The method is simple, yet it includes putting out of the mind all images pleasant or unpleasant, and restricting voluntary movements. It is this: “Turn on the right side, place the head comfortably on the pillow, let the head fall naturally, using the pillow only to support the neck, slightly close the lips,—though this is not absolutely essential,—take full inspiration through the nostrils17, drawing in as much air as possible, then leave the lungs to their own action, neither hastening nor checking exhalation. Think of the breath as passing from the nostrils in one continuous stream, and, the very instant the person so conceives, consciousness and memory depart, the muscles relax, the breath comes regularly, he no longer wakes but sleeps. It is all the effort of but a moment.”
Another method in common use is counting up to a hundred on an imaginary string of beads18. Often one will have lost consciousness before the hundredth bead19 is reached, but sometimes they have to be counted over and over, and sometimes the plan fails altogether. The immediate20 reason for this is undoubtedly21 that we have not brought the mind to a single sensation, nor succeeded in cutting off the impressions that come through the senses.
Everybody has at some time used some such device for inducing sleep to visit him. The practice of imagining sheep jumping over a gate and counting them as they go is but another way of bringing the mind to a single sensation, of deliberately22 securing monotony and shutting out all stimuli23, as scientific men call the various causes that arouse sensation in us. Such simple devices are never harmful, and are so frequently followed by sleep that they continue from generation to generation.
If the impressions received through the channels of sense cannot or will not be shut off, it is useless to continue counting beads or sheep, or seeing a stream of breath. It becomes necessary to discover what it is that is back of the stimulation—what impression is so vivid and so insistent24 that it will not down. As Frederick Palmer says in his delightful book, “The Vagabond,” we should “take a good look at a thing before we run away from it.”
点击收听单词发音
1 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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2 divest | |
v.脱去,剥除 | |
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3 stimulate | |
vt.刺激,使兴奋;激励,使…振奋 | |
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4 delightful | |
adj.令人高兴的,使人快乐的 | |
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5 commotion | |
n.骚动,动乱 | |
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6 amend | |
vt.修改,修订,改进;n.[pl.]赔罪,赔偿 | |
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7 lulled | |
vt.使镇静,使安静(lull的过去式与过去分词形式) | |
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8 random | |
adj.随机的;任意的;n.偶然的(或随便的)行动 | |
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9 foe | |
n.敌人,仇敌 | |
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10 sullenly | |
不高兴地,绷着脸,忧郁地 | |
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11 throb | |
v.震颤,颤动;(急速强烈地)跳动,搏动 | |
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12 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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13 sleeper | |
n.睡眠者,卧车,卧铺 | |
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14 enjoyment | |
n.乐趣;享有;享用 | |
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15 stimulus | |
n.刺激,刺激物,促进因素,引起兴奋的事物 | |
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16 physiological | |
adj.生理学的,生理学上的 | |
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17 nostrils | |
鼻孔( nostril的名词复数 ) | |
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18 beads | |
n.(空心)小珠子( bead的名词复数 );水珠;珠子项链 | |
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19 bead | |
n.念珠;(pl.)珠子项链;水珠 | |
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20 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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21 undoubtedly | |
adv.确实地,无疑地 | |
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22 deliberately | |
adv.审慎地;蓄意地;故意地 | |
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23 stimuli | |
n.刺激(物) | |
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24 insistent | |
adj.迫切的,坚持的 | |
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