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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:39:16 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:39:16 -0700 |
| commit | 02670ec00b4e5ca0107242ebf70a2226a95632f1 (patch) | |
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diff --git a/12200-h/12200-h.htm b/12200-h/12200-h.htm new file mode 100644 index 0000000..9f4172c --- /dev/null +++ b/12200-h/12200-h.htm @@ -0,0 +1,17737 @@ +<?xml version="1.0" encoding="UTF-8" ?> +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html> + +<head> +<title>Delsarte System of Oratory</title> + +<style type="text/css"> + <!-- + + body { + font-family: Verdana, Arial, sans-serif; + } + + h1,h2,h3,h4,h5,h6 { + text-align: center; + font-weight: bold; + } + + h1,h2,h3,h4 { + font-variant: small-caps + } + + .smallcaps { font-variant: small-caps } + + a { text-decoration: none; } + a:hover { background-color: #ffffcc } + + div.part { + margin-top: 6em; + padding: 5px; + } + + div.chapter { + margin-top: 4em; + padding: 5px; + } + + div.sec { + margin-top: 2em; + padding: 5px; + } + + div.note { + border-style: dashed; + border-width: 1px; + border-color: #000000; + background-color: #ccffcc; + font-size: .8em; + margin: 10px; + } + + div.sec div.note { + width: 40%; + float: right; + clear: right; + } + + div.note p { + margin: 10px 10px 10px 10px; + } + + hr { + height: 1px; + } + + div.image { + margin: 10px; + width: 40%; + float: right; + clear: both; + font-size: .8em; + border-style: dashed; + border-width: 1px; + border-color: #000000; + background-color: #eeeeee; + } + + div.image p, div.image ul { + margin: 10px 10px 10px 10px; + } + + div.image p.title { + text-align: center; + font-weight: bold; + } + + ul.simple, div.image ul, #toc ul { + list-style-type: none; + } + + div.image ul { + text-indent: -15px; + } + + blockquote.epi, p.abs, #toc ul { + width: 80%; + margin-left: auto; + margin-right: auto; + } + + p.byline { + text-align: center; + font-variant: small-caps; + } + + table { + margin-left: auto; + margin-right: auto; + } + + td { + text-align: center; + } + + table caption { + text-align: center; + font-weight: bold; + font-variant: small-caps; + } + + #tp, #verso { text-align: center; } + + img { + display: block; + margin-left: auto; + margin-right: auto; + border: none; + max-width: 100%; + } + +--> +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Delsarte System of Oratory, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Delsarte System of Oratory + +Author: Various + +Release Date: April 29, 2004 [EBook #12200] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK DELSARTE SYSTEM OF ORATORY *** + + + + +Produced by Distributed Proofreaders + + + + + +</pre> + +<div id="tp"> +<h1 class="title">Delsarte System of Oratory</h1> + +<ol> +<li> The Complete Work of L'Abbé Delaumosne</li> + +<li>The Complete Work of Mme. Angélique Arnaud</li> + +<li>All the Literary Remains of François Delsarte + (Given in his own words)</li> + +<li>The Lecture and Lessons Given by Mme. Marie + Géraldy (Delsarte's Daughter) in America</li> + +<li>Articles by Alfred Giraudet, Francis A. Durivage, + and Hector Berlioz</li> +</ol> + +<h4>Fourth Edition<br /> +New York<br /> +Edgar S. Werner<br /> +1893</h4> +</div> + + +<div id="verso"> +<p class="copyright">Copyright<br /> +By Edgar S. Werner<br /> +1882, 1884, 1887, 1892</p> +</div> + + +<div id="toc"> +<h2>Contents.</h2> + + +<h3>Delaumosne On Delsarte.</h3> + +<h4><a href="#s1-bio">Biographical Sketch</a></h4> +<h4><a href="#s1-preface">Preface</a></h4> + +<div class="sec" id="toc1"> + +<h3><a href="#p1">Part First.</a><br /> + +Voice.</h3> + + +<h4><a href="#p1-01">Chapter I.</a></h4> + +<p class="abs"> Preliminary Ideas--Criterion of the Oratorical Art.</p> + +<h4>Chapter II.<br /> <a href="#p1-02">Of The Voice.</a></h4> + +<p class="abs"> Organic Apparatus of the Voice--The Voice in Relation to + Compass--The Voice in Relation to Vowels--Practical Conclusions</p> + +<h4>Chapter III.<br /> <a href="#p1-03">The Voice in Relation to Intensity of Sound.</a></h4> + +<p class="abs"> What is Understood by Intensity of Sound--Means of Augmenting the + Timbre of the Voice--Rules for Intensity of Sound</p> + +<h4>Chapter IV.<br /> <a href="#p1-04">The Voice in Relation to Measure.</a></h4> + +<p class="abs"> Of Slowness and Rapidity in Oratorical Delivery--Of Respiration and + Silence--Inflections--Rules of Inflection--Special Inflections</p> +</div> +<div class="sec" id="toc2"> + +<h3><a href="#p2">Part Second.</a><br /> + +Gesture.</h3> + + +<h4>Chapter I.<br /> <a href="#p2-01">Of Gesture in General</a></h4> + +<h4>Chapter II.<br /> <a href="#p2-02">Definition and Division of Gesture.</a></h4> + +<p class="abs"> Gesture is the Direct Agent of the Heart--Gesture is the Interpreter + of Speech--Gesture is an Elliptical Language</p> + +<h4>Chapter III.<br /> <a href="#p2-03">Origin and Oratorical Value of Gesture</a></h4> + +<h4>Chapter IV.<br /> <a href="#p2-04">The Laws of Gesture.</a></h4> + +<p class="abs"> The Priority of Gesture to Speech--Retroaction--Opposition of + Agents--Number of Gestures--Duration of Gesture--The Rhythm of + Gesture--Importance of the Laws of Gesture</p> + +<h4>Chapter V.<br /> <a href="#p2-05">Of Gesture in Particular.</a></h4> + +<p class="abs"> The Head--Movements of the head: The Normal State, The Eccentric + State, The Concentric State--Of the Eyes--Of the Eyebrows</p> + +<h4>Chapter VI.<br /> <a href="#p2-06">Of The Torso.</a></h4> + +<p class="abs"> The Chest--The Shoulders.</p> + +<h4>Chapter VII.<br /> <a href="#p2-07">Of The Limbs.</a></h4> + +<p class="abs"> The Arms--Inflections of the Forearm--Of the Elbow--Of the Wrist--Of + the Hand: The Digital Face, The Back Face, The Palmar Face--Of the + Fingers--Of the Legs.</p> + +<h4>Chapter VIII.<br /> <a href="#p2-08">Of the Semeiotic, or the Reason of Gesture.</a></h4> + +<p class="abs"> The Types which Characterize Gesture--Of Gesture Relative to its + Modifying Apparatus</p> + +<h4>Chapter IX.<br /> <a href="#p2-09">Of Gesture in Relation to the Figures Which Represent It.</a></h4> +</div> +<div class="sec" id="toc3"> + +<h3><a href="#p3">Part Third.</a><br /> Articulate Language.</h3> + +<h4>Chapter I.<br /> <a href="#p3-01">Origin and Organic Apparatus of Language.</a></h4> + +<h4>Chapter II.<br /> <a href="#p3-02">Elements of Articulate Language.</a></h4> + +<h4>Chapter III.<br /> <a href="#p3-03">The Oratorical Value of Speech.</a></h4> + +<h4>Chapter IV.<br /> <a href="#p3-04">The Value of Words in Phrases.</a></h4> + +<p class="abs"> The Conjunction--The Interjection in Relation to its Degree of + Value--A Resumé of the Degrees of Value</p> + +<h4>Chapter V.<br /> <a href="#p3-05">French and Latin Prosody</a></h4> + +<h4>Chapter VI.<br /> <a href="#p3-06">Method.</a></h4> + +<p class="abs"> Dictation Exercises</p> + +<h4>Chapter VII.<br /> <a href="#p3-07">A Series Of Gestures For Exercises.</a></h4> + +<p class="abs"> Preliminary Reflections--The Series of Gestures Applied to the + Sentiments Oftenest Expressed by the Orator: (1) Interpellation; (2) + Thanks, Affectionate and Ceremonious; (3) Attraction; (4) Surprise + and Assurance; (5) Devotion; (6) Interrogative Surprise; (7) + Reiterated Interrogation; (8) Anger; (9) Menace; (10) An Order for + Leaving; (11) Reiteration; (12) Fright--Important Remarks</p> + + +<h4><a href="#p3-app">Appendix</a></h4> + +<h4><a href="#p3-epi">Epilogue</a></h4> + +</div> +<div class="sec" id="toc4"> + +<h2>Arnaud On Delsarte.</h2> + +<h3><a href="#p4">Part Fourth.</a></h3> + + +<h4>Chapter I.<br /> <a href="#p4-01">The Bases of the Science</a></h4> + +<h4>Chapter II.<br /> <a href="#p4-02">The Method.</a></h4> + +<p class="abs"> Ellipsis--Shades and Inflections--Vocal Music--Respiration--Position + of the Tone--Preparation of the Initial Consonant--Exercises-- + Appoggiatura--Roulades and Martellato--Pronunciation--E mute before a + Consonant--E mute before a Vowel.</p> + +<h4>Chapter III.<br /> <a href="#p4-04">Was Delsarte a Philosopher?</a></h4> + +<h4>Chapter IV.<br /> <a href="#p4-05">Course of Applied Æsthetics.</a></h4> + +<p class="abs"> Meeting of the Circle of Learned Societies--Theory of the Degrees.</p> + +<h4>Chapter V.<br /> <a href="#p4-05">The Recitation of Fables.</a></h4> + +<h4>Chapter VI.<br /> <a href="#p4-06">The Law of Æsthetics.</a></h4> + +<h4>Chapter VII.<br /> <a href="#p4-07">The Elements of Art.</a></h4> + +<p class="abs"> The True. The Good. The Beautiful.</p> + +<h4>Chapter VIII.<br /> <a href="#p4-08">Application of the Law to Various Arts.</a></h4> + +<ul><li> <a href="#p4-08-1">Dramatic, Lyric and Oratorical Art.</a></li> +<li> <a href="#p4-08-2">Application of the Law to Literature.</a></li> +<li> <a href="#p4-08-3">Application of the Law to Architecture.</a></li> +<li> <a href="#p4-08-4">Application of the Law to Sculpture.</a></li> +<li> <a href="#p4-08-5">Application of the Law to Painting.</a></li></ul> + +<h4>Chapter IX.<br /> <a href="#p4-09">Delsarte's Beginnings.</a></h4> + +<h4>Chapter X.<br /> <a href="#p4-10">Delsarte's Theatre and School.</a></h4> + +<h4>Chapter XI.<br /> <a href="#p4-11">Delsarte's Family.</a></h4> + +<h4>Chapter XII.<br /> <a href="#p4-12">Delsarte's Religion.</a></h4> + +<h4>Chapter XIII.<br /> <a href="#p4-13">Delsarte's Friends.</a></h4> + +<h4>Chapter XIV.<br /> <a href="#p4-14">Delsarte's Scholars.</a></h4> + +<h4>Chapter XV.<br /> <a href="#p4-15">Delsarte's Musical Compositions.</a></h4> + +<h4>Chapter XVI.<br /> <a href="#p4-16"> Delsarte's Evening Lectures.</a></h4> + +<h4>Chapter XVII.<br /> <a href="#p4-17">Delsarte's Inventions.</a></h4> + +<h4>Chapter XVIII.<br /> <a href="#p4-18">Delsarte before the Philotechnic Association.</a></h4> + +<h4>Chapter XIX.<br /> <a href="#p4-19">Delsarte's Last Years.</a></h4> +</div> +<div class="sec" id="toc5"> +<h2><a href="#p5">Literary Remains Of François Delsarte.</a></h2> + + +<h3>Part Fifth.</h3> + +<ul><li><a href="#p5-01">Publisher's Note.</a></li> + +<li><a href="#p5-02">Delsarte's Last Letter To The King Of Hanover</a> + +<ul><li><a href="#p5-02-1">Episode I.</a></li> +<li><a href="#p5-02-2">Episode II.</a></li> +<li><a href="#p5-02-3">Episode III.</a></li> +<li><a href="#p5-02-4">Episode IV.</a></li> +<li><a href="#p5-02-5">Episode V.</a> + +<ul><li> Semeiotics of the Shoulder.</li></ul></li> + +<li><a href="#p5-02-6">Episode VI.</a></li> +<li><a href="#p5-02-7">Episode VII.</a></li></ul></li> + +<li><a href="#p5-03">What I Propose.</a></li> +<li><a href="#p5-04">The Beautiful.</a></li> + +<li><a href="#p5-05">Trinity.</a> + +<ul><li> <a href="#p5-05-1">Reversal of Processional Relations.</a></li></ul></li> + +<li><a href="#p5-06">Passion of Signs, Signs of Passion.</a></li> + +<li><a href="#p5-07">Definition of Form.</a></li> + +<li><a href="#p5-08">On Distinction and Vulgarity of Motion.</a></li> + +<li><a href="#p5-09">Gesture.</a> + +<ul><li> <a href="#p5-09-01">Definition of Gesture.</a></li></ul></li> + +<li><a href="#p5-10">Attitudes of the Head.</a></li> + +<li><a href="#p5-11">Attitudes of the Hands.</a> + +<ul><li><a href="#p5-11-1"> Affirmation of the Hand.</a></li> + +<li><a href="#p5-11-2"> Table of the Normal Character of the Nine Attitudes.</a></li></ul></li> + +<li><a href="#p5-12">Attitudes of the Legs.</a></li> + +<li><a href="#p5-13">The Holy Trinity Recovered in Sound.</a></li> + +<li><a href="#p5-14">Speech.</a></li> + +<li><a href="#p5-15">Breathing.</a> + +<ul><li><a href="#p5-15-1"> Vocal Respiration.</a></li> +<li><a href="#p5-15-2"> Logical Respiration.</a></li> +<li><a href="#p5-15-3"> Passional Respiration.</a></li></ul></li> + +<li><a href="#p5-16">Vocal Organ.</a></li> + +<li><a href="#p5-17">Definition of the Voice.</a> + +<ul><li><a href="#p5-17-1"> What the Register is.</a></li> +<li><a href="#p5-17-2"> On Shading.</a></li> +<li><a href="#p5-17-3"> Pathetic Effects.</a></li> +<li><a href="#p5-17-4"> On the Tearing of the Voice.</a></li></ul></li> + +<li><a href="#p5-18">Number.</a></li> + +<li><a href="#p5-19">Medallion of Inflection.</a></li> + +<li><a href="#p5-20">The Nature of the Colors of Each Circle in the Color Charts.</a></li> + +<li><a href="#p5-21">The Attributes of Reason.</a></li> + +<li><a href="#p5-22">Random Notes.</a></li> +</ul> +</div><div class="sec" id="toc6"> +<h3><a href="#p6">Part Sixth.</a></h3> + +<h4>The Lecture and Lessons Given by Mme. Marie Géraldy (Delsarte's +Daughter) in America.</h4> +</div> +<div class="sec" id="toc7"> +<h3><a href="#p7">Part Seventh.</a></h3> + +<ul><li><a href="#p7-01">Article by Alfred Giraudet.</a></li> +<li><a href="#p7-02">Article by Francis A. Durivage.</a></li> +<li><a href="#p7-03">Article by Hector Berlioz.</a></li></ul> +</div></div> +<h2>Delaumosne On Delsarte.</h2> + + + + +<h2 class="title">The Delsarte System,</h2> + +<p class="byline">by</p> + +<h2 class="author">M. l'Abbe Delaumosne,</h2> + +<h3>(<i>Pupil of Delsarte.</i>)</h3> + +<h2 class='author'>Translated by Frances A. Shaw.</h2> + + + +<div id="s1-bio" class="chapter"> +<h3>François Delsarte.</h3> + + + +<p>François Delsarte was born November 11, 1811, at Solesme, a little town +of the Department of the North, in France. His father, who was a +renowned physician and the author of several inventions, might have +secured a fortune for his family, had he been more anxious for the +morrow, but he died in a state bordering upon poverty.</p> + +<p>In 1822, François was apprenticed to a porcelain painter of Paris, but, +yielding to a taste and aptitude for music, in the year 1825, he sought +and obtained admission to the Conservatory as a pensioner. Here a great +trial awaited him--a trial which wrecked his musical career, but was a +decided gain for his genius. He had been placed in the vocal classes, +and in consequence of faults in method and direction, he lost his voice. +He was inconsolable, but, without making light of his sorrow, we may +count that loss happy, which gave the world its first law-giver in the +art of oratory.</p> + +<p>The young student refused to accept this calamity without making one +final effort to retrieve it. He presented himself at the musical contest +of 1829. His impaired voice rendered success impossible, but kind words +from influential friends in a great measure compensated for defeat.</p> + +<p>The celebrated Nourrit said to him: "I have given you my vote for the +first prize, and my children shall have no singing-master but you."</p> + +<p>"Courage," said Madame Malibran, pressing his hand. "You will one day be +a great artist."</p> + +<p>But Delsarte knew that without a voice he must renounce the stage, and +yielding to the inevitable, he gave up the role of the actor to assume +the functions of the professor. After his own shipwreck upon a bark +without pilot or compass, he summoned up courage to search into the laws +of an art which had hitherto subsisted only upon caprice and personal +inspiration.</p> + +<p>After several years of diligent study, he discovered and formulated the +essential laws of all art; and, thanks to him, æsthetic science in our +day has the same precision as mathematical science. He had numerous +pupils, many of whom have become distinguished in various public +careers--in the pulpit, at the bar, on the stage, and at the tribune.</p> + +<p>Madame Sontag, when she wished to interpret Gluck's music, chose +Delsarte for her teacher. Rachel drew inspiration from his counsels, and +he became her guardian of the sacred fire. He was urgently solicited to +appear with her at the Théâtre-Français, but religious scruples led him +to refuse the finest offers.</p> + +<p>Madame de Giradin (Delphine Gay), surnamed the Muse of her country, +welcomed him gladly to her salon, then the rendezvous of the world of +art and letters, and regretted not seeing him oftener. He was more than +once invited to the literary sessions of Juilly college, and, under the +spell of his diction, the pupils became animated by a new ardor for +study.</p> + +<p>Monseigneur Sibour had great esteem and affection for Delsarte, and made +him his frequent guest. It was in the salon of this art-loving +archbishop that Delsarte achieved one of his most brilliant triumphs. +All the notable men of science had gathered there, and the conversation +took such a turn that Delsarte found opportunity to give, without +offence, a challenge in these two lines of Racine:</p> + +<blockquote class="poem"><p> +<span class="line"> <i>L'onde approche, se brise, et vomit à nos yeux,</i><br /></span> +<span class="line"><i>Parmi des flots d'écume, un monstre furieux.</i></span></p> + +<p><span class="line">("The wave draws near, it breaks, and casts before our eyes,<br /></span> +<span class="line">Amid the floods of foam, a monster grim and dire.")</span> +</p></blockquote> + +<p>"Please tell me the most emphatic and significant word here," said +Delsarte.</p> + +<p>All reflected, sought out and then gave, each in turn, his chosen word. +Every word was selected save the conjunction <i>et</i> (and). No one thought +of that.</p> + +<p>Delsarte then rose, and in a calm and modest, but triumphant tone, said: +"The significant, emphatic word is the only one which has escaped you. +It is the conjunction <i>and</i>, whose elliptic sense leaves us in +apprehension of that which is about to happen." All owned themselves +vanquished, and applauded the triumphant artist.</p> + +<p>Donoso Cortés made Delsarte a chosen confidant of his ideas. One day, +when the great master of oratorical diction had recited to him the <i>Dies +Irae</i>, the illustrious philosopher, in an access of religious emotion, +begged that this hymn might be chanted at his funeral. Delsarte promised +it, and he kept his word.</p> + +<p>When invited to the court of Louis Philippe, he replied: "I am not a +court buffoon." When a generous compensation was hinted at, he answered: +"I do not sell my loves." When it was urged that the occasion was a +birth-day fête to be given his father by the Duke of Orleans, he +accepted the invitation upon three conditions, thus stated by himself: +"1st. I shall be the only singer; 2d. I shall have no accompaniment but +the opera chorus; 3d. I shall receive no compensation." The conditions +were assented to, and Delsarte surpassed himself. The king paid him such +marked attentions that M. Ingres felt constrained to say: "One might +declare in truth that it is Delsarte who is king of France."</p> + +<p>Delsarte's reputation had passed the frontier. The king of Hanover +committed to his instruction the greatest musical artiste of his realm, +and was so gratified with her improvement that, wishing to recompense +the professor, he sent him the much prized Hanoverian medal of arts and +sciences, accompanied by a letter from his own royal hand. Delsarte +afterwards received from the same king the cross of a Chevalier of the +Guelph order.</p> + +<p>Delsarte's auditors were not the only ones to sound his praises. The +learned reviews extolled his merits. Such writers as Laurentie, Riancey, +Lamartine and Théophile Gautier awarded him the most enthusiastic +praise. Posterity will perpetuate his fame.</p> + +<p>M. Laurentie writes: "I heard Delsarte recite one evening '<i>Iphigenia's +Dream</i>,' which the audience had besought of him. The hall remained +thrilled and breathless under this impaired and yet sovereign voice. All +yielded in rapt astonishment to the spell. There was no prestige, no +theatrical illusion. Iphigenia was a professor in a black frock coat; +the orchestra was a piano, giving forth here and there an unexpected +modulation. This was his whole force; yet the hall was mute, hearts +beat, tears flowed from many eyes, and when the recital ended, +enthusiastic shouts arose, as if Iphigenia in person had just recounted +her terrors."</p> + +<p>After Delsarte had gathered so abundant a harvest of laurels, fate +decided that he had lived long enough. When he had reached his sixtieth +year, he was attacked by hypertrophy of the heart, which left his rich +organization in ruins. He was no longer the artist of graceful, supple, +expressive and harmonious movements; no longer the thinker with profound +and luminous ideas. But in the midst of this physical and intellectual +ruin, the Christian sentiment retained its strong, sweet energy. A +believer in the sacraments which he had received in days of health, he +asked for them in the hour of danger, and many times he partook of that +sacrament of love whose virtue he had taught so well.</p> + +<p>Finally, after having lingered for months in a state that was neither +life nor death, surrounded by his pious wife, and his weeping, praying +children, he rendered his soul to God on the 20th of July, 1871.</p> + +<p>Delsarte never could be persuaded to write anything upon themes foreign +to those connected with his musical and vocal work. The author of this +volume desires to save from oblivion the most wonderful conception of +this superior intellect: his <i>Course of Æsthetic Oratory</i>. He dares +promise to be a faithful interpreter. If excuse be needed for +undertaking a task so delicate, he replies that he addresses himself to +a class of readers who will know how to appreciate his motives.</p> + +<p>The merit of Delsarte, the honor of his family, the gratification of his +numerous friends, the interests of science, the claims of friendship, +demand that this light should not be left under a bushel, but placed +upon a candlestick--this light which has shed so brilliant a glow, and +enriched the arts with a new splendor.</p> +</div> + + +<div class="chapter" id="s1-preface"> +<h2>Preface.</h2> + + + +<p>Orators, you are called to the ministry of speech. You have fixed your +choice upon the pulpit, the bar, the tribune or the stage. You will +become one day, preacher, advocate, lecturer or actor; in short, you +desire to embrace the orator's career. I applaud your design. You will +enter upon the noblest and most glorious of vocations. Eloquence holds +the first rank among the arts. While we award praise and glory to great +musicians and painters, to great masters of sculpture and architecture, +the prize of honor is decreed to great orators.</p> + +<p>Who can define the omnipotence of speech? With a few brief words God +called the universe from nothingness; speech falling from the glowing +lips of the Apostles, has changed the face of the earth. The current of +opinion follows the prestige of speech, and to-day, as ever, eloquence +is universal queen. We need feel no surprise that, in ancient times, the +multitude uncovered as Cicero approached, and cried: "Behold the +orator!"</p> + +<p>Would you have your speech bear fruit and command honor? Two qualities +are needful: virtue and a knowledge of the art of oratory. Cicero has +defined the orator as a good man of worth: <i>Vir bonus, dicendi peritus</i>.</p> + +<p>Then, above all, the orator should be a man of worth. Such a man will +make it his purpose to do good; and the good is the true end of +oratorical art. In truth, what is art? Art is the expression of the +beautiful in ideas; it is the true. Plato says the beautiful is the +splendor of the true.</p> + +<p>What is art? It is the beautiful in action. It is the good. According to +St. Augustine, the beautiful is the lustre of the good.</p> + +<p>Finally, what is art? It is the beautiful in the harmonies of nature. +Galen, when he had finished his work on the structure of the human body, +exclaimed: "Behold this beautiful hymn to the glory of the Creator!"</p> + +<p>What, then, is the true, the beautiful, the good? We might answer, it is +God. Then virtue and the glory of God should be the one end of the +orator, of the good man. A true artist never denies God.</p> + +<p>Eloquence is a means, not an end. We must not love art for its own sake, +that would be idolatry. Art gives wings for ascent to God. One need not +pause to contemplate his wings.</p> + +<p>Art is an instrument, but not an instrument of vanity or complaisance. +Truth, alas! compels us to admit that eloquence has also the melancholy +power of corrupting souls. Since it is an art, it is also a power which +must produce its effect for good or evil.</p> + +<p>It has been said that the fool always finds a greater fool to listen to +him. We might add that the false, the ugly and the vicious have each a +fibre in the human heart to serve their purpose. Then let the true +orator, the good man, armed with holy eloquence, seek to paralyze the +fatal influence of those orators who are apostles of falsehood and +corruption.</p> + +<p>Poets are born, orators are made: <i>nascuntur poetae, fiunt oratores</i>. +You understand why I have engraved this maxim on the title-page of my +work. It contains its <i>raison d'être</i>, its justification. Men are poets +at birth, but eloquence is an art to be taught and learned. All art +presupposes rules, procedures, a mechanism, a method which must be +known.</p> + +<p>We bring more or less aptitude to the study of an art, but every +profession demands a period more or less prolonged. We must not count +upon natural advantages; none are perfect by nature. Humanity is +crippled; beauty exists only in fragments. Perfect beauty is nowhere to +be found; the artist must create it by synthetic work.</p> + +<p>You have a fine voice, but be certain it has its defects. Your +articulation is vicious, and the gestures upon which you pride yourself, +are, in most cases, unnatural. Do not rely upon the fire of momentary +inspiration. Nothing is more deceptive. The great Garrick said: "I do +not depend upon that inspiration which idle mediocrity awaits." Talma +declared that he absolutely calculated all effects, leaving nothing to +chance. While he recited the scene between Augustus and Cinna, he was +also performing an arithmetical operation. When he said:</p> + +<blockquote class="poem"><p> +<span class="line">"Take a chair, Cinna, and in everything<br /></span> +<span class="line">Closely observe the law I bid you heed"--</span> +</p></blockquote> + +<p>he made his audience shudder.</p> + +<p>The orator should not even think of what he is doing. The thing should +have been so much studied, that all would seem to flow of itself from +the fountain.</p> + +<p>But where find this square, this intellectual compass, that traces for +us with mathematical precision, that line of gestures beyond which the +orator must not pass? I have sought it for a long time, but in vain. +Here and there one meets with advice, sometimes good but very often +bad. For example, you are told that the greater the emotion, the +stronger should be the voice. Nothing is more false. In violent emotion +the heart seems to fill the larynx and the voice is stifled. In all such +counsels it behooves us to search out their foundation, the reason that +is in them, to ask if there is a type in nature which serves as their +measure.</p> + +<p>We hear a celebrated orator. We seek to recall, to imitate his +inflections and gestures. We adopt his mannerisms, and that is all. We +see these mannerisms everywhere, but the true type is nowhere.</p> + +<p>After much unavailing search, I at last had the good fortune to meet a +genuine master of eloquence. After giving much study to the masterpieces +of painting and sculpture, after observing the living man in all his +moods and expressions, he has known how to sum up these details and +reduce them to laws. This great artist, this unrivaled master, was the +pious, the amiable, the lamented Delsarte.</p> + +<p>There certainly was pleasure and profit in hearing this master of +eloquence, for he excelled in applying his principles to himself. Still +from his teachings, even from the dead letter of them, breaks forth a +light which reveals horizons hitherto unknown.</p> + +<p>This work might have been entitled: <i>Philosophy of Oratorical Art</i>, for +one cannot treat of eloquence without entering the domain of the highest +philosophy.</p> + +<p>What, in fact, is oratorical art? It is the means of expressing the +phenomena of the soul by the play of the organs. It is the sum total of +rules and laws resulting from the reciprocal action of mind and body. +Thus man must be considered in his sensitive, intellectual and moral +state, with the play of the organs corresponding to these states. Our +teaching has, then, for its basis the science of the soul ministered to +by the organs. This is why we present the fixed, invariable rules which +have their sanction in philosophy. This can be rendered plain by an +exposition of our method.</p> + +<p>The art of oratory, we repeat, is expressing mental phenomena by the +play of the physical organs. It is the translation, the plastic form, +the language of human nature. But man, the image of God, presents +himself to us in three phases: the sensitive, intellectual and moral. +Man feels, thinks and loves. He is <i>en rapport</i> with the physical world, +with the spiritual world, and with God. He fulfils his course by the +light of the senses, the reason, or the light of grace.</p> + +<p>We call life the sensitive state, mind the intellectual state, and soul +the moral state. Neither of these three terms can be separated from the +two others. They interpenetrate, interlace, correspond with and +embrace each other. Thus mind supposes soul and life. Soul is at the +same time mind and life. In fine, life is inherent in mind and soul. +Thus these three primitive moods of the soul are distinguished by nine +perfectly adequate terms. The soul being the form of the body, the body +is made in the image of the soul. The human body contains three +organisms to translate the triple form of the soul.</p> + +<p>The phonetic machinery, the voice, sound, inflections, are living +language. The child, as yet devoid of intelligence and sentiment, +conveys his emotions through cries and moans.</p> + +<p>The myologic or muscular machinery, or gesture, is the language of +sentiment and emotion. When the child recognizes its mother, it begins +to smile.</p> + +<p>The buccal machinery, or articulate speech, is the language of the +mind.</p> + +<p>Man, neither by voice nor gesture, can express two opposite ideas on the +same subject; this necessarily involves a resort to speech. Human +language is composed of gesture, speech and singing. The ancient +melodrama owed its excellence to a union of these three languages.</p> + +<p>Each of these organisms takes the eccentric, concentric, or normal form, +according to the different moods of the soul which it is called to +translate.</p> + +<p>In the sensitive state, the soul lives outside itself; it has relations +with the exterior world. In the intellectual state, the soul turns back +upon itself, and the organism obeys this movement. Then ensues a +contraction in all the agents of the organism. This is the concentric +state. In the moral or mystic state, the soul, enraptured with God, +enjoys perfect tranquility and blessedness. All breathes peace, +quietude, serenity. This is the normal state,--the most perfect, +elevated and sublime expression of which the organism is capable.</p> + +<p>Let us not forget that by reason of a constant transition, each state +borrows the form of its kindred state. Thus the normal state can take +the concentric and eccentric form, and become at the same time, doubly +normal; that is, normal to the highest degree. Since each state can take +the form of the two others, the result is nine distinct gestures, which +form that marvelous accord of nine, which we call the universal +criterion.</p> + +<p>In fine, here is the grand law of organic gymnastics:</p> + +<p>The triple movement, the triple language of the organs is eccentric, +concentric, or normal, according as it is the expression of life, soul +or spirit.</p> + +<p>Under the influence, the occult inspiration of this law, the great +masters have enriched the world with miracles of art. Aided by this law +the course followed in this work, may be easily understood.</p> + +<p>Since eloquence is composed of three languages, we divide this work into +three books in which voice, gesture and speech are studied by turns. +Then, applying to them the great law of art, our task is accomplished.</p> + +<p>The advantages of this method are easily understood. There is given a +type of expression not taken from the individual, but from human nature +synthetized. Thus the student will not have the humiliation of being the +slave or ape of any particular master. He will be only himself. Those +who assimilate their imperfect natures to the perfect type will become +orators. <i>Fiunt Oratores.</i></p> + +<p>Success having attended the first efforts, let the would-be orator +assimilate these rules, and his power will be doubled, aye increased a +hundredfold. And thus having become an orator, a man of principle, who +knows how to speak well, he will aid in the triumph of religion, justice +and virtue.</p> +</div> + + + +<div class="part" id="p1"> +<h2>Part First.<br /> + +Voice</h2> + + + +<div class="chapter" id="p1-01"> +<h3>Chapter I.</h3> + +<p class="abs">Preliminary Ideas--criterion of the Oratorical Art.</p> + + + +<p>Let us note an incontestable fact. The science of the Art of Oratory has +not yet been taught. Hitherto genius alone, and not science, has made +great orators. Horace, Quintilian and Cicero among the ancients, and +numerous modern writers have treated of oratory as an art. We admire +their writings, but this is not science; here we seek in vain the +fundamental laws whence their teachings proceed. There is no science +without principles which give a reason for its facts. Hence to teach and +to learn the art of oratory, it is necessary:</p> +<ol> +<li>To understand the general law which controls the movements of the +organs;</li> + +<li>To apply this general law to the movements of each particular organ;</li> + +<li>To understand the meaning of the form of each of these movements;</li> + +<li>To adapt this meaning to each of the different states of the soul.</li></ol> + +<p>The fundamental law, whose stamp every one of these organs bears, must +be kept carefully in mind. Here is the formula:</p> + +<p>The sensitive, mental and moral state of man are rendered by the +eccentric, concentric or normal form of the organism.<sup><a href="#fn1">1</a></sup></p> + +<p>Such is the first and greatest law. There is a second law, which +proceeds from the first and is similar to it:</p> + +<p>Each form of the organism becomes triple by borrowing the form of the +two others.</p> + +<p>It is in the application of these two laws that the entire practice of +the art of oratory consists. Here, then, is a science, for we possess a +criterion with which all phenomena must agree, and which none can +gainsay. This criterion, composed of our double formula, we represent in +a chart, whose explanation must be carefully studied.</p> + +<p>The three primitive forms or genera which affect the organs are +represented by the three transverse lines.</p> + +<div class="image" id="img001"><p><a href="images/illus001.png">Illustration</a></p></div> + +<p>The subdivision of the three genera into nine species is noted in the +three perpendicular columns.</p> + +<p>Under the title <i>Genus</i> we shall use the Roman numerals I, III, II.</p> + +<p>Under the title <i>Species</i> we employ the Arabic figures 1, 3, 2.</p> + +<p>I designates the eccentric form, II the concentric form, III the normal +form.</p> + +<p>The Arabic figures have the same signification.</p> + +<p>The normal form, either in the genus or the species, we place in the +middle column, because it serves as a bond of union between the two +others, as the moral state is the connecting link between the +intellectual and vital states.</p> + +<p>Thus the first law relative to the primitive forms of the organs is +applied in the three transverse columns, and the second law relative to +their compound forms is reproduced in the three vertical columns.</p> + +<p>As may be easily proven, the eccentric genus produces three species of +eccentric forms, marked in the three divisions of the lower transverse +column.</p> + +<p>Since the figure 1 represents the eccentric form, 1-I will designate the +form of the highest degree of eccentricity, which we call +<i>eccentro-eccentric</i>.</p> + +<p>Since the figure 3 represents the normal form, the numbers 3-I will +indicate the <i>normo-eccentric</i>form.</p> + +<p>Since the figure 2 designates the form which translates intelligence, +the figures 2-I indicate the <i>concentro-eccentric</i> form as a <i>species</i>. +As the species proceeds from the genus, we begin by naming the species +in order to bring it back to the genus. Thus, in the column of the +eccentric genus the figure 1 is placed after the numbers 3 and 2, which +belong to the species. We must apply the same analysis to the transverse +column of the normal genus, as also to that of the concentric genus.</p> + +<p>Following a diagonal from the bottom to the top and from left to right, +we meet the most expressive form of the species, whether eccentric, +normal or concentric, marked by the figures 1-I, 3-III, 2-II, and by the +abbreviations <i>Ecc.-ecc. (Eccentro-eccentric), Norm.-norm. +(Normo-normal), Conc.-conc. (Concentro-concentric)</i>. It is curious to +remark how upon this diagonal the organic manifestations corresponding +to the soul, that is to love, are found in the midst, to link the +expressive forms of life and mind.</p> + +<p>This chart sums up all the essential forms which can affect the +organism. This is a universal algebraic formula, by which we can solve +all organic problems. We apply it to the hand, to the shoulder, to the +eyes, to the voice--in a word, to all the agents of oratorical language. +For example, it suffices to know the <i>eccentro-eccentric</i> form of the +hand, of the eyes; and we reserve it for the appropriate occasion.</p> + +<p>All the figures accompanying the text of this work are only +reproductions of this chart affected by such or such a particular organ. +A knowledge of this criterion gives to our studies not only simplicity, +clearness and facility, but also mathematical precision.</p> + +<p>In proposing the accord of nine formed by the figure 3 multiplied into +itself, it must be understood that we give the most elementary, most +usual and least complicated terms. Through natural and successive +subdivisions we can arrive at 81 terms. Thus multiply 9 by 3; the number +27 gives an accord of 27 terms, which can again be multiplied by 3 to +reach 81. Or rather let us multiply 9 by 9, and we in like manner obtain +81 terms, which become the end of the series. This is the alpha and +omega of all human science. <i>Huc usque venies, et ibi confringes +tumentes fluctus tuos.</i> ("Thus far shalt thou come, and here shall thy +proud waves be stayed.")</p> + +<p>It is well to remark that this criterion is applied to all possible +phenomena, both in the arts and sciences. This is reason, universal +synthesis. All phenomena, spiritual as well as material, must be +considered under three or nine aspects, or not be understood. Three +genera and nine species; three and nine in everything and everywhere; +three and nine, these are the notes echoed by all beings. We do not fear +to affirm that this criterion is divine, since it conforms to the nature +of beings. Then, with this compass in hand, let us explore the vast +field of oratorical art, and begin with the voice.</p> + +<p>NOTE TO THE STUDENT.--Do not go on without a perfect understanding of +this explanation of the criterion, as well as the exposition of our +method which closes the preface.</p> +</div> + + +<div class="chapter" id="p1-02"> +<h3>Chapter II.<br /> + +Of The Voice.</h3> + + + +<p>The whole secret of captivating an audience by the charms of the voice, +consists in a practical knowledge of the laws of sound, inflection, +respiration and silence. The voice first manifests itself through sound; +inflection is an intentional modification of sound; respiration and +silence are a means of falling exactly upon the suitable tone and +inflection.</p> + +<p>Sound being the first language of man in the cradle, the least we can +demand of the orator is, that he speak intelligently a language whose +author is instinct. The orator must then listen to his own voice in +order to understand it, to estimate its value, to cultivate it by +correcting its faults, to guide it--in a word, to dispose of it at will, +according to the inclination of the moment. We begin the study of the +voice with <i>Sound;</i> and as sound may be viewed under several aspects, we +divide this heading into as many sections.</p> + + + +<h3><i>Compass of the Voice--Organic Apparatus of the Voice.</i></h3> + + +<p>This apparatus is composed of the larynx, the mouth and the lungs. Each +of these agents derives its value from mutual action with the others. +The larynx of itself is nothing, and can be considered only through its +participation in the simultaneous action of the mouth and lungs.</p> + +<p>Sound, then, is formed by a triple agent--projective, vibrative and +reflective.</p> + +<p>The lungs are the soliciting agent, the larynx is the vibrative agent, +the mouth is the reflective agent. These must act in unison, or there is +no result. The larynx might be called the mouth of the instrument, the +inside of the mouth the pavilion, the lungs the artist. In a violin, the +larynx would be the string, the lungs the bow, the mouth the instrument +itself.</p> + +<p>The triple action of these agents produces phonation. They engender +sounds and inflections. Sound is the revelation of the sensitive life to +the minutest degree; inflections are the revelation of the same life in +a higher degree, and this is why they are the foundation and the charm +of music.</p> + +<p>Such is the wonderful organism of the human voice, such the powerful +instrument Providence has placed at the disposal of the orator. But what +avails the possession of an instrument if one does not know how to use +it, or how to tune it? The orator, ignorant of the laws of sound and +inflection, resembles the debutant who places the trumpet to his lips +for the first time. We know the ear-torturing tones he evolves.</p> + +<p>The ear is the most delicate, the most exacting of all our senses. The +eye is far more tolerant. The eye resigns itself to behold a bad +gesture, but the ear does not forgive a false note or a false +inflection. It is through the voice we please an audience. If we have +the ear of an auditor, we easily win his mind and heart. The voice is a +mysterious hand which touches, envelops and caresses the heart.</p> + + + +<h4><i>Of the Voice in Relation to Compass.</i></h4> + + +<p>All voices do not have the same compass, or the same range. By range we +mean the number of tones the voice can produce below and above a given +note on the staff, say A, second space of the treble clef.</p> + +<p>There are four distinct kinds of voices: Soprano, alto, tenor and bass. +There are also intermediate voices, possessing the peculiar quality of +the kind to which it belongs, for example: Mezzo-soprano, with the +quality of the soprano and only differing from the soprano in range, the +range of this voice being lower than the soprano and a little higher +than the alto. Then comes the alto or contralto.</p> + +<p>In the male voice we have the tenor robusto, a little lower than the +pure tenor and more powerful; next the baritone, a voice between the +tenor and bass, but possessing very much the quality of the bass.</p> + +<p>The tones in the range of every voice can be divided into three +parts--the lower, medium and higher. Thus we would say of a performer, +he or she used the lower or higher tones, or whatever the case may be. +This applies to every kind of voice.</p> + +<p>The soprano voice ranges generally from the middle C, first added line +below on the treble clef, upwards to A, first added line above the +staff. Contralto voices range generally from G, below middle C in the +treble clef, up to F, the upper line of the clef.</p> + +<p>The tenor voice ranges from C, second space of the F clef, to D, second +space in the treble clef.</p> + +<p>The bass voice ranges from lower F, first space below of the F or bass +clef, to D, second space above of this clef.<sup><a href="#fn2">2</a></sup></p> + +<p>The first perception of the human voice imperatively demands, 1. That +the voice be tried and its compass measured in order to ascertain to +what species it belongs. Its name must be known with absolute certainty. +It would be shameful in a musician not to know the name of the +instrument he uses. 2. That the ear be trained in order to distinguish +the pitch upon which one speaks.</p> + +<p>We should be able to name a sound and to sound a name. The Orientals +could sing eight degrees of tone between C and D. There may be a whole +scale, a whole air between these two tones. It would be unpardonable +not to know how to distinguish or at least to sound a semitone.</p> + +<p>There is a fact proved by experience, which must not be forgotten. The +high voice, with elevated brows, serves to express intensity of passion, +as well as small, trivial and also pleasant things.</p> + +<p>The deep voice, with the eyes open, expresses worthy things.</p> + +<p>The deep voice, with the eyes closed, expresses odious things.</p> + + + +<h4><i>The Voice in Relation to Vowels.</i></h4> + + +<p>As already stated, the vocal apparatus is composed of the lungs, the +larynx and the mouth; but its accessories are the teeth, the lips, the +palate and the uvula. The tip and root of the tongue, the arch of the +palate and the nasal cavities have also their share in perfecting the +acoustic apparatus.</p> + +<p>In classifying the different varieties of voice, we have considered them +only in their rudimentary state. Ability to name and distinguish the +several tones of voice is the starting point. We have an image more or +less perfect, leaving the mould; we have a canvas containing the design, +but not the embroidery--the mere outline of an instrument, a body +without a soul. The voice being the language of the sensitive life, the +passional state must pass entirely into the voice.</p> + +<p>We must know then how to give it an expression, a color answering to the +sentiment it conveys. But this expressive form of the voice depends +upon the sound of its vowels.</p> + +<p>There is a mother vowel, a generative tone. It is <i>a</i> (Italian <i>a</i>). In +articulating <i>a</i> the mouth opens wide, giving a sound similar to <i>a</i> in +<i>arm</i>.</p> + +<p>The primitive <i>a</i> takes three forms. The unaccented, Italian <i>a</i> +represents the normal state; <i>a</i> with the acute accent (') represents +the eccentric state; <i>a</i> with the grave accent (`) represents the +concentric state.</p> + +<p>These three <i>a</i>'s derived from primitive <i>a</i> become each in turn the +progenitor of a family with triple sounds, as may be seen in the +following genealogical tree:</p> + +<table summary="A progenitors"> +<tr><td>Á</td><td>A<br />A</td><td>À</td></tr> +<tr><td colspan="3">---------------------------</td></tr> +<tr><td>é</td><td>o</td><td>e</td></tr> +<tr><td>è</td><td>au</td><td>eu</td></tr> +<tr><td>i</td><td>ou</td><td>u</td></tr> +<tr><td>Eccentric.</td><td>Normal.</td><td>Concentric.</td></tr> +</table> + +<p>This is the only simple sound, but four other sounds are derived from +it. The three <i>a's</i> articulated by closing the uvula, give the nasal +<i>an</i>. Each family also gives its special nasal sound: <i>in</i> for the +eccentric voice, <i>on</i> for the normal state, <i>un</i> for the concentric. All +other sounds are derived from combinations of these. The mouth cannot +possibly produce more than three families of sounds, and in each family +it is <i>a</i> united with the others that forms the trinity.</p> + +<p>The variety of sounds in these three families of vowels arises from the +difference of the opening of the mouth and lips in articulating them. +These different modes of articulation may be rendered more intelligible +by the subjoined diagrams:</p> + +<p><i>â</i> is pronounced with the mouth very wide open, the uvula raised and +the tongue much lowered.</p> + +<p><img src="images/illus002.png" alt="diagram of uvula raised and tongue lowered" /></p> + +<p><i>é, è, i</i> and <i>in</i> are articulated with the lips open and the back part +of the mouth gradually closed.</p> + +<p><img src="images/illus003.png" alt="diagram of lips opened and the back part of the mouth gradually closed" /></p> + +<p><i>a, au, ou</i> and <i>on</i> are articulated with the back of the mouth open and +the lips gradually closed.</p> + +<p><img src="images/illus004.png" alt="diagram of of the back of the mouth open and the lips gradually closed" /></p> + +<p><i>e, eu, u</i> and <i>un</i> are articulated with the back of the mouth and the +lips uniformly closed.</p> + +<p><img src="images/illus005.png" alt="diagram of the back of the mouth and the lips uniformly closed" /></p> + +<p>The voice takes different names, according to the different sounds in +each family of vowels: the chest-voice, the medium voice and the +head-voice.</p> + +<p>These names imply no change in the sort of voice, but a change in the +manner of emission. The head, medium or chest-voice, indicates only +variety in the emission of vowels, and may be applied to the high as +well as the deep and medium voice. Thus the deep voice may produce +sounds in the head-voice, as well as in the medium and chest voices.</p> + +<p>The head-voice is produced by lowering the larynx, and at the same time +raising the uvula. In swallowing, the larynx rises by the elevation of +the uvula, without which elevation there can be no head-tones.</p> + + + +<h4><i>Practical Conclusions.</i></h4> + + +<p>1. It is highly important to know how to assume either of these voices +at will. The chest-voice is the expression of the sensitive or vital +life, and is the interpreter of all physical emotions. The medium voice +expresses sentiment and the moral emotions. The head-voice interprets +everything pertaining to scientific or mental phenomena. By observing +the laugh in the vital, moral and intellectual states, we shall see that +the voice takes the sound of the vowel corresponding to each state.</p> + +<p>We understand the laugh of an individual; if upon the <i>i</i> (<i>e</i> long), he +has made a sorry jest; if upon <i>é</i> (<i>a</i> in <i>fate</i>), he has nothing in +his heart and most likely nothing in his head; if upon <i>á</i> (<i>a</i> short), +the laugh is forced. <i>O, à</i>, (<i>a</i> long) and <i>ou</i> are the only normal +expressions. Thus every one is measured, numbered, weighed. There is +reason in everything, even when unknown to man. In physical pain or +joy, the laugh or groan employs the vowels <i>é, è, i</i>.<sup><a href="#fn3">3</a></sup></p> + +<p>2. The chest-voice should be little used, as it is a bestial and very +fatiguing voice.</p> + +<p>3. The head-voice or the medium voice is preferable, it being more noble +and more ample, and not fatiguing. In these voices there is far less +danger of hoarseness. The head and medium voices proceed more from the +mouth, while the chest-voice has its vibrating point in the larynx.</p> + +<p>4. The articulation of the three syllables, <i>la, mo</i> and <i>po</i>, is a very +useful exercise in habituating one to the medium voice. Besides +reproducing the tone of this voice, these are the musical consonants +<i>par excellence</i>. They give charm and development to the voice. We can +repeat these tones without fatiguing the vocal chords, since they are +produced by the articulative apparatus.</p> + +<p>5. It is well to remark that the chest, medium and head voices are +synonymous with the eccentric, normal or concentric voice.</p> + +<p>6. It is only a hap-hazard sort of orator who does not know how to +attain, at the outset, what is called the white voice, to be colored +afterward at will. The voice should resemble the painter's pallet, where +all the colors are arranged in an orderly manner, according to the +affinities of each. A colorless tint may be attained in the same way as +a pure tint. It may be well to remark here, although by anticipation, +that the expressions of the hand and brow belong to the voice. The +coloring of the larynx corresponds to the movements of the hand or +brows.</p> + +<p>Sound is painting, or it is nothing. It should be in affinity with the +subject.</p> +</div> + + +<div class="chapter" id="p1-03"> +<h3>Chapter III.<br /> + +The Voice in Relation to Intensity of Sound.</h3> + + + +<h4><i>What is Understood by Intensity of Sound.</i></h4> + + +<p>The voice has three dimensions--height, depth and breadth; in other +terms, diapason, intensity and duration; or in yet other words, +tonality, timbre and succession.</p> + +<p>Intensity may be applied alike to the voice and to sound. The voice is +strong or weak, according to the mechanism of the acoustic apparatus. +The strength or weakness of sound depends upon the speaker, who from the +same apparatus evolves tones more or less strong. It is the <i>forte, +piano</i> and <i>pianissimo</i> in music. Thus a loud voice can render weak +tones, and a weak voice loud tones. Hence the tones of both are capable +of increase or diminution.</p> + + + +<h4><i>Means of Augmenting the Timbre of the Voice.</i></h4> + + +<p>1. A stronger voice may be obtained by taking position not upon the heel +or flat of the foot, but upon the ball near the toes--that attitude +which further on we shall designate as the third. The chest is +eccentric; that is, convex and dilated. In this position all the muscles +are tense and resemble the chords of an instrument whose resonance is +proportional to their tension.</p> + +<p>2. There are three modes of developing the voice. A voice may be +manufactured. A natural voice is almost always more or less changed by a +thousand deleterious influences.</p> + +<p>1. <i>In volume</i>, by lowering the larynx, elevating the soft-palate and +hollowing the tongue.</p> + +<p>2. <i>In intensity.</i>--A loud voice may be hollow. It must be rendered +deep, forcible and brilliant by these three methods: profound +inspiration, explosion and expulsion. The intensity of an effect may +depend upon expulsion or an elastic movement. Tenuity is elasticity. It +is the rarest and yet the most essential quality of diction.</p> + +<p>3. <i>In compass.</i>--There are three ways of increasing the compass of the +voice:</p> + +<ol><li>By the determination of its pitch;</li> + +<li>By practicing the vocal scale;</li> + +<li>By the fusion of the registers upon the key-note.</li></ol> + +<p>The first of these methods is most effective. The second consists in +exercising upon those notes which are near the key-note. Upon this +exercise depends in great measure the homogeneity of the voice. Taking +<i>la</i> for the diapason, the voice which extends from the lowest notes to +upper <i>re</i> is the chest-voice, since it suffers no acoustic +modification. From <i>mi</i> to <i>la</i> the voice is modified; it is the medium +voice, or the second register, which gives full and supple tones. The +head or throat-voice, or the third register, extends from <i>si</i> to the +highest and sharpest notes. Its tones are weak, and should be avoided +as much as possible. There are then only four good notes--those from +<i>mi</i> to <i>la</i>, upon which the voice should be exercised. By uniting the +registers, an artificial, homogeneous voice may be created, whose tones +are produced without compression and without difficulty. This being +done, it is evident that every note of the voice must successively +indicate the three registers--that is, it must be rendered in the chest, +medium and head voices.</p> + +<p>There is also a method of diminishing the voice. As the tone is in +proportion to the volume of air in the lungs, it may be weakened by +contracting the epiglottis or by suppressing the respiration.</p> + + + +<h4><i>Rules for Intensity of Sound.</i></h4> + + +<p>1. The strength of the voice is in an inverse ratio to the respiration. +The more we are moved, the less loudly we speak; the less the emotion, +the stronger the voice. In emotion, the heart seems to mount to the +larynx, and the voice is stifled. A soft tone should always be an +affecting tone, and consist only of a breath. Force is always opposed to +power. It is an error to suppose that the voice must be increased as the +heart is laid bare. The lowest tones are the best understood. If we +would make a low voice audible, let us speak as softly as we can.</p> + +<p>Go to the sea-shore when the tempest rages. The roar of the waves as +they break against the vessel's side, the muttering thunders, the +furious wind-gusts render the strongest voice impotent. Go upon a +battle-field when drums beat and trumpets sound. In the midst of this +uproar, these discordant cries, this tumult of opposing armies, the +leader's commands, though uttered in the loudest tones, can scarce be +heard; but a low whistle will be distinctly audible. The voice is +intense in serenity and calm, but in passion it is weak.</p> + +<p>Let those who would bring forward subtle arguments against this law, +remember that logic is often in default when applied to artistic facts.</p> + +<p>A concert is given in a contracted space, with an orchestra and a +double-bass. The double-bass is very weak. Logic would suggest two +double-basses in order to produce a stronger tone. Quite the contrary. +Two double-basses give only a semitone, which half a double-bass renders +of itself. So much for logic in this case.</p> + +<p>The greatest joy is in sorrow, for here there is the greatest love. +Other joys are only on the surface. We suffer and we weep because we +love. Of what avail are tears? The essential thing is to love. Tears are +the accessories; they will come in time, they need not be sought. +Nothing so wearies and disgusts us, as the lachrymose tone. A man who +amounts to anything is never a whimperer.</p> + +<p>Take two instruments in discord and remote from each other. Logic +forbids their approach lest their tones become more disagreeable. The +reverse is true. In bringing them together, the lowest becomes higher +and the highest lower, and there is an accord.</p> + +<p>Let us suppose a hall with tapestries, a church draped in black. Logic +says, "sing more loudly." But this must be guarded against lest the +voice become lost in the draperies. The voice should scarce reach these +too heavy or too sonorous partitions, but leaving the lips softly, it +should pulsate through the audience, and go no farther.</p> + +<p>An audience is asleep. Logic demands more warmth, more fire. Not at all. +Keep silent and the sleepers will awaken.</p> + +<p>2. Sound, notwithstanding its many shades, should be homogeneous; that +is, as full at the end as at the beginning. The mucous membrane, the +lungs and the expiratory muscles have sole charge of its transmission. +The vocal tube must not vary any more for the loud tone than for the low +tone. The opening must be the same. The low tone must have the power of +the loud tone, since it is to be equally understood. The acoustic organs +should have nothing to do with the transmission of sound. They must be +inert so that the tone may be homogeneous. The speaker or singer should +know how to diminish the tone without the contraction of the back part +of the mouth.</p> + +<p>To be homogeneous the voice must be ample. To render it ample, take high +rather than low notes. The dipthong <i>eu</i> (like <i>u</i> in muff), and the +vowels <i>u</i> and <i>o</i> give amplitude to sound. On the contrary, the tone +is meagre in articulating the vowels <i>é</i>, <i>í</i> and <i>á</i>. To render the +voice ample, we open the throat and roll forth the sound. The more the +sound is <i>circumvoluted</i>, the more ample it is. To render the voice +resonant, we draw the tongue from the teeth and give it a hollow form; +then we lower the larynx, and in this way imitate the French horn.</p> + +<p>3. The voice should always be sympathetic, kindly, calm, and noble, even +when the most repulsive things are expressed. A tearful voice is a grave +defect, and must be avoided. The same may be said of the tremulous voice +of the aged, who emphasize and prolong their syllables. Tears are out of +place in great situations; we should weep only at home. To weep is a +sure way of making people laugh.</p> +</div> + + +<div class="chapter" id="p1-04"> +<h3>Chapter IV.<br /> + +The Voice in Relation to Measure.</h3> + + + +<h4><i>Of Slowness and Rapidity in Oratorical Delivery.</i></h4> + + +<p>The third and last relation in which we shall study voice, is its +breadth, that is, the measure or rhythm of its tones.</p> + +<p>The object of measure in oratorical diction is to regulate the interval +of sounds. But the length of the interval between one sound and another +is subject to the laws of slowness and rapidity, respiration, silence +and inflection.</p> + +<p>Let us first consider slowness and rapidity, and the rules which govern +them.</p> + +<p>1. A hasty delivery is by no means a proof of animation, warmth, fire, +passion or emotion in the orator; hence in delivery, as in tone, haste +is in an inverse ratio to emotion. We do not glide lightly over a +beloved subject; a prolongation of tones is the complaisance of love. +Precipitation awakens suspicions of heartlessness; it also injures the +effect of the discourse. A teacher with too much facility or volubility +puts his pupils to sleep, because he leaves them nothing to do, and they +do not understand his meaning. But let the teacher choose his words +carefully, and every pupil will want to suggest some idea; all will +work. In applauding an orator we usually applaud ourselves. He says +what we were just ready to say; we seem to have suggested the idea. It +is superfluous to remark that slowness without gesture, and especially +without facial expression, would be intolerable. A tone must always be +reproduced with an expression of the face.</p> + +<p>2. The voice must not be jerky. Here we must keep jealous watch over +ourselves. The entire interest of diction arises from a fusion of tones. +The tones of the voice are sentient beings, who love, hold converse, +follow each other and blend in a harmonious union.</p> + +<p>3. It is never necessary to dwell upon the sound we have just left; this +would be to fall into that jerky tone we wish to avoid.</p> + +<h4><i>Of Respiration and Silence.</i></h4> + +<p>We place respiration and silence under the same head because of their +affinity, for respiration may often be accounted silence.</p> + +<p><i>Of silence.</i>--Silence is the father of speech, and must justify it. +Every word which does not proceed from silence and find its vindication +in silence, is a spurious word without claim or title to our regard. +Origin is the stamp, in virtue of which we recognize the intrinsic value +of things. Let us, then, seek in silence the sufficient reason of +speech, and remember that the more enlightened the mind is, the more +concise is the speech that proceeds from it. Let us assume, then, that +this conciseness keeps pace with the elevation of the mind, and that +when the mind arrives at the perception of the true light, finding no +words that can portray the glories open to its view, it keeps silent and +admires. It is through silence that the mind rises to perfection, for +<i>silence is the speech of God</i>.</p> + +<p>Apart from this consideration, silence recommends itself as a powerful +agent in oratorical effects. By silence the orator arouses the attention +of his audience, and often deeply moves their hearts. When Peter +Chrysologue, in his famous homily upon the gospel miracle of the healing +of the issue of blood, overcome by emotion, paused suddenly and remained +silent, all present immediately burst into sobs.</p> + +<p>Furthermore, silence gives the orator time and liberty to judge of his +position. An orator should never speak without having thought, reflected +and arranged his ideas. Before speaking he should decide upon his +stand-point, and see clearly what he proposes to do. Even a fable may be +related from many points of view; from that of expression as well as +gesture, from that of inflection as well as articulate speech. All must +be brought back to a scene in real life, to one stand-point, and the +orator must create for himself, in some sort, the rôle of spectator.</p> + +<p>Silence gives gesture time to concentrate, and do good execution.</p> + +<p>One single rule applies to silence: Wherever there is ellipsis, there +is silence. Hence the interjection and conjunction, which are +essentially elliptic, must always be followed by a silence.</p> + +<p><i>Respiration.</i>--For the act of respiration, three movements are +necessary: inspiration, suspension and expiration.</p> + +<p><i>Its importance.</i>--Respiration is a faithful rendering of emotion. For +example: <i>He who reigns in the skies</i>. Here is a proposition which the +composed orator will state in a breath. But should he wish to prove his +emotion, he inspires after every word. <i>He--who--reigns--in--the--skies</i>. +Multiplied inspirations can be tolerated on the strength of emotion, but +they should be made as effective as possible.</p> + +<p>Inspiration is allowable:--</p> + +<ol><li>After all words preceded or followed by an ellipse;</li> + +<li>After words used in apostrophe, as Monsieur, Madame;</li> + +<li>After conjunctions and interjections when there is silence;</li> + +<li>After all transpositions; for example: <i>To live, one must work</i>. Here +the preposition <i>to</i> takes the value of its natural antecedent, <i>work</i>; +that is to say, six degrees, since by inversion it precedes it, and the +gesture of the sentence bears wholly on the preposition;</li> + +<li>Before and after incidental phrases;</li> + +<li>Wherever we wish to indicate an emotion.</li></ol> + +<p>To facilitate respiration, stand on tip-toe and expand the chest.</p> + +<p>Inspiration is a sign of grief; expiration is a sign of tenderness. +Sorrow is inspiratory; happiness, expiratory.</p> + +<p>The inspiratory act expresses sorrow, dissimulation.</p> + +<p>The expiratory act expresses love, expansion, sympathy.</p> + +<p>The suspensory act expresses reticence and disquietude. A child who has +just been corrected deservedly, and who recognizes his fault, expires. +Another corrected unjustly, and who feels more grief than love, +inspires.</p> + +<p>Inspiration is usually regulated by the signs of punctuation, which have +been invented solely to give more exactness to the variety of sounds.</p> + + + +<h4><i>Inflections.</i></h4> + + +<p><i>Their importance.</i>--Sound, we have said, is the language of man in the +sensitive state. We call inflections the modifications which affect the +voice in rendering the emotions of the senses. The tones of the voice +must vary with the sensations, each of which should have its note. Of +what use to man would be a phonetic apparatus always rendering the same +sound? Delivery is a sort of music whose excellence consists in a +variety of tones which rise or fall according to the things they have to +express. Beautiful but uniform voices resemble fine bells whose tone is +sweet and clear, full and agreeable, but which are, after all, bells, +signifying nothing, devoid of harmony and consequently without variety. +To employ always the same action and the same tone of voice, is like +giving the same remedy for all diseases. "<i>Ennui</i> was born one day from +monotony," says the fable.</p> + +<p>Man has received from God the privilege of revealing the inmost +affections of his being through the thousand inflections of his voice. +Man's least impressions are conveyed by signs which reveal harmony, and +which are not the products of chance. A sovereign wisdom governs these +signs.</p> + +<p>With the infant in its cradle the signs of sensibility are broken cries. +Their acuteness, their ascending form, indicate the weakness, and +physical sorrow of man. When the child recognizes the tender cares of +its mother, its voice becomes less shrill and broken; its tones have a +less acute range, and are more poised and even. The larynx, which is +very impressionable and the thermometer of the sensitive life, becomes +modified, and produces sounds and inflections in perfect unison with the +sentiments they convey.</p> + +<p>All this, which man expresses in an imitative fashion, is numbered, +weighed and measured, and forms an admirable harmony. This language +through the larynx is universal, and common to all sensitive beings. It +is universal with animals as with man. Animals give the identical sounds +in similar positions.</p> + +<p>The infant, delighted at being mounted on a table, and calling his +mother to admire him, rises to the fourth note of the scale. If his +delight becomes more lively, to the sixth; if the mother is less pleased +than he would have her, he ascends to the third minor to express his +displeasure. Quietude is expressed by the fourth note.</p> + +<p>Every situation has its interval, its corresponding inflection, its +corresponding note: this is a mathematical language.</p> + +<p>Why this magnificent concert God has arranged in our midst if it has no +auditors? If God had made us only intelligent beings, he would have +given us speech alone and without inflections. Let us further illustrate +the rôle of inflection.</p> + +<p>A father receives a picture from his daughter. He expresses his +gratitude by a falling inflection: "Ah well! the dear child." The +picture comes from a stranger whom he does not know as a painter; he +will say, "Well now! why does he send me this?" raising his voice.</p> + +<p>If he does not know from whom the picture comes, his voice will neither +rise nor fall; he will say, "Well! well! well!"</p> + +<p>Let us suppose that his daughter is the painter. She has executed a +masterpiece. Astonished at the charm of this work and at the same time +grateful, his voice will have both inflections.</p> + +<p>If surprise predominates over love the rising inflection will +predominate. If love and surprise are equal, he will simply say, "Well +now!"</p> + +<p><i>Kan</i> in Chinese signifies at the same time the roof of a house, a +cellar, well, chamber, bed--the inflection alone determines the meaning. +Roof is expressed by the falling, cellar by the rising inflection. The +Chinese note accurately the depth and acuteness of sound, its intervals +and its intensity.</p> + +<p>We can say: "It is pretty, this little dog!" in 675 different ways. Some +one would do it harm. We say: "This little dog is pretty, do not harm +it!" "It is pretty because it is so little." If it is a mischievous or +vicious dog, we use <i>pretty</i> in an ironical sense. "This dog has bitten +my hand. It is a pretty dog indeed!" etc.</p> + + + +<h4><i>Rules of Inflection.</i></h4> + + +<p>1. Inflections are formed by an upward or downward slide of the voice, +or the voice remains in monotone. Inflections are, then, eccentric, +concentric and normal.</p> + +<p>2. The voice rises in exaltation, astonishment, and conflict.</p> + +<p>3. The voice falls in affirmation, affection and dejection.</p> + +<p>4. It neither rises nor falls in hesitation.</p> + +<p>5. Interrogation is expressed by the rising inflection when we do not +know what we ask; by the falling, when we do not quite know what we ask. +For instance, a person asks tidings of his friend's health, aware or +unaware that he is no better.</p> + +<p>6. Musical tones should be given to things that are pleasing. Courtiers +give musical inflections to the words they address to royalty.</p> + +<p>7. Every manifestation of life is a song; every sound is a song. But +inflections must not be multiplied, lest delivery degenerate into a +perpetual sing-song. The effect lies entirely in reproducing the same +inflection. A drop of water falling constantly, hollows a rock. A +mediocre man will employ twenty or thirty tones. Mediocrity is not the +too little, but the too much. The art of making a profound impression is +to condense; the highest art would be to condense a whole scene into one +inflection. Mediocre speakers are always seeking to enrich their +inflections; they touch at every range, and lose themselves in a +multitude of intangible effects.</p> + +<p>8. In real art it is not always necessary to fall back upon logic. The +reason needs illumination from nature, as the eye, in order to see, +needs light. Reason may be in contradiction to nature. For instance, a +half-famished hunter, in sight of a good dinner, would say: "I am +<i>hungry</i>" emphasizing <i>hungry</i>, while reason would say that <i>am</i> must be +emphasized. A hungry pauper would say: "I <i>am</i> hungry," dwelling upon +<i>am</i> and gliding over <i>hungry</i>. If he were not hungry, or wished to +deceive, he would dwell upon <i>hungry</i>.</p> + + + +<h4><i>Special Inflections.</i></h4> + + +<p>Among the special inflections we may reckon:--</p> + +<p>1. <i>Exclamations.</i>--Abrupt, loud, impassioned sounds, and +improvisations.</p> + +<p>2. <i>Cries.</i>--These are prolonged exclamations called forth by a lively +sentiment of some duration, as acute suffering, joy or terror. They are +formed by the sound <i>a</i>. In violent pain arising from a physical cause, +the cries assume three different tones: one grave, another acute, the +last being the lowest, and we pass from one to the other in a chromatic +order.</p> + +<p>There are appealing cries which ask aid in peril. These cries are formed +by the sounds ē and ŏ. They are slower than the preceding, but more +acute and of greater intensity.</p> + +<p>3. <i>Groans.</i>--Here the voice is plaintive, pitiful, and formed by two +successive tones, the one sharp, the final one deep. Its monotony, the +constant recurrence of the same inflection, give it a remarkable +expression.</p> + +<p>4. <i>Lamentation</i> is produced by a voice loud, plaintive, despairing and +obstinate, indicating a heart which can neither contain nor restrain +itself.</p> + +<p>5. <i>The sob</i> is an uninterrupted succession of sounds produced by +slight, continuous inspirations, in some sort convulsive, and ending in +a long, violent inspiration.</p> + +<p>6. <i>The sigh</i> is a weak low tone produced by a quick expiration +followed by a slow and deep inspiration.</p> + +<p>7. <i>The laugh</i> is composed of a succession of loud, quick, monotonous +sounds formed by an uninterrupted series of slight expirations, rapid +and somewhat convulsive, of a tone more or less acute and prolonged, and +produced by a deep inspiration.</p> + +<p>8. <i>Singing</i> is the voice modulated or composed of a series of +appreciable tones.</p> +</div></div> + + + +<div class="part" id="p2"> +<h2>Part Second.<br /> + +Gesture.</h2> + + + +<div class="chapter" id="p2-01"> +<h3>Chapter I.<br /> + +Of Gesture in General.</h3> + + + +<p>Human word is composed of three languages. Man says what he <i>feels</i> by +inflections of the voice, what he <i>loves</i> by gesture, what he <i>thinks</i> +by articulate speech. The child begins with feeling; then he loves, and +later, he reasons. While the child only feels, cries suffice him; when +he loves, he needs gestures; when he reasons, he must have articulate +language. The inflections of the voice are for sensations, gesture is +for sentiments; the buccal apparatus is for the expression of ideas. +Gesture, then, is the bond of union between inflection and thought. +Since gesture, in genealogical order, holds the second rank in human +languages, we shall reserve for it that place in the series of our +oratorical studies.</p> + +<p>We are entering upon a subject full of importance and interest. We +purpose to render familiar the <i>heart language</i>, the expression of love.</p> + +<p>We learn dead languages and living languages: Greek, Latin, German, +English. Is it well to know conventional idioms, and to ignore the +language of nature? The body needs education as well as the mind. This +is no trivial work. Let it be judged by the steps of the ideal ladder we +must scale before reaching the perfection of gesture. Observe the ways +of laboring men. Their movements are awkward, the joints do not play. +This is the first step.</p> + +<p>At a more advanced stage, the shoulders play without the head. The +individual turns around with a great impulse from the shoulders, with +the leg raised, but the hand and the rest of the body remain inert. Then +come the elbows, but without the hand. Later come the wrist-joint and +the torso. With this movement of the wrist, the face becomes mobilized, +for there is great affinity between these two agents. The face and hand +form a most interesting unity. Finally, from the wrist, the articulation +passes to the fingers, and here is imitative perfection. If we would +speak our language eloquently, we must not be beguiled into any <i>patois</i> +of gesture.</p> + +<p>Gesture must be studied in order to render it faultlessly elegant, but +in such a thorough way as not to seem studied. It has still higher +claims to our regard in view of the services it has rendered to +humanity. Thanks to this language of the heart, thousands of deaf-mutes +are enabled to endure their affliction, and to share our social +pleasures. Blessèd be the Abbé de l'Epée, who, by uniting the science of +gesture to the conventional signs of dactyology, has made the deaf hear +and the dumb speak! This beneficent invention has made gesture in a +twofold manner, the language of the heart.</p> + +<p>Gesture is an important as well as interesting study. How beautiful it +is to see the thousand pieces of the myological apparatus set in motion +and propelled by this grand motor feeling! There surely is a joy in +knowing how to appreciate an image of Christ on the cross, in +understanding the attitudes of Faith, Hope and Charity. We can note a +mother's affection by the way she holds her child in her arms. We can +judge of the sincerity of the friend who grasps our hand. If he holds +the thumb inward and pendant, it is a fatal sign; we no longer trust +him. To pray with the thumbs inward and swaying to and fro, indicates a +lack of sacred fervor. It is a corpse who prays. If you pray with the +arms extended and the fingers bent, there is reason to fear that you +adore Plutus. If you embrace me without elevating the shoulders, you are +a Judas.</p> + +<p>What can you do in a museum, if you have not acquired, if you do not +wish to acquire the science of gesture? How can you rightly appreciate +the beauty of the statue of Antinous? How can you note a fault in +Raphael's picture of Moses making water gush from the rock? How see that +he has forgotten to have the Israelites raise their shoulders, as they +stand rapt in admiration of the miracle? One versed in the science of +gesture, as he passes before the Saint Michael Fountain, must confess +that the statue of the archangel with its parallel lines, is little +better than the dragon at his feet.</p> + +<p>In view of the importance and interest of the language of gesture, we +shall study it thoroughly in the second book of our course.</p> +</div> + + +<div class="chapter" id="p2-02"> +<h3>Chapter II.<br /> + +Definition and Division of Gesture.</h3> + + + +<p>Gesture is the direct agent of the heart, the interpreter of speech. It +is elliptical discourse. Each part of this definition may be easily +justified.</p> + +<p>1. <i>Gesture is the Direct Agent of the Heart.</i>--Look at an infant. For +some time he manifests his joy or sorrow through cries; but these are +not gesture. When he comes to know the cause of his joy or sorrow, +sentiment awakens, his heart opens to love or hatred, and he expresses +his new emotion not by cries alone, nor yet by speech; he smiles upon +his mother, and his first gesture is a smile. Beings endowed only with +the sensitive life, have no smile; animals do not laugh.</p> + +<p>This marvelous correspondence of the organs with the sentiment arises +from the close union of soul and body. The brain ministers to the +operations of the soul. Every sentiment must have its echo in the brain, +in order to be unerringly transmitted by the organic apparatus.</p> + +<p><i>Ex visu cognoscitur vir.</i> ("The man is known by his face.") The rôle of +dissimulation is a very difficult one to sustain.</p> + +<p>2. <i>Gesture is the Interpreter of Speech.</i>--Gesture has been given to +man to reveal what speech is powerless to express. For example: <i>I +love</i>. This phrase says nothing of the nature of the being loved, +nothing of the fashion in which one loves. Gesture, by a simple +movement, reveals all this, and says it far better than speech, which +would know how to render it only by many successive words and phrases. A +gesture, then, like a ray of light, can reflect all that passes in the +soul.</p> + +<p>Hence, if we desire that a thing shall be always remembered, we must not +say it in words; we must let it be divined, revealed by gesture. +Wherever an ellipse is supposable in a discourse, gesture must intervene +to explain this ellipse.</p> + +<p>3. <i>Gesture is an Elliptical Language.</i>--We call ellipse a hidden +meaning whose revelation belongs to gesture. A gesture must correspond +to every ellipse. For example: "This medley of glory and gain vexes me." +If we attribute something ignominious or abject to the word <i>medley</i>, +there is an ellipse in the phrase, because the ignominy is implied +rather than expressed. Gesture is then necessary here to express the +value of the implied adjective, <i>ignominious</i>.</p> + +<p>Suppress this ellipse, and the gesture must also be suppressed, for +gesture is not the accompaniment of speech. It must express the idea +better and in another way, else it will be only a pleonasm, an after +conception of bad taste, a hindrance rather than an aid to intelligible +expression.</p> + + + +<h4><i>Division of Gesture.</i></h4> + + +<p>Every act, gesture and movement has its rule, its execution and its +<i>raison d'être</i>. The imitative is also divided into three parts: the +static, the dynamic and the semeiotic. The static is the base, the +dynamic is the centre, and the semeiotic the summit. The static is the +equiponderation of the powers or agents; it corresponds to life.</p> + +<p>The dynamic is the form of movements. The dynamic is melodic, harmonic +and rhythmic. Gesture is melodic by its forms or its inflections. To +understand gesture one must study melody. There is great affinity +between the inflections of the voice and gesture. All the inflections of +the voice are common to gesture. The inflections of gesture are oblique +for the <i>life</i>, direct for the <i>soul</i> and circular for the <i>mind</i>. These +three terms, oblique, direct and circular, correspond to the eccentric, +normal and concentric states. The movements of flection are direct, +those of rotation, circular, those of abduction, oblique.</p> + +<p>Gesture is harmonic through the multiplicity of the agents which act in +the same manner. This harmony is founded upon the convergence or +opposition of the movements. Thus the perfect accord is the consonance +of the three agents,--head, torso and limbs. Dissonance arises from the +divergence of one of these agents.</p> + +<p>Finally, gesture is rhythmic because its movements are subordinated to +a given measure. The dynamic corresponds to the <i>soul</i>.</p> + +<p>The semeiotic gives the reason of movements, and has for its object the +careful examination of inflections, attitudes and types.</p> + +<p>Under our first head, we treat of the static and of gesture in general; +under our second, of the dynamic, and of gesture in particular; and +finally, under our third head, of the semeiotic, with an exposition of +the laws of gesture.</p> +</div> + + +<div class="chapter" id="p2-03"> +<h3>Chapter III.<br /> + +Origin and Oratorical Value of Gesture.</h3> + + + +<h4><i>Origin.</i></h4> + + +<p>The infant in the cradle has neither speech nor gesture:--he cries. As +he gains sensibility his tones grow richer, become inflections, are +multiplied and attain the number of three million special and distinct +inflections. The young infant manifests neither intelligence nor +affection; but he reveals his life by sounds. When he discerns the +source of his joys or sufferings, he loves, and gesticulates to repulse +or to invite. The gestures, which are few at first, become quite +numerous. It is God's art he follows; he is an artist without knowing +it.</p> + +<h4><i>Oratorical Value of Gesture.</i></h4> + +<p>The true aim of art is to move, to interest and to persuade. Emotion, +interest and persuasion are the first terms of art. Emotion is expressed +by the voice, by sounds; interest, by language; persuasion is the office +of gesture.</p> + +<p>To inflection belongs emotion through the beautiful; to logic, interest +through the truth; to plastic art, persuasion through the good.</p> + +<p>Gesture is more than speech. It is not what we say that persuades, but +the manner of saying it. The mind can be interested by speech, it must +be persuaded by gesture. If the face bears no sign of persuasion, we do +not persuade.</p> + +<p>Why at first sight does a person awaken our sympathy or antipathy? We do +not understand why, but it is by reason of his gestures.</p> + +<p>Speech is inferior to gesture, because it corresponds to the phenomena +of mind; gesture is the agent of the heart, it is the persuasive agent.</p> + +<p>Articulate language is weak because it is successive. It must be +enunciated phrase by phrase; by words, syllables, letters, consonants +and vowels--and these do not end it. That which demands a volume is +uttered by a single gesture. A hundred pages do not say what a simple +movement may express, because this simple movement expresses our whole +being. Gesture is the direct agent of the soul, while language is +analytic and successive. The leading quality of mind is number; it is to +speculate, to reckon, while gesture grasps everything by +intuition,--sentiment as well as contemplation. There is something +marvelous in this language, because it has relations with another +sphere; it is the world of grace.</p> + +<p>An audience must not be supposed to resemble an individual. A man of the +greatest intelligence finding himself in an audience, is no longer +himself. An audience is never intelligent; it is a multiple being, +composed of sense and sentiment. The greater the numbers, the less +intelligence has to do. To seek to act upon an individual by gesture +would be absurd. The reverse is true with an audience; it is persuaded +not by reasoning, but by gesture.</p> + +<p>There is here a current none can control. We applaud disagreeable things +in spite of ourselves--things we should condemn, were they said to us in +private. The audience is not composed of intellectual people, but of +people with senses and hearts. As sentiment is the highest thing in art, +it should be applied to gesture.</p> + +<p>If the gestures are good, the most wretched speaking is tolerated. So +much the better if the speaking is good, but gesture is the +all-important thing. Gesture is superior to each of the other languages, +because it embraces the constituent parts of our being. Gesture includes +everything within us. Sound is the gesture of the vocal apparatus. The +consonants and vowels are the gesture of the buccal apparatus, and +gesture, properly so called, is the product of the myological apparatus.</p> + +<p>It is not ideas that move the masses; it is gestures.</p> + +<p>We easily reach the heart and soul through the senses. Music acts +especially on the senses. It purifies them, it gives intelligence to the +hand, it disposes the heart to prayer. The three languages may each +move, interest and persuade.</p> + +<p>Language is a sort of music which moves us through vocal expression; it +is besides normal through the gesture of articulation. No language is +exclusive. All interpenetrate and communicate their action. The action +of music is general.</p> + +<p>The mind and the life are active only for the satisfaction of the +heart; then, since the heart controls all our actions, gesture must +control all other languages.</p> + +<p>Gesture is magnetic, speech is not so. Through gesture we subdue the +most ferocious animals.</p> + +<p>The ancients were not ignorant of this all-powerful empire of gesture +over an audience. Therefore, sometimes to paralyze, sometimes to augment +this magic power, orators were obliged to cover their faces with a mask, +when about to speak in public. The judges of the Areopagus well knew the +power of gesture, and to avoid its seductions, they adopted the resource +of hearing pleas only in the darkness.</p> + +<p>The sign of the cross made at the opening of a sermon often has great +effect upon good Catholics. Let a priest with his eyes concentric and +introspective make deliberately the sign of the cross while solemnly +uttering these words: "In-the-name-of-the-Father;" then let his glance +sweep the audience. What do they think of him? This is no longer an +ordinary man; he seems clothed with the majesty of God, whose orders he +has just received, and in whose name he brings them. This idea gives him +strength and assurance, and his audience respect and docility.</p> +</div> + + +<div class="chapter" id="p2-04"> +<h3>Chapter IV.<br /> + +The Laws of Gesture.</h3> + + + +<p>The static treats of the laws of gesture which are six in number, viz.: +Priority, retroaction, the opposition of agents, unity, stability and +rhythm.</p> + + + +<h4><i>The Priority of Gesture to Speech.</i></h4> + + +<p>Gesture must always precede speech. In fact, speech is reflected +expression. It must come after gesture, which is parallel with the +impression received. Nature incites a movement, speech names this +movement. Speech is only the title, the label of what gesture has +anticipated. Speech comes only to confirm what the audience already +comprehend. Speech is given for naming things. Gesture asks the +question, "What?" and speech answers. Gesture after the answer would be +absurd. Let the word come after the gesture and there will be no +pleonasm.</p> + +<p>Priority of gesture may be thus explained: First a movement responds to +the sensation; then a gesture, which depicts the emotion, responds to +the imagination which colors the sensation. Then comes the judgment +which approves. Finally, we consider the audience, and this view of the +audience suggests the appropriate expression for that which has already +been expressed by gesture.</p> + +<p>The basis of this art is to make the auditors divine what we would have +them feel.</p> + +<p>Every speaker may choose his own stand-point, but the essential law is +to anticipate, to justify speech by gesture. Speech is the verifier of +the fact expressed. The thing may be expressed before announcing its +name. Sometimes we let the auditors divine rather than anticipate, +gazing at them in order to rivet their attention. Eloquence is composed +of many things which are not named, but must be named by slight +gestures. In this eloquence consists. Thus a smack of the tongue, a blow +upon the hand, an utterance of the vowel <i>u</i> as if one would remove a +stain from his coat. The writer cannot do all this. The mere rendition +of the written discourse is nothing for the orator; his talent consists +in taking advantage of a great number of little nameless sounds.</p> + +<p>A written discourse must contain forced epithets and adjectives to +illustrate the subject. In a spoken discourse a great number of +adjectives are worse than useless. Gesture and inflection of the voice +supply their place. The sense is not in the words; it is in inflection +and gesture.</p> + + + +<h4><i>Retroaction.</i></h4> + + +<p>We have formulated this general law: The eccentric, normal and +concentric expression must correspond to the sensitive, moral and +intellectual state of man. When gesture is concerned, the law is thus +modified: In the sensitive state, the gesture, which is naturally +eccentric, may become concentric, as the orator is passive or active.</p> + +<p>He is passive when subject to any action whatever, when he depicts an +emotion.</p> + +<p>He is agent when he communicates to the audience the expression of his +own will or power; in a word, at all times when he controls his +audience.</p> + +<p>When the orator assumes the passive rôle, that is, when he reflects, he +gazes upon his audience; he makes a backward (or concentric) movement; +when he assumes the active rôle, he makes a forward (or eccentric) +movement. When one speaks to others, he advances; when one speaks to +himself, he recoils a step, his thought centres upon himself.</p> + +<p>In the passive state, one loves. But when he loves, he does not move +forward. A being who feels, draws back, and contemplates the object +toward which the hand extends. Contemplation makes the body retroact.</p> + +<p>Hence in the passive state, the orator must step backward. In the +opposite state he moves forward. Let us apply this law: A spendthrift +officer meets his landlord, whom he has not yet paid, and greets him +with an--"Ah, good day, sir!" What will be his movement? It must be +retroactive. In the joy of seeing a friend again, as also in fright, we +start back from the object loved or hated. Such is the law of nature, +and it cannot be ignored.</p> + +<p>Whence comes this law? To behold a loved object fully, we must step +back, remove to some little distance from it. Look at a painter admiring +his work. It is retroaction at sight of a beloved person, which has led +to the discovery of the phenomena of life, to this triple state of man +which is found in like manner, everywhere: Concentric, eccentric, and +normal.</p> + +<p>The concentric is the passive state, for when one experiences a deep +emotion, he must retroact. Hence a demonstration of affection is not +made with a forward movement. If so, there is no love. Expiration is the +sign of him who gives his heart. Hence there is joy and love. In +inspiration there is retroaction, and, in some sort, distrust. The hand +extends toward the beloved object; if the hand tend toward itself, a +love of self is indicated. Love is expressed by a retroactive, never by +a forward movement. In portraying this sentiment the hand must not be +carried to the heart. This is nonsense; it is an oratorical crime. The +hand must tend toward the loved being to caress, to grasp, to reassure +or to defend. The hand is carried to the heart only in case of suffering +there.</p> + +<p>Take this passage from Racine's Phèdre:</p> + +<blockquote class="poem"><p> +<span class="line"><i>Dieu--que ne puis-je à l'ombre des fôrets,</i><br /></span> +<span class="line"><i>Suivre de l'oeil un char fuyant dans la carrière--</i></span></p> + +<p><span class="line">("God--may I not, through the dim forest shades,<br /></span> +<span class="line">With my glance follow a fleet chariot's course.")</span> +</p></blockquote> + +<p>Here the actor does not follow affectionately, but with the eye, and +then by recoiling and concentrating his thought upon himself.</p> + +<p>In the role of <i>Emilie</i>:</p> + +<blockquote class="poem"><p> +<span class="line">"<i>He may in falling crush thee 'neath his fall</i>"</span> +</p></blockquote> + +<p>at sight of her crushed lover Emilie must recoil in terror, and not seem +to add the weight of her body to that which crushes the victim.</p> + +<p>Augustus, on the contrary, may say:</p> + +<blockquote class="poem"><p> +<span class="line">"I might in falling crush thee 'neath my fall,"</span> +</p></blockquote> + +<p>pausing upon a forward movement, because he is here the agent.</p> + +<p>Let us note in passing that the passive attitude is the type of +energetic natures. They have something in themselves which suffices +them. This is a sort of repose; it is elasticity.</p> + + + +<h4><i>Opposition of Agents.</i></h4> + + +<p>The opposition of the agents is the harmony of gesture. Harmony is born +of contrasts. From opposition, equilibrium is born in turn. Equilibrium +is the great law of gesture, and condemns parallelism; and these are the +laws of equilibrium:</p> + +<p>1. The forward inclination of the torso corresponds to the movement of +the leg in the opposite direction.</p> + +<p>2. When one arm is added to the weight of the already inclined torso, +the other arm must rise to form a counterpoise.</p> + +<p>3. In gazing into a well, the two arms must be drawn backward if the +body is equally supported by the two legs; in like manner the two arms +may be carried in front if the torso bends backward. This is allowable +only in the first attitude of the base, or in a similar attitude.</p> + +<p>The harmonic law of gesture is the static law <i>par excellence</i>.</p> + +<p>It is of childlike simplicity. We employ it in walking; also when we +carry a weight in one hand, the other rises. The law consists in placing +the acting levers in opposition, and thus realizing equilibrium. All +that is in equilibrium is harmonized. All ancient art is based upon this +opposition of levers. Modern art, with but few exceptions, is quite the +contrary.</p> + +<p>Here is an example of the observance of this rule: If the head and arms +are in action, the head must move in opposition to the arms and the +hand. If both move in the same direction, there is a defect in +equilibrium, and awkwardness results.</p> + +<p>When the arm rises to the head, the head bends forward and meets it +half-way. The reverse is true. Every movement in the hand has its +responsive movement in the head. If the head advances, the hand +withdraws. The movements must balance, so that the body may be in +equilibrium and remain balanced.</p> + +<p>Here is the difference between ancient and modern art. Let us suppose a +statue of Corneille reading his works. To-day we should pose it with +one leg and arm advanced. This is parallelism. Formerly the leg would +have been opposed to this movement of the arm, because there should be +here the expansion of the author toward his work, and this expansion +results precisely from an opposition of levers.</p> + +<p>We know the ancient gladiator; we do exactly the opposite from him in +fencing.</p> + +<p>Modern art makes the man walk with leg and arm parallel. Ancient art +would have the leg opposed to the arm.</p> + +<p>It is through opposition that the smile expresses moral sadness. This +law of opposition must be observed in the same member. For example, the +hand should be opposed to the arm. Thus we have magnificent spheroidal +movements which are graceful and also have considerable force. Thus all +the harmonies occur in one same whole, in one same truth. In a word, all +truths interpenetrate, and when a thing is true from one point of view, +it is so from all.</p> + + + +<h4><i>Number of Gestures.</i></h4> + + +<p>Many reasons go to prove that gestures need not be multiplied:</p> + +<p>A.--We are moved by only one sentiment at a time; hence it is useless to +multiply gestures.</p> + +<p>B.--But one gesture is needed for the expression of an entire thought; +since it is not the word but the thought that the gesture must announce; +if it expressed only the word, it would be trivial and mean, and also +prejudicial to the effect of the phrase.</p> + +<p>In these phrases: "What do you seek in the world, happiness? It is not +there," that which first strikes us is the absence of happiness. Gesture +must indicate it in advance, and this should be the dominating movement.</p> + +<p>The intelligent man makes few gestures. To multiply gestures indicates a +lack of intelligence. The face is the thermometer of intelligence. Let +as much expression as possible be given to the face. A gesture made by +the hand is wrong when not justified in advance by the face. +Intelligence is manifested by the face. When the intelligent man speaks, +he employs great movements only when they are justified by great +exaltation of sentiment; and, furthermore, these sentiments should be +stamped upon his face. Without expression of the face, all gestures +resemble telegraphic movements.</p> + +<p>C.--The repeated extension of the arms denotes but little intelligence, +little suppleness in the wrist and fingers. The movement of a single +finger indicates great <i>finesse</i>.</p> + +<p>It is easy to distinguish the man of head, heart and actions. The first +makes many gestures of the head; the second many of the shoulders; the +last moves the arms often and inappropriately.</p> + +<p>D.--Gesture is allowable only when an ellipse of the word or phrase +admits of an additional value.</p> + +<p>E.--Effects must not be multiplied; this is an essential precaution. +Multiplied movements are detrimental when a graver movement is awaited.</p> + +<p>F.--The orator is free to choose between the rôle of actor or that of +mere spectator or narrator. Neither the one nor the other can be forced +upon him. The actor's rôle arises not from intelligence but simply from +instinct. The actor identifies himself with the personages he +represents. He renders all their sentiments. This rôle is the most +powerful, but, before making it the object of his choice, there must be +severe study; he must not run the risk of frivolity.</p> + +<p>We can dictate to the preacher and mark out his path. He must not be an +actor, but a <i>doctor</i>. Hence his gestures must never represent the +impressions of those of whom he speaks, but his own. Hence he should +proportion the number of his gestures to the number of his sentiments.</p> + +<p>G.--If the orator would speak to any purpose, he must bring back his +discourse to some picture from nature, some scene from real life.</p> + +<p>There must be unity in everything; but a rôle may be condensed in two or +three traits; therefore a great number of gestures is not necessary.</p> + +<p>Let it be carefully noted: the expression of the face should make the +gesture of the arms forgotten. Here the talent of the orator shines +forth. He must captivate his public in such a way that his arm gestures +will be ignored. He must so fascinate his auditors that they cannot ask +the reason of this fascination, nor remark that he gesticulates at all.</p> + +<p>H.--Where there are two gestures in the same idea, one of them must +come before the proposition, the other in its midst.</p> + +<p>If there is but one gesture and it precedes the proposition, the term to +which it is applied must be precisely indicated.</p> + +<p>For example: <i>Would he be sensible to friendship?</i> Although friendship +may in some degree be qualified as the indirect regimen, gesture should +portray it in all its attributes.</p> + + + +<h4><i>Duration of Gesture.</i></h4> + + +<p>The suspension or prolongation of a movement is one of the great sources +of effect. It is in suspension that force and interest consist. A good +thing is worth being kept in sight long enough to allow an enjoyment of +the view.</p> + +<p>The orator should rest upon the preceding gesture until a change is +absolutely required.</p> + +<p>A preoccupied man greets you with a smile, and after you have left, he +smiles on, until something else occurs to divert his mind.</p> + +<p>The orator's abstraction should change the face, but not the gesture. If +the double change takes place simultaneously, there will be no unity. +The gesture should be retained and the expression of the face changed.</p> + +<p>A variety of effects and inflections should be avoided. While the +speaker is under the influence of the same sentiment, the same +inflection and gesture must be retained, so that there may be unity of +style.</p> + +<p>Art proposes three things: to move, to interest, to persuade by unity of +inflection and gesture. One effect must not destroy another. Divergence +confuses the audience, and leaves no time for sentiment.</p> + +<p>It is well to remember that the stone becomes hollowed by the incessant +fall of the drop of water in the same place.</p> + + + +<h4><i>The Rhythm of Gesture.</i></h4> + + +<p>Gesture is at the same time melodic, or rather inflective, harmonic and +rhythmic. It must embrace the elements of music, since it corresponds to +the soul; it is the language of the soul, and the soul necessarily +includes the life with its diverse methods of expression, and the mind. +Gesture is melodic or inflective through the richness of its forms, +harmonic through the multiplicity of parts that unite simultaneously to +produce it. Gesture is rhythmic through its movement, more or less slow, +or more or less rapid.</p> + +<p>Gesture is, then, inevitably synthetic, and consequently harmonic; for +harmony is but another name for synthesis.</p> + +<p>Each of the inflective, harmonic and rhythmic modes has its peculiar +law.</p> + +<p>The rhythmic law of gesture is thus formulated:</p> + +<p>"The rhythm of gesture is proportional to the mass to be moved."</p> + +<p>The more an organ is restrained, the more vehement is its impulse.</p> + +<p>This law is based upon the vibration of the pendulum. Great levers have +slow movements, small agents more rapid ones. The head moves more +rapidly when the torso and the eye have great facility of motion. Thus +the titillations of the eye are rapid as lightning.</p> + +<p>This titillation always announces an emotion. Surprise is feigned if +there is no titillation.</p> + +<p>For example, at the unexpected visit of a friend there is a lighting up +of the eye. Wherefore? Because the image is active in the imagination. +This is an image which passes within ourselves, which lies in inward +phenomena.</p> + +<p>So in relation to material phenomena: there is a convergence, a +direction of the eyes toward the object; if the object changes place, +the eyes cannot modify their manner of convergence; they must close to +find a new direction, a convergence suited to the distance of the +object.</p> + +<p>There is never sympathetic vision. The phenomena of the imagination are +in the imagination at a fixed distance. When an image changes place in +the idea, it produces a titillation equal to that which would be +produced in the order of material things. For example, let us quote +these lines:</p> + +<blockquote class="poem"><p> +<span class="line2">"At last I have him in my power,<br /></span> +<span class="line">This fatal foe, this haughty conqueror!<br /></span> +<span class="line">Through him my captives leave their slavery."</span> +</p></blockquote> + +<p>Here the body must be calm; there is a sort of vehemence in the eyes; it +will be less in the head than in the arms. All these movements are made, +but the body remains firm. Generally the reverse takes place; the whole +body is moved; but this is wrong.</p> + +<p>In these words: "Where are they, these wretches?" there must be great +violence in the upper part of the body, but the step is very calm.</p> + +<p>To affect a violent gait is an awkward habit. A modified slowness in the +small agents creates emphasis; if we give them too great facility of +movement, the gestures become mean and wretched.</p> + +<p>Rhythm is in marvelous accord with nature under the impulse of God.</p> + + + +<h4><i>Importance of the Laws of Gesture.</i></h4> + + +<p>We never really understand an author's meaning. Every one is free to +interpret him according to his individual instinct. But we must know how +to justify his interpretation by gesture. Principles must aid us in +choosing a point of view in accordance with his individual nature; +otherwise incoherence is inevitable. Hence rules are indispensable. But +when the law is known, each applies it in accordance with his own idea.</p> + +<p>The author himself cannot read without rules, in such a manner as to +convey the ideas he intended to express. Only through rules can we +become free in our interpretation; we are not free without law, for in +this case we are subject to the caprice of some master.</p> + +<p>The student of oratory should not be a servile copyist. In the +arrangement of his effects, he must copy, imitate and compose. Let him +first reproduce a fixed model, the lesson of the master. This is to +copy. Let him then reproduce the lesson in the absence of the master. +This is to imitate. Finally, let him reproduce a fugitive model. This is +to compose.</p> + +<p>Thus to reproduce a lesson, to give its analysis and synthesis, is to +disjoint, to unite and to reunite; this is the progressive order of +work.</p> + +<p>The copying and imitative exercises should be followed by compositions, +applying the principles already known. The orator may be allowed play +for his peculiar genius; he may be sublime even in employing some +foolish trick of his art. But whatever he does, he must be guided by +fixed rules.</p> +</div> + + +<div class="chapter" id="p2-05"> +<h3>Chapter V.<br /> + +Of Gesture in Particular.</h3> + + + +<h4><i>The Head.</i></h4> + + +<p>The dynamic apparatus is composed of the head, the torso and the limbs. +As in the vocal apparatus, we have the lever, the impelling force, and +the fulcrum.</p> + +<p>The dynamic apparatus produces gesture, which renders the moral or +normal state; as the voice expresses inflection and reveals the +sensitive state.</p> + +<p>The head must be studied under two relations: as the agent of expression +through its movements, and as the centre of attraction; that is, the +point of departure or arrival for the different gestures of the arm.</p> + +<p>Let us now apply ourselves to the signification of the movements of the +head and eyes, the face and lips.</p> + + + +<h4><i>The Movements of the Head.</i></h4> + + +<p>There are two sorts of movements of the head: movements of attitude and +fugitive movements.</p> + +<p><i>Movements of Attitude.</i>--The head has nine primary attitudes, from +which many others proceed.</p> + +<p>In the normal attitude, the head is neither high nor low.</p> + +<p>In the concentric attitude the head is lowered; this is the reflective +state.</p> + +<p>In the eccentric attitude the head is elevated; this is the vital +state.</p> + +<p>Soldiers and men of robust physique carry the head high.</p> + +<p>Here are three genera, each of which gives three species.</p> + + + +<h4><i>The Normal State.</i></h4> + + +<p>When the head is erect, it is passive and neutral.</p> + +<p>The head inclining laterally toward the interlocutor indicates +affection.</p> + +<p>If in the inverse direction, opposite the interlocutor, sensualism is +indicated. This is in fact retroaction; in the first case we love the +soul, in the latter the form.</p> + +<h4><i>The Eccentric State.</i></h4> + +<p>If the head bends backward it is the passional or vehement state.</p> + +<p>The head inclined toward the interlocutor, denotes abandon, confidence.</p> + +<p>The head turned away from the interlocutor, denotes pride, noble or +base. This is a neutral expression which says something, but not the +whole.</p> + + + +<h4><i>The Concentric State.</i></h4> + + +<p>The head lowered, that is, inclined forward, denotes the reflective +state.</p> + +<p>If the head inclines toward the interlocutor, it is veneration, an act +of faith in the object we love.</p> + +<p>If the head inclines away from the interlocutor, it is stratagem or +suspicion.</p> + +<p>All other attitudes of the head are modifications of these. These nine +attitudes characterize states, that is, sentiments, but sentiments which +are fugitive. Either of these attitudes may be affected until it becomes +habitual. But there are movements which cannot be habitually affected, +which can only modify types and attitudes of the inflections of the +head. These are <i>fugitive movements</i>.</p> + +<p>There are nine inflections or fugitive movements of the head:--</p> + +<ol><li>If a forward movement, it ends in an upright one, with elevated chin, +and indicates interrogation, hope, appellation, desire.</li> + +<li>The same movement with the chin lowered, indicates doubt, +resignation.</li> + +<li>A nod of the head, a forward movement, means confirmation, <i>yes</i>, or +<i>well</i>.</li> + +<li>If the movement is brusque forward, it is the menace of a resolute +man.</li> + +<li>The head thrown back means exaltation.</li> + +<li>If the movement is brusque backward, it is the menace of a weak man.</li> + +<li>There are rotative inflections from one shoulder to the other; this +is impatience, regret.</li> + +<li><p>The rotary movement of the head alone signifies negation, that is +<i>no</i>.</p> + +<p>If the movement ends toward the interlocutor, it is simple negation.</p> + +<p>If the movement ends opposite to him, it is negation with distrust.</p></li> + +<li>The rotative and forward inflection would denote exaltation.</li></ol> + +<p>The sense of this response,--"I do not know," when tidings of a friend +are asked, may be divined by an inflection of the head.</p> + +<p>It is well to note how these movements are transmitted from agent to +agent.</p> + +<p>All movements which severally affect the head, the hand, the body and +the leg, may affect the whole.</p> + +<p>Thus the movement of negation is made by the hand. This movement is +double. There is negation with direct resolution, and negation with +inverse resolution, which is elliptical. The hand recoils as the head +recoils, and when the head makes the movement of impatience, the hand +rises with the head and says:--"Leave me alone, I do not wish to hear +you."</p> + +<p>It is curious to see an inflection pass successively from the head to +the hand, from the hand to the eye, from the eye to the shoulders, from +the shoulders to the arms, from the arms to the legs, from the legs to +the feet.</p> + +<p>For example: Above we have indicated a double menace made by the head. +One might transfer this menace to the hand and say: "You will have a +quarrel to settle with me!"</p> + +<p>Each agent has its rôle, and this is why they transmit their movements.</p> + +<p>When the head has a serious part to play, it communicates an inflective +movement to the hand, which renders it terrible.</p> + +<p>A man who menaces with the head is not sure of his aim, but he who +menaces with the hand is sure of striking right. In order to do this, +the eye must be firmly fixed, as the eye necessarily loses its power and +accuracy by a movement of the head.</p> + +<p>There is great power in the menace communicated to the hand, a power not +found in the other movement. The head-menace is more physical, and the +hand-menace more intellectual; in the one the eye says a great deal, +while in the other it says nothing.</p> + +<p>The orator cannot always make these gestures with facility. The menace +may be elliptical. Then it must be made by the head, and expressed +through the eyes. This is why the speaker gazes downward as he makes it.</p> + +<p>It is the same downward or upward movement which is reproduced when the +menace is concentric or elliptical.</p> + +<p>The menace may be made in yet another way. The speaker does not wish to +express his opinion, and for fear of compromising himself with his eyes, +he does not gaze at his interlocutor; he turns aside his glance, and the +menace is communicated to the shoulder. This has less strength, because +it is rendered by one of the sensitive agents.</p> + +<p>The man who threatens with the shoulder is more passionate; but he is +not the agent, he is passive.</p> + +<p>A simple menace may be made by the knee. The foot is susceptible of +great mobility. A slight movement quickly changes its significance; in +passing from one agent to another, it is modified by many ellipses.</p> + +<div class="image"><p><a href="images/illus006.png">Criterion of the Head Attitudes.</a></p></div> + +<p>These attitudes, being wholly characteristic, cannot be transmitted. +They characterize the special rôle of the agent set in motion, while +inflection is universal.</p> + +<p>The head alone expresses trouble, dejection.</p> + +<p>Dejection is in the head, as firmness is in the reins and exaltation in +the shoulders.</p> + +<p>All the movements of the head are communicated to all the active organs. +The head is always in opposition to the arms. The head must be turned +away from the leg which is advanced.</p> + +<p>Men of small brain habitually carry their heads high. The head is +lowered in proportion to the quantity of intelligence.</p> + +<p>Examine the criterion for the fixed attitudes of the head.</p> + + + +<h4><i>Of the Eyes.</i></h4> + + +<p>The eye, in common with all the other agents, has nine primary +expressions, three genera and nine species.</p> + +<p>The eye contains three agents: The optic or visual, the palpebral or +pupil, and the eyebrow agent. Each of these has its peculiar sense, and +we shall show how they are united.</p> + +<p>The optic agent has three direct or convergent glances. The eyes +converge toward the object they examine, at such a point that if the +object were there they would squint. A skilled observer can determine +the distance of the object, upon seeing the two eyes.</p> + +<p>There is a revolving or divergent glance. If both eyes project in +parallel lines, they see double. A drunken man sees double because the +eyes do not converge.</p> + +<p>Between these two glances there is the ecstatic or parallel vision; but +the object is not so far away that its distance may not be determined. +The convergence is not appreciable. This is the dreamy expression. We +shall here treat of one only, to which we refer the three others. Let us +take the direct glance, passing by the optic agent, since it is direct +in all the phenomena we have to consider.</p> + +<p>There are three phenomena in the eyebrow: eccentric, concentric and +normal. From these we derive nine terms. If the eye is normal, it is a +passive expression which determines nothing. If, with the same eye, the +eyebrow is eccentric, there is a difference; one part of us tends +vehemently toward something, and the other says: "It is not worth the +trouble." The sensitive part aspires, while the intellect says, "This +amounts to nothing."</p> + +<p>The concentric eyebrow indicates a mind disconcerted by fatigue or +<i>ennui</i>, a contention of one part of the nature with the other, which +resists, and says: "I do not wish to be troubled about this; it wearies +me."</p> + +<p>The normal brow and the eccentric eye indicate stupor.</p> + +<p>Here there is again contrariety. One part of the being ardently aspires +toward some object, while the other is powerless to aid it.</p> + +<p>The eye is purely an intellectual agent, denoting the various states of +the mind.</p> + +<p>The eccentric eye and the elevated eyebrow denote vehemence. This is an +active state that will become astonishment. Many phenomena will arise +and be subordinate to this movement; but it is vehemence <i>par +excellence</i>; it is aspiration.</p> + +<p>If the brow lowers vehemently with the eyes open, it is not rage, but a +state of mind independent of everything the senses or the heart can say.</p> + +<p>This is firmness of mind, a state of the will independent of every +outside influence. It may be attention, or anger, or many other things.</p> + +<p>If the eye is concentric and the eyebrow in the normal state, it is +slumber, fatigue.</p> + +<p>If the eyebrow is eccentric and the eye concentric, it will represent +not indifference only, but scorn, and after saying, "This thing is +worthless," will add, "I protest against it, I close my eyes."</p> + +<p>If both the eye and eyebrow are concentric, there is contention of mind. +This is a mind which seeks but does not possess.</p> + +<p>This explanation may be rendered more clear and easier to retain in mind +by the following resumé:</p> + +<table summary="Resumé on concentric, normal and eccentric eyes"> +<tr> + <td rowspan="3">Concentric eyebrow</td> + <td rowspan="3">Eye.</td> + <td rowspan="3"><span style="font-size: 3em">{</span></td> + <td>Concentric.</td> + <td>Contention of mind.</td> +</tr> +<tr> + <td>Normal.</td> + <td>Bad humor.</td> +</tr> +<tr> + <td>Eccentric.</td> + <td>Firmness</td> +</tr> +<tr> + <td rowspan="3">Normal eyebrow</td> + <td rowspan="3">Eye.</td> + <td rowspan="3"><span style="font-size: 3em">{</span></td> + <td>Concentric.</td> + <td>Grief.</td> +</tr> +<tr> + <td>Normal.</td> + <td>Passiveness.</td> +</tr> +<tr> + <td>Eccentric.</td> + <td>Stupor.</td> +</tr> +<tr> + <td rowspan="3">Eccentric eyebrow</td> + <td rowspan="3">Eye.</td> + <td rowspan="3"><span style="font-size: 3em">{</span></td> + <td>Concentric.</td> + <td>Scorn.</td> +</tr> +<tr> + <td>Normal.</td> + <td>Disdain.</td> +</tr> +<tr> + <td>Eccentric.</td> + <td>Astonishment.</td> +</tr> +</table> + +<div class="image"><p><a href="images/illus008.png">Criterion of the Eyes</a></p></div> + +<p>The nine expressions of the eye correspond to each of the nine +movements of the head. Thus the eye may give nine types of affection, +nine of pride, nine of sensualism, etc. This gives eighty-one +expressions of the eye. Hence, knowing eighteen elements, we inevitably +possess eighty-one.</p> + +<p>The nine expressions of the eye may be verified by the criterion.</p> + +<p>As a model, we give the nine expressions of the eye in the subjoined +chart.</p> + +<div class="image"><p><a href="images/illus009.png">Nine expressions of the eye</a></p></div> + +<p>For ordinary purposes it is sufficient to understand the nine primary +expressions. There are many others which we merely indicate. In sleep +there may be an inclination either way. The top of the eyebrow may be +lifted.</p> + +<p>Thus in the concentric state, three types may be noted, and these go to +make twenty-seven primary movements. The lower eyelid may be contracted; +the twenty-seven first movements may be examined with this, which makes +2×27.</p> + +<p>A movement of the cheek may contract the eye in an opposite direction, +and this contraction may be total, which makes eighty-one expressions +belonging to the normal glance alone.</p> + +<p>This direct glance may also be direct on the inferior plane, which makes +2×81; for these are distinct expressions which cannot be confounded.</p> + +<p>This movement could again be an upward one, which would make 3×81.</p> + +<p>The movement may be outward and superior, or it may be simply outward; +it may also be outward and inferior. A special sense is attached to each +of these movements,--a sense which cannot be confounded with any of the +preceding movements.</p> + +<p>By making the same computation for the three glances above noted, we +shall have from eight to nine hundred movements.</p> + +<p>All this may appear complicated, but with the key of the primary +movements, nothing can be more simple than this deduction.</p> + +<p>The above chart with its exposition of the phases of the eye explains +everything. A small eye is a sign of strength; a large eye is a sign of +languor. A small oblique eye (the Chinese eye), when associated with +lateral development of the cranium, and ears drawn back, indicates a +predisposition to murder.</p> + +<p>The eye opens only in the first emotion; then it becomes calm, closing +gradually; an eye wide open in emotion, denotes stupidity.</p> + + + +<h4><i>Of the Eyebrows.</i></h4> + + +<p>There are three thermometers: the eyebrow is the thermometer of the +mind; the shoulder is the thermometer of the life; the thumb is the +thermometer of the will.</p> + +<p>There is parallelism between the eye and the voice. The voice lowered +and the brow lifted, indicate a desire to create surprise, and a lack of +mental depth.</p> + +<p>It is very important to establish this parallelism between the movements +of the brow and voice.</p> + +<p>The lowered brow signifies retention, repulsion: It is the signification +of a closed door. The elevated brow means the open door. The mind opens +to let in the light or to allow it to escape. The eyebrow is nothing +less than the door of intelligence. In falling, the voice repels. The +efforts in repulsion and retention are equal.</p> + +<p>The inflections are in accord with the eyebrows. When the brows are +raised, the voice is raised. This is the normal movement of the voice in +relation to the eyebrow.</p> + +<p>Sometimes the eyebrow is in contradiction to the movement of the voice. +Then there is always ellipse; it is a thought unexpressed. The +contradiction between these two agents always proves that we must seek +in the words which these phenomena modify, something other than they +seem to say. For instance, when we reply to a story just told us, with +this exclamation: "<i>Indeed</i>!"</p> + +<p>If the brow and voice are lowered, the case is grave and demands much +consideration.</p> + +<p>If brow and voice are elevated, the expression is usually mild, amiable +and affectionate.</p> + +<p>If the voice is raised and the brow lowered, the form is doubtful and +suspicious. With the brow concentric, the hand is repellent.</p> + +<p>Both brow and hand concentric denote repulsion or retention; this is +always the case with a door.</p> + +<p>Both brow and hand eccentric mean inspiration, or allowing departure +without concern.</p> + +<p>There is homogeneity between the face, the eyebrow and the hand.</p> + +<p>The degree and nature of the emotion must be shown in the face, +otherwise there will be only grimace.</p> + +<p>The hand is simply another expression of the face. The face gives the +hand its significance. Hand movements without facial expression would be +purely automatic. The face has the first word, the hand completes the +sense. There are eighty-one movements of the hand impossible to the +face; hence, without the hand, the face cannot express everything. The +hand is the detailed explanation of what the face has sought to say.</p> + +<p>There are expressions of the hand consonant with the facial traits, and +others dissonant: this is the beautiful.</p> + +<p>The weak hand and the strong face are the sign of impotence.</p> + +<p>The weak hand and the strong face are the sign of perfidy.</p> + +<p>The tones of the voice vary according to the expression of the face. The +face must speak, it must have charm.</p> + +<p>In laughing, the face is eccentric; a sombre face is concentric.</p> + +<p>The face is the mirror of the soul because it is the most impressionable +agent, and consequently the most faithful in rendering the impressions +of the soul.</p> + +<p>Not only may momentary emotions be read in the expression of the +features, but by an inspection of the conformation of the face, the +aptitude, thoughts, character and individual temperament may be +determined.</p> + +<p>The difference in faces comes from difference in the configuration of +profiles.</p> + +<p>There are three primitive and characteristic profiles, of which all +others are only derivations or shades. There is the upright, the concave +and the convex profile. Each of these genera must produce three +species, and this gives again the accord of <i>nine</i>.</p> + +<p>These different species arise from the direction of the angles, as also +from the position of the lips and nose.</p> + +<p>Uprightness responds to the perpendicular profile; chastity, to the +concave; sensualism, to the convex.</p> + +<p>Let it be understood that we derogate in no way from the liberty of the +man who remains always master of his will, his emotions and his +inclinations.</p> + +<p>A criterion of the face is indispensable to the intelligent +physiognomist, and as the lips and nose have much to do with the +expression of the face, we offer an unerring diagnosis in the three +following charts:</p> + +<div class="image"><p><a href="images/illus010.png">Criterion of the Profile of the Lips.</a></p></div> + +<p>Here the profile of the lower lip indicates the genus, and the profile +of the upper lip belongs to the species.</p> + +<div class="image"><p><a href="images/illus011.png">Criterion of the Profile of the Nose.</a></p></div> + +<p>For surety of diagnosis the lips must be taken in unison with the nose +and forehead, as may be seen in the following chart.</p> +</div> + + +<div class="chapter" id="p2-06"> +<h3>Chapter VI.<br /> + +Of the Torso.</h3> + + + +<p>The torso includes the chest, and shares the shoulder movements with the +arms.</p> + +<p><i>The Chest.</i>--There are three chest attitudes, eccentric, concentric and +normal.</p> + +<p>1. If the chest is greatly dilated, this is the eccentric state--the +military attitude, the sign of energy.</p> + +<p>2. The normal, when the chest is in a state more homogeneous, less +contentious, more sympathetic, as in the statue of Antinous.</p> + +<p>3. The concentric, when the chest is hollow, with the shoulders elevated +and inclining forward.</p> + +<p>The convex eccentric chest is the sign of the agent, or of him who +gives.</p> + +<p>The convex concentric chest or the pathetic, is the sign of the +sufferer, or of him who receives.</p> + +<p>The chest drawn in with the shoulders elevated, is the expression of the +sublime.</p> + +<p>From these three positions, the eccentric, the concentric and the +normal, are derived nine degrees or species. Thus in each of these +genera, the torso is inclined toward the speaker, or away from him, +hence we have three times three, or nine, or the triple accord.</p> + +<div class="image"><p><a href="images/illus012.png">Criterion of the Face.</a></p></div> + +<p>The chest need not be lowered; it is here that all the energy +concentrates.</p> + +<p><i>The Shoulders.</i>--Every sensitive, agreeable or painful form is +expressed by an elevation of the shoulders. The shoulders are the +thermometer of the sensitive and passional life. If a man's shoulders +are raised very decidedly, we may know that he is decidedly impressed.</p> + +<p>The head tells us whether this impression is joyous or sorrowful. Then +the species belongs to the head, and the genus to the shoulder.</p> + +<p>If the shoulder indicates thirty degrees, the head must say whether it +is warmth or coldness. The face will specify the nature of the sorrow or +joy whose value the shoulders have determined.</p> + +<p>The shoulder is one of the great powers of the orator.</p> + +<p>By a simple movement of the shoulder, he can make infinitely more +impression than with all the outward gestures which are almost always +theatrical, and not of a convincing sort.</p> + +<p>The shoulder, we have said, is the thermometer of emotion and of love. +The movement is neutral and suited to joy as well as to sorrow; the eyes +and mouth are present to specify it.</p> + +<p>The shoulder, like all the agents, has three and hence nine distinct +phases.</p> + +<p>The torso is divided into three parts: the thoracic, the epigastric and +abdominal.</p> + +<p>We shall state farther on, the rôle of these three important centres.</p> + +<p>Liars do not elevate their shoulders to the required degree, hence the +truth or falsity of a sentiment may be known.</p> + +<p>Raphael has forgotten this principle in his "Moses Smiting the Rock." +None of his figures, although joyous, elevate the shoulder.</p> +</div> + + +<div class="chapter" id="p2-07"> +<h3>Chapter VII.<br /> + +Of The Limbs.</h3> + + + +<p>The limbs hold an important place in oratorical action.</p> + +<p>The study of the role of the arms and limbs therefore deserves serious +attention.</p> + + + +<h4><i>The Arms.</i></h4> + + +<p>In the arms we distinguish the deltoid or shoulder movement, the +inflection of the fore-arm, the elbow, the wrist, the hand and the +fingers.</p> + + +<h4><i>Inflections of the Fore-Arm.</i></h4> + + +<p>We have treated of what concerns the shoulder in the chapter upon the +torso.</p> + +<p>The arm has three movements: an upward and downward vertical movement, +and a horizontal one.</p> + +<p>These movements derive their significance from the different angles +formed by the fore-arm in relation to the arm. Let us first represent +these different angles, and then we will explain the chart.</p> + +<div class="image"><p><a href="images/illus013.png">Angles formed by the fore-arm.</a></p></div> + +<p>All these different angles have their meaning, their absolute +significance in affirmation.</p> + +<p>The movement at the right angle signifies: To be.</p> + +<p>Lower: Perhaps.</p> + +<p>Lower still: I doubt if it is so.</p> + +<p>Lower: It is improbable.</p> + +<p>Lower: It is not.</p> + +<p>Lower: It is not possible.</p> + +<p>Ascending: This is proven, I have the proof in my hand.</p> + +<p>Higher: This is superlatively beautiful.</p> + +<p>Higher: It is enchantingly beautiful.</p> + +<p>The degree of certainty in the affirmation varies with, the angle which +the fore-arm forms with the arm.</p> + +<p>All these modes of affirmation may be applied to negation. For example:</p> + +<p>"It is impossible that this should not be. This cannot be."</p> + +<p>Thus all states of being, all forms of affirmation, belong to the +acuteness or opening of an angle.</p> + +<p>The hanging arm signifies depression. The two arms should never extend +the same way. If they follow each other, one should be more advanced +than the other. Never allow parallelism. The elementary gestures of the +arms are represented in the foregoing chart.</p> + + + +<h4><i>Of the Elbow.</i></h4> + + +<p>The elbow has nine movements, three primitive, as genera, and nine +derivative, as species. There are the forward and backward movements of +the normal state. There are three degrees of height, and finally the +forward and backward movements of extension.</p> + +<p>The elbow movements are relational. The epicondyle is called the eye of +the arm.</p> + +<p>Man slightly moves the torso, then the shoulder, and finally the elbow.</p> + +<p>Among persons who would fain crush others, there is an elbow movement +which seems to say, "I annihilate thee, I am above thee."</p> + +<p>The elbow turned outward signifies strength, power, audacity, +domination, arrogance, abruptness, activity, abundance. The elbow drawn +inward, signifies impotence, fear, subordination, humility, passiveness, +poverty of spirit.</p> + +<p>Modest people have a slight outward movement of the elbow. The humble +make an inward movement. The elbow thrust forward or backward, indicates +a yielding character.</p> + +<p>These movements should not be taken alone; they must be verified by the +torso and the head. The shoulder characterizes the expression of the +elbow movements, just as the elbow verifies marked exaltation, by the +elevation of the shoulder.</p> + +<p>It is by these little things that we determine millions of movements and +their meaning. We finally determine and class precisely five million +movements of the different agents of the arm. This would seem enormous; +but it is nothing at all; it is childlike simplicity. The elements being +known, the process is always the same. Hence the advantage of possessing +a criterion. With this criterion, we have everything. If we possess +nine, we possess twenty millions, which are no more than nine.</p> + + + +<h4><i>Of the Wrist.</i></h4> + + +<p>The wrist is a directing instrument for the forearm and the hand.</p> + +<p>The wrist has its three movements.</p> + +<p>It is eccentric when the extensor muscles are in motion.</p> + +<p>It is normal in the horizontal position.</p> + +<p>It is concentric when the flexor muscles are in action.</p> + +<p>In the concentric position the wrist is in pronation, for the thumb is +turned downward; this is the sign of a powerful will, because the +pronator muscles have more power than the flexors.</p> + +<p>In the eccentric position the wrist is in supination; that is, the back +of the hand is downward; this is the sign of impotence.</p> + +<p>The wrist has also forward and backward movements, either in pronation, +in supination, or the normal state. Thus there are nine phases for the +wrist.</p> + +<p>It is through the aid of the wrist that the aspects of the hand, placed +upon the cube, receive, as we shall see, their precise signification.</p> + +<p>The orator needs great suppleness in wrist movements to give grace to +the phases of the hand.</p> + + + +<h4><i>Of the Hand.</i></h4> + + +<p>Man is perforce painter, poet, inspired dreamer or mystic, and +scientist.</p> + +<p>He is a painter, to reveal the phenomena of the sensitive life; a poet, +to admire the mysteries of grace; a scientist, to make known the +conceptions of the mind. Thus the hand has three presentations, neither +more nor less, to render that which passes in man in the sensitive, +moral or intellectual state.</p> + +<p>Let us now examine the three presentations of an open hand: its palmar, +dorsal and digital aspect.</p> + +<p>The same thing may be expressed by these three presentations, but with +shades of difference in the meaning.</p> + +<p>If we say that a thing is admirable, with the palms upward, it is to +describe it perfectly. This is the demonstrative aspect.</p> + +<p>If we say the same thing, displaying the back of the hand, it is with +the sentiment of impotence. We have an idea of the thing, but it is so +beautiful we cannot express it. This is the mystic aspect.</p> + +<p>If we present the digital extremity, it is as if we said: "I have seen, +I have weighed, I have numbered the thing, I understand it from certain +knowledge; it is admirable, and I declare it so." These are the three +aspects: the palmar, dorsal and digital.</p> + +<p>Each of these attitudes of the hand may be presented under three forms: +the eccentric, normal and concentric.</p> + +<p>Each of these forms as genera, produces three species; this gives the +hand nine intrinsic attitudes, whose neutral signification will be +specified and determined by the presentation of the hand upon the cube.</p> + +<p>Let us first take the normal state as genus, and we shall have the +normal hand as species in the normal genus. This will then be the +normo-normal attitude.</p> + +<p>By presenting the hand in pronation or supination horizontally, without +spreading or folding the fingers, we shall have that attitude which +signifies abandon.</p> + +<p>Let us now take the eccentric species, still in the normal genus.</p> + +<p>Raise the hand somewhat with a slight parting of the fingers, and we +have the eccentro-normal hand, which signifies expansion.</p> + +<p>Finally, let us consider the concentric species, still in the normal +state.</p> + +<p>Present the hand lifeless and you have the concentro-normal attitude, +which signifies prostration.</p> + +<p>Let us pass on to the concentric genus.</p> + +<p>By closing the fingers with the thumb inward upon the middle one, we +shall have the normo-concentric hand, which signifies the <i>tonic</i> or +power.</p> + +<p>To close the hand and place the thumb outside upon the index finger, +signifies conflict. This is the concentro-concentric hand.</p> + +<p>To bend the first joint with the fingers somewhat apart, indicates the +eccentro-concentric hand. This is the convulsive state.</p> + +<p>Let us pass on to the eccentric genus.</p> + +<p>The fingers somewhat spread, denote the normo-eccentric hand. This is +exaltation.</p> + +<p>To spread the fingers and fold them to the second joint, indicates the +concentro-concentric hand. This is retraction.</p> + +<p>To spread the fingers as much as possible, gives the eccentro-eccentric +hand. This is exasperation.</p> + +<p>In the subjoined charts we can see an illustration of the different +attitudes of the hand.</p> + +<div class="image"><p><a href="images/illus013.png">Criterion of the Hand.</a></p></div> + +<table summary="Recapitulation"> +<caption>Recapitulation.</caption> +<tr> + <td rowspan="3">II</td> + <td rowspan="9"><span style="font-size: 9em">{</span></td> + <td>2</td> + <td rowspan="3"><span style="font-size: 3em">{</span></td> + <td>Concentro-concentric.</td> + <td>Conflict.</td> +</tr> +<tr> + <td>3</td> + <td>Normo-concentric.</td> + <td>Tonic or power.</td> +</tr> +<tr> + <td>1</td> + <td>Eccentro-concentric.</td> + <td>Convulsive.</td> +</tr> +<tr> + <td rowspan="3">III</td> + <td>2</td> + <td rowspan="3"><span style="font-size: 3em">{</span></td> + <td>Concentro-normal.</td> + <td>Prostration.</td> +</tr> +<tr> + <td>3</td> + <td>Normo-normal.</td> + <td>Abandon.</td> +</tr> +<tr> + <td>1</td> + <td>Eccentro-normal.</td> + <td>Expansion.</td> +</tr> +<tr> + <td rowspan="3">I</td> + <td>2</td> + <td rowspan="3"><span style="font-size: 3em">{</span></td> + <td>Concentro-eccentric</td> + <td>Retraction.</td> +</tr> +<tr> + <td>3</td> + <td>Normo-eccentric.</td> + <td>Exaltation.</td> +</tr> +<tr> + <td>1</td> + <td>Eccentro-ececntric.</td> + <td>Exasperation.</td> +</tr> +</table> + +<p> The nine primitive forms of the hand are, as is seen, undetermined.</p> + +<div class="image"><p><a href="images/illus015.png">The nine primitive forms of the hand</a></p></div> + +<p>The hand is raised. Why? For what purpose? The presentation of the hand +upon the surfaces of the cube will decide and specify.</p> + +<p>By this presentation the nine movements of the hand correspond with the +expressive movements of the arm.</p> + +<p>Take any cube whatever,--a book, a snuff-box, or rather cast your eyes +upon the foregoing chart, and examine it carefully.</p> + +<p>There are three directions in the cube: horizontal, vertical and +transverse. Hence there are six faces, anterior, superior, inferior, +interno-lateral and externo-lateral.</p> + +<p>Of what use are angles and faces? All this is necessary for those who +would know the reason of the sentiments expressed by the hand. There are +twenty-seven sorts of affirmation. We give nine of them with the six +faces of the cube.</p> + + + +<h4><i>The Digital Face.</i></h4> + + +<p>To place the hand, whether eccentric, concentric or normal, upon the +upper face of the cube, is to hold, to protect, to control; it is to +say: "I hold this under my protection."</p> + +<p>To place the hand upon the external side-face of the cube, signifies to +belong; it says: "All this belongs to me." It is the affirmation of the +man who knows, who has had the thing in dispute under his own eyes, who +has measured it, examined it in all its aspects. It is the affirmation +of the connoisseur.</p> + +<p>To apply the hand to the inner side of the face is to let go. Here is +the sense of this affirmation: "You may say whatever you will, but I +affirm in spite of every observation, in spite of all objection; I +affirm whether or no."</p> + + + +<h4><i>The Back Face.</i></h4> + + +<p>There are three ways of touching the front face of the cube with the +hand.</p> + +<p>A.--To touch it with the end of the fingers upward and the thumb inward, +is to obtain: "I have obtained great benefits, I do not know how to +express my gratitude." Or rather: "I keep the object for myself; I do +not care to let it be seen." This is the mystic face. Or yet again: "I +contemplate."</p> + +<p>B.--To place the hand horizontally on the same face of the cube, is to +restrain, or bound. "Go no farther, if you please; all this belongs to +me."</p> + +<p>C.--To place the hand upon the same anterior face of the cube, but with +the extremities of the fingers vertically downward, means to retain. It +says: "I reserve this for myself." Here, then, are three aspects for the +anterior face of the cube.</p> + + + +<h4><i>The Palmar Face.</i></h4> + + +<p>A.--To place the lower face of the cube in the hand, is to sustain. It +is to say: "I will sustain you in misfortune."</p> + +<p>B.--To apply as much as possible the palm upon the same posterior face +of the cube, with the fingers downward, is to maintain: "I maintain what +I have said."</p> + +<p>C.--To apply the hand upon the same face with the extremities of the +fingers upward, is to contain, is to show the object--it is to disclose: +"I affirm; you cannot doubt me; I open my heart; behold me!"</p> + +<p>There are, then, nine affirmations, which are explained by a mere view +of the cube and its faces.</p> + +<p>The twelve edges of the cube give a double affirmation; the angles, a +triple affirmation. Example for the edges: To place the hand on the back +edge, means: "I protect and I demonstrate."</p> + +<p>There are three movements or inflections of the hand which must be +pointed out: to hover, to insinuate, to envelop.</p> + +<p>The three rhythmic actions of the hand must not be passed over in +silence: to incline, to fall, to be precipitated.</p> + +<p>The aspects of the hands would be simply telegraphic movements, were it +not for the inflections of the voice, and, above all, the expression of +the eyes. The expressions of the hand correspond to the voice. The hands +are the last thing demanded in a gesture; but they must not remain +motionless, as (if they were stiff, for instance) they might say more +than was necessary.</p> + +<p>The hands are clasped in adoration, for it seems as if we held the thing +we love, that we desire.</p> + +<p>The rubbing of the hands denotes joy, or an eager thirst for action; in +the absence of anything else to caress, we take the hand, we communicate +our joy to it.</p> + +<p>There is a difference between the caress and the rubbing of the hands.</p> + +<p>In the caress, the hand extends eagerly, and passes lightly, +undulatingly, for fear of harming. There is an elevation of the +shoulders.</p> + +<p>The hand is an additional expression of the face. The movement must +begin with the face, the hand only completes and interprets the facial +expression. The head and hand cannot act simultaneously to express the +same sentiment. One could not say <i>no</i> with head and hands at the same +time. The head commands and precedes the movement of the hand.</p> + +<p>The eyes, and not the head, may be parallel with the hand and the other +agents.</p> + +<p>The hand with its palm upward may be caressing, if there is an elevation +of the eyebrow; repellent with the eyebrow concentric.</p> + +<p>The waving hand may have much sense, according to the expression of the +face.</p> + +<p>The eye is the essential agent, the hand is only the reverberatory +agent; hence it must show less energy than the eye.</p> + + + +<h4><i>Of the Fingers.</i></h4> + + +<p>Each finger has its separate function, but it is exclusive of the great +expressions which constitute the accords of <i>nine</i>. These are +interesting facts, but they do not spring naturally from the fountain of +gesture. They are more intellectual than moral.</p> + +<p>In a synthetic action all the fingers converge. A very energetic will +is expressed by the clenched fist.</p> + +<p>In dealing with a fact in detail, as we say: "Remark this well," all the +fingers open to bid us concern ourselves only with the part in dispute. +This is analysis; it is not moral, it is intellectual.</p> + +<p>If we speak of condensation we close the hand. If we have to do with a +granulated object, we test it with the thumb and index finger.</p> + +<p>If it is carneous, we touch it with the thumb and middle finger.</p> + +<p>If the object is fluid, delicate, impressionable, we express it by the +third finger.</p> + +<p>If it is pulverized, we touch it with the little finger.</p> + +<p>We change the finger as the body is solid, humid, delicate, or powdery.</p> + +<p>The orator who uses the fingers in gesticulation, gives proof of great +delicacy of mind.</p> + + + +<h4><i>Of the Legs.</i></h4> + + +<p>The legs have nine positions which we call base attitudes.</p> + +<p>We shall give a detailed description, summing up in a chart of the +criterion of the legs at the end of this section.</p> + +<p><i>First Attitude.</i>--This consists in the equal balance of the body upon +its two legs. It is that of a child posed upon its feet, neither of +which extends farther than the other. This attitude is normal, and is +the sign of weakness, of respect; for respect is a sort of weakness for +the person we address. It also characterizes infancy, decay.</p> + +<p><img src="images/illus016.png" alt="First attitude of the legs" /></p> + +<p><i>Second Attitude.</i>--In this attitude the strong leg is backward, the +free one forward. This is the attitude of reflection, of concentration, +of the strong man. It indicates the absence of passions, or of +concentred passions. It has something of intelligence;</p> + +<p><img src="images/illus017.png" alt="Second attitude of the legs" /></p> + +<p>it is neither the position of the child nor of the uncultured man. It +indicates calmness, strength, independence, which are signs of +intelligence. It is the concentric state.</p> + +<p><i>Third Attitude.</i>--Here the strong leg is forward, the free leg +backward. This is the type of vehemence. It is the eccentric attitude.</p> + +<p><img src="images/illus018.png" alt="Third attitude of the legs" /></p> + +<p>The orator who would appear passive, that is, as experiencing some +emotion, or submitting to some action, must have a backward pose as in +figure 2.</p> + +<p>If, on the contrary, he would communicate to his audience the expression +of his will or of his own thought, he must have a forward poise as in +figure 3.</p> + +<p><i>Fourth Attitude.</i>--Here the strong leg is behind, as in the second +attitude, but far more apart from the other and more inflected.</p> + +<p>This is very nearly the attitude of the fencing master, except the +position of the foot, which is straight instead of being turned outward.</p> + +<p><img src="images/illus019.png" alt="Fourth attitude of the legs" /></p> + +<p>This is a sign of the weakness which follows vehemence.</p> + +<p>Natural weakness is portrayed in figure 1; sudden weakness in figure 4.</p> + +<p><i>Fifth Attitude.</i>--This is necessitated by the inclination of the torso +to one side or the other. It is</p> + +<p><img src="images/illus020.png" alt="Fifth attitude of the legs" /></p> + +<p>a third to one side. It is a passive attitude, preparatory to all +oblique steps. It is passing or transitive, and ends all the angles +formed by walking. It is in frequent use combined with the second.</p> + +<p><i>Sixth Attitude.</i>--This is one-third crossed. It is an attitude of great +respect and ceremony, and is effective only in the presence of princes.</p> + +<p><img src="images/illus020.png" alt="Sixth attitude of the legs" /></p> + +<p><i>Seventh Attitude.</i>--This is the first position, but the legs are +farther apart. The free limb is turned</p> + +<p><img src="images/illus021.png" alt="Seventh attitude of the legs" /></p> + +<p>to one side; both limbs are strong. This denotes intoxication, the man +overwhelmed with astonishment, familiarity, repose. It is a double +fifth.</p> + +<p><i>Eighth Attitude.</i>--This is the second, with limbs farther apart. It is +the alternative attitude. The body faces one of the two legs. It is +alternative from the fact that it ends in the expression of two extreme +and opposite sentiments; that is, in the third or the fourth. It serves +for eccentricity with reticence, for menace and jealousy. It is the type +of hesitation. It is a parade attitude. At the same time offensive and +defensive, its aspect easily impresses and leaves the auditor in doubt. +What is going to happen? What sentiment is going to arise from this +attitude which must have its solution either in the third or fourth?</p> + +<p><img src="images/illus022.png" alt="Eighth attitude of the legs" /></p> + +<p><i>Ninth Attitude,</i>--This is a stiff second attitude, in which the strong +leg and also the free one are equally rigid. The body in this attitude +bends backward; it is the sign of distrust and scorn.</p> + +<p><img src="images/illus023.png" alt="Seventh attitude of the legs" /></p> + +<p>The legs have one aspect. If, in the second, the strong leg advances +slowly to find the other, it is the tiger about to leap upon his prey; +if, on the contrary, the free leg advances softly, the vengeance is +retarded.</p> + +<p>The menace made in figure 3, with inclination of the head and agitation +of the index finger, is that of a valet who wishes to play some ill turn +upon his master; for with the body bent and the arm advanced, there is +no intelligence. But it is ill-suited to vengeance, because that +attitude should be strong and solid, with the eye making the indication +better than the finger.</p> + +<div class="image"><p>Criterion of the Legs: <a href="images/illus024.png">Part 1</a>, <a href="images/illus025.png">Part 2</a></p></div> +</div> + + +<div class="chapter" id="p2-08"> +<h3>Chapter VIII.<br /> + +Of the Semeiotic, or the Reason of Gesture.</h3> + + + +<h4><i>The Types which Characterize Gesture.</i></h4> + + +<p>The semeiotic is the science of signs, and hence the science of the form +of gesture. Its object is to give the reason for the forms of gesture +according to the types that characterize it, the apparatus that modifies +it, and the figures that represent it.</p> + +<p>There are three sorts of types in man: constitutional or formal, +fugitive or passional, and habitual.</p> + +<p>The constitutional type is that which we have at birth.</p> + +<p>The passional type is that which is reproduced under the sway of +passion.</p> + +<p>The habitual types are those which, frequently reproduced, come to +modify even the bones of the man, and give him a particular +constitution.</p> + +<p>Habit is a second nature, in fact, a habitual movement fashions the +material and physical being in such a manner as to create a type not +inborn, and which is named habitual.</p> + +<p>To recognize constitutional types, we study the movements of the body, +and the profound action which the habit of these movements exercises +upon the body; and, as the type produced by these movements is in +perfect analogy with the formal, constitutional types, we come through +this analogy to infer constant phenomena from the passional form. Thus +all the formal types are brought back to the passional types.</p> + +<p>Passional types explain habitual types, and these last explain +constitutional types. Thus, when we know the sum of movements possible +to an organ, when we know the sense of it, we arrive at that semeiotic +through which the reason of a form is perfectly given.</p> + + + +<h4><i>Of Gesture Relative to its Modifying Apparatus.</i></h4> + + +<p>Every gesture places itself in relation with the subject and the object.</p> + +<p>It is rare that a movement tending toward an object does not touch the +double form. Thus, in saying that a thing is admirable, we start from a +multitude of physical centres whose sense we are to determine. When this +sense is known, understanding the point of departure, we understand +still better that of arrival.</p> + +<p>This division, which is not made at random, is reproduced in the +subjoined diagram.</p> + +<p>1 represents the vital expression; 2, the intellectual; 3, the moral. We +divide the face into three zones: the genal,<sup><a href="#fn4">4</a></sup> buccal, and frontal.</p> + +<p>The expression is physical, moral and intellectual.</p> + +<p>In the posterior section of the head we have the occipital, parietal +and temporal zones. The life is in the occiput, the soul in the parietal +zone, and the mind holds the temporal region near the forehead as its +inalienable domicile.</p> + +<p><img src="images/illus026.png" alt="Diagram" /></p> + +<p>The chest is divided into the thoracic centre for the mind, into the +epigastric for the soul, and into the abdominal for the life.</p> + +<p>The arm is divided into three sections: the deltoid, brachial and +carpal.</p> + +<p>This division is a rational one. Let us suppose this exclamation: "It is +admirable!" Some say it starting from the shoulder, others from the +chest, others from the abdominal focus. These are three very distinct +modes. There is more intelligence when the movement is from the thoracic +centre. This concerns the honor, the dignity.</p> + +<p>When the movement is from the epigastrium, it is moral in a high +degree. For example: "This is beautiful! It is admirable! I know not +why, but this gives me pleasure!"</p> + +<p>The movement from the abdomen indicates sensuality, good nature, and +stupidity.</p> + +<p>The movement is the same with the head. In emotion it proceeds from the +chin; it is the life movement, it is instinct. That from the cheeks, +indicates sentiments, the most noble affections.</p> + +<p>Carrying the hand to the forehead indicates intelligence. Here we seek +relief from embarrassment, in the other head movements we do not seek +it. The one is a mental, the others are purely physical efforts. In the +latter case one becomes violent and would fain give blows with his fist.</p> + +<p>An infinite number of movements proceed from these various seats.</p> + +<p>We have now reached the semeiotic standpoint, that of these very clear +plans, the very starting point of gesture.</p> + +<p>The articular centres of the arms are called thermometers: the wrist, +that of the organic physical life; the shoulder, that of the sensitive +life; and the elbow, that of the relative life.</p> + +<p>The thumb has much expression; drawn backward it is a symbol of death, +drawn forward it is the sign of life. Where there is abundance of life, +the thumb stands out from the hand. If a friend promises me a service +with the thumb drawn inward, he deceives. If with the thumb in the +normal state, he is a submissive but not a devoted friend. He cannot be +very much counted upon. If the thumb stands outward, we may rely upon +his promise.</p> + +<p>We still find life, soul and mind in each division of the body.</p> + +<p>There are also a buccal, an occipital and an abdominal life.</p> + +<p>The body of man, with all its active and attractive foci, with all its +manifestations, may be considered an ellipse.</p> + +<p>These well-indicated divisions may be stated in an analytic formula:</p> + +<table summary="Analytic forumula"> + <tr> + <td rowspan="15">Attractive Centers.</td> + <td rowspan="15" style="font-size: 15em">{</td> + <td><span class="smallcaps">Life:</span> Occipital.</td> + <td rowspan="3" style="font-size: 3em">}</td> + <td rowspan="3"></td> + <td rowspan="3"></td> + </tr> + <tr> + <td><span class="smallcaps">Mind:</span> Temporal.</td> + </tr> + <tr> + <td><span class="smallcaps">Soul:</span> Parietal.</td> + </tr> + <tr> + <td><span class="smallcaps">Mind:</span> Frontal.</td> + <td rowspan="3" style="font-size: 3em">}</td> + <td rowspan="12" style="font-size: 12em">}</td> + <td rowspan="12">Expressive centres.</td> + </tr> + <tr> + <td><span class="smallcaps">Soul:</span> Buccal.</td> + </tr> + <tr> + <td><span class="smallcaps">Life:</span> Genal.</td> + </tr> + <tr> + <td><span class="smallcaps">Mind:</span> Thoracic.</td> + <td rowspan="3" style="font-size: 3em">}</td> + </tr> + <tr> + <td><span class="smallcaps">Soul:</span> Epigastric.</td> + </tr> + <tr> + <td><span class="smallcaps">Life:</span> Abdominal.</td> + </tr> + <tr> + <td><span class="smallcaps">Life:</span> Shoulders.</td> + <td rowspan="3" style="font-size: 3em">}</td> + </tr> + <tr> + <td><span class="smallcaps">Soul:</span> Elbows.</td> + </tr> + <tr> + <td><span class="smallcaps">Mind:</span> Wrists.</td> + </tr> + <tr> + <td><span class="smallcaps">Life:</span> Thigh.</td> + <td rowspan="3" style="font-size: 3em">}</td> + </tr> + <tr> + <td><span class="smallcaps">Soul:</span> Knee.</td> + </tr> + <tr> + <td><span class="smallcaps">Mind:</span> Foot.</td> + </tr> +</table> + +<p>This is the proper place to fix the definition of each division by some +familiar illustration.</p> + +<p>Let us take an individual in a somewhat embarrassed situation. He is a +gentleman who has been overcome by wine. We see him touching the +temporal bone, or the ear, as if to seek some expedient: the strategic +mind is there.</p> + +<p>Let us begin with the descending gamut, and let the hand pass over all +the divisions of the attractive centres.</p> + +<p>At the occiput: Here is an adventure! I have really had too strong a +dose of them!</p> + +<p>At the parietal bone: What a shame!</p> + +<p>At the temporal bone: What will the people say of me?</p> + +<p>At the forehead: Reason however tells me to pause.</p> + +<p>At the buccal zone: How shall I dare reappear before those who have seen +me in this state!</p> + +<p>At the genal zone: But they did serve such good wine!</p> + +<p>At the breast: Reason long ago advised temperance to me.</p> + +<p>At the epigastrium: I have so many regrets every time I transgress!</p> + +<p>At the abdomen: The devil! Gourmandism! I am a wretched creature!</p> + +<p>The same illustrations may be reproduced in the rising scale.</p> + +<p>When the parietals are touched, the idea and the sentiment are very +elevated. As the foci rise, they become more exalted.</p> + +<p>Let this be considered from another point of view. We shall reproduce +gratitude by touching all the centres.</p> + +<p>They have been centres of attraction, we shall render them points of +departure.</p> + +<p>"I thank you!" The more elevated the movements, the more nobility there +is in the expression of the sentiment. The exaltation is proportional to +the section indicated.</p> + +<p>The posterior region is very interesting. There are three sorts of +vertebrae: cervical, dorsal and lumbar.</p> + +<p>This apparatus may first be considered as a lever. But taking the +vertical column alone, we shall have twenty-four special and distinct +keys whose action and tonality will be entirely specific. From these +twenty-four vertebrae proceed the nervous plexi, all aiding a particular +expression; so that the vertebral column forms the keys of the +sympathetic human instrument.</p> + +<p>If the finger is cut, there is a special emotion in one place of the +vertebral column.</p> + +<p>If the finger is crushed by the blow of a hammer, the emotion will +affect a special vertebra.</p> + +<p>The nose is one of the most complex and important agents.</p> + +<p>There are here nine divisions to be studied. (See page 82.)</p> +</div> + + +<div class="chapter" id="p2-09"> +<h3>Chapter IX.<br /> + +Of Gesture in Relation to the Figures which Represent It.</h3> + + + +<p>Gesture through its inflections may reproduce all the figures of +geometry. We shall confine ourselves to a description of the primary and +most usual imitative inflections.</p> + +<p>These inflections comprise three sorts of movements affected by each +gesture, which usually unite and constitute a synthetic form. These +three movements agree with the three primary actions which characterize +the manifestations of the soul, the mind and the life. These are direct, +circular and oblique inflections.</p> + +<p>The flexor movements are direct, the rotary movements circular, the +abductory movements oblique. The sum of these movements constitutes nine +co-essential terms, whose union forms the accord of nine.</p> + +<p>There are rising, falling and medium inflections.</p> + +<p>Gesture does everything that the voice does in rising. Hence there is +great affinity between the voice and the arms. Vocal inflection is like +the gestures of the blind; in fact, with acquaintance, one may know the +nature of the gesture from the sound of the voice.</p> + +<p>We exalt people by a circle. We say that a thing is beautiful, noble, +grand--making circles which grew higher and broader as the object is +more elevated.</p> + +<p>We choose the circle for exalting and caressing, because the circle is +the most agreeable form to touch and to caress. For example, an ivory +ball.</p> + +<p>This form applies to all that is great.</p> + +<p>For God there is no circle, there can be none. But we outline a portion +of an immense circle, of which we can touch but one point. We indicate +only the inner periphery of a circle it is impossible to finish, and +then retrace our steps.</p> + +<p>When the circle is made small, we make it with one, two, three or four +fingers, with the hand, with the arm. If the circle is vast as can be +made with the arms, it is homogeneous.</p> + +<p>But a small circle made with the arm will express stupidity. Thus we say +of a witty man: "This is a witty man," employing the fingers.</p> + +<p>Stupidity wishing to simulate this, would make a broad movement.</p> + +<p>Let us take the fable of <i>Captain Renard</i> as an example of this view of +the circle.</p> + +<p>I depict the cunning nature of this captain with my fingers. Without +this he would not be a captain; but at most a corporal.</p> + +<blockquote class="poem"><p> +<span class="line2">--"He went in company<br /></span> +<span class="line">With his friend He-Goat of the branching horns.<br /></span> +<span class="line">The one could see no farther than his nose;<br /></span> +<span class="line">The other was past master in deceit."</span> +</p></blockquote> + +<p>As they go along, the fox relates all his exploits to the goat, and the +goat surprised, and wishing an end of the recital, sees fit to make a +gesture, as he says:</p> + +<blockquote class="poem"><p> +<span class="line">"I admire people full of sense like you."</span> +</p></blockquote> + +<p>In making the small circle, he employs not only the fingers, but the +arm, the shoulder, the whole body. He is an imbecile. He wastes too much +effort in making a small circle.</p> + +<p>Let us take a situation from an opera. When Robert enters and sees +Isabella, he says of her:</p> + +<blockquote class="poem"><p> +<span class="line">"This peaceful sleep, this lull of every sense,<br /></span> +<span class="line">Lends a yet sweeter charm to this young face."</span> +</p></blockquote> + +<p>The gesture is in the form of a geometrical figure.</p> + +<p>In another place, Robert says:</p> + +<blockquote class="poem"><p> +<span class="line">"Thy voice, proud beauty, few can understand."</span> +</p></blockquote> + +<p>Here a spheroidal and then a rectangular movement must be made. We close +the door. "Her voice will be understood by me, alone." He might say: +"Thy voice, proud beauty, will not be understood. It will be elevated +for me, and not for others."</p> + +<p>Every sentiment has its form, its plastic expression, and as its form is +more or less elaborated, we may judge of the elevation of the speaker's +thought. If we could stereotype gesture, we might say: "This one has the +more elevated heart, that one the least elevated; this one in the +matter, that one in the spirit of his discourse."</p> + +<p>All gestures may be very well delineated. An orator gesticulating before +the public, resembles a painter who pencils outlines and designs upon a +wall.</p> + +<p>This reproduction of the figures of gesture is called <i>Chorography</i>. We +give in the subjoined chart some types of gesture. These are a few +flowers culled from a rich garden.</p> + +<p>To express sensual grace the gesture takes the downward spheroidal form. +The virtuous form would be upward.</p> + +<p>If we wish to express many attractive things, we make many spheroidal +gestures.</p> + +<p>What is called the culminating point of the gesture, must not be +forgotten. This is a ring in the form of the last stroke of the German +letter D, which is made by a quick, electric movement of the wrist.</p> + +<p>We refer the student to the close of the volume, for a model of +exercises comprising a series of gestures which express the most +eloquent sentiments of the human heart.</p> + +<p>This exercise in gesture has two advantages: it presents all the +interest of the most fascinating drama, and is the best means of gaining +suppleness by accustoming ourselves to the laws of gesture.</p> + +<div class="image"><p><a href="images/illus027.png">Criterion of Chorography.</a></p> + +<p><a href="images/illus028.png">Inflective Medallion.</a></p></div> + +<p>The vertical line 1 expresses affirmation. The horizontal line 2 +expresses negation. The oblique line 3 rejects despicable things. The +oblique line 4 rejects things which oppress us, of which we would be +freed.</p> + +<p>5. The quarter-circle, whose form recalls that of the hammock, expresses +well-being, happiness, confidence.</p> + +<p>6. The curvilinear eccentric quarter-circle expresses secrecy, silence, +possession, domination, stability, imposition, inclusion.</p> + +<p>7. The curvilinear outside quarter-circle expresses things slender, +delicate (in two ways); the downward movement expresses moral and +intellectual delicacy.</p> + +<p>8. The outside quarter-circle expresses exuberance, plenitude, +amplitude, generosity.</p> + +<p>9. The circle which surrounds and embraces, characterizes glorification +and exaltation.</p> +</div> +</div> + + +<div class="part" id="p3"> +<h2>Part Third.<br /> + + +Articulate Language.</h2> + + + +<div class="chapter" id="p3-01"> +<h3>Chapter I.<br /> + +Origin and Organic Apparatus of Language.</h3> + + + +<p>Man reveals his life through more than four millions of inflections ere +he can speak or gesticulate. When he begins to reason, to make +abstractions, the vocal apparatus and gesture are insufficient; he must +speak, he must give his thought an outside form so that it may be +appreciated and transmitted through the senses. There are things which +can be expressed neither by sound nor gesture. For instance, how shall +we say at the same time of a plant: "It is beautiful, but it has no +smell." Thought must then be revealed by conventional signs, which are +articulation. Therefore, God has endowed man with the rich gift of +speech.</p> + +<p>Speech is the sense of the intelligence; sound the sense of the life, +and gesture that of the heart.</p> + +<p>Soul communicates with soul only through the senses. The senses are the +condition of man as a pilgrim on this earth. Man is obliged to +materialize all: the sensations through the voice, the sentiments +through gesture, the ideas through speech. The means of transmission are +always material. This is why the church has sacraments, an exterior +worship, chants, ceremonies. All its institutions arise from a principle +eminently philosophical.</p> + +<p>Speech is formed by three agents: the lips, the tongue and the +soft-palate.</p> + +<p>It is delightful to study the special rôle of these agents, the reason +of their movements.</p> + +<p>They have a series of gestures that may be perfectly understood. Thus +language resembles the hand, having also its gesture.</p> +</div> + + +<div class="chapter" id="p3-02"> +<h3>Chapter II.<br /> + +Elements of Articulate Language.</h3> + + + +<p>Every language is composed of consonants and vowels. These consonants +and vowels are gestures. The value of the consonant is the gesture of +the thing expressed. But as gesture is always the expression of a moral +fact, each consonant has the intrinsic character of a movement of the +heart. It is easy to prove that the consonant is a gesture. For example, +in articulating it, the tongue rises to the palate and makes the same +movement as the arm when it would repel something.</p> + +<p>The elements of all languages have the same meaning. The vowels +correspond directly to the moral state.</p> + +<p>There is diversity of language because the things we wish to express +vary from difference in usage and difference of manner and climate. What +we call a shoe, bears among northern people a name indicating that it +protects the feet from the cold; among southern people it protects the +feet from the heat. Elsewhere the shoe protects the feet against the +roughness of the soil; and in yet other places, it exists only as a +defensive object--a weapon.</p> + +<p>These diverse interpretations require diverse signs. This does not prove +the diversity of language, but the diversity of the senses affected by +the same object.</p> + +<p>Things are perceived only after the fashion of the perceiver, and this +is why the syllables vary among different peoples.</p> + +<p>Nevertheless, there is but one language. We find everywhere these words: +<i>I</i> an active personality, <i>me</i> a passive personality, and <i>mine</i> an +awarding personality. In every language we find the subject, the verb +and the adjective.</p> + +<p>Every articulate language is composed of substantive, adjective and +copulative ideas.</p> + +<p>All arts are found in articulation. Sound is the articulation of the +vocal apparatus; gesture the articulation of the dynamic apparatus; +language the articulation of the buccal apparatus. Therefore, music, the +plastic arts and speech have their origin and their perfection in +articulation.</p> + +<p>It is, then, of the utmost importance to understand thoroughly the +elements of speech, which is at the same time a vocalization and a +dynamic. Without this knowledge no oratorical art is possible.</p> + +<p>Let us now hasten to take possession of the riches of speech.</p> +</div> + + +<div class="chapter" id="p3-03"> +<h3>Chapter III.<br /> + +The Oratorical Value of Speech.</h3> + + + +<p>The privilege of speech may be considered under a double aspect, in +itself and in its relations to the art of oratory.</p> + +<p>1. <i>In Itself.</i>--Speech is the most wonderful gift of the Creator. +Through speech man occupies the first rank in the scale of being. It is +the language of the reason, and reason lifts man above every creature. +Man through speech incarnates his mind to unite himself with his +fellow-men, as the Son of God was incarnated to unite with human nature; +like the Son of God who nourishes humanity with his body in the +eucharist, so man makes his speech understood by multitudes who receive +it entire, without division or diminution.</p> + +<p>Eternal thanks to God for this ineffable gift, so great in itself, of +such value in the art of oratory!</p> + +<p>2. What is the oratorical value of speech? In oratorical art, speech +plays a subordinate but indispensable rôle.</p> + +<p>Let us examine separately the two members of this proposition.</p> + +<p>A.--In the hierarchy of oratorical powers, speech comes only in the +third order. In fact, the child begins to utter cries and to +gesticulate before he speaks.</p> + +<p>The text is only a label. The sense lies not in speech, but in +inflection and gesture. Nature institutes a movement, speech names the +movement. Writing is a dead letter.</p> + +<p>Speech is only the title of that which gesture has announced; speech +comes only to confirm what is already understood by the auditors.</p> + +<p>We are moved in reading, not so much by what is said, as by the manner +of reading. It is not what we hear that affects us, but that which we +ourselves imagine.</p> + +<p>An author cannot fully express his ideas in writing; hence the +interpretation of the hearer is often false, because he does not know +the writer.</p> + +<p>It is remarkable, the way in which we refer everything to ourselves. We +must needs create a semblance of it. We are affected by a discourse +because we place the personage in a situation our fancy has created. +Hence it happens that we may be wrong in our interpretation, and that +the author might say: "This is not my meaning."</p> + +<p>In hearing a symphony we at once imagine a scene, we give it an aspect; +this is why it affects us.</p> + +<p>A written discourse requires many illustrative epithets; in a spoken +discourse, the adjectives may be replaced by gesture and inflection.</p> + +<p>Imitation is the melody of the eye, inflection is the melody of the ear. +All that strikes the eye has a sound; this is why the sight of the +stars produces an enchanting melody in our souls.</p> + +<p>Hence in a discourse, speech is the letter, and it is inflection and +gesture which give it life. Nevertheless:--</p> + +<p>B.--The rôle of speech, although subordinate, is not only important, but +necessary. In fact, human language, as we have said, is composed of +inflection, gesture and speech.</p> + +<p>Language would not be complete without speech. Speech has nothing to do +with sentiment, it is true, but a discourse is not all sentiment; there +is a place for reason, for demonstration, and upon this ground gesture +has nothing to do; the entire work here falls back upon speech.</p> + +<p>Speech is the crown of oratorical action; it is this which gives the +final elucidation, which justifies gesture. Gesture has depicted the +object, the Being, and speech responds: <i>God</i>.</p> +</div> + + +<div class="chapter" id="p3-04"> +<h3>Chapter IV.<br /> + +The Value of Words in Phrases.</h3> + + + +<p>Expression is very difficult. One may possess great knowledge and lack +power to express it. Eloquence does not always accompany intellect. As a +rule, poets do not know how to read what they have written. Hence we may +estimate the importance of understanding the value of the different +portions of a discourse. Let us now examine intellectual language in +relation to intensity of ideas.</p> + +<p>There are nine species of words, or nine species of ideas. The article +need not be counted, since it is lacking in several languages. It is the +accord of nine which composes the language, and which corresponds to the +numbers. Every word has a determinate, mathematical value.</p> + +<p>As many unities must be reckoned on the initial consonant as there are +values in the word.</p> + +<p>Thus the subject has less value than the attribute.</p> + +<p>The attribute has a value of six degrees and represents six times the +intensity of the subject. Why? Because God has willed that we should +formulate our idea with mathematical intensities.</p> + +<p>The value rests only upon the initial consonant of the word. Words have +only one expressive portion, that is, the initial consonant. It receives +the whole value, and is the invariable part of the word. It is the root. +Words are transformed in passing from language to language, and +nevertheless retain their radical.</p> + +<p>How shall we say that a flower is charming?</p> + +<p>Do not demand of intensity of sound a value it does not possess. It +suffices to await the articulation of the consonant.</p> + +<p>The most normal phenomena remain true to mechanical laws. The mere +articulation of the word expresses more than all the vocal and imitative +effects that can be introduced.</p> + +<p>Most speakers dwell upon the final word; this habit is absolutely +opposed to the nature of heart movements. This school habit is hard to +correct, and if Rachel became a great artiste, it was because she did +not have this precedent.</p> + +<p>The subject represents one degree; it is the weakest expression.</p> + +<p>The verb represents two degrees; the attribute six. Let us illustrate +the manner of passing from one to six as follows:</p> + +<p>A rustic comes to visit you upon some sort of business. This man has a +purpose. As you are a musician he is surprised by his first sight of a +piano. He says to himself: "What is this? It is a singular object."</p> + +<p>It is neither a table nor a cupboard. He now perceives the ivory keys +and other keys of ebony. What can this mean? He stands confounded before +an instrument entirely new to him. If it were given to him, he would not +know what to do with it; he might burn it. The piano interests him so +much that he forgets the object of his visit.</p> + +<p>He sees you arrive. You occupy for him the place of the verb in relation +to the object which interests him. He passes from this object to you. +Although you are not the object which engrosses him, there is a +progression in the interest, because he knows that through you he will +learn what this piece of furniture is. "Tell me what this is!" he cries.</p> + +<p>You strike the piano; it gives forth an accord. O heavens, how +beautiful! He is greatly moved, he utters many expressions of delight, +and now he would not burn the instrument.</p> + +<p>Here is a progression. At first the piece of furniture interests him; +then its owner still more; at last the attributes of the piano give it +its entire value.</p> + +<p>But why six degrees upon the last term? The value of a fact comes from +its limitation; the knowledge of an idea also proceeds from its +limitation. A fact in its general and vague expression, awakens but +little interest. But as it descends from the genus to the species, from +the species to the individual, it grows more interesting. It comes more +within our capacity. We do not embrace the vast circle of a generic +fact.</p> + +<p>Let us take another proposition: "A flower is pleasing."</p> + +<p><img src="images/illus029.png" alt="proposition of "A flower is pleasing"" /></p> + +<p>The word flower alone says nothing to the imagination. Is it a rose or a +lily of the valley? The expression is too vague. When the idea of genus +is modified by that of species, we are better satisfied.</p> + +<p>Let us say: "The flower of the forest." This word <i>forest</i> conveys an +idea to the mind. We can make our bouquet. We think of the lily of the +valley, of the violet, the anemone, the periwinkle. This restriction +gives value to the subject. <i>Forest</i> is more important than the verb +which does not complete the idea, and less important than <i>pleasing</i>. +Therefore we place 3 upon <i>forest</i>, and shall rank <i>pleasing</i> from 3 to +4, since it closes the assertion.</p> + +<p>If we individualize by the word <i>this</i>, we augment the value by giving +actuality to the word <i>flower</i>. <i>This</i> has more value than <i>the forest</i>, +because it designates the subject. Hence <i>this</i> has four degrees.</p> + +<p>As <i>pleasing</i> forms the very essence of our proposition, we are obliged +to give it five degrees.</p> + +<p>The idea is still somewhat vague. If I specify it still further by +saying <i>this little flower, little</i> has a higher value than all the +other words.</p> + +<p>What value shall we give this adjective? We have reached five, but have +not yet fully expressed the idea which impresses us. <i>Little</i> must +therefore have six degrees.</p> + +<p>This is the sole law for all the languages of the world. There are no +two ways of articulating the words of a discourse. When we learn a +discourse by heart in order to deliver it, and take no account of the +value of the terms, the divine law is reversed.</p> + +<p>Now, if we could introduce an expression here, which would at once +enhance the value of the word <i>pleasing</i>, it would evidently be stronger +than all the others. In fact, if the way in which a thing is pleasing +can be expressed, it is evident that this manner of being pleasing will +rise above the word itself.</p> + +<p>We do not know the proportion in which the flower is pleasing. We will +say that it is <i>very</i> pleasing. This adverb gives the word <i>pleasing</i> a +new value. It is in turn modified. If we should say <i>immensely</i>, or use +any other adverb of quantity, the value would remain the same. It would +still be a modification. Thus, when we say of God that he is <i>good, +immense, infinite,</i> there is always a limitation attached to the idea of +God,--a limitation necessary to our nature. For God is not good in the +way we understand goodness or greatness; but our finite minds need some +expression for our idea.</p> + +<p>We see the word <i>pleasing</i> modified in turn, and the term which +modifies it, is higher than itself. <i>Very pleasing,</i>--what value shall +we give it? We can give it no more than seven here.</p> + +<p>A single word may obliterate the effect produced by all these +expressions. A simple conjunction may be introduced which will entirely +modify all we have taken pains to say. It is a <i>but</i>. <i>But</i> is an entire +discourse. We no longer believe what has been said hitherto, but what +follows this word. This conjunction has a value of eight degrees, a +value possible to all conjunctions without exception. It sums up the +changes indicated by subsequent expressions, and embraces them +synthetically. It has, then, a very great oratorical value.</p> + + + +<h4><i>The Conjunction.</i></h4> + + +<p>1. We refer here only to conjunctions in the elliptical sense. The +conjunction is an ellipse, because it is the middle term between two +members of the sentence which are the extremes; it recalls what has just +been said, and indicates what is to come. Considered in itself, the word +<i>and</i>, when elliptical, embraces what has just been said, and what is +about to be said. All this is founded upon the principle that the means +are equal to the extremes.</p> + +<p>2. The copulative or enumerative conjunctions, have only two degrees. We +see that a conjunction is not elliptical when, instead of uniting +propositions, it unites only ideas of the same character.</p> + +<p>3. Determinative conjunctions have only three degrees. For example: "It +is necessary that I should work." <i>That</i> has only three degrees.</p> + +<p>4. The values indicated can be changed only by additional values +justified by gesture. Thus in the phrase: "This medley of glory and +honor,"--the value of the word <i>medley</i> can and must be changed; but a +gesture is necessary, for speech is only a feeble echo of gesture. Only +gesture can justify a value other than that indicated in this +demonstration. This value is purely grammatical, but the gesture may +give it a superlative idea, which we call additional value. The value of +consonants may vary in the pronunciation according to their valuation by +the speakers.</p> + +<p>More or less value is given to the degrees noted and to be noted, as +there is more or less emotion in the speaker. This explains why a +gesture, which expresses an emotion of the soul, justifies changing the +grammatical value in the pronunciation of consonants.</p> + +<p>5. Even aside from additional values, the gesture must always precede +the articulation of the initial consonant. Otherwise to observe the +degree would be supremely ridiculous. The speaker would resemble a +skeleton, a statue. The law of values becomes vital only through gesture +and inflection. Stripped of the poetry of gesture and inflection, the +application of the law is monstrous.</p> + +<p>To place six degrees upon <i>pleasing</i> without gesture, is abominable.</p> + +<p>We now understand the spirit of gesture, which is given to man to +justify values. It is for him to decide whether the proposition is true +or not. If we deprive our discourse of gestures, no way is left to prove +the truth of values. Thus gesture is prescribed by certain figures, and +we shall now see from a proposition, how many gestures are needed, and +to what word the gesture should be given.</p> + + + +<h4><i>The Conjunction Continued--Various Examples.</i></h4> + + +<p>The degree of value given to the conjunction, may be represented by the +figure 8.</p> + +<p>Let us justify this valuation by citing these two lines of Racine:</p> + +<blockquote class="poem"><p> +<span class="line">"The wave comes on, it breaks, <i>and</i> vomits<br /></span> +<span class="line2">'neath our eyes,<br /></span> +<span class="line">Amid the floods of foam, a monster<br /></span> +<span class="line2">grim and dire."</span> +</p></blockquote> + +<p>The ordinary reader would allow the conjunction <i>and</i> to pass +unperceived, because the word is not sonorous, and we accord oratorical +effects only to sonorous words. But the man who sees the meaning fully, +and who adds <i>and</i>, has said the whole. The other words are important, +but everything is implied in this conjunction.</p> + +<p>Racine has not placed <i>and</i> here to disjoin, but to unite.</p> + +<p>We give another example of the conjunction:</p> + +<p>Augustus says to Cinna:</p> + +<blockquote class="poem"><p> +<span class="line">"Take a chair Cinna, <i>and</i> in all things heed<br /></span> +<span class="line">Strictly the law that I lay down for thee."</span> +</p></blockquote> + +<p>Let us suppress the isolation and silence of the conjunction, and there +is no more color.</p> + +<p>Augustus adds:</p> + +<blockquote class="poem"><p> +<span class="line">"Hold thy tongue captive, <i>and</i> if silence deep<br /></span> +<span class="line">To thy emotion do some violence"--</span> +</p></blockquote> + +<p>Suppress the silence and isolation of the conjunction <i>and</i>, and how +poor is the expression!</p> + +<p>In the fable of "The Wolf and the Dog:"</p> + +<blockquote class="poem"><p> +<span class="line">"Sire wolf would gladly have attacked and slain<br /></span> +<span class="line">him, <i>but</i> it would have been necessary to give battle, + <i>and</i> it was now almost morning."</span> +</p></blockquote> + +<p>The entire significance lies in the silence which follows the +conjunctions.</p> + +<p>We speak of a sympathetic conjunction, and also of one denoting surprise +or admiration; but this conjunction differs from the interjection, only +in this respect: it rests upon the propositions and unites its terms. +Like the interjection, it is of a synthetic and elliptic nature; it +groups all the expressions it unites as interjectives. It is, then, from +this point of view, exclamative.</p> + +<p>In the fable of "The Wolf and the Lamb," the wolf says:</p> + +<blockquote class="poem"><p> +<span class="line">"This must be some one of your own race, <i>for</i><br /></span> +<span class="line">you would not think of sparing me, you shepherds + <i>and</i> you dogs."</span> +</p></blockquote> + +<p>Here is an interjective conjunction. Suppress the complaint after <i>for</i>, +and there is no more effect. The conjunction is the <i>soul</i> of the +discourse.</p> + +<p>In the exclamation in "Joseph Sold by his Brethren," we again find an +interjective conjunction.</p> + +<blockquote class="poem"><p> +<span class="line">"Alas.......... <i>and</i><br /></span> +<span class="line">The ingrates who would sell me!"</span> +</p></blockquote> + +<p>Here the conjunction <i>and</i> yields little to the interjection <i>alas</i>. It +has fully as much value.</p> + + + +<h4><i>The Interjection in Relation to its Degree of Value.</i></h4> + + +<p>The interjection has 9 degrees; this is admirably suited to the +interjection, an elliptical term which comprises the three terms of a +proposition. In summing up the value of a simple proposition, we have (a +noteworthy thing) the figure 9. This gives the accord of 9. The subject +1, the verb 2, and 6 upon the attribute, equal 9. Thus the equation is +perfect.</p> + +<p>Gesture is the rendering of the ellipse. Gesture is the elliptical +language given to man to express what speech is powerless to say.</p> + +<p>We have spoken of additional figures. Each of these figures supposes a +gesture. There is a gesture, an imitative expression wherever there is +an additional figure. An ellipse in a word, such as is met with in the +conjunction and the interjection, demands a gesture.</p> + +<p>9 is a neutral term which must be sustained by gesture and inflection. +Gesture would be the inflection of the deaf, inflection the gesture of +the blind. The orator should, in fact, address himself to the deaf as +well as to the blind. Gesture and inflection should supplement physical +and mental infirmities, and God in truth has given man this double means +of expression. There is also a triple expression, which is double in +view of this same modification of speech. Let us suppose this +proposition:</p> + +<p>"How much pain I suffer in hearing!"</p> + +<p>According to the rules laid down, we have 3 upon pain, 6 upon suffer, +and 6 again upon hearing.</p> + +<p>It is said that Talma brought out the intensity of his suffering by +resting on the word <i>pain</i>. This was wrong. We should always seek the +expression equivalent to that employed, to attain a certain value.</p> + +<p>If, instead of the determinate conjunction <i>that</i>, we should have <i>how +much (combien)</i>, this would evidently be the important word. This word +has an elliptical form. It evidently belongs to a preceding proposition. +It means: "I could not express all that I suffer." Then 6 must be placed +upon <i>how much</i> and not upon pain.</p> + +<p>But the figure 6 here is a thermometer which indicates a degree of +vitality; it does not express the degree of vitality; that is reserved +for gesture. We need not ask what degree this can give; its office is to +express--and this is a good deal--a value mechanical and material, but +very significant. A reversion of values may constitute a falsehood. +Stage actors are sometimes indefinably comic in this way.</p> + + + +<h4><i>A Resumé of the Degrees of Value.</i></h4> + + +<p>To crown this unprecedented study upon language, we give in a table, a +resumé of the different degrees of value in the various parts of a +discourse, relative to the initial consonant.</p> + +<table summary="A Resumé of the Degrees of Value" style="text-align: left; width: 60%"> +<tr><td> The object of the preposition</td><td> 1</td></tr> +<tr><td> The verb to be and the prepositions </td><td> 2</td></tr> +<tr><td> The direct or indirect regimen </td><td> 3</td></tr> +<tr><td> The limiting (possessive and demonstrative) adjectives </td><td> 4</td></tr> +<tr><td> The qualifying adjectives </td><td> 5</td></tr> +<tr><td> The participles or substantives taken adjectively or + attributively; that is to say, every word coming + immediately after the verb, in fine, the attribute </td><td> 6</td></tr> +<tr><td> The adverbs </td><td> 7</td></tr> +<tr><td> Conjunctions, superlative ideas or additional figures </td><td> 8</td></tr> +<tr><td> The interjection </td><td>9</td></tr> +</table> + +<p>The pronoun is either subject or complement, and therefore included in +the rest. As for the article, it is not essential to a language; there +is no article in Latin.</p> + +<p>Thus the value of our ideas is expressed by figures. We have only to +reckon on our fingers. We might beat time for the pronunciation of the +consonants as for the notes of music. Let the pupil exercise his +fingers, and attain that skill which allows the articulation of a +radical consonant only after he has marked with his finger the time +corresponding to its figure. If difficulties present themselves at +first, so much the better; he will only the more accurately distinguish +the value of the words.</p> +</div> + + +<div class="chapter" id="p3-05"> +<h3>Chapter V.<br /> + +French and Latin Prosody.</h3> + + + +<h4><i>French Prosody.</i></h4> + + +<p>Prosody is the rhythmic pronunciation of syllables according to accent, +respiration, and, above all, quantity.</p> + +<p>In the Italian there are no two equal sounds; the quantity is never +uniform. Italian is, therefore, the most musical of languages. Where we +place one accent upon a vowel, the Italians place ten.</p> + +<p>There is a euphonic law for every language; all idioms must have an +accent. In every language there are intense sounds and subdued sounds; +the Italians hold to this variety of alternate short and long sounds. +Continuous beauty should be avoided. A beautiful tone must be introduced +to relieve the others. Monotony in sounds as well as in pronunciation, +must be guarded against. Harmony lies in opposition.</p> + +<p>There is but one rule of quantity in French pronunciation. Here is the +text of this law:</p> + +<p><i>There are and can be only long initial or final vowels</i>--whence we +conclude:</p> + +<p>1. Every final is long and every penultimate is final, since <i>e</i> mute is +not pronounced.</p> + +<p>2. The length of initial vowels depends upon the value of the initial +consonants which they precede.</p> + +<p>A word cannot contain two long vowels unless it begins with a vowel. In +this case, the vowel of the preceding word is long, and prepares for the +enunciation of the consonant according to its degree.</p> + +<p>Every first consonant in a word is strong, as it constitutes the radical +or invariable part of the word.</p> + +<p>The force of this consonant is subordinate to the ruling degree of the +idea it is called to decide. But every vowel which precedes this first +consonant is long, since it serves as a preparation for it. But to what +degree of length may this initial vowel be carried? The representative +figure of the consonant will indicate it.</p> + +<p>Usually, the first consonant of every word is radical. Still there might +be other radical consonants in the same word. But the first would rise +above the others.</p> + +<p>The radical designates the substance of being, and the last consonant +the manner.</p> + +<p>The whole secret of expression lies in the time we delay the +articulation of the initial consonant. This space arrests the attention +and prevents our catching the sound at a disadvantage.</p> + + + +<h4><i>Latin Prosody.</i></h4> + + +<p>1. The final of a word of several syllables is usually short.</p> + +<p>2. In words of two syllables, the first is long. In Latin words of two +syllables, the first almost always contains the radical.</p> + +<p>3. In words of three and more syllables, there is one long syllable: +sometimes the first, sometimes another. We rest only upon this, all the +others being counted more or less short.</p> + +<p>In compound words no account need be made of prefixes; There are many +compound words; and, consequently, it is often the last or next to the +last consonant which is the radical.</p> + +<p>The last consonant represents always, in variable words, quality, +person, mode or time. The radical, on the contrary, represents the sum +and substance.</p> + +<p>4. Monosyllables are long, but they have, especially when they follow +each other, particular rules, which result from the sense of the +phrases, and from the mutual dependence of words.</p> +</div> + + +<div class="chapter" id="p3-06"> +<h3>Chapter VI.<br /> + +Method.</h3> + + + +<h4><i>Dictation Exercises.</i></h4> + + +<p>A subject and text being given, notes may be written under the nine +following heads:</p> + +<ol> +<li>Oratorical value of ideas.</li> + +<li>The ellipse.</li> + +<li>Vocal inflections.</li> + +<li>Inflective affinities, or relation to the preceding inflections.</li> + +<li>Gestures.</li> + +<li>Imitative affinities.</li> + +<li>The special rule for each gesture.</li> + +<li>The law whence this rule proceeds.</li> + +<li>Reflections upon the portrayal of personal character.</li> +</ol></div> + + +<div class="chapter" id="p3-07"> +<h3>Chapter VII.<br /> + + + +A Series of Gestures for Exercises.</h3> + + +<h4><i>Preliminary Reflections.</i></h4> + +<p>We know the words of Garrick:</p> + +<p>"I do not confide in myself, not I, in that inspiration for which idle +mediocrity waits."</p> + +<p>Art, then, presents a solid basis to the artist, upon which he can rest +and reproduce at will the history of the human heart as revealed by +gesture.</p> + +<p>This is true, and it is as an application of this truth that we are +about to consider the series, which is an exposition of the passions +that agitate man, an initiation into imitative language. It is a poem, +and at the same time it lays down rules through whose aid the +self-possessed artist can regain the gesture which arises from sudden +perturbation of the heart. It is a grammar which must be studied +incessantly, in order to understand the origin and value of imitative +expressions.</p> + +<p>The development of the series is based upon the static, the semeiotic +and the dynamic.</p> + +<p>The static is the life of gesture; it is the science of the equipoise of +levers, it teaches the weight of the limbs and the extent of their +development, in order to maintain the equilibrium of the body. Its +criterion should be a sort of balance.</p> + +<p>The semeiotic is the spirit and <i>rationale</i> of gesture. It is the +science of signs.</p> + +<p>The dynamic is the action of equiponderant forces through the static; it +regulates the proportion of movements the soul would impress upon the +body. The foundation and criterion of the dynamic, is the law of the +pendulum.</p> + +<p>The series proceeds, resting upon these three powers. The semeiotic has +given the signs, it becomes æsthetic in applying them. The semeiotic +says: "Such a gesture reveals such a passion;" and gesture replies: "To +such a passion I will apply such a sign." And without awaiting the aid +of an inspiration often hazardous, deceitful and uncertain, it moulds +the body to its will, and forces it to reproduce the passion the soul +has conceived. The semeiotic is a science, the æsthetic an act of +genius.</p> + +<p>The series divides its movements into periods of time, in accordance +with the principle that the more time a movement has, the more its +vitality and power; and so every articulation becomes the object of a +time.</p> + +<p>The articulations unfold successively and harmoniously. Every +articulation which has no action, must remain absolutely pendent, or +become stiff. Grace is closely united to gesture; the manifold play of +the articulations which constitutes strength, also constitutes grace. +Grace subdues only because sustained by strength, and because strength +naturally subdues. Grace without strength is affectation.</p> + +<p>Every vehement movement must affect the vertical position, because +obliquity deprives the movement of force, by taking from it the +possibility of showing the play of the articulations.</p> + +<p>The demonstration of movement is in the head. The head is the primary +agent of movement; the body is the medium agent, the arm the final +agent.</p> + +<p>Three agents in gesture are especially affected in characterizing the +life, mind and soul. The thumb is the index-sign of life; the shoulder +is the sign of passion and sentiment; the elbow is the sign of humility, +pride, power, intelligence and sacrifice.</p> + +<p>The first gesture of the series is the interpellation, the entrance upon +the scene. The soul is scarce moved as yet, and still this is the most +difficult of gestures, because the most complex. It must indicate the +nature of the interpellation, its degree and the situation of the giver +and receiver of the summons in regard to each other.</p> + +<p>A study of the signs which distinguish these different shades will teach +us the analysis of gesture.</p> + +<p>Aside from simple interpellation, the series passes successively from +gratitude, devotion, etc., to anger, menace and conflict, leaving the +soul at the point where it is subdued and asks forgiveness.</p> + +<p>The passional or fugitive type forms the constant subject of the study +of this series.</p> + + + +<h3>The Series of Gestures Applied to the Sentiments Oftenest Expressed by +the Orator.</h3> + + +<h4>First Gesture.<br /> <i>Interpellation.</i></h4> + + +<p>Interpellation embraces five steps:</p> + +<p>The first consists in elevating the shoulder in token of affection. If +the right shoulder, as in figure 2 with the right leg weak.</p> + +<p>The second step consists in a rotary movement of the arm, its object +being to present the epicondyle (elbow-joint) to the interlocutor. For +this reason the epicondyle is called the eye of the arm.</p> + +<p>The third stage consists in substituting the articulation of the wrist +for the epicondyle. In making the forward movement of the body, the +epicondyle must resume its natural place.</p> + +<p>The fourth step consists in extending the hand toward the speaker in +such a way as to present to him the extremities of the fingers.</p> + +<p>The fifth step is formed by a rapid rotation of the hand.</p> + + + +<h4>Second Gesture.<br /> <i>Thanks--Affectionate and Ceremonious.</i></h4> + + +<p>This gesture consists of six steps:</p> + +<p>1. Consists in lifting the hand and lowering the head.</p> + +<p>2. Consists in raising the hand to the hip.</p> + +<p>3. The head inclines to one side, and the elbow at the same time rises +to aid the hand in reaching the lips.</p> + +<p>4. In this, the head resumes its normal position, while the elbow is +lowered to bring back the hand to the same position.</p> + +<p>5. In this, the hand passes from the horizontal to the vertical +position, rounding toward the arm.</p> + +<p>6. In this, the arm is developed, and then the hand.</p> + + + + +<h4>Third Gesture.<br /> <i>Attraction.</i></h4> + + +<p>In this gesture there are three steps:</p> + +<p>1. The hand turns toward the interlocutor with an appealing aspect.</p> + +<p>2. The hand opens like a fan with the little finger tending toward the +chest.</p> + +<p>3. The elbow is turned outward, and the hand passes toward the breast.</p> + + + + +<h4>Fourth Gesture.<br /> <i>Surprise and Assurance.</i></h4> + + +<p>1. This consists in elevating the shoulders, opening the eyes and mouth +and raising the eyebrow; the whole in token of surprise.</p> + +<p>2. Raise the passive hand above the chin, making it turn around the +wrist.</p> + +<p>3. The hand still passive, is directed toward the person addressed, the +elbow being pressed against the body.</p> + +<p>4. The arm is gradually extended toward the person addressed, while the +hand is given an opposite direction; that is, the palm of the hand is +toward him.</p> + + + +<h4>Fifth Gesture.<br /> <i>Devotion.</i></h4> + + +<p>This gesture embraces seven movements:</p> + +<p>1. This consists in raising the passive hand to the level of the other +hand, but in an inverse direction.</p> + +<p>2. This consists in turning back the hand toward one's self.</p> + +<p>3. This consists in drawing the elbows to the body, and placing the +hands on the chest.</p> + +<p>4. This is produced by taking a step backward, and turning a third to +one side; during the execution of this step, the elbows are raised, and +the head is lowered.</p> + +<p>5. This consists in drawing the elbows near the body, and placing the +hands above the shoulders.</p> + +<p>6. This consists in developing the arms.</p> + +<p>7. This consists in developing the hands.</p> + + + +<h4>Sixth Gesture.<br /> <i>Interrogative Surprise.</i></h4> + + +<p>This surprise is expressed in two movements:</p> + +<p>1. This is wholly facial.</p> + +<p>2. This is made by advancing the hand and drawing the head backward.</p> + +<h4>Seventh Gesture.<br /> <i>Reiterated Interrogation.</i></h4> + + +<p>This gesture signifies: I do not understand, I cannot explain your +conduct to me. It embraces five steps:</p> + +<p>1. This consists in placing both hands beneath the chin, and violently +elevating the shoulders.</p> + +<p>2. This consists in bringing the hands to the level of the chest, as if +in search of something there.</p> + +<p>3. This consists in extending both hands toward the interlocutor, as if +to show him that they contain nothing.</p> + +<p>4. This consists in extending one hand in the opposite direction, and +letting the head and body follow the hand.</p> + +<p>5. This consists in turning the head vehemently toward the interlocutor, +and suddenly lowering the shoulders.</p> + + + +<h4>Eighth Gesture.<br /> <i>Anger.</i></h4> + + +<p>This gesture is made in three movements:</p> + +<p>1. This consists in raising the arm.</p> + +<p>2. This consists in catching hold of the sleeve.</p> + +<p>3. This consists in carrying the clenched hand to the breast, and +drawing back the other arm.</p> + + + +<h4>Ninth Gesture.<br /> <i>Menace.</i></h4> + + +<p>This gesture consists of a preparatory movement, which is made by +lowering the hand while the arm is outstretched toward the +interlocutor, then the finger is extended, and the hand is outstretched +in menace.</p> + +<p>The eye follows the finger as it would follow a pistol; this occasions a +reversal of the head proportional to that of the hand.</p> + + + +<h4>Tenth Gesture.<br /> <i>An Order for Leaving.</i></h4> + + +<p>This is executed:</p> + +<p>1. By turning around on the free limb.</p> + +<p>2. By carrying the body with it.</p> + +<p>3. By executing a one-fifth sideward movement--the right leg very weak. +All these movements are made by retaining the gesture of the preceding +menace. Then only the menacing hand is turned inward at the height of +the eye, at the moment when it is about to pass the line occupied by the +head; the elbow is raised to allow the hand a downward movement, which +ends in an indication of departure. In this indication the hand is +absolutely reversed, that is, it is in pronation. Then only does the +head, which has hitherto been lowered, rise through the opposition of +the extended arm.</p> + + + +<h4>Eleventh Gesture.<br /> <i>Reiteration.</i></h4> + + +<p>1. The whole body tends toward the hand which is posed above the head. +The right leg passes from weak to strong.</p> + +<p>2. The head is turned backward toward the interlocutor.</p> + +<p>3. It rises.</p> + +<p>4. The arm extends.</p> + +<p>5. The hand in supination gives intimation of the order.</p> + + + +<h4>Twelfth Gesture.<br /> <i>Fright.</i></h4> + + +<p>The right hand pendent. The left hand rises. Tremor.</p> + +<p>The first movement is executed in one-third; the body gently passes into +the fourth, and as the fifth is being accomplished, the arm is thrust +forward as if to repel the new object of terror.</p> + +<p>At this moment a metamorphose seems to take place, and the object which +had occasioned the fright, seems to be transfigured and to become the +subject of an affectionate impulse. The hands extend toward this object +not to repel it, but to implore it to remain; it seems to become more +and more ennobled, and to assume in the astonished eyes of the actor, a +celestial form--it is an angel. Therefore the body recoils anew +one-fourth; the hands fall back in token of acquiescence; then, while +drawing near the body, they extend anew toward the angel (<i>here a third +in token of affection and veneration</i>). Then a prayer is addressed to +it, and again the arms extend toward it in entreaty. (<i>Here the orator +falls upon his knees.</i>)</p> + +<p>The series can be executed beginning with the right arm or the left, +being careful to observe the initial and principal movement, with the +arms at the side where the scene opened. This gives the same play of +organs only in an inverse sense.</p> + + + +<h4><i>Important Remarks.</i></h4> + + +<p>Should any student despair of becoming familiar with our method, we give +him three pieces of advice, all easy of application:</p> + +<p>1. Never speak without having first expressed what you would say by +gesture. Gesture must always precede speech.</p> + +<p>2. Avoid parallelism of gesture. The opposition of the agents is +necessary to equilibrium, to harmony.</p> + +<p>3. Retain the same gesture for the same sentiment. In saying the same +thing the gesture should not be changed.</p> + +<p>Should the student limit himself to the application of these three +rules, he will not regret this study of the</p> + +<p>Practice of the Art of Oratory.</p> +</div> + + +<div class="chapter" id="p3-app"> +<h3>Appendix.<br /> + +The Symbolism of Colors Applied to the Art of Oratory.</h3> + + + +<p>We close this book with an appendix which will serve for ornament. +Before delivering up a suite of rooms, we are wont to embellish them +with rich decorations. Architects usually color their plans. We also +wish to give color to our criterion, by explaining the symbolism of +colors.</p> + +<div class="image"><p><a href="images/illus030.png">The symbolism of colors.</a></p></div> + +<p>In the literary world, color gives forms of speech consecrated by +frequent usage. Thus we very often say: a florid style, a brilliant +orator. This figurative language signifies that in order to shine, the +orator must be adorned with the lustre of flowers. And as one flower +excels others and pleases us by the beauty of its colors, so the orator +must excel, and please by the brilliant shades of his diction. It is as +impossible to give renown to a monotonous and colorless orator as to a +faded, discolored flower. Would you give to the phenomena of your +organism this beautiful corolla of the flower of your garden, throw your +glance upon nature.</p> + +<p>Nature speaks to the eye through an enchanting variety of colors, and +these colors in turn teach man how he may himself speak to the eyes. The +whole man might recognize himself under the smiling emblem of colors. +Imagine him in whatever state you will, a color will give you the secret +of his aspirations. And so it has been easy for us to show you the +orator imaged in this colored chart, and we shall have no trouble in +justifying our choice of colors.</p> + +<p>Since man, as to his soul, presents himself in three states: the +sensitive, intellectual and moral; and in his organism in the eccentric, +concentric and normal states; <i>a priori</i>, you may conclude that nature +has three colors to symbolize the three states, and experience will not +contradict you.</p> + +<p>In fact, red, yellow and blue are the primitive colors. All others are +derived from these three rudimentary colors.</p> + +<p>Why have we painted the column that corresponds to the life red? Because +red is the color of blood, and the life is in the blood. But life is the +fountain of strength and power. Hence red is the proper symbol of +strength and power in God, in man and in the demon.</p> + +<p>Why blue in the column of the concentric state, the mind? Because blue, +from its transparency, is most soothing to our eyes.</p> + +<p>Why yellow in the column of the soul? Because yellow has the color of +flame; it is the true symbol of a soul set on fire by love. Yellow is, +then, the emblem of pure love and of impure flames.</p> + +<p>Why not use white in our chart? Because white is incandescence in the +highest degree. We say of iron that it is at a red or a white heat. But +in this world it is rare to see a heart at a white heat. Earthly +thermometers do not mark this degree of heat.</p> + +<p>It cannot be denied that red, yellow and blue are the three elementary +colors, whose union gives birth to all the varieties that delight our +eyes. We have proof of this in one of nature's most beautiful +phenomena--the rainbow.</p> + +<p>The rainbow is composed of seven colors. Here we distinguish the red, +yellow and blue in all their purity; then from the fusion of these three +primary colors, we have violet, orange, green and indigo.</p> + +<p>This is the order in which the seven colors of the rainbow appear to +us:</p> + +<p>Violet (<i>red</i>}, orange (<i>yellow</i>), green (<i>blue</i>), indigo. Orange is +composed of yellow and red. Yellow mixed with blue, produces green. Blue +when saturated, becomes indigo. Upon closer investigation, we may easily +find the nine shades which correspond perfectly to the nine operations +of our faculties, and to the nine functions of angelic minds.</p> + +<p>By complicating and blending the mixture of these colors, we shall have +all the tints that make nature so delightful a paradise.</p> + +<p>The seven notes of music sound in accord with the seven colors of the +rainbow. There is a brotherhood between the seven notes and the seven +colors.</p> + +<p>The voice-apparatus, with that of speech and gesture, is for the orator +a pallet like that upon which the painter prepares and blends those +colors which, under the brush of a Raphael, would at once glow forth in +a masterpiece.</p> + +<p>Delsarte's criterion is true; still more, it is beautiful, especially so +with its brilliant adornment of the colors of the rainbow.</p> + +<p>We verify our judgment by an explanation of the colored chart.</p> + +<p>As may be seen, this chart is an exact reproduction of the criterion +explained at the beginning of this book, only we have adorned it with +colors analogous to the different states of the soul that art is called +upon to reproduce.</p> + +<p>Beginning with the three transverse columns corresponding to the +<i>genus</i>, we have painted the lower column red, the middle column yellow, +and the upper one blue. These are the three colors that symbolize the +life, soul and mind, as well as the genera.</p> + +<p>Passing to the vertical columns which correspond to species, we have +painted the first column red, the second yellow, and the third blue, +passing from left to right. The blending of these colors produces the +variety of shades we might have in this representation.</p> + +<p>Blue added to blue gives indigo; blue with yellow gives a deep green; +with red, violet. Yellow passed over to the middle column, gives bright +green upon blue; pure yellow, when passed upon yellow, and orange upon +red.</p> + +<p>Thus pure red will be the expression of the sensitive state or the life. +Orange will render soul from life, and violet will be the symbol of mind +from life.</p> + +<p>Applying this process of examination to the two other columns, we shall +know by one symbolic color, what the soul wishes at the present hour, +and these same colors will, besides, serve to regulate the attitude of +our organs.</p> + +<p>Honor and thanks to the genius which gives us this criterion, where is +reflected the harmony of all worlds!</p> +</div> + + +<div class="chapter" id="p3-epi"> +<h3>Epilogue.</h3> + + + +<p>In this rational grammar of the art of oratory, I have given the rules +of all the fine arts. All arts have the same principle, the same means +and the same end. They are akin, they interpenetrate, they mutually aid +and complete each other. They have a common scope and aim. Thus, music +needs speech and gesture. Painting and sculpture derive their merit from +the beauty of attitudes. There is no masterpiece outside the rules here +laid down.</p> + +<p>It is not enough to know the rules of the art of oratory. He who would +become an orator, must make them his own. Even this is not enough for +the free movement of the agents which reveal the mind, the soul and the +life. The method must be so familiar as to seem a second nature. Woe to +the orator if calculation and artifice be divined in his speech! How +shun this quicksand? By labor and exercise. The instruments and the +manner of using them are in your hands, student of oratory. Set about +your work. Practice gymnastics, but let them be gymnastics in the +service of the soul, in the service of noble thoughts and generous +sentiments--divine gymnastics for the service of God.</p> + +<p>Renew your nature. Lay aside the swaddling-bands of your imperfections, +conform your lives to the highest ideals of uprightness and truth. +Exercise your voice, your articulation and your gestures. If need be, +like Demosthenes, place pebbles in your mouth; repair like that great +orator to the sea-shore, brave the fury of the billows, accustom +yourself to the tumult and roar of assemblies. Do not fear the fracture +or dislocation of your limbs as you seek to render them supple, to +fashion them after the model, the type you have before your eyes. <i>Labor +omnia vincit.</i></p> + +<p>In any event, be persevering. Novitiate and apprenticeship in any +profession, are difficult. In every state the bitterness of trial is to +be expected. To arrive at initiation has its joys, to arrive at +perfection is a joy supreme. Beneath the rind of this mechanism, this +play of organs, dwells a vivifying spirit. Beneath these tangible forms +of art, the Divine lies hidden, and will be revealed. And the soul that +has once known the Divine, feels pain no longer, but is overwhelmed with +joy.</p> + +<p>Art is the richest gift of heaven to earth. The true artist does not +grow old; he is never too old to feel the charm of divine beauty. The +more a soul has been deceived, the more it has been chastened by +suffering, the more susceptible it is to the benefits of art. This is +why music soothes our sorrows and doubles our joys. Song is the +treasure of the poor.</p> + +<p>Return, then, with renewed enthusiasm to your work! The end is worth the +pains. The human organism is a marvelous instrument which God has given +for our use. It is a harmonious lyre, with nine chords, each rendering +various sounds. These three chords for the voice, and three for both +gesture and speech, have their thousand resonances at the service of the +life, the soul and the mind. As these chords vibrate beneath your +fingers, they will give voice to the emotions of the life, to the +jubilations of the heart and the raptures of the mind. This delightful +concert will lend enchantment to your passing years, throwing around +them all the attractions of the Good, the True, and the Beautiful.</p> + +<p>We may well salute the three Graces and the nine Muses as gracious +emblems, but it is far better to discern in art, the reflected image of +the triple celestial hierarchy with its nine angel choruses.</p> + +<p>Honor, then, to the fine arts! Glory to eloquence! Praise to the good +man who knows how to speak well! Blessed be the great orator! Like our +tutelary angel, he will show us the path that conducts or leads back to +God.</p> +</div></div> + + + +<div class="part" id="p4"> +<h2>Part Fourth.<br /> + +Arnaud on Delsarte.</h2> + + + + +<h3>The Delsarte System.</h3> + +<p class="byline">By</p> + +<h3>Angélique Arnaud, (<i>Pupil of Delsarte</i>).</h3> + +<h4>Translated by Abby L. Alger.</h4> + + + +<div class="chapter" id="p4-01"> +<h3>Chapter I.<br /> + +The Bases of the Science.</h3> + + + +<p>Delsarte published no book upon art. The bases of the science which he +created are contained in a synthetical table. Other tables develop each +branch of it considered separately.</p> + +<p>Starting from an undeniable law--that which regulates the constitution +of man,--Delsarte applies it to æsthetics; he designates man as "the +object of art," and groups in series the organic agents that co-operate +in the manifestation of human thought, sentiment and passion; declaring +the purpose of these manifestations, now become artistic, to be the +amelioration of our being by throwing into relief and light the +splendors of moral beauty and the horrors of vice.</p> + +<p>Delsarte defines art in several ways. He has been reproached for his +over-amplitude of definition, and his development of it in a sense too +metaphysical for a science which he himself calls "positive." I give +here only such definitions as seem to me most clear and important.</p> + +<p>"Art is at once the knowledge, the possession and the free direction of +the agents by virtue of which are revealed the life, soul and mind. It +is the appropriation of the sign to the thing. It is the relation of +the beauties scattered through nature to a superior type. It is not, +therefore, the mere imitation of nature."</p> + +<p>The word <i>life</i>, in the sense employed above, is the equivalent of +<i>sensation</i>, of <i>physical manifestations.</i></p> + +<p>Man being the object of art, it is from the working of the various +faculties of the human organism that Delsarte deduces the task of the +artist; as from the knowledge of the essential modalities of the <i>ego</i>, +he deduces his law of general æsthetics.</p> + +<p>Delsarte teaches, therefore, that man is a triplicity of persons; that +is, he contains in his indestructible unity, three principles or +aspects, which he calls <i>life, soul</i> and <i>mind</i>; in other words, +<i>physical, moral</i>and <i>intellectual</i> persons.</p> + +<p>In this statement this master agrees with the philosophers who give a +triplicity of essential principles as the base of ontology. Pierre +Leroux names them as follows: <i>sensation, sentiment, consciousness.</i></p> + +<p>That which is personal to Delsarte is the derivation of the law of +æsthetics from this conception of being.</p> + +<p>The primal faculties once ascertained, he devotes himself to an analysis +of the organism; he describes the harmony of each of these faculties +with the apparatus which serves it as agent for manifesting itself, and +demonstrates the fitness of each organ for the task assigned it. The +master establishes that the inflections of the voice betray more +especially the sensitive nature; that gesture is the interpreter of +emotion; that articulation--a special element of speech--is in the +direct service of intelligence and thought. He gave the name of <i>vocal</i> +to the active apparatus of sensation; <i>dynamic</i> to that of sentiment; +<i>buccal</i> to that of articulation.</p> + +<p>From the union of the faculties and their agents arise three modes of +expression: the <i>language of affection</i>, the <i>language of ellipsis</i> (or +gesture) and the <i>language of philosophy</i>. They respond to the three +states which Delsarte recognizes in man, and which the artist is to +translate: the <i>sensitive state,</i> corresponding to the <i>life</i>; the +<i>moral state</i>, to the <i>soul</i>; the <i>intellectual state</i>, to the <i>mind</i>.</p> + +<p>But this division into three modalities or into three states is far from +giving the number of the manifestations of being. Nature is not reduced +to this indigence. From the fusion of these three states, in varying and +incessant combination, and from the predominance of one of the primitive +modalities, whether accidental or permanent, countless individualities +are formed, each with its personal constitution, its shades of +difference of education, habits, age, character, etc.</p> + +<p>It seems at the first glance as if the mind must be confused by these +varieties, whose possible number fades into infinity; but the teacher +does not open this labyrinth to his disciples without providing them +with a clue.</p> + +<p>Independently of these modalities, of these states, which form the +basis of the system, Delsarte traces triune subdivisions, which serve as +a point of convergence; thus the intermediary rays of the compass or +mariner's card are multiplied, and receive special names, without +ceasing to belong to one of the four cardinal points.</p> + +<p>Whatever, for instance, may be the tendency of the individual whom we +desire to portray, or to represent by any art whatsoever, we can think +of him in his normal state, as well as in a concentric or eccentric +state: this is a first distinction.</p> + +<p>Each of these states is itself subject to shades of difference, to +modifications. The normal state of a diplomat and that of an artist +could not be the same. The one, by the very effect of his profession, +will incline to concentration; the other will tend to expansion, if not +to eccentration. Hence a <i>simple normal</i> state which is the most common; +a normal-concentric state, a normal-eccentric state: here we have a +second distinction.</p> + +<p>Delsarte, in order to avoid confusion between the word <i>state</i> applied +to primordial modalities--which he defines as <i>sensitive, moral</i> and +<i>intellectual</i> states,--often uses the word <i>element</i> in place of that +of <i>state</i> in speaking of <i>concentration, eccentration</i> and <i>normality</i>, +which, in this case, he also calls <i>calm</i>; but, in teaching, he was +always accustomed to use these more exact terms: normal state, +concentric state, eccentric state.</p> + +<p>These differences may occur in regard to each of the other terms. Thus +we may have the simple concentric state, the concentro-concentric state, +etc.</p> + +<p>It is upon this mutual interpenetration of the various states in the +triple unity, that the master founds the idea which dominates and +pervades his whole system; the three isolated and independent terms do +not, to his thinking, constitute the integrality of the human <i>ego</i>. To +constitute, according to Delsarte's theory, three, the vital number, it +must, by its very essence, and by inherent force, raise itself to its +multiple nine. This is what the master calls <i>the ninefold accord</i>.</p> + +<p>Medicine--a science which also derives its justification from the human +organism--from certain points of view affords us analogies to this +mixture of primordial components; for example, nervous and sanguine +temperaments which are blended in the sanguo-nervous, etc.</p> + +<p>If we refer to our own faculties, does it not strike us indeed, that +neither life--nor sensation--nor sentiment, nor intellect can manifest +itself without the aid of its congeners or co-associates?</p> + +<p>Is intelligence evident elsewhere than in a sensitive being (life)? And +even when considering the most abstract things, does it not bear witness +of its taste, its power of choice (sentiment)? Can sentiment be +absolutely disengaged from impression (life)? And if it is not always +under the sway of the idea, is it not certain that it gives rise to it, +by provoking observation and reflection (intellect)?</p> + +<p>Finally, can an adult--save in the case of absolute idiocy--exist by +sensitive life alone outside of all sentiment and all thought (soul, +intellect)?</p> + +<p>It is by the harmony of the modalities among themselves, and the +contribution of each to the unity, that every individual type is formed. +Delsarte thought that he could fix their numerical scale; but he was not +permitted to <i>carry</i> his scientific studies thus far; still, it is not +indispensable to art, which demands above all things very marked types, +that verification should be carried to its farthest limits. It will not +be difficult, guided by the knowledge which Delsarte has left us, to +classify artistic personages as physical, intellectual and moral or +sentimental types; and, in the same category, to differentiate those +belonging to the concentric state from those falling more particularly +into the eccentric or normal states: the Don Juans, Othellos, Counts +Ory, etc. Delsarte, in practice, excelled in characterizing these shades +of difference.</p> + +<p>These prolegomena would not perhaps alone suffice to give this teacher a +claim to the title of creator of a science. Although they give the +theory of the system, they are far from containing all its developments. +But Delsarte did not stop here.</p> + +<p>In appropriate language--wherein new words are not lacking for the new +science--he takes apart each of the agents of the organism, enumerated +above; he examines them in their details, and assigns them their part in +the sensitive, moral, or intellectual transmission with which they are +charged. Thus gesture--the interpreter of sentiment--is produced by +means of the head, torso and limbs; and in the functions of the head are +comprised the physiognomic movements, also classified and described, +with their proper significance, such as anger, hate, contemplation, +etc.,--and the same with the other agents.</p> + +<p>Each part observed gives rise to a special chart, where we see, for +instance, what should be the position of the eye in exaltation, +aversion, intense application of the mind, astonishment, etc. The same +labor is given to the arms, the hands and the attitudes of the body, +with the mark, borrowed from nature, of the slightest movement, partial +or total, corresponding to the sensation, the sentiment, the thought +that the artist wishes to express.</p> + +<p>I hope that these works may yet be recovered entire, for the master was +lavish of them, and that they may be given to the public.<sup><a href="#fn5">5</a></sup></p> + +<p>An exact science at first sight appears contradictory to art. Will it +not diminish its limits, * * * trammel its transports? Will it not prove +hostile to its liberty at every point? * * * Will it not check the +flights of its graceful fancy, its adorable caprice?</p> + +<p>No, indeed! as I said in regard to the ideal, the theories of Delsarte, +far from hampering the free expansion of art, do but enlarge its +horizons, and prepare a broader field for its harmonies. They leave +freedom to the opinions most difficult of seizure, the most unforeseen +creations; because, responding to every faculty of being, this science, +while it corrects imagination, respects its legitimate power.</p> + +<p>Finally, what is this science which analyzes every spring and every part +brought to play in the manifestation of life? A compass to guide us to +the desired goal; a measure of proportion to fix each variety in the +immensity of types; a touchstone by which to judge of each man's +vocation.</p> + +<p>But do not let us forget that if this science holds back, restrains and +preserves us from parasites, * * * if it prepares proper soil, and +assists feebly dowered natures to acquire real value, it cannot supply +the place of those marvelous talents, that personality, which showed us, +in Delsarte himself, the heights to which a dramatic singer may attain. +What surprises and subjugates us in these privileged persons is the +secret of nature; it is not to be written down, not to be demonstrated; +this unknown quantity, this mystery, reveals itself at its own time by +flashes, and with different degrees of intensity during the career of +the same artist. Some have thought to explain the prodigy by that +superior instinct known as intuition; but the discovery of the word does +not open the arcanum.</p> + +<p>I have said enough, I hope, in regard to the science created by +Delsarte, to put upon the track such minds as are apt for the subject, +and endowed with sufficient penetration to assimilate it; but it must +not be disguised that even should the whole work be collected together, +the science must still await its examination, its verification and its +complements; for a science at its birth is like a program given out for +the study of present and future generations. Delsarte was still working +on his to the last years of his life. Every day he gained fresh insight; +he added branches and accessories. Yet the criticisms of details which +will come later--even when they are justified,--will not rob the +inventor of the glory of his scientific discovery. Let genius invent, +scholars pursue its discoveries! * * * If genius works alone, scientists +work hand in hand,</p> +</div> + + +<div class="chapter" id="p4-02"> +<h3>Chapter II.<br /> + +The Method.</h3> + + + +<p>I have shown Delsarte as a composer, as pre-eminently an artist, who, as +a certain critic says, "was never surpassed;" I have insisted upon the +two titles which form his special glory: that of revealer of the laws of +æsthetics, and that of creator of a science to support his discoveries; +a science whose application relates particularly to the dramatic and +lyric arts, although at its base, and especially when considered as law, +it embraces all the liberal arts.</p> + +<p>It remains for me to speak of his method, properly so called; of his +precepts, his maxims, his opinions and his judgments; of that, in a +word, which constitutes the personal manner of each master, and his mode +of instruction; for if the law is single in its essential and +constitutive ideas, it radiates into diversity in its individual +manifestations; <i>it has infinite possibilities</i>.</p> + +<p>Delsarte considered art as the surest, purest and most constant good in +life. He required much time to complete the education of a pupil, +because he knew how long it had taken him to master the methods of +translating, through that noble interpreter, art, the best and most +sublime possibilities of the human soul; and because he knew as well all +that is inherent in our nature of vice and imperfection. He held that +the truth, be it good or bad, is always instructive.</p> + +<p>In regard to truth he says: "A man may possess remarkable qualities, may +have grace, expression, charm and elegance, but they are all as nothing +if he does not interpret the truth." He desired the artist to study +beauty in every form, to seek and discover its secrets. He tells us that +he himself studied the poses of the statues of antiquity for fifteen +years.</p> + +<p>It was in consequence of this period of study, assuredly, that the +master condemned the parallel movement of the limbs in gesture, and +recommended attitudes which he called <i>inverse</i>; if, for instance, the +actor leans on his left leg, the corresponding gesture must necessarily +be entrusted to the right arm.</p> + +<p>The master taught that the gesture--the true interpreter of the +sentiment--should precede the word. He added: "The word is but an echo, +the thought made external and visible, the ambassador of intelligence. +Every energetic passion, every deep sentiment, is accordingly announced +by a sign of the head, the hand or the eye, before the word expresses +it." Thus, the actor and the orator, if they do not conform to this +precept, have failed to attain to art.</p> + +<p>Delsarte proves his assertion by giving examples, somewhat overdrawn, in +a sense the inverse of this theory. Nothing was more amusing than to +see him execute one of these <i>dilatory</i> gestures; for instance, this +phrase, uttered by the lackey of some comedy, delivering a message: +"Sir, here is a letter which I was told to deliver to you at once." The +hand extending the note unseasonably, produced so ridiculous an effect +that the heartiest laughter never failed to follow.</p> + + + +<h4><i>On Ellipsis.</i></h4> + + +<p>The preceding steps lead us to ellipsis, which plays an important part +in the method of Delsarte.</p> + +<p>All the thoughts and sentiments contained in literature, in one +comprehensive word, are entrusted to the mimic art of the actor, whose +essential agent is gesture. The <i>conjunction</i> and <i>interjection</i> are +alike elliptical; thus in the phrase: "Ah! * * how unhappy I am! * *" +"Ah!" should imply a painful situation before the explanatory phrase +begins. In his <i>course of applied æsthetics</i>, Delsarte gives us the +striking effects of the elliptic conjunction.</p> + + + +<h4><i>On Shades and Inflections.</i></h4> + + +<p>The shade, that exquisite portion of art, which is rather felt than +expressed, is the characteristic sign of the perfection of talent; it +forms a part of the personality of the artist. You may have heard a play +twenty times with indifference, or a melody as often, only to be bored +by it; some fine day a great actor relieves the drama of its chill, its +apparent nullity; the commonplace melody takes to itself wings beneath +the magic of a well-trained, expressive and sympathetic voice. Delsarte +possessed this artistic talent to a supreme degree, and it was one of +the remarkable parts of his instruction; he had established typical +phrases, where the mere shade of inflection gave an appropriate meaning +to every variety of impression and sentiment which can possibly be +expressed by any one set of words. One of these phrases was this: "That +is a pretty dog!"</p> + +<p>A very talented young girl succeeded in giving to these words a great +number of different modulations, expressing endearment, coaxing, +admiration, ironical praise, pity and affection. Delsarte, with his +far-reaching comprehension, conceived of more than 600 ways of +differentiating these examples; but he stopped midway in the execution +of them, and certainly no one else will ever pursue this outline to its +farthest limits.</p> + +<p>The second phrase was: "I did not tell you that I would not!"</p> + +<p>This time the words were given as a study for adults; they lent +themselves to other sentiments; they revealed, as the case might be, +indifference, reproach, encouragement, the hesitation of a troubled +soul, etc.</p> + +<p>It was by means of these manifold shades that the artist-professor +established characteristic differences in parts wherein so many actors +had seen but the identical fact of a similar passion or a similar vice. +To his mind, all misers were not the same miser, nor all seducers the +same seducer. In singing particularly, with what art Delsarte used the +inflection!</p> + + + +<h4><i>On Vocal Music.</i></h4> + + +<p>In regard to lyric art especially, Delsarte had his peculiar and +personal theories. Singing was not to him merely a means of displaying +the singer's voice or person; it was a superior language, charged with +the rendition, in its individual charm, of all the greatest creations of +literature and poetry; all the sweet, tender, or cruel sentiments +possible to humanity.</p> + +<p>This exceptional singer attained his effects partly by means of certain +modifications of the rhythm, which caused inattentive critics to say: +"Delsarte does not observe the measure." What they themselves failed to +note, was that the first beat was always given firmly; and that it was +in the divisions of one measure, and by subtle compensations, that he +made the difference. Far from having cause for complaint, the composer +gained thereby, a more clear expression of his thought, a more +persuasive expansion of his sentiment, and the respiration appeared more +easy. It was something similar--with a greater value--to that personal +punctuation with which skilful readers often divide the text which they +translate.</p> + +<p>It was particularly in recitative, the style, moreover, least subject to +precise laws, that Delsarte used this license; and it was in this style +that he especially excelled.</p> + +<p>And is it not in what remains unwritten that the singer's true greatness +is revealed? What dilettante has not felt the power of a more incisive +attack of the note; of that prolongation of the note, held +imperceptibly, which, having captured it, holds the attention of the +listener?</p> + +<p>But, to hear these things, it is not necessary, as the saying is, "to +bestride <i>technique</i>." In so far as the training of the voice is +concerned, Delsarte gave himself a scientific basis. He was the first to +think that it would be well to know the mechanism of the organ, that it +might be used to the best advantage, both by avoiding injurious methods +of exercising it, and by aiding the development of the tone by +appropriate work.</p> + +<p>In his rooms were to be seen imitations of the larynx--in pasteboard--of +various sizes. His pupils, it seems to me, could profit but little by +these far from pleasing sights. At the utmost it increased their +confidence in the man who desired an intimate acquaintance with +everything relating to the art which he taught. It is to teachers +particularly that the introduction of this auxiliary into the study of +the vocal mechanism may have been of some value. I have lately learned +that several singing teachers use these artificial larynxes. Can +priority be claimed for Delsarte? I can only affirm that he refers to +them in a treatise signed by himself, and dated in the year 1831.</p> + +<p>I shall not enter into the details of this contingent side of the +method; the statement of the facts is enough to lead all those who are +interested, to devote thought and study to the matter. I prefer to dwell +upon the things which Delsarte carried with him into the grave, having +written them only on the memories of certain adepts destined to +disappear soon after him.</p> + + + +<h4><i>On Respiration.</i></h4> + + +<p>Delsarte established his theory of <i>diaphragmatic breathing</i> in +accordance with his anatomical knowledge. It consists in restoring the +breath, without effort, from the commencing lift of the diaphragm to the +production of the tone. He opposed it to the <i>costal breathing</i>, which +brings the lungs suddenly into action by movements of the chest and +shoulders, and causes extreme fatigue. "The chest," he says, "should be +a passive agent; the larynx and mouth, aiding the diaphragm, alone have +a right to act in breathing; the action of the larynx consists of a +depression, that of the mouth should produce the canalization +(concavity) of the tongue and the elevation of the veil of the palate."</p> + +<p>To this first idea is attached what the master taught in regard to the +distinction between <i>vital breath</i> and <i>artificial breath</i>. It is +certain that one may sing with the natural respiration; but it is +rapidly exhausted if not augmented by additional inhalation; for it +results in dryness and breathlessness, which cause suffering alike to +singer and listener. The <i>artificial breath</i>, on the contrary, preserves +the ease and freshness of the voice.</p> + + + +<h4><i>On the Position of the Tone.</i></h4> + + +<p>The placing of the tone was one of Delsarte's great anxieties. According +to his theory, the attack should be produced <i>by explosion</i>. He rejected +that stress which induces the squeezing out of the tone after it is +produced. The way to avoid it is to prepare rapidly and in anticipation +of the emission of the note.</p> + +<p>These ideas demand oral elucidation; but it is enough to declare them, +for teachers and singers to recognize their meaning.</p> + + + +<h4><i>On the Preparation of the Initial Consonant.</i></h4> + + +<p>The preceding lines refer to vocalization; but Delsarte applied the same +process to pronunciation. He directed that the <i>initial consonant</i> +should be prepared in the same way as the attack on the tone; it was +thus produced distinctly and powerfully, that is, in less appreciable +<i>extent of time</i>. Such is the concentration of the archer preparing to +launch an arrow; of the runner about to leap a ditch. The master, in no +case permitted that annoying compass of the voice before a consonant, so +frequently employed by ordinary singers. The Italians justly translate +this disagreeable performance by the word <i>strascinato</i> (dragged out or +prolonged).</p> + + + +<h4><i>Exercises.</i></h4> + + +<p>Delsarte has been severely blamed for the way in which he trained the +voice. I have nothing to say in regard to those who imputed to him +physical and barbarous methods of developing it; but it may be true that +he endangered it by certain exercises or by failure to cultivate the +mechanism. I do not feel myself competent to pronounce upon this +technical point, but I can give an exact account of what was done in his +school.</p> + +<p>Delsarte directed that the tones should be swelled on a single note, E +flat (of the medium); he claimed that by strengthening this intermediary +note the ascending and descending scales were sympathetically +strengthened. He thus avoided, as he said, breaking the high treble +notes by exercises which would render the cords too severely tense, +convinced morever, that at a given moment a burst of enthusiasm and +will-power would take the place of assiduous practice.</p> + +<p>He also taught that this special exercise of the medium would prevent +the separation of the registers, that phylloxera of the vocal organ, +which wrecks so many singers, and causes them so many sorrows. This was +the way to gain that mixed voice, the ideal held up to the scholars as +being the most impressive and the most exquisite; that which at the +same time ravished the ear and charmed the heart.</p> + +<p>This master considered the chest-voice as more particularly physical; +and the head-voice, it must be confessed, is too much like the voice of +a bird, to awaken sentiment and sympathy.</p> + +<p>Delsarte himself possessed this mixed voice; in him, it seemed to start +from the heart, and brought tears to eyes which had never known them. +The power of that tone--allied to the perfection of shading, diction and +lyric declamation--caused every listening soul to vibrate with latent +emotion which might never have been waked to life save by that appeal.</p> + +<p>I return to the practice of swelled tones upon the note E flat. This +note certainly acquired broad and powerful tones about which there was +nothing forced, and which were most agreeable. This development was +communicated to the neighboring notes. But did not these advantages take +from the compass of the scale? If so, were they a counterbalance to the +injury? I repeat that I dare not affirm anything in this respect.</p> + +<p>Delsarte, assuredly, did not give as much space to vocalization as other +teachers, especially those of the Italian school.</p> + +<p>It is also undeniable, that dramatic singing--the style which he +preferred--is dangerous to the vocal organism; particularly when one +practices the <i>shriek or scream</i>, which produces a fine effect when +skilfully employed, but is most pernicious in excess.</p> + +<p>Delsarte was too conscientious an artist not to sacrifice his voice, at +certain moments, to his pathetic effects; but he was very careful to +warn his scholars against the abuse of this method; he directed them to +use it but very rarely, and with the greatest precaution.</p> + +<p>I should also say, in his favor, that light voices were very differently +trained from heavy ones. Madame Carvalho, who began her studies in his +school, did not alter the flexible but feeble organ she brought there. +Mlle. Chaudesaigues and Mlle. Jacob, under Delsarte's tuition, attained +to marvels of flexibility, without losing any of their natural gifts.</p> + + + +<h4><i>Appoggiatura.</i></h4> + + +<p>Delsarte brought about a revolution in French music in everything +relating to appoggiatura, or rather, he restored its primitive meaning. +The way in which he interpreted it has created a school.</p> + +<p>He taught that the root of the word--appoggiatura--being <i>appuyer</i> (to +sustain), the chief importance should be given in the phrase, to +appoggiatura, by extent and expression; the more so that this note is +generally placed on a dissonance; and, according to this master's +system, it is on the dissonance--and not at random and very frequently, +as is the habit of many singers--that the powerful effect of the +vibration of sound should be produced.</p> + +<p>Contrary to this opinion, the appoggiatura was for a long time used in +France as a short and rapid passing note; it thus gave the music a +vivacious character, wholly discordant with the style of serious +compositions; the music of Gluck was particularly unsuited to it.</p> + + + +<h4><i>Roulade and Martellato.</i></h4> + + +<p>In every school of singing the roulade is effected by means of the +<i>staccato</i> and <i>legato</i>. Delsarte had a marked prejudice in favor of the +martellato, which partakes of both. He compared it, in his picturesque +way of expressing his ideas, to pearls united by an invisible thread.</p> + + + +<h4><i>Pronunciation.</i></h4> + + +<p>The master's pronunciation was irreproachable; not the slightest trace +of a provincial accent; never the least error of intonation, the +smallest mistake in regard to a long or short syllable. What is perhaps +rarer than may be thought, he possessed, in its absolute purity, the +prosody of his native language, alike in lyric declamation and in the +<i>cantabile</i>. His penetrating tones added another charm to the many +merits which he had acquired by study.</p> + +<p>Pronunciation, therefore, was skilfully and carefully taught in +Delsarte's school. The professor's first care was to correct any +tendency to lisp, which he did by temporarily substituting the syllables +<i>te, de</i>, over and over again, for the faulty R. This substitution +brought the organ back to the requisite position for the vibration of +the R.</p> + +<p>This process is now in common use; but I cannot say whether it was +employed before Delsarte's day. He obtained very happy results from it.</p> + + + +<h4><i>E mute before a Consonant.</i></h4> + + +<p>Delsarte did not allow that absolute suppression of the E mute before a +consonant, which seems to prevail at present, and which produces so bad +an effect in delivery. As the evil, at the time of which I speak, was +yet comparatively unknown, he did not make it a case of conscience; but +if he never lent himself to this ellipsis, he, "the lyric Talma," "the +exquisite singer," as he has frequently been called, should we not +regard his abstinence as a condemnation from which there is no appeal? I +do not believe, moreover, that either Nourrit or Dupré authorized by +their example a habit so contrary to the rules of French versification, +so disagreeable to the well-trained ear and so opposed to good taste. +Such young singers as have yielded to it, have only to listen to +themselves for one moment to abandon it forever.</p> + +<p>It is certain that E mute can in no instance be assimilated to the +accented E; but to suppress it entirely, is to break the symmetry of the +verse, to put the measure out of time. It is unmistakable that the +weakness of the vowel, or mute syllable, concerns the sound, not the +duration. Let it die away gently; but for Heaven's sake, do not murder +it! Voltaire wrote: "You reproach us with our E mute, as a sad, dull +sound that dies on our lips, but in this very E mute lies the great +harmony of our prose and verse." Littré recognizes two forms of the E +mute: the E mute, faintly articulated as in "<i>àme</i>;" and the E mute +sounded as in <i>me, ce, le;</i>but he does not allude to an E which is +entirely null.</p> + +<p>Once more, then, that there may be no misunderstanding, let me say that +the word <i>mute</i> added to the E, has but a relative sense, in view of the +two vowels of the same name and marked with an acute or a grave accent.</p> + +<p>One fact throws light on the question: did any author ever make a +character above the rank of a peasant or a lackey, say:</p> + +<blockquote><p> "<i>J'aime' ben Lisett' J'crois qu'ell' m'en veut!"</i> </p></blockquote> + +<p>Take an example from Voltaire (tragedy of the Death of Caesar): "<i>Voilà +vos successeurs, Horace, Décius</i>." Evidently, if the E mute had not been +counted, the second hemistich of the Alexandrine verse would have had +but five syllables instead of six.</p> + +<p>Would any one like to know how the heresiarchs of the E mute would +manage?</p> + +<p>In this instance they would repeat the A of the penultimate, aspirating +it and pronouncing thus: "<i>Voilà vos successeurs, Hora ... as', +Décius</i>."</p> + +<p>In this way they would have the requisite number of syllables; but they +would be wholly at odds with the dictionary of the good actors of the +Théâtre Français.</p> + +<p>This falsification is especially common in singing, though it is no less +revolting in that field of art. How often at concerts--the force of +tradition saves us at the theatre--do we hear even artists of great +reputation pronounce:</p> + +<p>"<i>Quel jour prosp'..er' plus de mystè..er</i>," instead of: "<i>Quel jour +prospère plus de mystère.</i>" And, in one of the choruses of the opera +"<i>La Reine de Chypre</i>":</p> + +<blockquote class="poem"><p> +<span class="line">"<i>Jamais, jamais en Fran ... anç'</i><br /></span> +<span class="line"><i>Jamais l'Anglais ne régnera!</i>"</span> +</p></blockquote> + +<p>Instead of:</p> + +<blockquote class="poem"><p> +<span class="line">"<i>Jamais, jamais en France,</i><br /></span> +<span class="line"><i>Jamais l'Anglais ne régnera!</i>"</span> +</p></blockquote> + +<p>This anomaly is most offensive in the final syllable of a verse, because +there the measure is more impaired than ever, and in this way that +alternation of male and female rhymes is suppressed, which produces so +flowing and graceful a cadence in French verse.</p> + + +<h4><i>E mute before a Vowel.</i></h4> + +<p>The encounter of E mute in a final syllable, with the initial vowel of +the word which follows it, makes the defect more apparent and +accordingly easier to fight against.</p> + +<p>Delsarte's process was as follows: When a silent syllable is +immediately followed by a word beginning with another vowel, the E mute +(by a prolongation of the sound of the penultimate) is suppressed with +the next letter. Thus in the aria of <i>Joseph</i> (opera by Méhu):</p> + +<p>"<i>Loin de vous a langui ma jeune.. sexilée;</i>" and in <i>Count Ory: "Salut, +ô vénéra ... blermite.</i>"</p> + +<p>In these cases, by an unfortunate spirit of compensation, the abettors +of the innovation, suppressing the grammatical elision, sing thus:</p> + +<blockquote class="poem"><p> +<span class="line">"<i>Loin de vous a langui ma jeune ... ess'exilée."</i><br /></span> +<span class="line">"<i>Salut, ô vénréra ... abl'erm ... it!</i>"</span> +</p></blockquote> + +<p>Littré's Dictionary gives us the same pronunciation as Delsarte; and his +written demonstration is even more positive. We find <i>favorables +auspices, arbres abattus</i>, written in this way: +"<i>fa-vo-ra-ble-z-auspices, arbre-z-abattus.</i>"</p> + +<p>It is, however, very difficult to express these differences exactly, in +type: what Littré expresses <i>radically</i> by typographic characters, is +blended with most natural delicacy by the voice of a singer.</p> + +<p>Thus, according to Delsarte, the E mute of a final syllable should be +suppressed before a vowel, on condition of a prolongation of the sound, +in harmony with the penultimate syllable.</p> + +<p>According to Delsarte again, according to Voltaire, according to Littré, +the E mute is weakened, more or less, but never completely suppressed, +before a consonant.</p> + +<p>Finally Legouvé, whose voice is preponderant in these matters, whose +books are in the hands of the whole world, has never entered into this +<i>lettricidal</i> conspiracy.</p> + +<p>I hope to be pardoned this long digression, thinking it my duty to +protest against such a ludicrous method of treating French prosody; I do +so both in the name of æsthetics and as a part of my task as biographer +of Delsarte.<sup><a href="#fn6">6</a></sup></p> +</div> + + +<div class="chapter" id="p4-03"> +<h3>Chapter III.<br /> + +Was Delsarte a Philosopher?</h3> + + + +<p>If we consider philosophy in the light of all the questions upon which +it touches, the subjects which it embraces, we must answer "No;" but if +we concentrate the word within the limits of æsthetics, we may reply in +the affirmative. Did not Delsarte point out the origin of art, its +object and its aim?</p> + +<p>Not that this master never exceeded the limits of his science and his +method. He had sketched out a "Treatise on Reason," and had begun to +classify the faculties of being, entering into the subject more +profoundly than the categories of Kant; but all this only exists in mere +outline, in a technology whose terms have not been weighed and connected +together by a solid chain of reasoning: logic has not uttered its final +word therein.</p> + +<p>A separate volume would be required to give an idea of these <i>gigantic +sketches</i>, which must remain in their rudimentary state.</p> + +<p>If Delsarte had finished his work, it would seem that he must have +leaned toward the scholastic method, now so much out of favor; but +certainly he would put his own personality into this, as into everything +that he undertook to investigate; for he was held back on the steeps of +mysticism by the science which he had created, and which could only +afford a shelter to the supernatural as an extension of those psychical +faculties which have been called intuition, imagination, etc.</p> + +<p>Then the influence of Raymond Brucker, who died shortly after Delsarte, +being lessened, and conscientious and patient study having fed the flame +in that vast brain, we might have obtained affirmations of a new order. +And Delsarte might have met with thinkers like Leibnitz, Descartes and +Jean Reynaud, on that height where religion is purged of superstition +and fanaticism, philosophy set free from atheism and materialism!</p> + +<p>If Delsarte had a fault, it was that he regarded all modern philosophy +as sensuous naturalism; and if reason sometimes seemed to him +suspicious, it was because he often confounded it with sophistry, which +reasons indeed, but is far from being <i>reason</i>.</p> + +<p>Let us regret that Delsarte never finished his complete philosophy; but +let us be grateful to him for having raised his art and all arts to the +level of philosophy, by giving them truth as a basis and morality as a +final aim; which fairly justifies, it seems to me, the title of +<i>artist-philosopher</i>, which I have sometimes applied to him.</p> + +<p>I should not neglect, in this connection, to set down the explanation, +given by Delsarte, of what he meant by the word <i>trinity</i>, as used in +his scientific system. The reader cannot fail to see the elements of a +system of philosophy in this succinct statement, this outline to be +filled up:</p> + +<p>"The principle of the system lies in the statement that there is in the +world a universal formula which may be applied to all sciences, to all +things possible: --this formula is <i>the trinity</i>.</p> + +<p>"What is requisite for the formation of a trinity?</p> + +<p>"Three expressions are requisite, each presupposing and implying the +other two. Each of three terms must imply the other two. There must also +be an absolute co-necessity between them; thus, the three principles of +our being--life, mind and soul--form a trinity.</p> + +<p>"Why?</p> + +<p>"Because life and mind are one and the same soul; soul and mind are one +and the same life; life and soul are one and the same mind."</p> +</div> + + +<div class="chapter" id="p4-04"> +<h3>Chapter IV.<br /> + +Course of Applied Æsthetics.</h3> + + + +<h4><i>Meeting of the Circle of Learned Societies.</i></h4> + + +<p>Independently of its method, which was especially applicable to dramatic +and lyric arts, Delsarte's doctrine, as we have seen, drew from the +primordial sources, which are the law of things, the principles of all +poetry, all art and all science. The intense light which he brought +thence was too dazzling for young scholars, whose minds were rarely +prepared by previous education. It, nevertheless, overflowed into the +daily lessons, and gave them that peculiar and somewhat singular aspect, +which acted even upon those whose intelligence could not cope with it. +Such is the mysterious magic of things which penetrate before they +convince.</p> + +<p>But these lofty problems demanded an audience in harmony with their +elevation. Delsarte soon attracted such. Under the title "Course of +Applied Æsthetics," he collected in various places, notably at the +"Circle of Learned Societies," profane and sacred orators, and learned +men of all sorts. There he could develop points of view as new as they +seemed to be strikingly true. It was on leaving one of these meetings, +that a distinguished painter thus expressed his enthusiasm: "I have +learned so much to-day, and it is all so simple and so true, that I am +amazed that I never thought of it before."</p> + +<p>The Course of Applied Æsthetics was addressed to painters, sculptors, +orators, as well as to musicians, both performers and composers; and was +finally extended to literary men. This audience of scholars was no less +astonished and enchanted than others had been.</p> + + + +<h4><i>Theory of the Degrees.</i></h4> + + +<p>The theory of degrees was largely developed at these meetings, and I +have purposely delayed it till this chapter. To understand this +theory--one of the most striking points in Delsarte's method, and +original with him,--one should have some idea of the grammar which he +composed for the use of his pupils.</p> + +<p>I will not say that this treatise was complete in the sense usually +attached to the word grammar. There is no mention of orthography or of +lexicology; but all that is the very essence of language, that from +which no language, no idiom can escape--the constituent parts of +speech--are examined and investigated from a philosophic and psychologic +point of view. Just as the author examined the constituent modalities of +our being in the light of æsthetics, he seized the affinities between +the laws of speech, as far as regards the voice--<i>logos</i>--and the moral +manifestations of art.</p> + +<p>This production of Delsarte has undergone the fate of almost all his +works--it has not been printed. Indeed, I greatly fear that, all his +notes on the subject can never be collected; nevertheless that which has +been gathered together presents a certain development. I will not enter +into the purely metaphysical part, limiting myself, as I have done from +the beginning of this study, to making known the conceptions of Delsarte +only in so far as they refer to the special field of æsthetics.</p> + +<p>In this category, we find the following definitions which serve to +classify the quantitative values or degrees: that is the extent assigned +to each articulation or vocal emission to enable it to express the +thoughts, sentiments and sensations of our being in their truth and +proportionate intensity:</p> + +<p>1. <i>Substantive</i> is the name given to a group of appearances, to a +totality of attributes.</p> + +<p>2. <i>Adjective</i> expresses ideas, simple, abstract, general and +medicative; it is an abstraction in the substantive.</p> + +<p>3. <i>Verb</i> is the word that affirms the existence and the co-existence +between the being existing and its manner of existing: that is to say it +connects the subject with the attribute. The verb is not a sign of +action, but of affirmation, and existence.</p> + +<p>4. The <i>participle</i> alone is a sign of action.</p> + +<p>5, 6, 7. The <i>article, pronoun and preposition</i> fit into the common +definitions.</p> + +<p>8. The <i>adverb</i> is the adjective of the adjective and of the participle +(in so far as it is an attribute of the verb); it modifies them both, +and is not modifiable by either of them; it is a sign of proportion, an +intellectual compass.</p> + +<p>9. The <i>conjunction</i> has the same function as the preposition: it unites +one object to another object; but it differs from it, inasmuch as the +preposition has but a single word for its antecedent, and a single word +for its objective case, while the conjunction has an entire phrase for +antecedent, and the same for complement. It characterizes the point of +view under the sway of which the relations should be regarded: +restrictive, as <i>but</i>; hypothetical or conditional, as <i>if?</i> conclusive, +as <i>then</i>, etc., etc. The conjunction presents a general view to our +thought, it is the reunion of scattered facts; it is essentially +elliptical.</p> + +<p>10. The <i>interjection</i> responds to those circumstances where the soul, +moved and shaken by a crowd of emotions at once, feels that by uttering +a phrase it would be far from expressing what it experiences. It then +exhales a sound, and confides to gesture the transmission of its +emotion.</p> + +<p>The interjection is essentially elliptical, because, expressing nothing +in itself, it expresses at the time all that the gesture desires it to +express, for ellipsis is a hidden sense, the revelation of which belongs +exclusively to gesture.</p> + +<p>It must first be noted that these degrees are numbered from one to nine, +and that, of all the grammatical values defined, the conjunction, +interjection and adverb are classed highest.</p> + +<p>Delsarte made the following experiment one day in the "Circle of Learned +Societies," during a lecture:</p> + +<p>"Which word," he asked his audience, "requires most emphasis in the +lines--</p> + +<blockquote class="poetry"><p> +<span class="line"> "The wave draws near, it breaks, and vomits up before our eyes,<br /></span> +<span class="line"> Amid the surging foam, a monster huge of size?"</span> +</p></blockquote> + +<p>The absence of any rule applicable to the subject caused the most +complete anarchy among the listeners. One thought that the word to be +emphasized must be <i>monster</i>--as indicating an object of terror; another +gave the preference to the adjective <i>huge</i>. Still another thought that +<i>vomits</i> demanded the most expressive accent, from the ugliness of that +which it expresses.</p> + +<p>Delsarte repeated the lines:</p> + +<blockquote><p> + "The wave draws near, it breaks, and ... vomits up before our + eyes." +</p></blockquote> + +<p>It was on the word <i>and</i> that he concentrated all the force of his +accent; but giving it, by gesture, voice and facial expression, all the +significance lacking to that particle, colorless in itself, as he +pronounced the word, the fixity of his gaze, his trembling hands, his +body shrinking back into itself, while his feet seemed riveted to the +earth, all presaged something terrible and frightful. He saw what he was +about to relate, he made you see it; the conjunction, aided by the +actor's pantomime, opened infinite perspectives to the imagination; his +words had only to specify the fact, and to justify the emotion which +had accumulated in the interval.</p> + +<p>But this particle, which here allows of eight degrees, is much +diminished when it fills the office of a simple copulative. The extent +of the word or the syllable is always subordinate to the sense of the +phrase; in the latter case it does not require more than the figure 2.</p> +</div> + + +<div class="chapter" id="p4-05"> +<h3>Chapter V.<br /> + +The Recitation of Fables.</h3> + + + +<p>Some years before his death Delsarte substituted for his concerts, +lectures in which he explained his scientific doctrines and his +philosophy of art. He also supplied the place of song by the recitation +of certain fables selected from La Fontaine. He was not less perfect in +this style than in the interpretation of the great rôles of tragedy and +grand lyric poems; but it must be acknowledged, that under this new +guise, his talent could not display itself in all its amplitude; save +for the facial expression which gave the lessons of the apologue a +variety of outline of which La Fontaine himself perhaps never dreamed +... and in spite of the fine and scholarly accent which he could give to +all those clever beasts, he was, on many points, deprived of his power +and his prestige: how endow a lion with the proud poses of Achilles; and +lend the foolish grasshopper the satanic charm of Armida?</p> + +<p>Instead of noble or terrific attitudes, his gesture was confined to a +few movements of forearm or hand; of his fingers, when the intentions +were more subtle, more refined ... Still it was always most pleasant to +hear him. It was Delsarte restrained, but not diminished. If you did not +recover in his speaking voice that sort of enchantment with which his +slightly-veiled tone pierced the soul, his accent remained so pure, so +intelligent, that you were none the less ravished.</p> + +<p>When, in the fable of <i>The Two Pigeons</i>, he said:</p> + +<blockquote class="poem"><p> +<span class="line">"Absence is the greatest of ills, ...<br /></span> +<span class="line2">Not so for you, cruel one!"</span> +</p></blockquote> + +<p>He discovered shades, hitherto unknown, with which to paint reproach +mingled with grief. And when he said:</p> + +<blockquote class="poem"><p> +<span class="line">"<i>The ant ... is not a lender!...</i>"</span> +</p></blockquote> + +<p>A more affirmative and striking sense of the character attributed to our +thrifty friend, was detached from this delay, filled up by a negative +movement of the narrator's head.</p> + +<p>If Delsarte had limited himself in his lectures, to teaching men by +means of the menagerie, which was a sly burlesque of the courtiers of +Louis XIV., perhaps he might have made idolatrous partisans there as +elsewhere; but it seems as if in the exposition of his theory, he posed +rather as a censor than a teacher; he delighted in baffling the mind by +paradoxes. By annexes superimposed and ill-blended with his system, he +sometimes compromised those scientific truths whose splendor bursts +forth when they are freed from heterogeneous accessories. We cannot +otherwise explain the resistance of certain minds, distinguished +otherwise, to the recognition in him of the artist who excited the +enthusiasm of all the most competent critics and brilliant amateurs.</p> +</div> + + +<div class="chapter" id="p4-06"> +<h3>Chapter VI.<br /> + +The Law of Æsthetics.</h3> + + + +<p>However striking and superior the system of François Delsarte has been +shown to be, however admirable and attractive the manifestation of art +in his person,--herein lie not his first rights to the grateful sympathy +which we owe to his memory. His works and discoveries in æsthetics are a +benefit of general interest, while they disclose to us the fruitful +resources of his genius.</p> + +<p>In the first place, what is a law? We have here to deal, not with the +legislation decreed by man for the regulation of social and political +relations, but with those laws deduced from a natural order, as the +principle of life itself, which govern the relations of beings and of +things. In religion these laws are its dogmas and mysteries; +philosophically speaking, the laws of things are the essentials of their +nature, their specific relations.</p> + +<p>Voltaire has written: "Law is the instinct by which we feel justice." In +Littré's Dictionary we find stated that "laws are conditions imposed by +circumstances." Another has said: "The constant, uneludable succession +in which phenomena occur, takes the name of law."</p> + +<p>I would here state, that in no one of the last three citations does the +word "law" seem to me to be precisely defined. From the different +explanations of the natural laws which I have been able to compare, I +conclude that laws are forces containing in themselves the reasons, to +us unknown, of a power and permanence which are unchangeable. Plato +named them <i>ideas</i>. We must now conclude that the nature of a law, in +the present acceptation of the term, <i>can</i> be but imperfectly +interpreted by exact formulæ. Laws are still much involved in the +secrets of creation. Here must we seek their origin or origins.</p> + +<p>But courage still! Although these formulæ but imperfectly define law, +the facts suffice to establish them. They (facts) show the certain +action and, as stated heretofore, the uneludable nature of these +formulæ.</p> + +<p>But the discovery of Delsarte is the application to æsthetics of a +natural law, proven and established by science. This law is that which +governs the system of man's organism. Its present application is +justified by a series of scientifically coördinated facts. Delsarte +rests upon the principle that man is the object of art. Thus the artist +should aim to manifest <i>human nature</i> in its three modalities, in its +three phases which the master named <i>life, soul</i> and <i>mind</i>. In other +words, the beings <i>physical, moral</i> and <i>mental</i>.</p> + +<p>These three expressions figure in the work of Pierre Leroux (<i>De +l'Humanité</i>) in the following equivalent terms: <i>sensation, sentiment, +knowledge.</i> But Leroux applied to ethics this law of human organism, +whereas Delsarte derived from it the law of æsthetics. When two minds of +this stamp are thus led, each in his own way, to the same source of +analogous principles differently applied, is it not a proof that they +have stated truth? And in this case it is more than presumable that the +two men of whom I speak had never worked together. Delsarte was a +philosopher in spite of himself. With Pierre Leroux art was only an +element contingent upon a system which he elaborated.</p> + +<p>Was Delsarte led to his classification of man's nature by the doctrine +of the three persons in the Trinity combined in unity? Was he, by his +observations upon the <i>human triplicity</i>, led on to consider their +infinite development in the divine personalities? I know not, nor is it +of importance in considering the system.</p> + +<p>Leroux affirmed a relation between the unity of man and the universality +of his pantheism; both relying at the outset upon an idea at once +religious and philosophical. But the research of Leroux was +philosophically inclined, while that of Delsarte was of a character more +especially religious.</p> + +<p>Is it necessary to urge that you accept this obviously primitive +classification of the human faculties? Who, that shall have considered a +moment to convince himself, can doubt this truth,--that our sensations, +our sentiments, our understanding, are the principal elements of our +life, and that all that we are able to know of ourselves is made known +to us by them directly, or by the result of their combinations? This +consideration will soon lead us to the rational development of the +theory of Delsarte. For the present, it suffices to receive these +principles as they have been presented to us, and to admit that art +could not go far astray while following a clue leading from a law +invincible, and guiding to a science as positive as that of the +astronomer, derived from the law of attraction, or that of the chemist, +depending upon the law of affinities. Here need be no confusion. The +science is positive. The mystery of the natural law implies a +hypothesis,--even were the proposition negative.</p> + +<p>Delsarte insisted upon the influence of a religious sentiment in art, as +a part of the constitutive animating faculties of the human being. In +the light of this proposition his enemies maintain that he teaches this +heresy: that success in æsthetics depends upon a definite faith--even +upon the observance of the <i>Catholic religion!</i> This distinction between +religion and creed, between sentiment and assertion, I have followed +carefully since the beginning of my study. Delsarte was able to so +address his pupils at the beginning of a lecture, as to arouse the +apathetic, and electrify the passionate; but his teaching was far from +dogmatic. I do not say that at times, in his aspirations and dreams, +which he regarded perhaps as intuitions, this religious philosophy did +not make some incursions into the region of mysticism. I have seen at +his home charts named from the circumincession,<sup><a href="#fn7">7</a></sup> and classifying +celestial spirits; but these trans-mundane personifications found no +place in his practical lectures. They are not found in the great +synthetical chart which I possess, and which recapitulates the system as +the master arranged it in the strength of his youth and genius, free +from all mystical element.</p> + +<p>When, in 1859, I submitted to Delsarte my treatise containing a succinct +statement of his method, he said to me: "You have not followed me so far +as the angels."</p> + +<p>I replied: "I have related and recognized as truth all that I have heard +you teach upon the laws of art as deduced from the relations of the +human faculties, because I have observed and verified it among people +and upon myself. But I speak not of things which you have never shown +me, and whose existence you have never <i>demonstrated</i>. The angels are of +this number."</p> + +<p>Yet he received with no less approval my profane work. And it is the +judgment which he placed upon that essay which authorizes my resuming +the subject, augmented by further developments and evidence.</p> + +<p>I should not state with so great confidence this great truth--the +application of a natural law to a succession of discoveries constituting +a science, an incontestable innovation--were I not able to refer to +competent opinions supporting my statement. A few of these opinions I +would here quote from some of the journals I have examined, many of +which thoroughly appreciated Delsarte throughout the long period of his +teaching.</p> + +<p>It was said by Adolphe Guéroult (<i>Presse</i>, May 15, 1858): "To discover +and produce wonderful effects, is preëminently the characteristic of +great artists, but never, so far as I can learn, has it occurred to any +one, before Delsarte, to attach these strokes of genius to positive +laws." And further: "The eloquent secrets of pantomime, the +imperceptible movements which, in great actors, so forcibly impress us, +coming under the observation of this discoverer, were by him analyzed +and synthetized in accordance with laws whose clearness and simplicity +render them doubly admirable."</p> + +<p>I give also some statements from the <i>Journal des Débats</i> (May 10, +1859). Though in the following the word "law" does not appear, it bears +interestingly upon the relations of the ideas and expressions under +consideration. The quotation is:--</p> + +<p>"The audience was charmed and instructed. It applauded the new +definitions. It divined the essence of each art, and comprehended that +the various manifestations of art are classified according to the +classifications of the human faculties. It knows why each passion +produces each accent: 'because the accent is the modulation of the +soul,' and why a given emotion produces a given expression of the face, +gesture and attitude of the body."</p> + +<p>When we allow that "the classifications of the manifestations of art are +made according to those of the human faculties," do we not also allow +that they are derived from one law?</p> + +<p>Thus the <i>fiat lux</i> ("let there be light") is pronounced. Art departs +from chaos, escapes from anarchy; it acts no longer only for the +so-called artist, but also for the actor and singer, whom we are now to +consider. Art has to do with the pose of the body, a graceful carriage, +distinct pronunciation and an unconscious command of dramatic effects. +For a tenor to phrase agreeably, vocalize skilfully, giving us resonant +chest-tones, no longer suffices to gain for him the title of great +singer.</p> + +<p>The followers of art should be able, before and above all, to portray +humanity in its essential truth, and according to the original tendency +of each type. Mannerism and affectation should forever be +proscribed--<i>unless they are imitated as an exercise</i>--but all the +excellence that chance has produced up to the present time should be +incorporated in the new science.</p> + +<p>Moreover, by referring to a law the occasional successes which come to +one, it becomes possible to reproduce them at will.</p> + +<p>The essential point is to get back to the truth, to express the passions +and emotions as nature manifests them, and not to repeat mechanically a +series of conventional proceedings which are violations of the natural +law. "Effects should be the echoes of a situation clearly comprehended +and completely felt,"--such was the import of this teaching.</p> + +<p>One of the great benefits arising from the discoveries of Delsarte is +the reconciliation of freedom and restraint. If it bind the artist by +determinate rules, it is in order to free him from routine, to recall +him to the general law of being and of his own individuality. It is in +order that he may study himself, in the place of submitting to arbitrary +prescriptions. In such study every marked personality will find itself +in its native element.</p> + +<p>As for those who have no <i>vocation</i>, and in whom the "ego" distinguishes +itself so little from the multitude that it remains lost in it, it is +best that they should withdraw, since <i>they are not called</i>. They have +in view only vanity or speculation, and must always be intruders in the +sacred temple of art.</p> + +<p>"My glass is not large, but I drink from my glass," said Alfred de +Musset. Very well! let each one drink from his glass, but observe! it is +not necessary that in the true artist all should be individual and +peculiar. It is necessary only that there should exist a degree of +individuality, something novel, a distinguishing tone and an artistic +physiognomy peculiarly his own. Servile imitations, plagiarism, stupid +adaptations, put to death all art and all poetry. In literature +particularly is such decline most easy.</p> + +<p>Hoping that, from what has been said, you have been led more fully to +appreciate the advantage of seeing all of the branches of intellectual +culture led out of the ruts of routine, away from plagiarism and from +disorder and anarchy, one word upon the most distasteful and effectual +blight to which art is subject--<i>the loss of naturalness</i>, viz., +<i>affectation</i>. Can anything be more irritating than an affected actor or +singer, caterers to perverted tastes?</p> + +<p>In sculpture what is more displeasing than a distorted figure, which +aimed at grace and is become a caricature? Affectation is in the arts +the equivalant of sophistry in logic, of the false in morals, of +hypocrisy in religion. It is not extravagant to assume that affectation, +being a falsity, an active lie, is a torture to the spirit which +perceives it, and a wrong to the honest souls who endure it. It should +be, therefore, for twofold cause, banished without pity from the realm +of æsthetics. Why should the natural, which is the expression of truth, +have so great an attraction if affectation--its enemy and +incumbrance--aroused not our impatience or disdain?</p> + +<p>How is it that in children of all classes we find grace, ravishing and +inimitable? It is because in them the accord is perfect between the +look, the smile, the gesture and the impression within, of which they +are the interpreters--the adequate signs, as Delsarte would say--the +perfidious flexibility of words <i>never interposing</i> to alter the +harmony.</p> + +<p>True grace in adults is not that which is studied, nor that which is +artistically copied from a badly-chosen type. Grace is born of itself, +the natural fruit of the culture of the mind, of elevated thoughts and +noble sentiments. It is a combination of excellences which come +unconsciously to some privileged beings. To imitate beautiful effects in +nature, to surprise their expressions, after having observed and +established the relation of cause to effect,--this is the end to which +the discovery of Delsarte would lead us.</p> + +<p>As it is difficult for each to find ready at his command the elements +for such research, how can we overestimate the great value of +establishing schools in which the instruction of students of the great +art shall be guided in accordance with the established laws of +æsthetics? The time of greatest necessity is the immediate present, +since the voice of the people cries loudly through the press, "Art is +decaying and will surely die!"</p> + +<p>"Barriers are also supports," said Madame de Staël; and what more sure +support in the decadence which threatens us, than a positive science +deduced from irrefragable law! I say <i>irrefragable</i> with conviction. +Though human laws be subject to change, the laws of nature are shown to +be immutable, at least so far as the observations of learned men of all +ages have been able to establish them.</p> + +<p>To such assertions one objection arises: Why, admitting that the human +organism furnishes exact and complete means of manifesting art in all +the departments of æsthetics, should not others before Delsarte have +discovered that correlation? I have conscientiously considered and +sought light in this direction, and the result of my research furnishes +me only a negation. Although I do not here attempt a complete study of +the philosophy of art, nor a general history of the arts, I have sought +to discover all that could warrant one in presuming the discovery of a +law of æsthetics in antiquity, particularly among the Greeks.</p> + +<p>I find that in the writings of Socrates, Plato and Aristotle--who are +the best authorities--art was a dependence upon philosophy; that is to +say, one with it, having no law outside of it. (Whereas, in the work of +Delsarte, æsthetics occupies the first place, and philosophy becomes +accessory.)</p> + +<p>I will here enter into some details of the ancient teachings.</p> + +<p>Socrates gave to his teachings a practical character founded upon the +knowledge of man. He took for his point of departure man himself, and +established (according to this idea) a morality with the motto of the +temple of Delphi,--"Know thyself." This doctrine related more especially +to ethics than to æsthetics--as later did that of Pierre Leroux--and it +was far from being able to direct artists in their work.</p> + +<p>Plato often discoursed upon the True, the Beautiful, the Good. He strove +to disengage them from the concrete that he might derive some general +formulæ. To do this he employed the method of "elimination," a form of +dialectics which I recommend to no one, notwithstanding its great value +and the services it may render, after all, to those minds endowed with +patience. What does he conclude in regard to art?</p> + +<p>The Socratic and dogmatic dialogues--the <i>Phaedo</i>, the <i>Gorgias</i>, the +<i>Symposium, Protagoras, Ion, Phaedrus</i>--abound in allegories, aphorisms, +and in aspirations toward an ideal, more or less clearly defined, which +end, however, not by any means in a discussion of art, but in such +affirmations as that which closes the first <i>Hippias:</i>--"Beautiful +things are difficult."</p> + +<p>In the <i>Symposium</i> we have a philosophical discussion interposed between +two orgies. Socrates there maintains his title of sage, but it is surely +not wisdom which presides at the feast. What light upon my subject? Do +we here find any conclusive decision regarding art? No! We have instead +such statements as this: "It is possible for the same man to be both a +tragic and a comic poet." Then are made some reflections upon time in +music. We can as yet discover nothing like a law of æsthetics.</p> + +<p>In this company, where are assembled the most cultivated of the Athenian +citizens, they discuss love and jealousy of a kind that the moral +instinct of modern society can with difficulty comprehend. But these +dissertations are of no aid in the solution which I seek.</p> + +<p>And yet the spirit of Socrates at times attained to great heights. He +puts into the mouth of a woman of Mantinea the theory which saps the old +doctrine and presents monotheism. It is but one step thence to +Christianity, and it was Apollonius of Tyana, disciple of Pythagoras, +who established a connection between the idealism of the later Greek +philosophy and the spirituality of the new religion taught by Jesus of +Nazareth.</p> + +<p>Socrates, after a discussion upon those intermediate deities, whom he +called <i>daimons</i>, and among whom he places love, assigns to love an +origin and strange attributes which, to a certain extent, explain the +remarkable workings of this passion at that time. He at once exalts and +seeks to make comprehended the new god--"Beauty eternal, uncreated and +imperishable, a beauty having nothing sensuous, nothing +corporeal,--which exists absolutely and eternally." This is all.</p> + +<p>Perhaps this ideal of love, as that of philosophy, may have been +expressed in the foundation of the religious ideal of Delsarte, but this +encounter in the ethereal regions of theology and psychology--where the +human consciousness perceives nothing tangible, and whence it derives +only vague aspirations--implies no knowledge, of anything like a law, a +science or a method, such as our artist-innovator of the nineteenth +century conceived and taught.</p> + +<p>Aristotle, disciple of the founder of the Academy of Athens, divided +the sciences into three classes--logic, philosophy and morals. Within +this classification art is closely bound, but this philosopher made no +scientific demonstration of it. His workings are not those of +application and execution. More than his predecessors, it is true, he +considered the human organism and, in this, his conception bears a +certain analogy to the system of Delsarte. Aristotle, as well as Plato, +advised the study of nature, and seeking there the elements of the +Beautiful; but they had specially in view literature and eloquence. +Further than this, their precepts are counsels and have reference to no +definite law. They have not shown the links of connection between the +human faculties and the mechanism which manifests them; they have not +taught man the manner of using his organs to express artistically his +sensations, emotions and thoughts.</p> + +<p>The Greeks had every advantage of models and philosophical schools, in +which art was taught. But they had no school of æsthetics. Artists of +genius taught the schools more than they learned of them; and these +artists, so far as I can learn, have left no trace of theoretical works, +but, as before written, genius precedes and exemplifies law. While Plato +and Aristotle placed a beacon light upon the road leading to a law, they +never touched the goal. Delsarte proceeded otherwise. He starts with a +principle clearly defined and everything harmonizes with it.</p> + +<p>Have the historians and critics of the Greek philosophy discovered that +which I vainly sought in its initiators,--<i>a law of æsthetics?</i> This is +a question to be answered.</p> + +<p>Winkelmann, in his "History of Art," says: "The fine arts, in their rise +and decadence, may be likened unto great rivers which, at the point of +fullest greatness, break up into innumerable tiny streams and are lost +in the sands." Still following this imagery, he compares "Egyptian art +to a fine tree whose growth is stopped by a sting; Etruscan art to a +torrent; Greek art to a limpid stream."</p> + +<p>Now, the law of life of trees, streams or torrents, is not identical +with that which governs the unity of a human life.</p> + +<p>Like Aristotle, Winkelmann states clearly the principle that man is the +measure of all things, but he does not follow up the consequences; he +reaches no scientific demonstration upon any point. Far from +establishing the existence of a law of æsthetics among the Greeks, he +simply remarks upon the extreme simplicity of their beginnings, and +shows by what gropings they came from Hermes to the most perfect works +of Phidias and Praxiteles.</p> + +<p>Mengs states that "the first designs were of forms approaching human +semblance;" and that the sciences and philosophy must of necessity have +preceded the Beautiful in the arts. He thinks that the Greeks +established the proportions of their figures by imitation of beautiful +nature.</p> + +<p>From these two commentators we have a history of the progression of the +arts toward the Ideal. Mengs states that the Greeks and the Etruscans +have given rules of proportion and style. But progression, proportion, +style,--all of which proceeding from a fixed standard of beauty may +guide artists--the perception even of the ideal which each one +interprets in his own way--cannot be assimilated to that original law +which carries in itself all the reasons of the concept, that which +contains all conditions and means of a true execution,--<i>individual even +to the perfection of each type, general and varied as the infinite +shades of nature</i>.</p> + +<p>In response to the allegation of Mengs, that "the sciences and +philosophy must necessarily have preceded the Beautiful in the arts," I +would call attention to the fact that celebrated artists--as Phidias and +Zeuxis for example--had produced their works long before the dialogues +between Socrates, Protagoras, Hippias and others, upon the True, the +Good and the Beautiful. The great painter and the great sculptor could +only have proceeded by the intuition of their genius, knowing nothing of +a law of æsthetics.</p> + +<p>In that which remains to us of antiquity, I find nothing which implies +such an application of the human organism to the arts as that whose +discovery, promulgation, exemplification and teaching we owe to +Delsarte.</p> + +<p>M. Eugène Véron, writer of our day, and author of remarkable works on +art, far from recognizing among the Greeks a law of æsthetics, writes +of Plato: "He considered ideas as species of divine beings, intermediate +between the Supreme Deity and the world. Theirs is the power of creation +and formation.... Matter unintelligent and self-formed is <i>nothing</i>, and +realizes existence only through the operation of the idea which gives it +its form. Aristotle begins by rejecting all this phantasmagory of +eternal and creative ideas. He fills the abyss between matter and +spirit. God, pure thought and being preëminent, brings all into +existence by his power of attraction which gives to all activity and +life."</p> + +<p>We wander farther and farther from a law of æsthetics and its means of +application as established by Delsarte.</p> + +<p>Of all the writers who have thoroughly examined antique art, Victor +Cousin would seem the one with whom Delsarte had most in common, if this +eminent philosopher were not a contemporary of the master and had not +attended his lectures, his artistic sessions and his concerts. In his +manner of treating art, this is often shown bywords and forms and +flashes of instinctive reminiscence which recall the great school. In +his book, "The True, the Beautiful and the Good" (edition of 1858), the +learned professor writes: "The true method gives us a law to start from +man to arrive at things. All the arts, without exception, address the +soul <i>through the body</i>."</p> + +<p>He is on the way, but his position embraces neither the starting-point, +which is the law, nor any practical means toward an end. For the rest, +the nearer his propositions approach the law of Delsarte, the easier it +becomes to establish the radical differences which separate them. +Delsarte does not say that "the law is to start from man to arrive at +things," but that "man uses his corporeal organs to manifest himself in +his three constituent modalities,--physical, mental and moral."</p> + +<p>It is very certain that works of art, like all concrete forms, can only +be perceived by the senses. Who does not know this? But that which is +most difficult to comprehend, is the just relation of cause to +effect--as to the faculty and its manifestation,--and it is this which +Delsarte discovered and made clear. The one stated the action of art +when perceived; the other, the necessities of the artist in order that +art respond to the law.</p> + +<p>I shall have more than once to render justice to Victor Cousin. +Inheritor of the Greek philosophers, he allows dialectics too great +margin. He wanders in his premises and arrives at his conclusions--when +he can. (Here, of course, I speak only of art.) In philosophy, Cousin, +beginning with effects, from induction to induction, often arrives at +causes and states some principles. Delsarte, perhaps, proceeded thus +while seeking to combine his discoveries, but this accomplished, he +placed in the first line, synthesis, whence all emanates, and this focus +of light radiating in all directions, illumines even to its farthest +limit, the vast field of æsthetics. Cousin, after all, claims neither +for the Greeks nor for himself the discovery of a law.</p> + +<p>Proudhon, who represented the Protagorean school among us, humoring his +whim, produced a work on art. In this he declares that he has very +little gift in æsthetics, and asserts himself a dialectician, and we +cannot deny his power in logic while he regards things from a proper +stand-point. Very well! Proudhon challenged the Academy "to indicate a +<i>method</i>"--with even more reason might he have said <i>law</i> of æsthetics.</p> + +<p>Shall we, at last, find among the true critics of French literature any +synthetic basis which may guide us in all branches of art? What do I +find in "The Poetic Art," by Boileau, the great authority of the +Augustan age,--rhetoric, beautiful verses, full of excellent counsel? I +find there wisely arbitrated rules, a sieve through which it would be +well to pass the works of our own times, including the verdicts which +distribute the glory.</p> + +<p>But the means of putting into practice these valuable precepts--the +criterion to establish their truth, the touchstone which may distinguish +the pure gold--does not appear! In default of these means of certitude, +each may, according to his instinct or his pride, insist that he has +fulfilled the conditions prescribed by the author of the <i>Lutrin</i>, and +judge his rivals by the sole authority of his prejudices.</p> + +<p>La Harpe and his followers have distributed praise and blame, and at the +same time said <i>what</i> should be done, but they have given no <i>how</i>.</p> + +<p>More grievous still are the meanderings of the critics of our public +journals. They wander without compass and without rudder, approving or +condemning according to their friendships and antipathies; save those +<i>connoisseurs émérites</i>, whose fine, sure taste and exceptional +erudition are rarely able to supply a law and state a reason for their +judgment.</p> + +<p>Among us, as among the Greeks, may be found artists who have given +proofs of the existence of the supreme theory of which I now write. +Talma and Malibran--in another order, Déjazet, and Frederick Lemaître, +even Thérésa herself, have, in a greater or less degree, exemplified +this law imprescriptable. These artists, marked by nature with the seal +of their vocation, possessed that force of truth which produces sudden +bursts of eloquence, great dramatic effects; in a word, as before +expressed, "the happy strokes of genius."</p> + +<p>Yes, before and after Delsarte, there were and shall be beings +conforming by <i>instinct</i> to his <i>law</i>. But with him alone shall rest the +honor of its discovery and first teaching, and of the establishment of +the science upon strong foundations.</p> + +<p>It remains for me to examine the relations between the workings of +Delsarte and those who have treated the same questions concerning the +terms (according to him, accessory), the True, the Good and the +Beautiful; and also to consider the value of each branch of æsthetics in +the entirety of the system.</p> +</div> + + +<div class="chapter" id="p4-07"> +<h3>Chapter VII.<br /> + +The Elements Of Art.</h3> + + + +<h4><i>The True, the Good, the Beautiful.</i></h4> + + +<p>Though Delsarte be acknowledged the discoverer of the law of æsthetics, +he may have held points in common with many who before him had had +presentiments of its coming and had instinctively experienced its force. +Premonitions precede the discovery as complements should follow.</p> + +<p>The True, the Good, the Beautiful, constituent elements of æsthetics, +have been diversely interpreted. From his intellectual observatory, a +zenith whence the artist-philosopher viewed clearly the whole and the +details, he may be supposed to have gained light beyond any which could +have come to his predecessors.</p> + +<p>I will, then, resume my parallel from this point of view.</p> + +<p>The True, the Good and the Beautiful were not made, in the school of +Delsarte, objects of special teaching. By definitions, reflections and +illustrations of the master, they were shown to enter fully into the +science and method--a part of it distinguishable and inseparable. The +master, in his demonstrations, commonly employed various well-known +maxims which were always accredited to their authors. Thus, from Plato: +"The Beautiful is the splendor of the True." From St. Thomas Aquinas, +in regard to science: "In creation all is done by number, weight and +measure." From St. Augustine (for he often quoted from sacred works): +"Moral beauty is the brilliancy of the Good."</p> + +<p>But I must proceed in order. I owe it to the sincerity of my endeavor to +explain first the æsthetic work of Delsarte as shown me by his own +teachings.</p> + + + +<h4><i>The True.</i></h4> + +<p>The True Illuminates the Thought.</p> + + +<p>To determine the signification of the <i>True</i>, we must first ask what is +<i>truth?</i> It has been defined as: "A fixed principle, an axiom." The term +truth has been applied to such or such maxims; but there are few +assertions not subject to discussion or which would be accepted as +decisive without comment. They have not that piercing clearness which +determines conviction by simple apprehension or at first sight.</p> + +<p>The dictionary of the Academy is more explicit in its statement: "Truth +is the conformity of the idea to its object." But a preferable +definition is that of Madame Clémence Royer: "Truth is the concept of +the spirit in regard to the reality of things and the laws which govern +them." This philosophical statement is readily adapted to the True in +the arts, which is acquired by the observation of nature and adaptation +of the lawful ideal.</p> + +<p>How, then, may we recognize the True in æsthetics according to this +definition? The artist, first and above all, should disregard no law of +nature, but when he aspires to great works, "the concept of his spirit +in regard to the reality of things and their laws" should lead him to +idealize what he sees, translating his personal conception of the +Beautiful and the Sublime, if his flight carry him so far.</p> + +<p>The word Art is more comprehensive in that which it expresses, than the +word True. <i>Art</i> completes itself by its other elements, the <i>Beautiful</i> +and the <i>Good</i>. Plato, and the philosophers in general, treated of truth +from the stand-point of philosophy rather than of art. Still the great +Athenian seemed to believe in a sort of celestial museum, where the +artist, penetrating by intuition, was inspired by a vision, more or less +clear, of the masterpieces of divine conception.</p> + +<p>Delsarte approached in a certain sense this very idea, but his doctrine +of the True in art, although depending upon the mystic basis of a holy +Trinity, brought forth developments both rational and scientific which +leave far behind the Platonic hypothesis.</p> + +<p>In the system of Delsarte it is no longer a vague ideal dimly +perceptible, which must guide the artist in the execution of his work, +for the <i>innovator</i> says expressly that "the divine thought is written +in man himself." It is therefore at the command of every one who seeks +truth to make it manifest in art. In the new system, man being at once +the <i>artist</i> and <i>object of art</i>, literary men, sculptors and painters +proceed from a basis ever to be observed and studied, to rise from the +True to the Ideal. Here the flight must be more rapid and, above all, +less deceptive than the purely mystic fancy of Plato.</p> + +<p>We shall see in considering the <i>Beautiful</i> in the arts, that far from +giving rise to arbitrary and fantastic conceptions, the great ideal must +become, according to the science and method of the master,--the +aggrandizement and the harmony of the faculties of the human being.</p> + + + +<h4><i>The Good.</i></h4> + +<p>The Good Sanctifies the Soul.</p> + + +<p>What is the Good in art? Here again the philosophical standard bars the +way and demands priority. What, then, is <i>Good</i> independent of varied +feelings and of all the varied and contradictory interests of human +subjectivity which encumber it in the minds of the multitude of thinking +people?</p> + +<p>The Good, after this elimination, is reduced or rather elevated to one +simple idea, so general and requisite is it. The Good seems to be that +which can give to the greatest number of beings, existing in the +universe (conformably to their hierarchy), the greatest sum of happiness +and perfection, considering, for humanity, the importance of the mutual +relations of the faculties. If this be true of the Good in life, is not +a way clearly traced for art, whose mission is to embellish existence? +And, further, if it be incontestable, that man cannot transgress the +laws of his nature without wronging his intelligence and his happiness, +even his strength and beauty, how shall art merit our love and homage if +its power be exerted to excite inferior faculties and subversive +passions? Are not <i>poise</i> and <i>harmony</i> the best conditions of existence +for the human organism? That which Plato demanded for the <i>Beautiful</i> in +favor of the <i>True</i>--namely, splendor--Delsarte demanded also of <i>art</i> +in favor of the <i>Good</i>. His thought is summed up in this formula, "Man +is the object of art." Man, being artist, becomes the agent of +æsthetics. Man, in his humanity, is the goal toward which should tend +all the efforts and experiments of the art-moralizer.</p> + +<p>The master maintained the possibility of reaching this end by two +opposing ways, not contradictory; <i>i.e.</i>, the production of the +Beautiful under its physical, mental and moral forms; and by the +manifestation of the Ugly under the same forms, exhibiting what he +called the <i>hideousness of vice</i>. Immorality may be rendered poetical +and artistic, because of its being a corruption of the moral, often +preserving the imprint of its origin, even throughout its greatest +errors. Its agitation, its combats and its defeats interest the judgment +and the heart. The Ugly or unseemly, morally speaking, is the synonym of +vice.</p> + +<p>The Ugly in the language of the arts has many diverse significations. It +is in these shades and variable proportions that it affects our subject, +but the depicting of repulsive things, foreign to morality, to +sentiment and to passion, has no right to exist in æsthetics. It may be +possible to cure a vice by showing its hideousness. But does this +warrant such exciting of the disgust of the senses? It is an outrage to +the worship of the Beautiful, without compensation of any kind.</p> + +<p>There can be no advantage to humanity in exhibiting the hideousness of +disease or the monstrosities of certain natural phenomena! Open to them +the museums of comparative anatomy, but close the galleries consecrated +to the fine arts! There exist also monstrosities which are not included +in these categories; they present no moral danger, but are disagreeable +and repulsive to good taste. They consist of fantastic forms, in +accordance with the spirit of an inferior civilization, reminding one of +the misshapen and gigantic prehistoric animals, whose bones astound us, +and which disappeared from our globe that man might appear.</p> + +<p>Among cultivated contemporaries these eccentricities spring from an +inclination toward originality, caprice, grotesque taste; from a similar +impulse to that which directs literature toward burlesque and parodies, +and the plastic arts toward caricature. Such productions may please some +distinguished and intelligent natures which cannot have been highly +favored in the distribution of the delicacies of sentiment and the +exquisite graces of wit. In a word, the art indulging in this class of +manifestations acts according to the <i>mode simpliste</i>. I borrow this +term from Charles Fourier, and I say once for all, that by it I mean not +the entire, but the almost exclusive predominance of one or the other of +the modalities of the human being. Here the <i>simplisme</i> being altogether +intellectual, while it is inferior to manifestations in which the being +expands harmoniously, it wounds no essential in the synthesis of the +<i>me</i>; while a predomination of the sensual to the same degree is most +pernicious to that which delights in it and antipathetic to those who do +not live solely in the material aspects of existence.</p> + +<p>Existing among the elements of æsthetics, as the faculties of man, are +certain dependencies, connections, affinities, penetrations, which +render an abstraction of one of them almost impossible. Thus I have +anticipated allusions to the Beautiful in considering the Good. By thus +connecting them, the better to distinguish them, I have reached the +conclusion that moral evil should never be manifested in the arts unless +with the view of redressing it. In this case the better its real +characteristics are studied, the more strongly they are accentuated +throughout, the more successful the work will be from the plastic point +of view, and the more power it will have to repel those inward wrongs +which it denounces, and this even though the intention of the artist +should not touch this result.</p> + + + +<h4><i>The Beautiful.</i></h4> + +<p>The Beautiful Purifies the Emotions.</p> + + +<p>At first glance, it might seem the privilege of each one to say, "The +Beautiful is that which appears to me as such." I believe in this +regard, that the most capable artist, should he be also the most perfect +logician, would never be able to persuade sainted and simple ignorance +that it should not remain firmly grounded upon faith in its own +impressions.</p> + +<p>Place Hugo, Mercié, Bonnat, Saint-Saëns, Massenet, Joncières in the +presence of simple countrymen--or, what is worse still, of inferior +artists and critics, of pretentious amateurs--and you will see by what +supercilious, incredulous gestures, being incapable of argument, this +satisfied ignorance will repel all assertions of the great authorities.</p> + +<p>Should we, therefore, disregard this reluctance to recognize the +features of the Beautiful in great works? We must at least deduce from +it the fact that the effect of art depends upon some relation between +the observer and the thing observed.</p> + +<p>Notwithstanding the reality of the beauties of such or such a work, in +the eyes of many appreciators, the subjectivity of each observer should +remain decisive, <i>vis-à-vis</i> to himself, as long as he cannot be +convinced by the authority of a law; and, finally, it is imperative that +his comprehension of that law should be rendered possible by preliminary +studies. On the contrary, shall that which has been recognized as +beautiful by the initiated ever since artists created, and enlightened +criticism discussed and judged it, appear now before uncultivated +criticism as without authority?</p> + +<p>In default of law and science, there is a sort of universal consent +among competent thinkers; and their appreciation of the highest class of +works is maintained by a process of adhesion carried on by every +conversion from ignorant blindness to the light of appreciation.</p> + +<p>The question of subjectivity in the declared judgments in æsthetics has +given rise to incessant controversies which began, perhaps, among the +Greeks and are going on among us. Though no absolute decision has been +reached, some excellent maxims have resulted. In default of an +irrefutable definition of the Beautiful, there have been given us +images, analogies and thoughts upon the subject which approach and +prepare for such definitions:</p> + +<p>Victor Cousin has said: "It is reason which decides as to the Beautiful +and reduces it to the sensation of the agreeable, and taste has no +further law."</p> + +<p>"Aversion accompanies the Ugly (unseemly) as love walks hand in hand +with the Beautiful."</p> + +<p>"The Beautiful inspires love profound but not passionate."</p> + +<p>"The artist perceives only the Beautiful where the sensual man sees only +the attractive or frightful."</p> + +<p>And, again, "That is sublime which presents the idea of the Infinite."</p> + +<p>This last thought brings us to Delsarte, who, perhaps, was its +inspiration.</p> + +<p>The following valuable thoughts of the master, while not related +scientifically to his system, are still allied to its physical and +philosophical aspects:</p> + +<p>"Form," says the innovator in æsthetics, "is the vestment of substance; +it is the expressive symbol of a mysterious truth; it is the stamp of a +hidden virtue, the actuality of being; in a word, form is the plastic of +the Ideal."</p> + +<p>"The Beautiful is the transparency of the aptitudes of the agent, and it +radiates from the faculties which govern it. It is order which results +from the dynamical disposition of forms."</p> + +<p>"Beauty is the reason which presides at the creation of things; it is +the invisible power which draws us and subjugates us in them."</p> + +<p>"The Beautiful comprises three characters, which we distinguish under +the following titles: Ideal, moral and plastic beauty."</p> + +<p>By the enunciation of these three categories, Delsarte enters upon the +positive aspect of his system. As the result of the careful examination +of the aptitudes or faculties of the Ego, approachable by analysis and +applied to æsthetics, he has established this first class of +manifestations (ideal beauty) as requisite to art. This must result from +a combination of the faculties; the possibilities of combination being +infinite, but always in subjection to the human being. The artist, +according to this personal power of inspiration, should be able to +portray a totality of superior and harmonious qualities, such as will +oblige any competent observer to recognize it as beautiful. We have +taken a step into the realm of the Ideal; that is to say, we have +touched that which, without departing from the law, surpasses +conventional rule and the natural types accepted for the Beautiful.</p> + +<p>Before following the Ideal into its ethereal region, we will further +consider the nature of its foundation, which is a combination of the +three mother faculties which Delsarte declares to be, in æsthetics, the +criterion of the law and the foundation of the science. We already +recognize these as the physical, mental and moral aspects of the human +being.</p> + +<p>The plastic art allies itself particularly to the physical constitution, +but the physique cannot be perfectly beautiful unless it manifests +intellectual and moral faculties.</p> + +<p>Moral and intellectual beauty reveal themselves in the human being under +the empire of passion and of sentiment, and the physique is momentarily +transformed. The artist should seize beauty at this moment of fullest +perfection, above the normal conditions of human existence and perhaps +beyond possible plastic beauty.</p> + +<p>Behold what glorious possibility for the direction of the artist's +aspirations toward the Beautiful! But even this happy chance by no means +includes all of the possible conceptions of the Ideal, and neither does +it furnish us any absolute idea or definition. This vision of beauty, +made ideal by exaltation of the intelligence and the emotion, can only +be perceived by the artist of practiced observation and of that +intuitive perception which is the gift of nature.</p> + +<p>Again considered, the Ideal, being relative as well as the Beautiful, of +which it is the exuberance, we must remember that the word is far from +corresponding to an idea of absolute beauty. Thus the Ideal of an +ordinary taste is not so high as that of a person whose standard of +beauty is superior, and the two will be very distant from the image +conceived by the pen, the chisel or the brush of a great artist. In many +cases the Ideal is nothing but a searching for the intention of nature, +obliterated by the circumstances and accidents of life. Then the task of +the artist should be to reëstablish the type in his logic--a vulgar face +may be portrayed by a skilful brush--and, while preserving its features, +there may be put into it the culture of intellect and noble sentiments.</p> + +<p>An artist, for instance, will see in a woman, whom time has tried, +certain elements of beauty which enable him to portray her nearly as she +was at the age of twenty years. He should be able to divine in the young +girl, according to the normal development of her features, her +appearance at the complete unfolding of her beauty. Yes; in these +different cases the artist shall have idealized, since he shall have +comprehended, penetrated, interpreted and rectified nature. Still, he +may not yet have attained to the comprehension of perfect beauty, such, +at least, as human emotion and intellect can conceive, and such as we +love to imagine as inhabiting the superior spheres of the universe of +which we know nothing further than the dictate of our reason, namely, +that they are inhabited by beings more or less like ourselves.</p> + +<p>When these sublime effects appear in art, it is as though a veil were +torn, revealing glimpses of a world of ideas, emotions and impressions, +surpassing our comprehension, approachable only by our aspirations.</p> + +<p>Thus, Delsarte, superior to his science, has shown us the artist in full +possession of all that he has acquired, and the inmost charm of that +which is revealed to him. In execution he proved this truth: If talent +may be born of science, it is genius which distinguishes the highest +personalities, and to merit the title of high artistic personality one +must contain in himself an essence indescribable, unutterable, which +constitutes the aureole of grand brows, and the sign luminous of great +works of art.</p> + +<blockquote class="poem"><p> +<span class="line">Thus, as virtue, art has its degrees.</span> +</p></blockquote> + +<p>Art, in its most simple expression, is the faithful representation of +nature. If the conception of a work or of a type is elevated to a degree +of perfection which satisfies at once the plastic sense, the emotion and +the intellect, we will call it Grand Art.</p> + +<p>Finally, if, in the presence of a creation, we recognize perfect +harmony (which goes beyond perfect proportion); if the work call forth +in us that contemplative ecstasy which gives us the impression and, as +it were, the vision of pure beauty, shall we not recognize Supreme Art?</p> + +<p>The system of Delsarte responds to all these desiderata of æsthetics. In +his law he gives us the necessary bases; by his science he indicates the +practical means, by his method and illustrations he completes the +science and demonstrates the law. Where is place left for doubt or +contradiction?</p> + +<p>He stated what he knew and how he had learned it. In his recitals +occurred innumerable beautiful proofs of his greatness and simplicity, +oftentimes more convincing than lengthy, involved argument could ever +be.</p> + +<p>Some may ask: How can a positive science lead toward an ideal which +cannot be touched, heard not seen? Would not this science be the +antipode (some would say <i>antidote</i>) of the mystic dreams of Plato and +of Delsarte himself?</p> + +<p>Reply is easy. Delsarte recognized in our mental consciousness that +desire for research into the unknown which would sound the mysteries of +nature. He did not disregard that intuitive force of imagination which +can often form from simple known elements the concept of conditions +superior to the tangible.</p> + +<p>Between this nature, which we hear and see and touch, and that nature +which the artist feels, imagines, and to which he aspires, Delsarte has +placed a ladder whose base is among us, and whose summit is lost in the +infinite spaces of fiction and poesy. By this ascent into the realm of +liberty, of personality and of genius, the elect of æsthetics shall +mount and gain, and, still maintaining their relations with the Real, +shall bring down to us the glorious trophies of their art.</p> + +<p>Delsarte, foremost among men, had climbed the magic ladder. His +exquisite harmonies in the dramatic art and lyric declamation were +beautiful indeed, but the æsthetic beauties which he brought forth in +the roles that he interpreted, must, alas! disappear with him. He has +left us the bases of his science, but who shall so beautifully tread the +way--reigning by song amidst a thousand accents of devoted enthusiasm!</p> +</div> + + +<div class="chapter" id="p4-08"> +<h3>Chapter VIII.<br /> + +Application of the Law to the Various Arts.</h3> + + + +<p>We have now to consider each branch of æsthetics in the totality of the +system, to be assured whether or no this law discovered by Delsarte +covers all departures in the domain of art. First, then, the +starting-point around which all is centered and from which flow all +developments.</p> + +<p>"Man is the object of art." This proposition applies as readily to the +conception of literature, poetry and the plastic art as to the more +active manifestations of the dramatic, oratorical or lyric art. Man +being thus the object of art in all of its specialties, the part of the +artist is to manifest that which is revealed to him, through his three +essential modalities,--physical, moral and intellectual (in the words of +Delsarte, life, soul and spirit, with the divisions and subdivisions +that they allow), as has been clearly stated in the chapter upon "The +Law of Æsthetics," and further confirmed in the one upon "The Bases of +the Science." But though all of these primordial modalities appear in +each concept and in all artistic manifestations, the proportion in which +each appears is indefinitely variable. It is a predominance of one or +another of these which classifies and specializes. It is the harmony, +more or less perfect, of the components of this triple unity which +determines the value of artistic manifestations. Under this law, then, +come all of the arts, inasmuch as each, differing in subjects treated +and in means of execution, still has a common mission, namely, the +revelation of impressions, the intelligible expression of the thoughts +and feelings of man. To be more clearly understood, I will from this +point consider separately the different branches of æsthetics.</p> + + + +<h4 id="p4-08-1"><i>Art--Dramatic, Lyric and Oratorical.</i></h4> + + +<p>The proclivities necessary to an artist, actor or orator (intelligence +being the first consideration and beauty of minor importance) are: +expansion, sensibility or at least impressionability; a ready +comprehension of the works to be interpreted, if not the requisite +capacity to execute them. One's particular vocation (or congenial line +of work) is the first condition in either of these departments of art, +and into the consideration of this must enter that of physical beauty +such as the roles demand; always considering what has been named "the +physique" of the situation. In a word, these three aspects of art +correspond to the predominance of that modality which Delsarte calls +"life;" this with the complementary share of the other essentials to +maintain a symmetry; this for the average "chosen." As to the +individuality necessary for the creation of a rôle, general statements +cannot apply. It is one and entire for each. Should it reproduce itself +identically, it would no longer be individual. The strength of a +powerful individuality lies in the revelation of a type <i>sui generis</i>.</p> + +<p>Thus Delsarte can never be reproduced. If by an impossibility an artist +having seen him, and being penetrated by his method, could assimilate +the sum total of his acquired qualities and his inmost purposes, still +he could be but a copy, however perfect, since personality cannot be +transmitted. I could not pursue the demonstration of the application of +the laws of the human organism to the generality of the liberal arts +without meeting an objection which we will consider just here. Some one +says: If the law of art is the same as that of the human constitution, +what need that Delsarte teach that law--will it not suffice for each +artist-nature to study himself in order to determine satisfactory means +of transmitting (to spectators, audiences or readers) the thoughts, +passions or emotions which he would reveal, either by his pen, his +chisel, his brush, or by the fictitious personages which he incarnates? +I answer, No! The expression of nature by gesture, face, or voice will +not come to the artist by inspiration nor by reflection, especially in +extreme situations. He may chance upon agreeable effects, and even +moving expressions, but rarely does a just and telling expression of +that which he would express result from mere chance. Caustic truth or +knack--more vulgarly, cheek--comes of influence outside of one's self. +Upon one occasion Madame Pasta was heard to say: "I would be as +touching as that child in her tears. I should, indeed, be a great +artist if I could imitate her."</p> + +<p>Rare, indeed, are the artists who know how to weep. The sublimity of art +responds to nature's simplest impulses. By the study and work of +Delsarte a science has been created, every fleeting sign of emotion has +been fixed, and may be reproduced at will; and this for the instruction +of the artist who may never have observed them in another, nor himself +felt the impressions which give rise to them.</p> + + + +<h4 id="p4-08-2"><i>Application of the Law to Literature.</i></h4> + + +<p>It is hardly necessary to state that the predominance of one of the +primordial faculties in the actor would necessarily differ from that in +the author of the drama or opera which he would interpret. Literary +capability presupposes more or less of philosophical aptitude and a +predominance of the intellectual faculties, and this not to the +exclusion of a certain amount of artistic and moral development in the +truly great writers. It is in the field of literature especially, +that man attains to a <i>creation</i>; and whether his <i>object</i> be a +fellow-creature or an extended and enlarged ideal,--in either and any +case facts have furnished repeated and incontestable evidence, in +support of the statement of Delsarte, that art is always defective +unless it be the product of the three essential modalities of being, +acting in their relative proportions. This statement is not to be +contested; but here again these relations would vary among the writers +upon science, ethics and poetry.</p> + +<p>The epic, most synthetic of literary productions, is no longer in +fashion, because, perhaps, of the growing rarity of heroes. On the +contrary, <i>simplisme</i> is now deforming the greatest germs in the drama +and romance. The weakness often lies in the morality of the production, +or rather in its lack of morality, often so lacking that the author +sinks to the level of producing repulsive works and cynical pictures.</p> + +<p>In view also of man's essential faculties, but from another point of +view, St.-Simonianism classed men as scholars, artists and artisans. +Then were added the priests of a new order whose nature, more perfectly +balanced, was to furnish the model type of future humanity. This +classification had brought thinking people to the consideration and +criticism of a system isolating and concentrating all development upon +one or another of the faculties. It was readily seen that thus sentiment +would rush to folly; sensibility without a corrective would soon become +weakness; unbalanced industry would lead to disregard of health and +strength, while the triviality of the sensual nature, unrestrained by +mental or moral activity, would soon fall into hopeless degradation. +Herein was <i>simplisme</i> most bitterly condemned. Delsarte, ever studying +relations between coincidences in art and the revelations of nature, +arranged a typical demonstration, as ingenious as logical, of the +action and play of opposing faculties. By most wonderful pantomime he +showed a man tempted to sin; then, touched by pity for the victim of his +desire, at last transformed by the intervention of the moral sense, he +came by slow gradations to most elevated sentiments. One saw clearly the +courage of resistance and triumph in the sacrifice. Then, taking an +inverse progression, he slid from this height to the opposite extreme of +culpable resolutions.</p> + +<p>Delsarte was the author of this mute scene which contains the elements +of a drama. The contemplation of this wonderful effect leads to the +conviction of the great value to literature of the fundamental law, +which may be applied to any and all literature, as a permanent criterion +by which productions may be classified and judged, in their departure +from the <i>simpliste</i> form and approach to a conception in which the +constituent modalities of being act in harmonious accord. Here, again, +we have a fresh distinction between scientific and ethical literature, +and that which may be termed the <i>literature of art</i>. To this latter +class belong romances, dramatic productions and poems--works made up of +shades of meaning and just proportions, which should be based on clear +and sound philosophy, prudently disguised but indisputable and +imperishable. Here is place for the grace of an agreeable wit and the +elegant flexibility of a fruitful pen. More imperative than in any other +class of writing is the demand for individual touch and that harmony of +construction depending upon the proportionate relations of those +elements of æsthetics,--<i>the True, the Good</i>, and <i>the Beautiful</i>. Thus, +through æsthetics, it is elevated.</p> + +<p>To this literature of art belong the sonnet of Arvers, and "The Soul," +by Sully-Prudhomme. Musset, in his grace or pathos, is not inferior to +Victor Hugo. There are, even in his faults, certain effective boldnesses +to which the author of "Nôtre Dame de Paris" cannot aspire. Whence, +then, comes the immense distance between these poets? It lies in the +fact that Victor Hugo, while he is a finished artist, shows himself also +a thinker, philosopher, man of science and erudition. Endowed with a +profound humanitarian feeling, he is preoccupied with the evils of +society, with its rights, its mistakes, its tendencies and with their +amelioration; while the poet of "Jacques Rolla"--a refined +sensualist--devotes his verse to the unbridling of the torments of +imagination in delirium, to the agitations of hearts which have place +only for love.</p> + +<p>If comparison be made between novelists and dramatists of diverse +schools, why has not M. Zola, who in so many regards should be +considered a master, attained the heights of eminence upon which are +enrolled the names of Shakespeare, Molière, Corneille, Schiller, Madame +de Staël, and George Sand? It is because M. Zola, profound analyst and +charming narrator, even more forcibly than Musset breaks the æsthetic +synthesis by the <i>absence of morality</i> in his writings. His fatalism +arrests the flight of that which would be great; he corrupts in the germ +wonderful creative powers! M. Zola's great lack lies in his considering +in man his physical nature only. Between mind and matter he holds a +magnifying lantern full upon the lowest molecules, and rejects +disdainfully the initiating atom that Leibnitz has signalized as the +centre of life. M. Zola has created a detestable school which already +slides into the mire beneath the weight of the crimes which it excites +and the disgust which it arouses. Should we blame Zola and his disciples +for the danger and the impotence of this method? Should we not impute +the wrong in greater measure to philosophical naturalism?</p> + +<p>In considering <i>materialism</i> and <i>naturalism</i> let us not lose sight of +the fact that while materialism is <i>simpliste</i>, naturalism (in so much +as it represents nature) is essentially comprehensive and necessarily +synthetic; harmony of force and matter being an invariable requisite of +<i>life</i>.</p> + +<p><i>Realism</i>, another term strangely compromised, seems to proclaim itself +under the banner of materialism, while the <i>Real</i>, implying the idea of +the <i>True</i>, cannot be contained in <i>simplisme</i>. It is a most pernicious +evil that writers, calling themselves realistic, still concentrate their +talent upon the painting of vicious types and characters drawn in an +infernal cycle of repulsive morals.</p> + +<p>"Man is the object of art." Never could the words of the master more +appropriately interpose than before the encroachments of literary +<i>simplisme</i>. The man of whom Delsarte speaks is not confined to such or +such a category of the species. He proposes that æsthetics should +interpret an all-comprehensive human nature, which is not made up alone +of baseness, egotism and duplicity. Though it be subject to perversion, +it has its luminous aspects, its radiant sides, and we should not too +long turn our eyes from them.</p> + +<p>Artistically, evil or the Hideous (which is also evil) should never be +used except as a foil. There is no immorality in exhibiting the +prevailing vices of the epoch, but this is the physician's duty. The +evil lies in presenting these evils under such forms as may lead many to +enjoy or tolerate them, giving them the additional power of a charming +style and the specious arguments of fatality. This is precisely the case +of M. Zola. The glamor of his disturbing theory, which annihilates free +will, gives to his works a philosophical appearance. He conceals its +vacuity beneath forms of a highly-colored style, an amiable negligence +and a facility that is benumbing to thought. As he asserts nothing, no +one dreams of contradicting, and one finds himself entwined in a network +of repulsive depravity without a ray of healthful protection or +correction. In comparison with the blight of this disastrous system of +fatality, the coarseness of the writer's language, so loudly censured, +is relatively unimportant. The <i>simplisme</i> of M. Zola is not absolute, +as but one of the three constituent modalities is omitted, that one +being morality. The lack is, however, no less fatal, inasmuch as the +void produced by the absence of one of the noblest faculties of human +activity must usually be filled by disturbing forces.</p> + +<p>I have heard the theory, "art for art," supported by men otherwise very +enlightened. "An artistic production need not contain a moral treatise," +they say, and this is quite true, provided the artist be a quick +observer, possessing talent sufficient to handle his subject +harmoniously. Vice carries its own stigma, and pure beauty surrounds +itself with light. The author should be able readily to distinguish the +one as well as the other, and his precepts should come as the harmonious +result of his experience. But such a work, at the mercy of an +ill-balanced brain and unhealthful temperament, must yield bad fruit. +Talent without broad and true knowledge of <i>reality</i>, or that which +<i>is</i>, instead of being invented, is incomplete in its workings and +results. Its creations resemble the light of the foot-lamp, of +fireworks, of the prodigies of our modern pyrotechnists--pleasing for a +time, dazzling, captivating, intoxicating! But lost in the life-giving +beauty of a summer's night or a glorious sunset, we are tempted to cry +out with the poet,--</p> + +<blockquote class="poem"><p> +<span class="line">"Nothing is beautiful but the True."</span> +</p></blockquote> + +<p>What can be said of the other <i>simplisme</i> which, in its search for the +True, ignores the Beautiful while it disregards the Good? Again, its +partisans seek artistic truth in its very worst conditions. Why paint in +full sunshine, if the intense light obliterates details and confuses the +shadows? Does it seem a difficulty conquered? It is far oftener a +disguised insufficiency. If my reference to painting seem premature, it +is because I wished to borrow an image to show how equally grievous was +the faulty touch of many of our writers of renown. Many among them seem +striving to propagate the culture of the Mediocre and Unseemly, as a +thousandfold easier practice than the religion of the Beautiful.</p> + +<p>My present aim is to show clearly the influence of even incomplete +<i>simplisme</i>, in certain pernicious effects upon literature. Edgar A. Poe +entered the realm of the fanciful after Hoffman, and how is it that the +initiator is less dangerous than his disciple? It is because of these +two <i>simplistes</i>, who have put reason out of consideration, the first +addressed himself only to the imagination, while the American poet +sounded the emotions to depths where terror is awakened and madness +begins to sting. Hoffman has perhaps upon his conscience some readers +confined in asylums for the deranged, but the far more perilous +hallucinations of Poe must account for greater harm. The distance is +great between imagination and sentiment, and should be so regarded. This +extravagance should surely not be allowed to usurp the place of +morality, but this is what is done, and greatness is not for them.</p> + +<p>Another illustration lies in the transition intermediate between the +romances of Balzac, Frederic Soulié, Emile Souvestre, and Eugène Sue, +and the poetry of Victor Hugo, Lamartine, Béranger, Barbier and the +<i>impressionalist</i> school whose decline is already at hand.</p> + +<p>Of many names, which have acquired notoriety, I select the two which +afford the best contrast,--Charles Baudelaire and Jules de la Madelène. +The first, among other eccentric works, has left us "The Blossoms of +Evil." In the ideas which it embraces it is the successful production of +an imagination misled and in distress; a pathological experience +probably prompted the conception. In it one reads beautiful verse of +scholarly construction, and readily perceives an individuality and +originality of thought and expression; but no one would predict or +desire that this production should pass to posterity.</p> + +<p>"Le Marquis des Saffras," by Jules de la Madelène, on the contrary, +gratifies both judgment and feeling. It is a spirited painting, acute +and profound, as well as true, of human life, especially of provincial +life. The human being is revealed in all his aspects. Though the author +disguises neither errors nor weaknesses, he presents clearly the +redeeming side--the simple manners and the humble devotion of sincere +hearts. This, then, is the reason <i>why</i>, sustained by a style rich in +grace and strength, full of the breath of poetry which is felt rather +than described, "Le Marquis des Saffras" holds its place as an +incontestable masterpiece in the choice libraries that preserve the +renown of great writers.</p> + +<p>A more careful examination of the doctrine of Delsarte--"The necessity +of the concurrence of the mother modalities of the human organism to +fulfil the conditions of æsthetics"--but forces the conviction that +disregard of this requirement renders all sterile and incomplete, if not +monstrous. Is this equivalent to saying that the deductions from the law +of Delsarte tend to condemn in French literature its simple gaiety, its +graceful lightness, and to efface this stamp of the race that our +ancestors have surely imprinted?</p> + +<p>In works of the imagination the omission of moral meaning is often more +seeming than real, and every good reader should be able to recognize +this. However, this negligent seeming is far less hurtful than brilliant +wit concealing crudities and modifying boldnesses. Writers of this class +do not lose sight of the fact that, while the French character has its +audacities (contrary to the modifications of æsthetics), our language +possesses a proverbial chastity, which, even in its farthest wanderings, +genius comprehends and respects. Tact and taste suffice to him who +consults them to escape grossness of language. The delicacy of the +allusions leaves their images in a transparent mist; the very elasticity +of the equivocation furnishes a refuge for the thought which it +disquiets.</p> + +<p>By art some most delicate subjects, very nearly approaching license, +have been pardoned. We would surely exhibit a tyrannical and morose +humor to condemn to be burned <i>en place de Grève</i>, by the hand of the +executioner, the romances of <i>Manon Lescaut</i>, and <i>Daphnis</i> and <i>Chloe</i> +by Longus, as they have been transmitted to us by Paul Louis Courier.</p> + +<p>But when literature, realistic or materialistic (or whatever they please +to call it), freeing itself from moral accompaniment, shows itself +negative or weak in its creations; if it be <i>simpliste</i> to the point of +appealing exclusively to the senses, limiting its means of action to the +development of the egotistic and instinctive side of the human +passions,--its works have no longer right of consideration in æsthetics. +The consideration of the physical being should surely figure in all +representations of life, but it is not necessary that from a subordinate +consideration it should ever be made all-governing. The body, the +essential part of our personality, is the companion of our higher +faculties. We should be mindful of it, making it as beautiful as +possible, but giving it the reins would be even worse than giving power +absolute to the imagination.</p> + +<p>Once more, <i>impressionalism</i>, without the control of science and of +reason, has nothing to claim in the spheres of the <i>True</i>, the <i>Good</i>, +the <i>Beautiful</i>.</p> + + + +<h4 id="p4-08-3"><i>Application of the Law to Architecture.</i></h4> + + +<p>The productions of architecture, like those of literature, have their +origin in the realm of thought. Architecture is not, like the dramatic +art, in subjection to the person of the artist. It is one of the plastic +arts, and of them the most synthetic by reason of the number of agents +concurring in its harmony. Its dependence upon form is akin to that of +sculpture, while the value of color in its effects is only less than in +the art of the painter.</p> + +<p>This art, essentially comprehensive, demands of its masters varied +knowledge and that power of coördination which, according to the learned +philosopher Antoine Cros, is the highest function of the human +intellect. The relation of æsthetics to the totality of the faculties is +here more evident than ever. After the manifestation of <i>mind</i> in the +composition of the plan, the architect's next duty is to please the eye. +To this end he employs marble, stone, wood, bronze or gold, and the +result is that element of the symphony which responds to sensation. The +third and only remaining element of the trinity is sentiment. In order +that, rising above its utilitarian purpose, appropriateness and +mathematical rules of stability, the architect may fulfil the +requisition of æsthetics and arrive at the "Grand Art," the remaining +element as well as the other two must be perfected in result. The +perfection of this element of sentiment is shown in the work by the +impression of grandeur or elegance, of grace, severity or delicacy. The +triple necessity thus filled, the result is truly a work of art.</p> + + + +<h4 id="p4-08-4"><i>Application of the Law to Sculpture.</i></h4> + + +<p>The relation of Delsarte's system to sculpture has already been alluded +to. Its application here lies principally in the realm of form. The +sculptor aims to reproduce finest proportions of face and figure. He +delights in a beautiful contour and, as Mengs has said, "in lines +undulating and serpentine," while he studiously avoids all simple +straight lines.</p> + +<p>The more limited range of outlook demands more studied beauties and more +significant expressions. The statue--unlike the monument, which at once +arouses spontaneous emotions in the spectator--should express the human +being, his sensations, his affections, his passions and struggles, and +should arouse an enthusiasm of admiration while it awakens sympathetic +echoes in the heart of the observer. Here more strikingly than ever must +we recognize "Man the object of art." In the light of this truth we +should demand of sculpture the manifestation of the human life with its +constituent faculties, not in a perfectly equal accord which is never +met in nature, but with such predominance as the subject presents.</p> + +<p>In Greek art the predominance is of the physical aspect. They had before +them exquisite models of plastic beauty; not the sensual beauty which is +fleshly, but a plastic beauty consisting of harmony of line and form. +Let us further consider this difference as shown in comparison of the +Apollo and the Bacchus.</p> + +<p>The Apollo satisfies alike the intellect and the eye by its beautiful +outlines. [We are not yet ready to discuss beauty of expression.] The +Bacchus less ideal and more humanly natural cannot so satisfy a highly +æsthetic temperament. In neither work is there much of sentiment +expressed. The distinctively moral side plays a secondary part, unless +we consider beauty itself a moral factor,--a theory that may be +sustained. In neither beautiful marble is there revealed any sensual +dominance, though the Bacchus, notwithstanding its plastic superiority, +rather inclines that way. The Apollo has been loudly extolled for the +pride of its attitude and its divine calm in the encounter with the +serpent Python; and still it is said that "a god could not have cause +for so great pride in the conquest of a reptile." But the art-critics +have exaggerated the import of the figure, which is wonderfully +beautiful without being accurately expressive. The civilization of the +new era has developed in man moral and physical qualities, which furnish +new expressions by which the artist may set forth that part of human +life which Delsarte called "the transluminous obscurities of our inmost +organism." Dating from this epoch we find in sculpture less of plastic +beauty and more spiritual and touching expression. Who would compare the +pathos of the Laocoon to that of Canova's Magdalen? The sculptor +Marcello (Mme. de Castiglione), too early removed from an artistic +career, exhibited certain creations which illustrate this difference. +Among them is a bust, in marble, of an Arab chief, which is after the +style of the antique, beautiful lines, without expression (a +predominance of the physical element). In her "Weary Bacchante" she +shows beauty tarnished by vice, and here the predominant expression is +sensual. But in her "Marie Antoinette in the Temple Prison," as in +Mercié's "David" and the "Dying Napoleon," it is not the marvelous +beauty which entrances us, but first and above this reigns the power of +<i>expression</i>.</p> + +<p>Sentiment is become predominant. In the "Marie Antoinette," what bitter +disappointment! In the "Napoleon," what disillusion with the toys of the +world in which he had reigned! In the "David"--Biblical subject treated +by a modern chisel--what strange impressions and reflections are +suggested by that tranquil head and the wonderful frailty of the body! +how original the conception of the figure, and the whole a tribute to +the high personality of the artist! Mercié shows not only the work +accomplished, but in this are glimpses of promise of greatness to come +which serve as more valuable proof of greatness than the masterpiece +completed. This leads me to a reflection already often alluded to, but +which I would keep ever before you as the foundation of my argument: +"Man is the object of art." He is also the art-producer, and considering +relatively the two terms of the proposition, the manifestations of the +faculties are not necessarily adequate between the producer and the +production. I will explain.</p> + +<p>The best conditions under which an excellent work of art should be +produced are undoubtedly the following: The conceiver possesses in the +highest possible degree of development the modalities of being essential +to the kind of creation undertaken, and these in their most perfect +harmony; but this perfection of intensity and of the relations of the +elements of the concept by no means necessitates the artist's formation +of types at once morally, intellectually and physically artistic. This +depends upon the truth of his subject. That he embellish it, whatever it +may be, by his artistic interpretation and execution, is all that we +should expect.</p> + +<p>In the new manifestation which we now consider, where expression of +sentiment is given predominance, the artist, interpreter of the +passions, sentiments, weaknesses and vices as well as of the virtues and +sympathies of humanity, must, in order to interest or chasten, show to +it its own image, which reflection will be most frequently not an ideal +of perfection but a type of suffering and vice, of weakness and +depravity. A work will be successful in proportion as the chisel shall +be most indefatigable in putting in relief the virtue or the vice which +characterizes the subject. The greatest artist shall be he who renders +most striking the characteristic predominance, whatever it may be, of +the type created or interpreted. To sum up: Art is proportional to the +faculties of the artist, and the work is the result of an application of +these faculties to some special manifestation of the human ego.</p> + +<p>Impressionalism, as in the other arts, should be considered in two +aspects: the impression of the artist and that of the public or +observer. The question then arises, what kind of a public should be +impressed that the artist may merit a place in the higher ranks of +æsthetics? While we have recognized that judgments in questions of art +are the result of a certain sympathy existing between artist and +observer, we have decided also that in considering such a question, all +observers cannot be considered equal. In sculpture as in literature, +where appreciators are possibly more numerous, we must admit that +knowledge and capability or even sincerity are rarely of any weight in +the balance of the grand juries of history or in the verdicts of +contemporaries. The ignorant multitude sanction the grossest works +because these only come within their understanding. Encouraged by the +applause of numbers and by the lack of restraint which wins applause, +artists descend the rounds of the ladder of progress which step by step +has marked the ascent of the great schools and the great masters, and +the result inevitably must be the return to mere sketches in sculpture, +and painting will diminish to imagery. This end is quickly and readily +reached, so easy and so fatal is the descent in these paths of +decadence.</p> + +<p>"All styles are good except the tedious," a well-known critic has said. +Pursuing the import of this thought, we are led to the speedy conclusion +that the <i>null</i> should never enter into competition. Nothing better than +that the condition of priority should exist between diverse styles and +opposite schools; but why strive to institute comparison between a +synthetic idea and the absence of synthesis and idea, between certain +proportions and harmony and the absence of proportion and harmony, +between a style and the absence of style? Whatever the subject and +whatever the mode of treating it, the intelligence of the artist should +always be visible in his work.</p> + +<p>I am more and more thoroughly convinced that the theory of Delsarte, +fatal to <i>simplisme</i>, is the true theory of art. What can be more +<i>simpliste</i> than impressionalism when viewed as a school? It considers +no law or science, disregards entirely analysis and logic, the Good and +the Beautiful; it is given over to sensation; vague impressions which +are, whatever may be said to the contrary, only the inferior part of +man's faculties, indispensable surely, but that which we have in common +with the animals and little children; very interesting to observe among +animals, a charming grace in children, but a most unimportant factor in +adult existence, particularly in the artist's life, unless it be +governed by the intellect and subject to the sanction of feeling.</p> + + + +<h4 id="p4-08-5"><i>Application of the Law to Painting.</i></h4> + + +<p>If any art should be given over to impressionalism it seems as if it +should be painting. To see and to transmit what is seen,--is not this +the true office of the painter, his undoubted mission? Yes, on condition +that the artist has the requisites for seeing correctly! And if he rises +to composition, he must also be endowed with a creative intellect, with +a portion of that mental power which will permit him to embrace a +conception synthetically, and to coördinate its parts.</p> + +<p>Among the impressionalists of our time, there are assuredly painters of +talent; but what talent they possess is, as it were, against their will: +the influence of tradition, the weight of the medium in which they live +unconsciously restrain them. Then, it must be confessed, this +impressionability of the artist has its intrinsic merits, if it is kept +to its place and degree; but it must be regarded as certain, that if the +<i>simpliste</i> artist makes himself distinct in his work, it is because he +contains within himself more of the requisites for what he undertakes, +and because, without his having summoned them, the faculties of the +understanding and the æsthetic sense have come to his aid.</p> + +<p>If Delsarte admitted the precept that "everything is perceived in the +manner of the perceiver," he, of course, did not admit that every +perceiver should make his own law: his conception of the æsthetic +trilogy would never have permitted him to open this Babel for the vanity +of ignorance.</p> + +<p>To finish with <i>simplisme</i> or naturalism, let us say that, carried to +its utmost extreme, it becomes a fixed idea, a monomania; has not +impressionalism attained to this even in the choice of colors? It has +been said of certain painters that they had only to upset their palette +on the canvas to compose their pictures! Yet this varicolored chaos is +not the characteristic of the school On the contrary, certain favorite +colors prevail; do not green and violet rule almost exclusively in some +of the most striking pictures from impressionalist brushes?</p> + +<p>There are moments when we ask whether the impressionalists and their +adherents are not obeying an impulse to contradict rather than a serious +conviction. In either case, it is time for many of them to furnish +proofs--that is to say, works,--in lack of the reasons which they have +not even offered.</p> + +<p>After this digression, forced upon me by recent scholastic quarrels, let +us return to Delsarte.</p> + +<p>I have given the reasons for his doctrine in other chapters; this +doctrine will gain strength when I show what I have gathered from his +science, since science and law mutually testify for each other; since +all art, acquiring fresh vigor from its source, <i>law</i>, and enlightened +by the aid of these same formulæ, must bear the impress of truth, beauty +and goodness.</p> + +<p>Even where color occupies in painting the place attributed to outline in +sculpture, there are in these two manifestations of mental images--and +in spite of the synthetism peculiar to painting,--striking similitudes.</p> + +<p>As regards physical manifestations, both these arts should seek +truth--which does not mean literal exactness,--and all that has been +said of <i>simplisme</i>, in regard to sculpture, is perfectly applicable to +that part of painting which treats of the human figure. Science and law +lay down the same rules for both,--save for the differing modes of +execution.</p> + +<p>It is another matter when it is a question of representing nature as a +whole, and under less limited forms: seas, mountains, the atmosphere and +broad plains--landscapes of vast extent,--subjects forbidden to +sculpture even more exclusively than simple compositions of several +figures, which are seldom successful in sculpture. For if sculpture +sometimes makes a group, if it is used to decorate monuments and tombs, +it offers nothing analogous to those magnificent phases of nature which +we find on the canvases of the great masters.</p> + +<p>Delsarte, who from the laws of mimetics deduced for painters means of +expressing correctly every impression and emotion which man can feel, +taught nothing in regard to this special field of the landscape artist, +who is not subject to the conditions of the actor, sculptor or orator. +But, if this aspect of art--save in cases where figures are +introduced--does not come under the head of certain statements of our +science, not having to imitate attitude, gesture or voice--in a word, +anything proceeding from the human organism,--it is, perhaps more +closely than elsewhere, allied to the innovator's law: to that law which +prompts the artist to respond to the psychical aspirations of his +fellowmen, and demands that in satisfying the senses, he should also +arouse or inspire the thought and feeling of beauty.</p> + +<p>Thus the painter of nature, as much of a reality as man, but a reality +in its own way, if he desires to make nature understood and loved, must +give it the stamp of his own ideas, his own feelings, his own +impressions.</p> + +<p>Why should I care to be shown trees and waters, valleys and mountains, +if the tree does not tell me of the coolness of its shade, if the water +does not reveal the peace of the deep lake, if I cannot divine the +rippling of the brook, if the valley does not make me long to plunge +into its depths! Why recall to me the mountain, if its curves do not +rouse in my mind any ideas of grace, elegance and majesty,--if its peaks +do not make me dream of the Infinite!</p> + +<p>However skilful the artist may be in the reproduction of form and the +handling of color, he will always be far inferior to nature if his soul +has never heard the inner murmur of all those mysteries of the +sensitive, and I will venture to say, spiritual life, contained in +forests, waterfalls and ravines. Lacking this initiation, he will play +the cold and flavorless part of one who tells a twice-told tale; for it +is in landscape especially, that talent consists in revealing the +painter's own feeling.</p> + +<p>The charm of things felt is not produced merely by a grand way of +looking at things: the mind, the soul, occupy but little space; but +where they figure, the canvas is well filled, and the brush betrays +their presence.</p> + +<p>I remember, in support of my thesis, that at one of the annual +expositions at the Salon--which then represented the aristocracy of +painting,--there was a tiny picture: a hut half hidden in moss and +flowers. It was almost lost among the portraits of distinguished +personages, the historic incidents, the scenes taken from fashionable +life, and almost drowned in the bloody reflections from the vast display +of battle pictures, which, as was then the custom, monopolized half the +space.</p> + +<p>Well! this canvas, a yard wide and not so long, held you captive, took +your thought prisoner, and inevitably impressed itself on your memory. +You longed to ramble over its thick turf; to enter that cottage whose +open windows gave you the feeling that it was a peaceful shelter; you +loved that poor simplicity, which seemed to hide happiness.</p> + +<p>Certainly the author of this graceful, touching picture practiced +Delsarte's law, at least from intuition.</p> + +<p>Profound emotions are not always due to objective beauty; the beauty of +the work is a thing apart from what it represents. Who does not recall, +in another order of talent, this effect, due to the brush of Bonnat: an +ugly, old Spanish woman is praying in a dark chapel; she prays with +eyes, lips and soul. There was never seen more complete absorption, more +complete forgetfulness of self in humble fervor. It was far more +touching than all the types of sensual beauty, with pink and white and +perfumed skins--with delicate limbs, in disagreeable attitudes!</p> + +<p>This is, yet once again, due to the fact that sentiment is stronger than +sensualism; and because the artist's skill, taking the place of beauty +in his subject, becomes genuine æsthetic beauty: so much so that, +looking at old age and ugliness--as represented by Bonnat,--the +spectator is enchanted and applauds--<i>the success of the work!</i></p> + +<p>If, however, to perfect execution is allied beauty--not sensual, but +æsthetic,--if it is made manifest from the point of view of form, +feeling and thought, the enthusiasm will be still greater, because all +the aims of art are realized at one and the same time.</p> +</div> + + +<div class="chapter" id="p4-09"> +<h3>Chapter IX.<br /> + +Delsarte's Beginnings.</h3> + + + +<p>"The artist, a traveller on this earth, leaves behind imperishable +traces of his being."--<i>François Delsarte.</i></p> + +<p>We would fain prolong the faintest rays of all that glitters and fades +too soon, and if intense light is generated in a human brain, we strive +to retain its every reflection. Nothing is indifferent which concerns +the nature of the chosen few; great men belong to the annals of their +nation, and history should be informed regarding them.</p> + +<p>François Delsarte left this life at the moment when misfortune had +crushed France beneath her iron heel for some ten years. The date of his +death--July 20, 1871--partially explains the silence of the press on the +occasion of so vast a social loss.</p> + +<p>The circumstance of an artistic education, which was carried on in my +presence, gave me opportunity to collect a mass of incidents and +observations in regard to the great artist who is the object of this +sketch.</p> + +<p>I collected ideas in regard to his instruction, his method and his +discovery of the laws of æsthetics, which are the more precious that +nothing, or almost nothing, was published by him touching upon subjects +of such supreme importance. It is my duty to tell what I know.</p> + +<p>I have already established the bases of the work which I now undertake, +in a pamphlet containing several articles published in various +newspapers. These articles were written under the inspiration of the +moment; they won the master's approval. I shall have frequent recourse +to them to correct the errors of memory and give more vivid life to that +now distant past.</p> + +<p>Delsarte was born at Solesmes (Department of the North), November 9, +1811. His father was a practicing physician; but tormented by a genius +for invention, he spent his time and money in studies and experiments. +Then, when he succeeded in producing some mechanical novelty, some +capitalist more used to trade and rich enough to start the affair, +usually reaped all the profits. This condition of things, of course, +produced great poverty in the family of the inventor, and the children's +education suffered in consequence, and yet young François even then +showed signs of superior endowments. A missionary, passing through +Solesmes, said to him: "As for you, I don't know what you will turn out, +but you will never be an ordinary man!" In spite of this, his parents +intended him for trade, being unable to direct his talents toward +science and the liberal arts.</p> + +<p>Before proceeding farther, I must consider a question often asked in +regard to the great artist, and concerning which his family have kindly +informed me.</p> + +<p>For a long time Delsarte signed his name in a single word, as I write +it now; why, then, should we ever see it written with the separate +particle, which seems to aim at nobility and which gives us the form, +del Sarte? I will give you the tradition as it is told in Solesmes, and +as the artist heard it during a visit to his native place. If it be +fiction, it is not without interest, and I take pleasure in telling it.</p> + +<p>The natives of Solesmes say that at a very remote period a great +painter, coming from a distance, spent some time in their town. The good +inhabitants of the place know nothing of the pictures which this master +must have produced; perhaps they are quite as wide from his name! But +Delsarte, struck by the probability of this poetic origin, filled with +brotherly sympathy for the pure and graceful talent of Vannuchi del +Sarto, doubted not that the latter was the artist whose memory is held +sacred in Solesmes. Out of respect and veneration for the Italian +master, he divided the syllables, but still retained the French +termination of his name.</p> + +<p>We can readily see that an imaginative spirit, such as we now have to +deal with, would be carried away by the legendary side of this story, +and that he would put full faith in his own commentaries:--he believed +so many things!</p> + +<p>To return to prose and to reality, I must add that Delsarte based his +sentiment upon partial proof. Before the Revolution, the family did +indeed sign themselves del Sarte; but an ancestor--imbued with the +principles of 1789, and anxious to efface all suspicion of noble +origin--effected a fusion of the two parts of the word, and left us the +name as we have known it and as, perhaps, we regret it.</p> + +<p>Those who regard this change of family name as mere vanity seem to me +wide of the truth. A strange nobility, moreover, that of Vannuchi, +surnamed <i>del Sarto!</i> Sarto may be translated as <i>tailor;</i> therefore +Vannuchi <i>del Sarto</i> would mean: Vannuchi <i>of the tailor</i>, short for +Vannuchi, <i>son of the tailor</i>.</p> + +<p>What need had he of empty honors, he who was on equal terms with the +great men of letters, science and the arts, who was surrounded by the +incense of the most legitimate enthusiasm, and who received the homage +of kings as of less value than the praises of Spontini and Réber!</p> + +<p>I return to my sketch which will, I hope, justify these last remarks.</p> + +<p>At the time of which we speak, the poor child was not treated as the +predestined favorite of art, He had been entrusted to people who ill +fulfilled their mission. He was scolded and abused; he was left +destitute of the most necessary things. He felt this injustice, and, +gifted with a precocious sensibility, he suffered greatly from it.</p> + +<p>François had as a companion in misfortune, one of his brothers, who +could not bear the hard life; born feeble, he soon succumbed. This was a +severe trial to the future artist! When he saw his only friend buried +in the common grave, he could not contain his grief.</p> + +<p>"I rebelled," he tells us, "at the idea of losing all trace of this +tomb. I shrieked aloud. I would not leave the mournful place!"</p> + +<p>The grave-diggers took pity on his despair; they promised to mark the +spot. The child resigned himself to fate and departed. I will let him +speak for himself:</p> + +<p>"I crossed the plain of St. Denis (it was in December); I had eaten +little or nothing, and I had wept much. Great weakness combined with the +dazzling light of the snow, made me dizzy. The fatigue of walking being +added to this, I fell upon the damp earth and fainted dead away."</p> + +<p>What followed may be explained by the ecstatic state often experienced +on coming out of a fainting-fit.</p> + +<p>"Everything seemed to smile into my half-open eyes; the vault of heaven +and the iridescent snow made magical visions about me; the slight +roaring in my ears lulled me like a confused melody; the wind, as it +blew over the deserted plain, brought me distant, vague harmonies."</p> + +<p>Delsarte interpreted what he saw in the light of Christian ideas: it +seemed to him that the angels made this delightful concert to console +him in his misery and to strengthen him to bear his hard lot.</p> + +<p>Rising up, the child felt himself a musician. He soon evinced an utter +contempt for the china painting to which he had been bound apprentice. +That too was an art; but of that art, the angels had said nothing.</p> + +<p>How was he to learn music?</p> + +<p>He knew that by a knowledge of a very small number of signs, one could +sing and play on instruments. He talked of this to all who would listen; +he questioned and inquired:--</p> + +<p>"Do you know music, you fellows?" he asked some school boys of his own +age.</p> + +<p>"A little," said some.</p> + +<p>"Well! what do they teach you?"</p> + +<p>"They teach us to know our notes."</p> + +<p>"What notes?"</p> + +<p>"Do, re, mi, fa, sol, la, si."</p> + +<p>"What else?"</p> + +<p>"That is all."</p> + +<p>"Are there no more notes?"</p> + +<p>"Not one!"</p> + +<p>"How happy I am! I know music!" cried the delighted Delsarte.</p> + +<p>"Cries of joy have their sorrows," said a poet. The child had uttered +his cry of joy, and his torments were about to begin. Seven notes! It +was a whole world; but what was he to do with them? He scarcely knew, +although he was enchanted to possess the treasure. Could he foresee the +revelations which art had in store for him? Still less could he predict +those conquests in the realm of the ideal which cost him so many +sleepless nights.</p> + +<p>It must be confessed, superior talents bring suffering to their +fortunate possessor. They console him on his journey, along the rough +road down which they drag him; they sometimes reward one of the elect, +but it is their nature to cause suffering.</p> + +<p>And so François Delsarte was tempest-tossed while yet a child. He soon +saw that his scientific baggage was but small; he felt that something +unknown, something infinite, barred his passage, so soon as he strove to +approach the goal which, in an outburst of joy, he fancied within his +grasp. What hand would guide him to enter on the dazzling career which +he had dimly foreseen? Where should he get books? Who would advise him?</p> + +<p>Well! these <i>impossible things</i> were all found--in scanty measure, no +doubt, and somewhat capriciously; but still the means for learning were +provided for his greed of knowledge.</p> + +<p>At first, his stubborn will had only the seven notes of the scale to +contend with. He combined them in every possible way. He derived musical +phrases from them; at the same time, he listened with all his ears to +church music, to street musicians, to church organs and hand-organs.</p> + +<p>In these first struggles with knowledge--we cannot call it science +yet,--instead of bowing to the method of some master, Delsarte made a +method for himself. Had it any resemblance to that which--with the +progress of time,--his genius revealed to him? I cannot say, and +probably the thought never occurred to him. However it may be, Delsarte +said that he learned a great deal by this <i>autonomic</i> process: in fact, +one who is restrained by nothing, who satisfies a passion instead of +accomplishing a mere act of obedience, may enlarge his horizon and dig +to whatever depth he sees fit. In this case, study is called <i>research</i>; +if, by this method, one loses the benefit of the experience of others, +he becomes more quick at discovery. Is not the puzzle which we work out +for ourselves more readily remembered than the ideas which are merely +learned by heart?</p> + +<p>A wise man, a disciple of Socrates--who has been greatly ridiculed, but +by whose lessons the science of pedagogy has greatly profited,--Jacotot, +gave similar advice to teachers: "Put your questions, but let the +scholar think and work out his answers instead of putting them into his +mouth."</p> + +<p>The talent of young François once established, he left the inhospitable +house where he had been so misunderstood, and was taken into the family +of an old musician, "Father Bambini," as Delsarte loved to call him.</p> + +<p>Here, finding it in the order of facts, I must repeat almost literally a +page from the little work quoted before.</p> + +<p>Father Bambini was one of those old-fashioned masters, who treat their +art with love and veneration. He gave concerts at which he was at once +performer and audience, judge and client. Delsarte was sometimes +present. He saw the good man take up a Gluck score as one handles a +sacred book; he surprised him pressing it to his heart, or to his head, +as if to win a blessing from the great soul which poured itself forth in +these immortal compositions.</p> + +<p>Here we most assuredly have the foundation of the unlimited admiration +which our great artist felt for the author of "Alcestis" and of +"Iphigenia." Everyone knows that it was Delsarte who drew Gluck from the +oblivion in which he had languished since the beginning of the century. +Delsarte alone could have revived him, his assured and majestic talent +being amply capable of correctly interpreting those colossal works. +Delsarte is the equivalent of Gluck, and, if we may say so, the +<i>incarnation of his thought</i>. When the artist sang a part in those lyric +tragedies of which Grétry says: "They are the very expression of truth," +it seemed as if the illustrious chevalier lived again in him to win +better comprehension than ever before and to be avenged at last for all +the injustice and bad taste from which he had suffered.</p> + +<p>Delsarte received no very regular musical education from Father Bambini. +The lesson was often given while the teacher was shaving, which did not +distract the attention of either party. The master, having no hand at +liberty to hold a book, made his pupil explain all the exercises aloud, +sing every composition, and read at sight the authors with whom he +wished him to be familiar. Great progress can be made where there is +such mutual good will. They had faith in each other: the child, because +he saw that his master really loved his art; the old musician, because +he realized that his scholar had a genuine vocation and would be a great +artist.</p> + +<p>One evening they were walking together in the Champs Elysées. Carriages +rolled by filled with fashionable people. The humble pedestrians were +surrounded by luxury. Suddenly Father Bambini turned toward his scholar:</p> + +<p>"You see," said he, "all these people who have their carriages, their +liveried lackeys and their fine clothes; well, the day will come when +they will be only too glad to hear you, and they will envy you because +you are so great a singer."</p> + +<p>The child was deeply moved; not by this promise of future glory; not by +the thought, that by fame he should gain wealth; but he seemed to see +his dream realized in a remote future. That dream was the complete +mastery of his art; it was his ideal attained, or closely approached. +This mode of feeling already justified the prediction.</p> + +<p>Delsarte retained a grateful memory of another teacher. M. Deshayes, he +said, spurred him on to scientific discovery, as Bambini directed his +attention and his taste to the works of the great masters.</p> + +<p>One day, as the young man was studying a certain rôle, M. Deshayes, +busily talking with some one else and not even glancing toward his +pupil, exclaimed:</p> + +<p>"Your gesture is incorrect!"</p> + +<p>When they were alone Delsarte expressed his astonishment.</p> + +<p>"You said my gesture was incorrect," he exclaimed, "and you could not +see me."</p> + +<p>"I knew it by your mode of singing."</p> + +<p>This explanation set the young disciple's brain in a whirl. Were there, +then, affinities, a necessary concordance between the gesture and the +inflections of the voice? And, from this slight landmark, he set to +work, searching, comparing, verifying the principle by the effects, and +<i>vice versa</i>.</p> + +<p>He gave himself with such vigor to the task that, from this hint, he +succeeded little by little in establishing the basis of his system of +æsthetics and its complete development.</p> + +<p>After these beginnings, which Delsarte considered as a favorable +initiation, Father Bambini--his faithful patron--thought that he +required a more thorough musical education, and chose the Conservatory +school. There, that broad and impulsive spirit in its independence ran +counter to classic paths, to rigid processes; there, that exceptional +nature, that potent personality, which was already a marked one, that +vivid intuition--which already went beyond the limits of the traditional +holy of holies--had little chance of appreciation. Moreover, Delsarte +was timid; his genius had not yet acquired the audacity which dares. +Competition followed competition; would he win a prize? In answer to +this question which he had asked himself throughout the year, he saw +mediocrity crowned; his soul of light and fire was forced to bow before +will-o'-the-wisps, most of whom were soon extinguished in merited +oblivion.</p> + +<p>The artist's regret was the more acute because he did not yet know the +course of human life. He had not proved the strange fatality--which +seeks to make itself a law--that, in general, success falls to the lot +of those who servilely follow in the ruts of routine. Happy are the +worshippers of art and poetry, those who have devoted their lives to +this sacred cult, if ambition and intrigue--with their attendant train +of flattery, party rings, and illegal speculation--do not invade the +stage whence the palms and the crowns are awarded!</p> + +<p>Delsarte must also have learned in the course of his life, that genius, +a rare exception, is more rarely still judged by its peers; and yet, the +genius of this student was already revealed by various tokens; and for +his consolation, these premonitory symptoms were noted by other than the +official judges.</p> + +<p>After one of these scholastic contests, Delsarte withdrew confused and +heavy-hearted: he had received but one vote in the competition; and even +that exception roused a sort of cheer, as if it were given to some +contemptible competitor.</p> + +<p>The defeated youth walked slowly away, dragging at his heels all the +sorrow of his discomfiture, when two persons approached him; one was the +famous Marie Malibran, the other the brilliant tenor, Adolph Nourrit.</p> + +<p>"Courage!" said the prima donna, pressing his hand. "I enjoyed hearing +you very much. You will be a great artist!"</p> + +<p>"My friend," added Nourrit, "it was I who cast my vote for you: to my +mind, you are an incomparable singer. When I have my children taught +music, you shall certainly be their teacher."</p> + +<p>Delsarte blessed the defeat which had brought him such precious +compensations. These voices which sounded so sweetly in his ear, were +soon extinguished by death; but they vibrated long in the heart which +they had comforted. The artist associated their dear memory with every +success which recalled to him their sympathetic accents and their +clear-sighted prediction.</p> +</div> + + +<div class="chapter" id="p4-10"> +<h3>Chapter X.<br /> + +Delsarte's Theatre and School.</h3> + + + +<p>When Delsarte had finished his studies, he entered the world unaided and +alone; disarmed by the hostilities which could not fail to await him, by +his very superiority, and by that honesty which refuses to lend itself +to certain transactions.</p> + +<p>At the Opera Comique, where he was engaged, he did not succeed. +Exceptional talents require an exceptional public who can understand +them and make them popular by applauding and explaining them.</p> + +<p>And yet certain people, gifted with penetration, discovered under the +artistic innovations peculiar to the beginner, that indescribable +fascination which hovers round the heads of the predestined favorites of +art.</p> + +<p>Delsarte could not long confine himself to the stage, when everything +connected with it was so far from sympathetic to him, and seemed so +contrary to the true object of dramatic art. The theatre, to his mind, +should be a school of morality; and what did he see? Authors--what would +he say now-a-days?--absorbed in winning the applause of the masses, +rather than in feeding them upon wholesome food or in preparing an +antidote for vice and evil inclinations.</p> + +<p>Whatever good intentions happened to be mingled with the play were lost +in the details of the action--or in the often mischievous interpretation +of the actors. With his wonderful perspicacity, Delsarte seemed to +foresee all the excesses of naturalism in certain forerunners of Adolphe +Belot and Emile Zola.</p> + +<p>On the other hand, his comrades, who should have attracted him, showed +themselves to be envious and malicious. To sum it all up, it was very +hard for him to live with them. Some of them might please him by their +simple gaiety, their childlike ease, their lack of affectation, and +their amiability, but they were far from satisfying his lofty +aspirations!</p> + +<p>An occupation of a higher order, he thought, the elaboration of his +method, demanded his thoughts. He seemed haunted by a desire to produce +what his spirit had conceived. He longed fully to enjoy that happiness +of creation that arises from useful discovery. He aspired to say: "In +accomplishing the task which I set myself, I have also done much for art +and artists."</p> + +<p>Swayed by such thoughts, François Delsarte soon left the profession of +actor to follow that of teacher of singing and elocution. Then he found +himself in his element and, as it were, at the centre of all that +attracted him. His teaching enabled him to verify the value of his +axioms hourly, in the order of facts and to confirm the truth of his +observations.</p> + +<p>And yet he had not attained to the supreme beatitude. If the elect of +plastic and practical art have to contend with appraisers of every +degree, inventors have to deal with enemies who make up in stubborn +resistance what they lack in numbers, and oppose the iron will of a +rival who will not see the limit of the <i>ne plus ultra</i> which he +believes himself to have reached and even exceeded.</p> + +<p>In every station of life, the bearers of "good news" are a prey to the +tyranny of interests and established prejudices. In our time, this +persecution becomes mockery or indifference. Delsarte did not escape +this debt of revelatory genius. Humble in regard to art and science, as +he was conscious of his strength when face to face with rivals and +competitors, he sometimes felt the doubt of himself, the sudden +weakness, which overtakes great minds and great hearts in the +accomplishment of their mission.</p> + +<p>A special form of torture attacked our young innovator. He had proved, +connected and classed a number of psychological facts relating to the +theory of art, and he did not know the special terms which would make +them intelligible. Like those phenomenal children, who see countless +relations before they possess the words to express them, he had +discovered a law, created a science, and he was still ignorant of the +language of scientists. If he tried to demonstrate the bases of his +system and its rational evolution in ordinary words, the ignorant would +not understand him and the learned would not deign to listen.</p> + +<p>Sometimes he did find some one who would hear him, question him, even +criticize him, and who would go away bearing a fragment of conversation +or some few notes which he had copied to turn to his own profit.</p> + +<p>At this time, there came one day to Delsarte, a pupil who--by a rare +exception--had been through a course of classical studies.</p> + +<p>"Tell me, you who have studied (asked the teacher with the affability of +a great man), what is metaphysics?"</p> + +<p>"Why ... just what you teach us!" said the astonished youth.</p> + +<p>Delsarte was enchanted to learn, that he was only divided by words from +a science which had seemed to him to dwell on inaccessible heights. The +study of technical words, when intuition had provided him with important +ideas and new perceptions, was child's play to him; in a short time he +could teach his philosophy of art in the consecrated expressions.</p> + +<p>His lectures grew rapidly in the Rue Montholon. A choice public soon +assembled to hear them, drawn thither by the admiring cry of the first +enthusiasts. At this period, the talent of the artist was enhanced by +the lustre of youth. Nature had endowed him generously. His figure, +which later assumed rather large proportions, was tall and elegant; his +gestures were marked by grace and nobleness; his hair, of a very light +chestnut, gave his face a fair softness; his brown eyes relieved this +expression and allowed him to give his face--when the interpretation of +the part required it--the signs of power and vigorous passion. A full +length portrait painted at this time and in the possession of Madame +Delsarte, gives us some idea of his grand face and form, allowing for +the disadvantages of every translation. Although, in singing, the organ +was often impaired, his speaking-voice was most agreeable in tone, +correct and persuasive in accent.</p> + +<p>In acting various parts, Delsarte transformed himself to suit the +character that he represented. He was congratulated on bringing to life +for our age Achilles and Agamemnon, as Homer painted their types. Yet, I +think he was sometimes told: "You paint that wretch of a Don Juan a +little too faithfully." Certainly, art would never make that complaint!</p> + +<p>If Delsarte was understood in that part of his method addressed +especially to the ear and the eye, it was not so with the theory which +prepared these striking demonstrations.</p> + +<p>He was surrounded, it is true, by an assembly of men of letters, men of +the world, and amateur artists, rather than by scientists and +philosophers. Many in the audience and among the pupils did not pay an +undivided attention to the scientific part of the instruction. Thus the +first notes of the piano, announcing that the time for action had come, +always caused a repressed murmur of satisfaction and pleasure.</p> + +<p>Sometimes, after the lecture, a discussion followed, for Delsarte often +left room for a controversy which was essentially incorrect and caused +many misunderstandings. This was because the innovator sometimes blended +with the clear hues of his art-principles certain tints of religious +mysticism which had no necessary relation with the synthesis of his +æsthetics.</p> + +<p>It was one of the peculiarities of his character, amiable and benevolent +as it was, to take delight in the conflict of ideas. If he saw, in the +course of his lecture, a man whom he took for a philosopher or anything +like it, he never failed to direct some piquant phrase, some aggressive +sentence or some irritating thought that way--it was the gauntlet which +he flung for the final combat.</p> + +<p>Nor were women exempt from these humorous sallies.</p> + +<p>Although the master loved all grandeur--the artistic sense with which he +was so largely endowed inclining him that way--he had democratic, I +might almost say plebeian, instincts. The poetry of simple, humble, +small existences sometimes swayed him.</p> + +<p>Thus, if among his hearers, a bright violet or an audacious scarlet gown +annoyed his taste; if the reflection of a ruby or a diamond vexed his +eye, he would choose that instant to improvise a rustic idyl or to +intone a hymn to poverty.</p> + +<p>But everything ended well; neither the philosopher whom he had provoked, +nor the fine lady whom he had reproved, left him as an enemy. His +nature with its varied riches had quite enough feminine coquetry to +regain betimes the sympathy which he was on the eve of losing. A +gracious word, an affectionate clasp of the hand, and all was pardoned.</p> + +<p>The opposition manifested outside the lecture-room to his ideas and mode +of instruction, was less courteous. There rival schools and jealousies, +ill-disguised under an affectation of disdain, contended against him. He +was accused of the maddest eccentricities; barbarous processes were +imputed to him, such as squeezing the chest of singers, his pupils, +between two boards--the <i>reason</i> was hard to understand. Others claimed +that before Delsarte accepted a scholar, he required a profession of the +Catholic faith and an examination in the catechism.</p> + +<p>Those were the days when the author of "Les Orientales," in his legend +of the "Two Archers," spoke of</p> + +<blockquote class="poem"><p> +<span class="line">"That holy hermit who moved stones<br /></span> +<span class="line">By the sign of the cross."</span> +</p></blockquote> + +<p>But if, as an artist, Delsarte loved legends and was inspired by faith, +as a professor he could cut short this poetic part of his art, at the +point where science and the practical side of his teaching began.</p> + +<p>The reproach, therefore, carried no weight.</p> + +<p>Delsarte was amused by these exaggerated accusations; in another order +of criticisms, it was agreeable to him to hear "that he sang without a +voice, as Ingres painted without colors." The comparison pleased him, +although inexact.</p> + +<p>Yes, I say <i>inexact</i>, Delsarte was not without a voice; he had one, on +the contrary, of great strength and range; of moving tone; eminently +sympathetic; but it was an invalid organ and subject to caprice. He was +not always master of it, and this caused him real suffering.</p> + +<p>Let me give you the history of his voice as Madame Delsarte herself +lately told it to me. I must go back to his early days of study and +débuts.</p> + +<p>Delsarte entered the Conservatory at the age of fourteen. Too young to +endure the fatigue of the regular school-exercises, his voice must have +received an injury. When the singer offered his services at the Opera +Comique---then Salle Vantadour--he was told that his voice was hollow, +that it had no carrying power. This was perhaps partly the fault of the +building, whose acoustic properties were afterward improved. However, +thanks to the flexibility which his voice retained and his perfect +vocalization, the pretended insufficiency was overlooked, and the young +tenor was admitted.</p> + +<p>His mode of singing pleased the skilled public, and the special +abilities of this strong artistic organism--as I have already +observed--did not pass unnoted.</p> + +<p>A <i>dilettante</i>, to whom I mentioned Delsarte long after this time, said: +"What you tell me does not surprise me, I heard him at his first +appearance, and he has lingered in my memory as an artist of the +greatest promise. He was more than a singer; he had that nameless +quality, which is not taught in any school and which marks a +personality; a tone of which nothing, before or since, has given me the +least idea."</p> + +<p>The tenor, from the Comic Opera, went to the Ambigu Theatre, and thence +to the Variétés, where an attempt was being made to introduce lyric +works. François Delsarte's dramatic career did not, however, last more +than two years. During these various changes--I cannot give the exact +dates--this artist, on his way to glory, was forced to gain a living by +the least aristocratic of occupations. If he did not go so far as +Shakespeare in humility of profession (the English poet was a butcher's +boy), he strangely stooped from that native nobility--great +capacity,--which must yet have claimed, in his secret soul, its +imprescriptible rights.</p> + +<p>If this was one more suffering, added to all the rest, it had its good +side. It was, perhaps, the source of the artist's never failing +kindness, of that gracious reception which he never hesitated to bestow +on anyone--from the Princess de Chimay and many other titled lords and +ladies, down to Mother Chorré, the neighboring milk-woman, whom he held, +he said, "in great esteem and friendship."</p> + +<p>I return to his teaching. His lectures were given in Rue Lamartine and +Rue de la Pépinière. There was always--aside from the school--an +audience made up of certain never failing followers and of a floating +population. The birds of passage sometimes came with a very distinct +intention to criticise; but if they did not readily understand the +learned deductions, they went away fascinated by what the professor had +shown them of his brilliant changes into every type of the repertory +which he held up as a model. Enthusiasm soon triumphed over prejudice. +Envy, alone, persisted in hostility.</p> + +<p>These meetings were genuine artistic feasts. They were held at night, at +the same hour as the theatres, and no play was preferable to them in the +eyes of the truly initiated. They were a transcendent manifestation of +all that is most elevated, which art can produce.</p> + +<p>Here is an extract from a newspaper, which I find among the notes sent +me:</p> + +<p>"I heard him repeat, one evening, 'Iphigenia's Dream,' at the request of +his audience. All were held trembling, breathless by that worn and yet +sovereign voice. We were amazed to find ourselves yielding to such a +spell; there was no splendor and no theatric illusion. <i>Iphigenia</i> was a +teacher in a black frock coat; the orchestra was a piano striking, here +and there, an unexpected modulation; this was all the illusion--and the +hall was silent, every heart throbbed, tears flowed from every eye. And +then, when the tale was told, cries of enthusiasm arose, as if +<i>Iphigenia</i>, in person, had told us her terrors."</p> + +<p>These lines are signed "Laurentius." I am very glad to come across them +just as I am giving vent to my own feelings. I also find that Adolphe +Guéroult, in his paper, the "Press," calls Delsarte <i>the matchless +artist</i>, and recognizes <i>a law</i> in his æsthetic discoveries. I shall +have occasion to set down, as opportunity offers, a string of +testimonies no less flattering and no less sincere; but I hasten to +produce these specimens, lest the suspicion of infatuation follow me.</p> + +<p>How was it that amidst such warm plaudits, Delsarte failed to win that +popularity which, after all, is the supreme sanction? It must be +acknowledged that he took no great pains to gain the place which was his +due. If he loved glory like the true artist that he was, "he never tired +himself in its pursuit." Perhaps he had an instinctive feeling that it +would come to him some day unsought.</p> + +<p>He might, in this regard, be reproached for the tardiness of his +successes; he himself made difficulties and obstacles which might be +considered as the effects of extreme pride.</p> + +<p>Halévy once suggested his singing at the Tuilleries before King Louis +Philippe and his family.</p> + +<p>"I only sing to my friends," replied the artist.</p> + +<p>"That is strange," said the author of "The Jewess," "Lablache and Duprez +go whenever they are asked."</p> + +<p>"Delsarte does not."</p> + +<p>"But consider! This is to be a party given by the Crown Prince to his +father."</p> + +<p>This last consideration touched the obstinate heart.</p> + +<p>"Well! I will go," he said, "but it is only on three conditions: I must +be the only singer; I am to have the chorus from the Opera to accompany +me; and I am not to be paid."</p> + +<p>"You will establish a dangerous precedent."</p> + +<p>"Those are my irrevocable terms."</p> + +<p>All were granted.</p> + +<p>From his youth up Delsarte manifested this, perhaps excessive, contempt +for money. On one occasion it was quite justifiable. Father Bambini had +taken him to a party where he was to sing on very advantageous terms. +The scholar was treated with deference; but the teacher who had neither +a fine face nor the claims of youth to shield him against aristocratic +prejudice, was received much as a servant would have been who had made a +mistake in the door.</p> + +<p>The young singer felt the blood mantle his brow, and his heart rebelled.</p> + +<p>"Take your hat and let us go!" he said to his old master.</p> + +<p>"But why?" replied the good man. He had heeded nothing but his pupil's +success.</p> + +<p>Delsarte dragged him away in spite of his protests, and lost by his +abrupt departure the profits of the evening.</p> +</div> + + +<div class="chapter" id="p4-11"> +<h3>Chapter XI.<br /> + +Delsarte's Family.</h3> + + + +<p>Delsarte married, in 1833, Miss Rosina Andrien. The young husband felt a +high esteem for his father-in-law (primo basso cantante at the Opera); +but we must not suppose that this consideration influenced his choice. +He made a love marriage such as one makes at the age of twenty-two, with +such a nature as his. Moreover, reason was never in closer accord with +love.</p> + +<p>Miss Andrien was remarkably beautiful. She was fifteen; her talent as a +pianist had already won her a first prize at the Conservatory. She was +just the companion, wise and devoted, to counterbalance the flights of +imagination and the momentary transports inherent in the temperament of +many artists.</p> + +<p>I pause, fearing to wound a modesty which I know to be very sensitive: +the living cannot bear praise with the indifference of the dead; but I +must be allowed to insist upon the valuable assistance which the young +wife lent her husband in his professional duties; this is a special part +of my subject.</p> + +<p>Mme. Delsarte started with a genuine talent. The situation in which she +was placed, soon made her a perfect accompanist. Never was there more +perfect harmony between singer and player. Amid the incessant +interruptions necessary to a lesson, the piano never lagged a second +either in stopping or in going on again. The note fell promptly, +identical with the first note of the piece under study. To attain to +this obedient precision, one must possess indomitable patience, must be +willing to be utterly effaced. Delsarte appreciated this self-denial in +proportion to the merit of her who practiced it.</p> + +<p>In everything that concerned him, he relied especially upon the opinion +of his accompanist; he felt her to be an abler and more serious judge +than the most of those around him. But--with the shy reserve of merit +unacknowledged even to itself,--the young woman shrank from expressing +her impressions. If I may judge by the anecdote which follows, the +artist was at times distressed by this.</p> + +<p>One day Delsarte, granting one of those favors of which he was never +lavish, consented to sing a composition of which he was particularly +fond, to a few friends. It was the air from Méhul's "Joseph:" "Vainly +doth Pharaoh ..."</p> + +<p>Mme. Delsarte, always ready at the first call, took her seat at the +piano.</p> + +<p>The master was in the mood--that is, in full possession of all his +powers. His pathos was heartrending.</p> + +<p>"You won a great triumph," I said to him; "I saw tears in Mme. +Delsarte's eyes."</p> + +<p>"My wife's eyes," he cried as if struck by surprise, "are you quite +sure?"</p> + +<p>"Perfectly," I replied.</p> + +<p>He seemed greatly pleased. Putting aside all other feeling, it was no +slight triumph to move to such a point one who assisted at and sat +through his daily lessons for hours at a time.</p> + +<p>A few years sufficed to form a family around this very young couple. It +was soon a charming accessory to see children fluttering about the +house; slipping in among the scholars; showing a furtive head--dark or +light--at one of the doors of the lecture-room. Let me recall their +names: The eldest were Henri, Gustave, Adrien, Xavier, Marie; then came +after a long interval, André and Madeleine.</p> + +<p>Delsarte loved them madly; for their future he dreamed all the dreams of +the Arabian Nights. Meantime, he played with them so happily that he +seemed to take a personal delight in it.</p> + +<p>He gave them all the joys of this life that were within his reach, and +it was well that he did so! Alas! of the dreams of glory cherished for +these beloved beings, some few were realized, but many faded promptly +with the existence of those who called them forth.</p> + +<p>But we must not anticipate. At the time of which I speak the children +were growing and developing, each according to its nature, in full +freedom. Those who felt a vocation seized on the wing--rather than they +received from irregular lessons--some fragments of that great art which +was taught in the school.</p> + +<p>Marie learned while very young to reproduce with marvelous skill what +were called <i>the attitudes</i> and the physiognomic changes. Madeleine +delighted in making caricatures which showed great talent. The features +of certain pupils and frequenters of the lectures were plainly +recognizable in these sketches made by a childish hand.</p> + +<p>Gustave was a child of an open face and broad shoulders. One incident +will show his originality.</p> + +<p>A strange lady came to the master's house one day either to ask a +hearing or offer a pupil. She met this charming boy.</p> + +<p>"M. Delsarte?" she asked.</p> + +<p>"I am he, madam!" replied Gustave without flinching.</p> + +<p>"Very good," said his questioner, laughing, "but I wish to speak to your +father."</p> + +<p>This same Gustave who, to a certain degree, followed in his father's +footsteps, was struck down a few years after him, at the age of +forty-two.</p> + +<p>What a striking application of Victor Hugo's lines:</p> + +<blockquote class="poem"><p> +<span class="line">"And both are dead.... Oh Lord, all powerful is thy right hand!"</span> +</p></blockquote> + +<p>Gustave's career seemed to open readily and smoothly. Not that he could +approach his father from a dramatic point of view; he had not his +absolute synthesis of talents, and his figure was not suited to the +theatre; as a singer, his voice was weak, but what a charm and what a +style he had! Although his voice was not adapted to every part, +although he had not that range of the vocal scale which permits one to +attack any and every composition, still, its sympathetic, tender and +penetrating quality did ample justice to all that is most exquisite in +romance. When you had once heard that voice, guided by the force of his +father's grand method, you never forgot its sincerity and melancholy; it +haunted you and left you impatient to hear it again.</p> + +<p>As a concert-singer and teacher, Gustave Delsarte might have won high +rank. An ill-assorted marriage and his misanthropic character prevented. +As a composer, he left some few songs, masses and religious fragments +which are not without merit. When he was to produce any of his sacred +works, the composer-singer never took a part; but he would lead the +orchestra. If he came to a rehearsal and the performers appeared weak, a +holy wrath would seize upon Gustave. Then he flung a firm, incisive, +accentuated note into the midst of the choir, vivid as a spark bursting +from a fire covered with ashes. He would accompany it with a glance +which seemed to flash from his father's eye; at such moments, he +resembled him; but this transformation never lasted more than a second; +the fictitious power disappeared as all which was Gustave Delsarte was +doomed to disappear.</p> + +<p>At least, his father did not live to mourn his loss. And yet he knew +that worst of heart-suffering: the loss of a beloved child. Alas! In +that radiant family, whose mirth, fresh faces and luxuriant health +seemed to defy death, the implacable foe had already twice swept his +scythe.</p> + +<p>The first to go was André, one of the latest born. He was at the age +when the child leaves no lasting memories behind; but we know the grace +of innocence, the privilege of impeccability by which infancy atones for +the lack of acquirements. Then these little creatures have the +mysterious entrancing smiles, which mothers understand and adore--and +Delsarte loved his children with a mother's heart.</p> + +<p>Time lessens such pangs; but when a fresh sorrow re-opened the era of +calamity, it seems as if the sad events trod upon each other's heels and +the interval between seems to have been but one unmitigated agony.</p> + +<p>The loss undergone in 1863 was even greater. Xavier Delsarte was a tall, +handsome young man. The master was content with the profit which his son +had derived from his tuition. He was successful as a singer and +elocutionist. He was attacked by cholera during an epidemic. The night +before he had taken several glasses of iced orgeat in the open air.</p> + +<p>Xavier lived in the Rue des Batailles with his family, but not in the +same apartment. This fact was fatal. Instead of calling help in the +first stages--unwilling to disturb his relatives--the invalid wandered +down stairs during the night, and into the court-yard. There he drank +water from the pump. I can still recall the unhappy father's story of +that cruel moment.</p> + +<p>"It was scarcely day. I was waked by that unexpected, fatal ringing of +the bell, which, at such an hour, always bodes misfortune. The maid +heard it also, and opened the door. She uttered a cry of alarm. Almost +instantly, my poor boy stood at my chamber door. He leaned against the +frame of the door, his strength not allowing him to advance. From the +change in his features, I understood all--he was hopelessly lost!"</p> + +<p>Delsarte was sensitive and of a very loving nature; but he was endowed +with great strength. Much absorbed, moreover, in his profession, his +studies, his innovations, he often found in them a counterpoise to these +rude blows of fate. So when the thoughts of his friends recur to these +disasters, they feel that their greatest sympathy and commiseration are +due to the mother who three times underwent this supreme martyrdom.</p> + +<p>Two names remain to be mentioned in this family where artistic callings +seemed a matter of course. The concerts of Madame Thérèsa Wartel--sister +of Madame Delsarte--brought together the <i>élite</i> of Parisian virtuosi, +and the brilliant pianist took her part in the quatuors in which Sauzay, +Allard, Franchomme and other celebrities of the period figured.</p> + +<p>George Bizet--author of the opera of "Carmen"--prematurely snatched from +the arts, was the nephew of François Delsarte. This young man taught +himself Sanscrit unaided; he inspired the greatest hopes.</p> + +<p>Wartel, who gave Christine Nilsson her musical education, was not of the +same blood, but we find certain points in his method which recall the +processes of Delsarte's school.</p> +</div> + + +<div class="chapter" id="p4-12"> +<h3>Chapter XII.<br /> + +Delsarte's Religion.</h3> + + + +<p>I now confront an important and very interesting subject; but one which +is more difficult to handle than the most prickly briers. There has been +a confusion, in regard to Delsarte, of two very distinct things: his +practical devotion and his philosophy of art, which does indeed assume a +religious character. He himself helped on this confusion. I am desirous +of doing my best to put an end to it. I hope that, truth and sincerity +aiding, I shall not find the task too great for me.</p> + +<p>I must first grapple with those ill-informed persons who have denied the +master his high intellectual faculties, and even his scientific +discoveries, for the sole reason of the mystical side of his beliefs. I +must also expose the error of those who supposed that to this mysticism +were attributable the miracles accomplished by Delsarte in his career as +artist and scholar.</p> + +<p>I was the better able to understand these two opposing +elements--religiousness and strength of understanding--because, if I +gave in my entire adhesion to the innovator in the arts, he did not find +me equally docile in what concerned the theosophic part of his doctrine. +Hence, discussions which illustrated the subject. I speak in presence of +his memory as I did before him, with perfect frankness and simplicity +of heart; taking care not to offend the objects of his veneration, but +examining without regard to his memory, as without prejudice, the +influence which his convictions exerted upon his intellectual +conceptions, his ideas, his character, his talent--in a word, his life, +in so far as it may concern a sketch which lays no claim to be a +complete biography.</p> + +<p>Now, it is from the point of view of art itself that I ask the following +questions: Was Delsarte a devout Catholic? Was he orthodox?</p> + +<p>Devout? He gloried in it, he insisted on it; I will not say that he +<i>affected</i> minute daily acts of devotion, for that word would not accord +with the spontaneity of his nature; but he accented his demonstrations, +he spoke constantly of his religion. Without any intention to wrong the +serious side of his religious feelings, it seemed to be a bravado put on +for the incredulous, a toy which he converted into a weapon.</p> + +<p>Orthodox? He made it his boast, and he certainly intended to be so; he +loved, in many circumstances, to show his humility of heart. His faith, +he used to say, "was the charcoal-burner's faith."</p> + +<p>And yet, the charcoal-burner would have been strangely puzzled if he had +had to sustain the ceaseless contests which the artist accepted or +provoked from philosophers and free-thinkers; and, perhaps, no less +frequently, from his fellow-religionists, and the priests themselves.</p> + +<p>With the former, it was a mere question of dogmatic forms or of the +necessity for some form of religion; with the latter, he entered upon a +more peculiarly theological order of ideas, such as the attributes +proper to each of the three divine persons, and other mystical subjects.</p> + +<p>Here, as elsewhere, Delsarte brought to bear his personality, his stamp, +his breadth of comprehension.</p> + +<p>I once asked him what some called <i>Dominations</i> might represent, in the +celestial classification? He replied: "If any one or anything forces +itself upon our mind, takes active possession of our soul, do we not +feel that we are under a certain domination?"</p> + +<p>He gave me several other explanations touching the angelic hierarchy. I +considered them very poetic, very ingenious--but were they also +orthodox? I am not competent to judge.</p> + +<p>It was impossible to say at the first glance, how the influence of this +theosophy made itself felt in this sensitive character, full as it was +of surprises. Delsarte was born good, generous, above the petty +tendencies which deform and degrade the human type. On these diverse +points, religious faith could scarcely show its effect; but he also +declared himself to be irritable and violent--he confessed to a +dangerous fickleness--still, he would readily have slandered himself in +the interests of his faith.</p> + +<p>Whatever the cause of this acquired serenity, Delsarte did not always +refuse to satisfy his native impulses. I have already alluded to cases +in which these returns to impetuous vivacity occurred, and how he rose +above these relapses. Whether his peaceful spirit arose from religious +feeling, or whether it was the result of moral strength, it breathed the +spirit of the gospel; but it must also be confessed that our artist +mingled with it much worldly grace. What matters it? Uncertainty has no +inconveniences in such a matter.</p> + +<p>It was particularly on the occasion of those sudden fits of passion to +which the human conscience does not always attach due weight, that +Delsarte laid great stress upon supernatural intervention.</p> + +<p>Oh! what would he have done without that powerful aid, with his lively +sensibilities--with his too loving heart?</p> + +<p>I have no opinion to offer in regard to the shield which efficacious +grace and the palladium of the faith may form for dangerous tendencies; +for Catholics, that is a matter for the casuist or the confessor to +decide; but, as far as Delsarte is concerned, had he beaten down Satan +in a way to rouse the jealousy of St. Michael, had he made the heathen +Socrates give precedence to him in patience, wisdom and firmness, I +should regard that victory as the triumph of the sacred principles of +the eternal morality, of that which sums up, in a single group, all the +supreme precepts of all religions and all philosophies, rather than as a +result of external practices.</p> + +<p>It is by placing myself at this culminating point, that I have +succeeded in explaining to my own satisfaction the true stimulus of the +artist-thinker, in spite of all appearances and all contradictions; and +everything leads me to believe that the elevation of his mind and the +inspiration of the art which he taught and practiced, would have +sufficed, in equal proportion with his faith, "to deliver him from +evil."</p> + +<p>How could a man glide into the lower walks of life, whose mission it was +to set forth the types of moral beauty by opposing them, to use his +phrase, "to the hideousnesses of vice?"</p> + +<p>Now, talent and faith meet face to face. We are to consider to what +extent the one was dependent upon the other; and whether, in reality, +the artist whom so many voices proclaimed "incomparable" owed his vast +superiority to acts of religious devotion, to his adhesion to the dogmas +of the church.</p> + +<p>It is not arbitrarily that a transcendent intellect pointed out a +difference between <i>religion</i> and <i>religions</i>: every mind devoted to +philosophy must needs reach this distinction.</p> + +<p>I shall keep strictly within the limits of that which concerns art, in a +question so vast and of such great importance.</p> + +<p><i>Religion</i> is that need which all generations of men have felt for +establishing a relationship between man and the supreme power or powers +whence man supposes he proceeded. To some it is an outburst of +gratitude and homage; to others, an instinct of terror which makes them +fall prostrate before an unknown being upon whom they feel themselves +dependent, although they cannot know him, still less define him.</p> + +<p><i>Religions</i> are all which men have established in answer to those +aspirations of the conscience, to satisfy that intuition which forces +itself upon our mind so long as sophistry has not warped it. It follows +from this, that religions vary, are changed, and may be falsified until +the primitive meaning is lost. But whatever may be the faith and the +rites of religions--whether fanaticism disfigure them or fetichism make +a caricature of them, whether politicians use them as an ally, or the +traces of the apostolate fade beneath the materialism of +speculation,--there will always remain at the bottom, <i>religion</i>: that +is, the thought which keeps such or such a society alive for a variable +time, and which, in periods of transition, seeks refuge in human +consciences awaiting a fresh social upward flight.</p> + +<p>Well! it was not the external part of his belief which inspired +Delsarte, when--to use the expression of the poet Reboul--"he showed +himself like unto a god!" It was not the long rosary with its large +beads which often dangled at his side, that gave him the secret of +heart-tortures and soul-aspirations! The <i>charcoal-burner's faith</i> would +never have taught him that captivating grace, that supreme elegance of +gesture and attitude, which made him matchless. Nor did theology and +dogma teach him the moving effects which made people declare that he +performed miracles, and led several writers (Henry de Riancey, Hervet) +to say: "That man is not an artist, he is art itself!" And Fiorentino, a +critic usually severe and exacting, wrote: "This master's sentiment is +so true, his style so lofty, his passion so profound, that there is +nothing in art so beautiful or so perfect!"</p> + +<p><i>Profound passion, lofty style, art itself</i>, these are not learned from +any catechism. That chosen organism bore within its own breast the +fountains of beauty. An artist, he derived thence an inward +illumination, and, as it were, a clear vision of the Ideal. If religion +was blended with it, it was that which speaks directly to the heart of +all beings endowed with poetry, to those who are capable of vowing their +love to the worship of sublime things.</p> + +<p>What I have just said will become more comprehensible if I apply to +Delsarte those more especially Christian words: <i>The spirit and the +letter</i>.</p> + +<p>Yes, in him there was the spiritual man and the literal man; and if +either compromised the other, it was not in the eyes of persons who +attended, regularly enough to understand them, the lectures and lessons +of the brilliant professor.</p> + +<p>This I have already said, and I shall dwell upon this point, hoping to +establish some harmony between those who taxed Delsarte with madness on +account of his <i>positivism</i> in the matter of faith, and those who +strove to connect with his devotional habits everything exceptional +which that great figure realized in his passage through this world.</p> + +<p>In fact, it is only by separating the Delsarte of <i>the spirit</i> from him +of <i>the letter</i>, that we can form any true idea of him.</p> + +<p>And the letter, once again--was it not art and poetry that made worship +so dear to him? The shadowy light of the churches, the stern majesty of +the vaulted roof, contrasting with the radiant circle of light within +which reposed the sacred wafer,--all this pomp, of heathen origin, +warmed for him the severe simplicity and cold austerity of Christian +sentiment; the chants and prayers uttered in common also stimulated the +fervid impulses of his heart.</p> + +<p>The spirit of proselytism took possession of him later in life. It was +controversy under a new form, more attractive and more <i>distracting</i>. +There was always some soul within reach to be won to the faith; +some rebellious spirit to bend to the yoke of the official +church,--proceeding, under due observance of ostensible forms, from the +letter! Neophytes were very ready to listen. After all, it pledged them +to nothing, and they talked of other things often enough to prevent the +conversation from becoming too much of a sermon. Then, certain +favors--all of a spiritual nature--were attached to this situation: a +place nearer the master during lectures, a more affectionate greeting, a +sweeter smile.</p> + +<p>These attempts more than once resulted in disappointment to Delsarte. I +will not enumerate them all. Often he was heard with increasing +interest, it seemed as if resistance must yield, and that he might +speedily plant his flag "in the salutary waters of grace," but at that +very moment his opponent would become more refractory and more stubborn +than ever.</p> + +<p>Once, he had great hopes. Several young people seemed decided <i>to enter +into the paths of virtue</i>. The master was radiant. "Take heed," said +skeptic prudence, "perhaps it is only a means of stimulating your zeal, +of profiting better by your disinterestedness."</p> + +<p>He soon acknowledged the truth of these predictions; he confessed it in +his moments of candor.</p> + +<p>One of these feigned converts, especially, scandalized him. The story +deserves repetition:</p> + +<p>The church of the Petits-Pères had ordered the wax figure of a freshly +canonized saint, from Rome. Delsarte mentioned it to the school, and +several pupils went to see it.</p> + +<p>"Ah, sir!" cried young D. on his return, "now, indeed, I am a Catholic! +How lovely she is, how fresh and fair after lying underground so long!"</p> + +<p>"Unhappy fellow!" said the disappointed artist, "he takes the image for +the reality, and the beauty of a waxen St. Philomena has converted him."</p> + +<p>The young man had heard that the preservation of the flesh, after a +hundred years' burial, counted for much in canonization, if it did not +suffice to justify it; and as the place where they had deposited the +sacred image was dark, D. had taken for life itself the pink and white +complexion common to such figures before time has yellowed them.</p> + +<p>Delsarte ended by being amused at his credulity; he laughed readily and +was not fond of sulking. Nor must we forget that this preëminent +tragedian was a perfect comedian, and that this fact entitled him to +true enjoyment of the humorous side of life. Have I not somewhere read: +"Beware of those who never laugh!"</p> + +<p>Delsarte's piety--I speak of that of the letter--was seldom morose. It +did not forbid juvenile caprices; it overlooked <i>venial</i> sins.</p> + +<p>One Sunday he took his scholars to Nanterre, some to perform, others to +hear, a mass of his own composition. A few friends joined the party. The +mass over, they wandered into the country in groups. Some walked; some +sat upon the grassy turf. The air was pleasant, the conversation +animated; time passed quickly.</p> + +<p>Suddenly the vesper bell was heard. Some one drew Delsarte's attention +to it--not without a tiny grain of malice.</p> + +<p>"Master, what a pity--you must leave us."</p> + +<p>He made no answer.</p> + +<p>When the second summons sounded, the same voice continued:</p> + +<p>"There's no help for it; for us poor sinners, it's no matter! But you, +master, you cannot miss the mass!"</p> + +<p>He put his hand to his head and considered.</p> + +<p>"Bah!" he cried boldly, "I'll send my children."</p> + +<p>Let me give another trait in illustration of the nature which from time +to time pierced through and rent the flimsy fabric of his opinions. This +anecdote is a political one.</p> + +<p>Despite the precedent of an ultra democratic grandfather, and all his +plebeian tendencies as a philanthropist and a Christian, his Catholic +friends had inclined him toward monarchical ideas--although he never +actually sided with the militant portion of the party.</p> + +<p>On one occasion, it happened that the two wings of this +politico-religious fusion disagreed. As at Nanterre, Delsarte acted +independently, and on this occasion politics were the victim. It fell +out as follows:</p> + +<p>A claimant of the throne of France, still young, finding himself in the +Eternal City, had not, to all appearance, fulfilled his duties to the +Vatican promptly.</p> + +<p>The first time that Delsarte encountered certain of those zealous +legitimists, who are said to be "more royalist than the king," he +launched this apostrophe at their heads:</p> + +<p>"I hear that <i>your young man</i> was in no haste to pay his respects to His +Holiness."</p> + +<p>Thus, always free--even when he seemed to have forged chains for +himself--he obeyed his impulse without counting the cost. Never mind! +This childish outburst must have gladdened the manes of the ancestor who +connected the syllables in the patronymic name of Delsarte!</p> + +<p>I hope I shall not forget, as my pen moves along, any of these memories, +insignificant to many minds, no doubt, but serving to distinguish this +figure from the vast mass of creation. If, among my readers, some may +say "pass on," others will enjoy these trifles, and will thank me for +writing them.</p> + +<p>Thus, Delsarte was always pleased to think he bore the name of François +in memory of Francis of Assisi--not the Spaniard whom we know, but the +great saint of the twelfth century; he who "appeased quarrels, settled +differences, taught slaves and common men,--the poor man who was good to +the poor."</p> + +<p>"The fish, the rabbits and the hares," the legend says, "placed +themselves in this fortunate man's hands." * * * * The birds were silent +or sang at his command. "Be silent," said the saint to the swallows, +"'tis my turn to talk now." And again: "My brothers, the birds, you have +great cause to praise your Creator, who covered you with such fine +feathers and gave you wings to fly through the clear, broad fields of +air."</p> + +<p>One need not be very devout to be attracted by such graceful simplicity.</p> + +<p>Delsarte went farther. Whether he accepted this magnetic attraction as +true or whether he regarded it as purely symbolic--for this kind of +miracle is not dependent on faith,--he considered the monk of Assisi as +a lover of nature, whose heart was big enough to love everything that +lives, to suffer with all that suffers. He strove to comprehend him by +placing him upon a pinnacle, well aware that the sublime often lurks +between the trifling.</p> + +<p>It was on such occasions that the man of intellect revived to ennoble +and illumine everything. If, despite his magnificent rendering of them, +Delsarte never called legendary fictions in question, let us not refuse +him that privilege. In such cases the poetry became his accomplice, +and--"Every poet is the toy of the gods," as Béranger says, a simple +song-writer, as Delsarte was a simple singer.</p> + +<p>There was in him whom Kreutzer called "the apostle of the grand dramatic +style," a desire, I will not say for realism, but for <i>realization</i>, for +action. Thus he once had a fancy to join the semi-clerical society of +the third order; it was a way of keeping himself in practice, since +there were various prescriptions, observances and interdictions attached +to the office. One must repeat certain prayers every day, and submit to +a certain severity of costume. No precious metal, not even a thread of +gold or silver must be seen about one. In the first moments of fervor, a +beautiful green velvet cap, beautifully embroidered in gold--the loving +gift of some pupil or admirer,--was interdicted, that is to say, was +shut up in a closet or reduced to the condition of a mere piece of +bric-à-brac. Luckily, the association did not require eternal vows, and +I think I saw the pretty article restored to its proper use later on.</p> + +<p>Another attempt--and this was his own creation--tempted this inquiring +mind; he wished to pay especial homage, under some novel form, to the +Holy Trinity. The adepts were to be called <i>the Trinitarians</i>. In the +founder's mind, this starting-point was to be the seed for a sort of +confraternity with the mark of true friendship and unity of faith.</p> + +<p>This dream was never realized, apparently, for it seems that the +association could never number more than three members at a time: so +that it was in number only that it justified its title. Delsarte was +very fond of these few adherents. "The Trinitarians--where are the +Trinitarians?" was sometimes the cry at a lecture. It was the voice of +the master who had reserved a seat of honor for each of them. This is +all I ever knew about this society, and I have reason to think that it +never got beyond a few talks among the members upon the subject which +united them.</p> + +<p>It is not without reluctance that I expose his weaknesses; but timid as +the steps must ever be which are taken upon historic ground, we must +walk in daylight. No one, moreover, could regard this effervescence of a +sentiment noble in its source, as a want of intellectual liberty. It +was the affectionate side of his nature which at moments dimmed his +reason, but never went so far as to put out its light. I need not +attempt to defend on this point one, of whom Auguste Luchet wrote:</p> + +<p>"It is by his soul and <i>his science</i> that he lifts you, transports you, +strikes you, shatters you with terror, anguish and love!"</p> + +<p>And Pierre Zaccone says:</p> + +<p>"He is an artist, apart, exceptional, perhaps unique! with what finished +art, what talent, what GENIUS, he uses the resources of his voice!"</p> + +<p>That which best atoned in Delsarte for the grain of fanaticism with +which he was reproached, was the tolerance which prevailed in every +controversy, in every dissension. If he sometimes blamed free thought, +he never showed ill will to free-thinkers. In the spirit of the +gospel--so different from the spirit of the devout party--he was "all +things to all men." He was on a very friendly footing with a priest +whom, by his logic and his sincerity, he had prevailed upon to forsake +the ecclesiastical calling.</p> + +<p>In our discussions, which dealt with secondary subjects of various forms +of belief--for I never denied God, or the soul and its immortality, or +the freedom of the will which is the honor of the human race, or the +power of charity, provided it become social and fraternal, instead of +merely alms-giving as it has been,--in these debates, sometimes rather +lively, I would end by saying to him: "You know that I love and seek +truth; very well! if God wished me to join the ranks in which you serve, +he would certainly give me a sign; but so long as I do not receive His +summons, what have I to do with it?"</p> + +<p>I spoke his own language, and he yielded to my reasoning. "Come," he +would say, "I prefer your frankness to the pretenses of feigned piety;" +and he would add sorrowfully: "Alas! I often encounter them!" So we +always ended by agreeing, and this truce lasted--until our next meeting.</p> + +<p>The words which I have just quoted prove that if Delsarte clung to the +Catholic dogmas, he was particularly touched by the sincere piety and +active charity of simple, evangelic hearts. I may give yet another proof +of this.</p> + +<p>To satisfy his sympathies as much as to rescue his clan, when attacked, +he would always quote a father confessor, one Father Pricette--this name +should be remembered in the present age--who, during the icy nights of +December, slept in an arm-chair, because he had given his last mattress +to some one poorer than himself.</p> +</div> + + +<div class="chapter" id="p4-13"> +<h3>Chapter XIII.<br /> + +Delsarte's Friends.</h3> + + + +<p>Friendly relations--although disputes often arose--were established +toward 1840 between Delsarte and Raymond Brucker (known to literature as +Michel Raymond). Fortunately in spite of the influence of the author of +"Mensonge," Delsarte's superior rank always prevailed in this intimacy.</p> + +<p>Michel Raymond published several novels in the first half of this +century. Later on, he took his place in the ranks of that militia of +Neo-Catholics, the fruit of the Restoration. (I do not know whether I am +justified in giving the name of Neo-Catholic to Brucker; perhaps, on the +contrary, his dreams were all of the primitive church. But, in spite of +his Jewish crudities, I suppose he would never have joined the followers +of Father Loyson.) His keen, sharp and caustic spirit did not forsake +him when he changed his principles; and never did the Christ--whose +symbol is a lamb without a stain--have a sterner or more warlike zealot.</p> + +<p>In appearance, Brucker had somewhat the look of a Mephistopheles--a +demon then very much in vogue,--especially when he laughed, his laughter +being full of sardonic reserves. If Delsarte's mode of proselyting was +almost always gentle, affectionate, adapted to the spirit he aspired to +conquer, that of Raymond Brucker had an aggressive fashion; he became +brutal and cynical when discussion waxed warm.</p> + +<p>Once, in reply to one of his vehement attacks against the age, in which +he used very unparliamentary expressions, he drew upon himself the +following answer from a woman: "But, sir, I should think that in the +ardor of your recent convictions, your first act of faith should have +been to make an <i>auto-da-fé</i> of all the books signed Michel Raymond."</p> + +<p>I repeat, this writer, although of undoubted intellectual merit, could +not annul Delsarte's native tendencies; he could never have led Delsarte +into any camp which the latter had not already decided to join; but when +they met on common ground, he influenced, excited and sometimes threw a +shadow over him.</p> + +<p>When they had fought together against the nearest rebel, long and lively +discussions would often arise between them, but they always agreed in +the end: the artist's good-nature so willed it.</p> + +<p>If dissension continued, if the fiery friend had given cause for +reproach, Delsarte merely said: "Poor Brucker!" But how much that brief +phrase could be made to mean in the mouth of a man who taught an actor +to say, "I hate you!" by uttering the words, "I love you," and who could +ring as many changes on one sentence as the thought, the feeling, the +occasion, could possibly require.</p> + +<p>Do not suppose, however, that Delsarte abused his power. Contrary to +many actors who carry their theatrical habits into their private life, +he aimed at the most perfect simplicity outside of the rôles which he +interpreted. "I make myself as simple as possible," he would say, "to +avoid all suspicion of posing." But still he could not entirely rid +himself, in conversation, of those inflections which illuminate words +and are the genuine manifestation of the inner meaning.</p> + +<p>Be this as it may, the relation between our two converts assumed the +proportions of friendship, doubtless in virtue of the mysterious law +which makes contrast attractive.</p> + +<p>Hegel says: "The identical and the non-identical are identical;" and +this proposition passes for nonsense. Perhaps if he had said: "May +become identical," it would be understood that he meant to speak, in +general, of that reconciliation of contraries which united the calm +genius of Delsarte and the bristling, prickly spirit of Raymond Brucker.</p> + +<p>One motive particularly contributed to the union; Brucker was +unfortunate in a worldly sense. Delsarte, improvident for the future and +scorning money, still had, during the best years of his professorship, a +relatively comfortable home. He loved to have his friend take advantage +of it. Large rooms, well warmed in winter, a simple table, but one which +lacked no essential article, were of no small importance to one whose +scanty household had naught but sorrow and privation to offer.</p> + +<p>How many evenings they spent together in dissertations which often ended +in nothing--and how often the dawn surprised them before they were +weary!</p> + +<p>For Brucker it was a refuge, but for Delsarte, what a waste of time and +strength taken from his real work! That wasted time might have sufficed +to fix and produce certain special points in his method. Then, too, his +health demanded greater care.</p> + +<p>Take it for all in all, this intimacy was perhaps more harmful than +helpful to Delsarte. Yet I have been told that Raymond Brucker urged the +innovator to elaborate his discovery, and often reproached him with his +negligence in pecuniary matters. It was he who said: "François +Delsarte's system is an orthopedic machine to straighten crippled +intellects."</p> + +<p>I have also heard in favor of Raymond Brucker, that that mind so full of +bitterness, that inquisitor <i>in partibus</i>, was most tender toward a +child in his family, and that he bore his poverty bravely. I desire to +note these eulogies side by side with the less favorable reflections +which I considered it my duty to write down here. I recall a short +anecdote which will serve to close the Brucker story.</p> + +<p>As we have said, they were seldom parted. One day Delsarte had agreed to +dine with the family of a pupil. As he was on his way thither, he met +his inseparable friend. From that moment his only thought was to excuse +himself from the dinner; but his hosts were reluctant to give up such a +guest; they insisted"--they were offended.</p> + +<p>"Pardon me," said Delsarte; "I really cannot stay! I had forgotten that +Brucker was to dine with me."</p> + +<p>"But that can be arranged! M. Brucker can join us. Suppose we send and +ask him?"</p> + +<p>"You need not," replied the master; "if you are willing, I will call +him; he is waiting for me below at the corner."</p> + +<p>They had acted as children do, when one says to the other on leaving +school:</p> + +<p>"Wait a minute for me, I'll ask mamma if you can come and dine with us."</p> + +<p>Brucker, who after all knew how to be agreeable when he chose, took his +place at the table, and all went well.</p> + +<p>This proves yet once again the extent to which Delsarte possessed that +charming simplicity so well suited to all distinction.</p> + +<p>In the dissertations upon religious subjects incessantly renewed about +Delsarte, it was sometimes declared that "great sinners were surer of +salvation than the most perfect unbelievers in the world."</p> + +<p>A young man, who doubtless felt himself to be in the first category, +once said to the master:</p> + +<p>"My friend, the good God has been too kind to me! I disobey him, I +offend against his laws.... I repent, and he accepts my prayer! I +relapse into sin--and he forgives me! Decidedly, the good God is a very +poltroon!"</p> + +<p>This seems to exceed the unrestrained ease and confidence usual toward +an earthly father; but we must not forget that the inflection modifies +the meaning of a phrase, and that <i>poltroon</i> may mean <i>adorable</i>.</p> + +<p>This penitent, now famous, carried his provocation of the inexhaustible +goodness very far. At one time in his life he tried to blow out his +brains! By a mere chance--he probably said, by a miracle,--the wound was +not mortal; but he always retained the accusing scar. I never knew +whether this unpleasant adventure preceded or followed Mr. L.'s +conversion, or whether it was coincident with one of the relapses of +which that repentant sinner accused himself.</p> + +<p>Another very religious friend was no less fragile in the observance of +his firm vow. Becoming a widower, he swore eternal fidelity to the +"departed angel." Soon after, he was seen with another wife on his arm!</p> + +<p>"And your angel?" whispered a sceptic in his ear.</p> + +<p>"Oh, my friend!" was the reply, "this one is an archangel."</p> + +<p>Another figure haunted Delsarte and afforded yet another proof of his +tolerance. The Italian, C----, shared neither his political ideas nor +his religious beliefs; he was one of those refugees whom the defeats of +the Carbonari have cast upon our soil, and whose necessities +France--does our neighbor remember this?--for years supplied, as if they +were her own children. However, she could offer them but a precarious +living.</p> + +<p>Signer C., to give some charm to his wretched existence, desired to add +to his scanty budget a strong dose of hope and intellectual enjoyment: +hope in--what came later--the independence and unity of Italy. By way of +diversion, this stranger gratified himself by indulging in a whim; he +had dreams of a panacea, a plant whose complex virtues should combat all +the evils which fall to the lot of poor humanity; but this marvel must +be sought in America. And how was he to get there, when he could barely +scrape together the necessary five cents to ride in an omnibus! The +Isabellas of our day do not build ships for every new Columbus who +desires to endow the world with some wonderful treasure trove! And yet +this man was not mad; he was one of those who prove how many insane +ideas a brain may cherish, without being entitled to a cell in Bedlam or +Charenton.</p> + +<p>While awaiting the realization of his golden dreams, poor C. spent his +time in perpetual adoration of the Talma of Music--for so Théophile +Gautier styled Delsarte; he never missed a lecture; he took part in the +talks which lengthened out the evening when the parlor was at last +cleared of superfluous guests.</p> + +<p>Among his many manias--how many people have this one in common with +him!--the Italian cherished the idea that he was of exceptional ability, +and that in more than one direction. He proclaimed that Delsarte went +far beyond everything that he knew--equal to all that could be imagined +or desired in regard to art--but as for himself, C., was he not from a +land where art is hereditary, where it is breathed in at every pore, +from birth? And more than the mass of his countrymen, did he not feel +the volcanic heat of the sacred fire burning within him?</p> + +<p>One evening, he made a bold venture. He had prepared a tirade written by +some Italian poet. All that I remember of it is that it began with the +words: "<i>Trema--Trema!</i>" [Tremble--Tremble!]</p> + +<p>The impromptu tragedian recited several lines in a declamatory tone +accompanied by gestures to match. Delsarte listened without a sign of +praise or blame. Then he rose, struck an attitude appropriate to the +text, but perfectly natural, and, in his quiet way, said:</p> + +<p>"Might not you as well give it in this key?" Then, in a voice of +repressed harshness, his gestures subdued but expressive of hatred, he +repeated the two words: "<i>Trema--Trema!</i>"</p> + +<p>The listeners shuddered. Delsarte had produced one of those effects +which can never be forgotten. The smouldering ashes did not burn long; +four syllables were enough to extinguish the flame.</p> + +<p>Following, not the chronological order, but that of circumstances and +incidents calculated to throw light on my subject, I must once more +retrace the course of years.</p> + +<p>C.'s persistency went on before and after 1848. During the second +period, all minds were greatly agitated by the state of politics. C., in +spite of his undoubted liberalism--he spent a great part of his leisure +in making democratic constitutions--thought, like every other claimant, +that he had <i>duties to perform</i>; and that he might as well, to +facilitate his task, make an ally of the Emperor, without scruple; but +access to royalty was no less impossible than landing on the American +shore where his panacea grew. He hit upon the following plan:</p> + +<p>A number of ladies were to go in a body and implore Napoleon III to +pardon certain exiles: for the same calamities always follow civil war, +and there are always women ready to beg for justice or mercy.</p> + +<p>C., who knew their purpose, said to one of the petitioners: "How are you +going to make the Emperor understand that I am the only man capable of +saving the situation?"</p> + +<p>The petition was not presented; and the world remains to be saved!</p> + +<p>Our Italian had another specialty: he was perpetually in search of some +notorious somnambulist. It is a well-known fact that the mental +agitation caused by governmental crises is very favorable to these +pythonesses of modern times. Each wishes to outrun the future and to +afford himself at least an illusion of the triumph of his party. The +oracles varied according to the opinion of the person who magnetized +these ladies, and, often, according to the presumed desire of the +audience.</p> + +<p>Delsarte allowed himself to be drawn into these mysteries. He had time +for everything. It afforded him relaxation, and a means of observation. +On one occasion, he followed the refugee to a garden where a person of +"perfect lucidity" prophesied. The sibyl was a <i>believer</i> as well as a +<i>seer</i> and pretended to communicate with God in person. I do not know +exactly what supernal secrets the woman revealed, while she slept, but +the result was ridiculous.</p> + +<p>They had forgotten to fix the hour for the next sitting: so, to repair +the omission--by means of a few passes--the somnambulist was restored to +sleep and lucidity. Then in a corner of the garden, in a familiar tone +and--to use the popular expression--in which, as may well be imagined, +the voice of Jehovah was not heard:</p> + +<p>"My God, what day shall we return?"</p> + +<p>"He says Wednesday," announced the lady.</p> + +<p>"Thank you, God!"</p> + +<p>If the Italian went into ecstasies over this irreverent trifling, +Delsarte did not disdain to caricature it, and gave us a most comical +little performance. Here again we see how he could transform everything, +and make something out of nothing!</p> + +<p>Among the frequenters of his lectures was an artist whom I would gladly +mention for his talent if I did not fear to annoy him by connecting his +name with an incident concerning him. I relate it in the hope of +somewhat diverting my readers, to whom I must so often discourse of +serious things.</p> + +<p>Mr. P. painted a portrait of Delsarte as a young man. The features are +exact, the pose firm and dignified, the eye proud. The painter and the +model were on very good terms and sympathized in religious matters. It +must have been the master who brought him over. He still burned with the +zeal peculiar to recent converts; to such a point that even on a short +excursion into the country, he could not await his return to Paris to +approach the stool of repentance. This desire seemed easily satisfied; +what village is without a father confessor!</p> + +<p>So, one fine day, the artist rang at the first parsonage he could find. +The priest's sister opened the door--offered him a seat--and told him +that her brother was away. But, after these preliminaries, the lady +seemed uneasy. She inquired what the stranger wanted.</p> + +<p>"To speak with the priest."</p> + +<p>What could this stranger have to say to him? Such was the question which +floated in her eyes, amidst the confused phrases in which she strove to +gain an explanation. Mr. P. finally told her that he had come to +confess.</p> + +<p>"My brother will not return till very late," said the poor girl, unable +to disguise her distress.</p> + +<p>"I will wait!" replied the traveler.</p> + +<p>"Oh, sir, I hope you will not!"</p> + +<p>He thought he heard her mutter: "We read such things in the papers!"</p> + +<p>The visitor at last perceived that she took him for a thief, and he +could not depart quickly enough.</p> + +<p>One more anecdote:</p> + +<p>François Delsarte called himself a bad citizen, because he disliked to +undertake the duties entailed by reason of the national guard--a dignity +long demanded by the advanced party of the day, but of which they soon +wearied.</p> + +<p>I think that the artist's infractions were often overlooked, and his +reasons for exemption were never too closely scanned. And yet, the +soldier-citizen was one day arraigned before a council of discipline, +which, without regard for this representative of the highest personages +of fiction, condemned him to three days' imprisonment.</p> + +<p>It was as if they had imprisoned saltpetre in company with a bunch of +matches--but he restrained his rebellious feelings; he would not give +his judges the satisfaction of knowing his torment. He soon thought only +of procuring consolation: he summoned his friends, who visited him in +throngs. Then he made the acquaintance of his companions in misfortune. +There was one especially, who, alone, would have made up to him for all +the inconveniences of his forced arrest.</p> + +<p>The first time that this prisoner entered the room where the other +prisoners were assembled, he looked at them with the most solemn air, +put his hand to his forehead, made a military salute, and in grave +tones, as if beginning a harangue, he uttered these words:</p> + +<p>"Captives--I salute you!"</p> + +<p>It was strangely pertinent. Delsarte was not behindhand in comic +gravity. This little scene enlivened him.</p> + +<p>Another compensation fell to the lot of our <i>captive</i>. One of the +prisoners sang him a song, one stanza of which lingered in his memory. I +transcribe it:</p> + +<blockquote class="poem"><p> +<span class="line">"I was born in Finisterre,<br /></span> +<span class="line">At Quimperlay I saw the light.<br /></span> +<span class="line">The sweetest air is my native air,<br /></span> +<span class="line">My parish church is painted white!<br /></span> +<span class="line">Oh! so I sang, I sighed, I said,--<br /></span> +<span class="line">How I love my native air,<br /></span> +<span class="line">And parish church so bright!"</span> +</p></blockquote> + +<p>These lines, written by some Breton minstrel, inspired one of those +sweet, plaintive airs which the drawling voice of the drovers sing as +they return at nightfall; one of those airs which seem to follow the +brook down the valleys, and which repeat the echoes of the mountains, in +the far distance.</p> + +<p>Oh! how Delsarte used to murmur it; it made one homesick for Brittany!</p> +</div> + + +<div class="chapter" id="p4-14"> +<h3>Chapter XIV.<br /> + +Delsarte's Scholars.</h3> + + + +<p>To get one's bearings in that floating population (where persistency and +fidelity are rare qualities) which haunts a singing-school, it is well +to make classifications. In Delsarte's case, the novelty of his +processes, his extraordinary reputation among the art-loving public, the +length of time which he insisted was necessary for complete education, +all combined to produce an incessant ebb and flow of pupils.</p> + +<p>Therefore, I must distinguish.</p> + +<p>First, there were those, brought by Delsarte's generosity, whose only +resource was a vocation more or less favored by natural gifts. He would +say: "Come one, come all." But, of course, many were called, and few +were chosen, the majority only making a passing visit.</p> + +<p>Then there were the finished artists. They took private lessons, coming +to beg the master to put the finishing touch to their work, hoping to +gain from him something of that spiritual flame which consecrates +talent. I shall not undertake to speak of all, but I must quote a few +names.</p> + +<p>One winter day, says <i>La Patrie</i> for June 18, 1857, a woman, beautiful +and still young, visited Delsarte, begging him to initiate her into the +mysteries of Gluck's style:</p> + +<p>"You are the greatest known singer," she said; "no one can enter into +the work of the great masters and seize their most secret thought as you +do; teach me!"</p> + +<p>"Who are you?" asked François Delsarte.</p> + +<p>"Henrietta Sontag," replied the stranger.</p> + +<p>Madame Barbot had a moment of great triumph, and was summoned to Russia +at the period of her success in Paris. She was perhaps the master's best +imitator; she had somewhat of his tragic emotion, his style, his +gesture; then what did she lack to equal him? She lacked that absolute +<i>sine qua non</i> of art and poetry--<i>personality</i>. She added little of her +own.</p> + +<p>Even among those who could neither hear his lectures nor follow his +lessons, Delsarte had disciples. A great singing-teacher, whom I knew at +Florence, was eager to learn everything concerning the method. I often +heard him ask a certain young girl, as he read a score: "You were +Delsarte's pupil; tell me if he would have read this as I have done?"</p> + +<p>Even the famous Jenny Lind made the journey from London to Paris, +expressly to hear the great singer.</p> + +<p>At his lectures were seen from time to time: M. and Mme. Amand Chevé, +Mlle. Chaudesaigues, M. Mario Uchard--who, after his marriage, asked for +elocution lessons for his wife (Madeleine Brohan),--Mlle. Rosalie +Jacob, whose brilliant vocalization never won the renown which it +deserved, Mme. Carvalho, who was not one of the regular attendants, but +who trained her rare talent as a light singer, there, before the very +eyes of her fellow pupils,--Géraldon, who was very successful in Italy, +under the name of Géraldoni.</p> + +<p>Then, there was Mme. de B----, who appeared at the opera under the name +of Betty; a beauty with a fine voice. This artist did not perfect her +talents, being in haste to join the theatre in Rue Lepelletier, under +the shield of another master. Although well received by the public, she +soon gave up the profession.</p> + +<p>A memory haunts me, and I cannot deny it a few lines.</p> + +<p>Mme. M. may have been eighteen when she began to study singing with +Delsarte, together with her husband, who was destined for a similar +career. She had an agreeable voice, but a particularly charming face, +the freshness of a child in its cradle, a sweet expression of innocence. +In figure she was tall and slender. The lovely creature always looked +like a Bengal rose tossing upon its graceful stalk. These young students +considered themselves finished and made an engagement with the manager +of a theatre in Brazil.</p> + +<p>"Don't do it," said Delsarte to the husband, knowing his suspicious +nature, "that is a dangerous region; you will never bring your wife back +alive."</p> + +<p>He prophesied but too truthfully.</p> + +<p>Soon after, we heard that the fair songstress had been shot dead by the +hand of the husband who adored her. I like to think that she was +innocent of more than imprudence. The story which reached us from that +distant land was, that M. M. threatened to kill his wife if she +continued to associate with a certain young man.</p> + +<p>"You would never do it!" she said.</p> + +<p>She did not reckon on the aberrations of jealousy. It was said, in +excuse for the murderer, that she had defied him, saying:</p> + +<p>"I love him, and I do not love you!"</p> + +<p>After the catastrophe, the unfortunate husband gave himself up to +justice. No case was found against him, but how he must have suffered +when he had forever cut himself off from the sight of that enchanting +creature!</p> + +<p>Three figures stand preëminent in the crowd: Darcier, Giraudet, Madame +Pasca.</p> + +<p>I will proceed in order of seniority.</p> + +<p>The first named did not attend the lectures when I did, but I often +heard him mentioned in society where he attracted attention by his +rendering of Delsarte's "Stanzas to Eternity," Pierre Dupont's "Hundred +Louis d'or," and many other impressive or dramatic pieces. I know the +master considered him possessed of much aptitude and feeling for art.</p> + +<p>They met one evening at a large party given by a high official of the +day. Darcier sang well, in Delsarte's opinion; but it was perhaps too +well for a public made up of fashionables, not connoisseurs.</p> + +<p>"It takes something more than talent to move them," thought the real +judge, annoyed; and with that accent familiar to well-bred people, which +transfigures a triviality, he said to the singer:</p> + +<p>"Let them have <i>the bread!</i>"</p> + +<p>He referred to a political song ending with these lines:</p> + +<blockquote class="poem"><p> +<span class="line">"Ye cannot hush the moan<br /></span> +<span class="line">Of the people when they cry: 'We hunger ...'<br /></span> +<span class="line">For it is the cry of nature,<br /></span> +<span class="line">They want bread, bread, bread!"</span> +</p></blockquote> + +<p>The guests were forced to give the attention which it demanded to this +cry which aroused the idea of recent seditions, and the performer came +in for his share.</p> + +<p>This artist may still be heard, but his talents are displayed in so +narrow a circle that his reputation is a limited one. Yet it is said +that his compositions and his mode of singing them attest to great +vigor.</p> + +<p>Darcier, it seems, always retained a strong feeling of devotion for his +master. He has been heard to say: "I fear but two things--Delsarte and +thunder."</p> + +<p>Alfred Giraudet joined the grand opera as <i>primo basso cantante</i>. He was +warmly received by the press, and had already won a name at the Opéra +Comique and at concerts. In this singer may be noted the firmness of +accent and scholarly mode of phrasing, always in harmony with the +prosody of the language, which are part of the tradition of the great +school. He always bears himself well on the stage, and the sobriety of +his gesture is a salutary example which some of his present colleagues +would do well to imitate.</p> + +<p>He, too, was a loyal soul; he always regarded it as an honor to bear the +title of <i>pupil of Delsarte</i>, the latter always writing to him as <i>my +dear and last disciple</i>. I owe many of the memories and documents used +in this volume to his kindness.</p> + +<p>Alfred Giraudet always took his audience captive when he sang Malherbe's +verses--music by Réber--of which each strophe ends with the following +lines:</p> + +<blockquote class="poem"><p> +<span class="line">"Leave these vanities, put them far behind us,<br /></span> +<span class="line">'Tis God who gives us life,<br /></span> +<span class="line">'Tis God whom we should love."</span> +</p></blockquote> + +<p>The broad, sustained style, so appropriate to the words of the melody, +finds a sympathetic interpreter in the young artist.</p> + +<p>Delsarte gave this with great <i>maestria</i>. The finale, particularly, +always transports the listeners.</p> + +<p>If any one can revive the tradition of the master's teachings, it is +certainly Giraudet, who understands the method and appreciates its high +import.</p> + +<p>Madame Pasca was one of the latest comers; her advent was an event. +There were pupils in the school who were destined for the theatre, and +there were women of society; the future artist of the Gymnase partook +of both phases. She had the advantages of a vocation and of a careful +education; her fortune allowed her to dress elegantly, with the +picturesqueness imparted by artistic taste.</p> + +<p>Chance, or a presentiment of speedy success, led her to take her place, +on the first day, very near the master, in a peculiar seat--a sort of +small, low easy chair which inspired one with a sense of nonchalance. +She was in full sight. Her gaze, profound and sombre at times, roamed +over the room with the natural air of a meditative queen. She inspired +all beholders with curiosity and interest. The feeling which she aroused +in her fellow-pupils was less distinct. Her rare advantages caused a +vague fear in those who hitherto had securely held the foremost rank; +her beauty created a sense of rivalry, unconscious for the most part, +and yet betrayed by countless signs.</p> + +<p>There was a flutter of excitement throughout the school. This increased +when the young woman confirmed, by her first efforts, all that her +agreeable appearance and fascinating voice had promised. She declaimed a +fragment from Gluck's "Armida" which other pupils sang; a word sufficed +to change interest to sympathy.</p> + +<p>That accent touched all hearts. What visible grief and what a sense of +suppressed tears when in her grave, slow tones she uttered the phrase:</p> + +<p>"You leave me, Rinaldo! Oh, mortal pain!"</p> + +<p>The master soon obtained from this marvellous aptness, what is rarely +acquired, even after long years of study: dramatic effects free from all +hint of charlatanism. The distinguishing point between Madame Pasca and +Madame Barbot is, that the latter, while observing all the rules of the +method avoided servile imitation.</p> + +<p>Delsarte was all the more delighted at his success, because he had +revealed to his scholar her true calling. Madame Pasca came to him for +singing-lessons, but her large, strongly-marked voice had little range. +She was directed toward the art which she afterward practiced, and began +her studies with tragedy. Some idea of what she did in this field may be +formed from the effect which she produced in pathetic scenes, where the +comedy allowed her serious voice to show its power and penetrating tone.</p> + +<p>I need not speak of Madame Pasca's success at the Gymnase and abroad. It +is known and undoubted. Still she lacks the consecration of the stage +where Mars and Rachel shone. When this artist left the school to enter +upon her career, Delsarte said to her:</p> + +<p>"My dear child, you will spend your life in atoning for the crime of +being my pupil."</p> + +<p>He was right, for Madame Pasca has no place at the Français yet.</p> + +<p>I can speak from hearsay merely, of the lessons in elocution and +declamation intended for preachers--particularly for the fathers of the +Oratory,--never having been present at them. I only know that Father +Monsabre and other famous ecclesiastics took lessons from François +Delsarte.</p> +</div> + + +<div class="chapter" id="p4-15"> +<h3>Chapter XV.<br /> + +Delsarte's Musical Compositions.</h3> + + + +<p>Delsarte paid but little attention to musical composition; still his +musical works prove that he would have succeeded here as elsewhere, had +he devoted himself particularly to the task.</p> + +<p>To say nothing of six fine vocal exercises and a number of songs which +had their day, his "Stanzas to Eternity" were highly popular. A mass by +him was performed in several churches; but his "Last Judgment," +especially, ranks him among serious composers.</p> + +<p>This setting of the <i>Dies Irae</i> is touching and severe; the melody is +broad, sombre, threatening; the accompaniment reminds one of the dull +rattling of the skeletons reassuming their original shape. One seems to +hear the uneasy hum of voices roused from long sleep.</p> + +<p>One incident showed the importance of this work. Various pieces of +concerted music were being rehearsed one night at the church of St. +Sulpice, for performance during the solemnity of "the work of St. +Francis de Xavier." A close circle formed around the musicians; private +conversation added a discordant note to the harmony; the church echoed +back the footsteps of people walking to and fro.</p> + +<p>The <i>Dies Irae</i> came! The music at first imitates the angel trumpets +which, according to Christian belief, are to be heard when <i>time shall +end</i>. The summons sounded four times.</p> + +<p>This mournful chant of reawakening generations instantly silenced every +voice and every step; all were motionless; and the solemn melody alone +soared to the vaulted roof.</p> + +<p>A touching story is told of this work. At a large and miscellaneous +gathering, M. Donoso-Cortes, a well-known Spanish publicist, then +ambassador to Paris, begged Delsarte to sing his <i>Dies Irae</i>. A space +was cleared in the music-room.</p> + +<p>The score of the symphony for voice and piano, made by Delsarte himself, +retains all his intentions and effects, to which his striking voice +added greatly.</p> + +<p>Delsarte began:</p> + +<blockquote class="poem"><p> +<span class="line">"Dies irae, dies illa,<br /></span> +<span class="line">Solvet saeclum in favilla,<br /></span> +<span class="line">Teste David cum sybilla."</span> +</p></blockquote> + +<p>The whole assembly were taken captive. M. Donoso-Cortes was particularly +moved. His eyes filled with tears. He was not quite well that night.</p> + +<p>A week later the newspapers invited the friends of the illustrious +stranger to meet at St. Philippe-du-Roule, to witness his funeral rites. +Delsarte was present; the church was so hung with black that the +choristers were alarmed for the effect of their motets.</p> + +<p>The artist recalled the request made him the previous week by the +Spanish ambassador. He felt as if that same voice came from the bier and +begged him for one more hymn to the dead. In spite of his emotion, he +offered to sing the <i>Dies Irae</i>.</p> + +<p>To obviate the lack of resonance, Delsarte sang--according to his theory +in regard to the laws of acoustics,--without expenditure of sound, +almost <i>mezza voce</i>.</p> + +<p>No one was prepared. The listeners were all the more overcome by those +tones in which the friend's regrets pervaded, with their sweet unction, +the masterly diction of the singer.</p> + +<p>When his oldest daughter grew up, Delsarte seemed to take a fancy to a +different style of composition. He would not give that young soul the +regular repertory of his pupils, all passion and profane love. He wrote +for Marie words and music--couplets which were neither romance nor song; +nor were they quite canticles, although religion always lay at the base +of them.</p> + +<p>I know none but Madame Sand who can be compared to Delsarte in variety +of feeling and simplicity even unto grandeur. I have often observed a +likeness and, as it were, a kinship between these great minds. And yet +these two great souls, these two great spirits, never exchanged ideas. +The artist never received the plaudits of the distinguished writer. Both +regretted it.</p> + +<p>Delsarte said: "I lack that sanction," and Madame Sand wrote, when he +had ceased to live: "I knew Delsarte's worth; I often intended to go +and hear him, and some circumstance, beyond my control, always +prevented."</p> + +<p>The world owes a debt to Delsarte for collecting under the title +"Archives of Song," the lyric gems of the XVI, XVII, and XVIII +centuries. And also the songs of the Middle Ages, the prose hymns and +anthems of the church, arranged conformably to the harmonic type +consecrated by the oldest traditions.</p> + +<p>"All these works," he wrote in his announcement of the work, "faithfully +copied, arranged for the piano and transposed for concert performance, +will finally be arranged and classified in separate volumes, to suit +various voices, ages, styles, schools, etc., thus affording subject +matter for a complete course of vocal studies."</p> + +<p>I do not think that death allowed Delsarte to complete this vast plan, +but it was partly finished. In the collection, we find the scattered +treasures of an eminently French muse: old songs picked up in the +provinces, in which wit and naive sentimentality dispute for precedence. +All this still exists, but who can sing as he did the song beginning: "I +was but fifteen," or "Lisette, my love, shall I forever languish?" and +so many others!</p> + +<p>To explain the inexpressible charm which distinguished Delsarte from all +other singers, a songstress once said: "His singing contrives to give us +the <i>soul of the note</i>. The others are <i>artists</i>, but <i>he</i> is <i>the +artist</i>."</p> +</div> + + +<div class="chapter" id="p4-16"> +<h3>Chapter XVI.<br /> + +Delsarte's Evening Lectures.</h3> + + + +<p>In François Delsarte's school there were morning classes and evening +classes. The former were more especially devoted to the theory, to +lessons. Those of which I shall speak might be compared to lectures, to +dramatic and musical meetings. A choice public was always present. Among +them were:</p> + +<p>The composers Réber and Gounod;</p> + +<p>Doctor Dailly, Madame de Meyendorf--a great Russian lady, the friend of +art;</p> + +<p>The Princess de Chimay and the Princess Czartoriska, who glided modestly +in and took the humblest place;</p> + +<p>Madame Blanchecotte, whose charming verses were crowned by the Academy;</p> + +<p>Countess d'Haussonville, a familiar name;</p> + +<p>M. Joly de Bammeville, one of the exhibitors at the Exhibition of +Retrospective Arts, in 1878;</p> + +<p>Doriot, the sculptor; Madame de Lamartine, Madame Laure de Léoménil, a +well-known painter; Madame de Blocqueville, daughter of Marshal Davout, +and author of his biography; a throng of artists, men of letters and +scientists; certain original figures of the period.</p> + +<p>On one occasion we were joined by a man of some celebrity--the +chiromancist Desbarolles. Delsarte had the courtesy to base his theory +lesson upon the latter's system; he pointed out its points of relation +with the sum total of the constitution of the human being. It was a +lesson full of spirit and piquant allusions; one of those charming +impromptus in which Delsarte never failed.</p> + +<p>From time to time certain persons in clerical robes appeared in the +audience; the austerity of their habit contrasting somewhat strangely +with the attire of the elegant women, men of fashion and young actors in +their apprenticeship around them; but matters always settled themselves. +One evening one of these priests was in a neighboring room, the doors of +which were open into the drawing-room. If the songs seemed too profane, +he kept out of sight; but so soon as the word <i>God</i> was pronounced or a +religious thought was mingled with a romance, or operatic aria, the +servant of the altar appeared boldly, rejoiced at these brief harvests +which allowed him to enjoy the whole picture.</p> + +<p>To give a correct idea of one of these evenings, I will copy an account +which I have just written under the heading of "Recent Memories."</p> + +<p>By half-past eight, almost all the guests have assembled. A stir is +heard in the next room. "He is coming ... it is he!" is whispered on +every hand. The master enters, followed by his pupils. Almost at the +same instant a young woman glides up to the piano. She is to accompany +the singers; she enters furtively, timidly, as if she were not the +mistress of the house. She is beautiful, but she does not wish this to +be noticed; she has much talent, but she disguises it by her calm and +severe style of playing, which does not prevent critical ears from +noting her exactitude and precision, combined with that rare spirit of +abnegation which is the accompanist's supreme virtue.</p> + +<p>Delsarte takes his place by the piano; his attentive gaze traverses the +assembly; he exchanges a smile, a friendly gesture with certain of the +audience who are always much envied. At this moment he is grave, +serious, and as it were, penetrated by his responsibility to an audience +who hang devoutly on his lips.</p> + +<p>The professor begins by developing some point in his system; he gives +the law of pose or of gesture; the reasons for accent, rhythm or some +other detail connected with the synthesis which he has evolved. He +questions his scholars.</p> + +<p>The first notes of the piano serve to mark the change to practical +instruction. The pupils sing in turn. The master listens with the +concentrated attention peculiar to him; the expression of his face +explains the nature of the remarks he is about to make, even before he +utters them. He points out mistakes, he illustrates them.</p> + +<p>Little by little, however, his dramatic genius is aroused. Achilles +seems to seize his weapons or Agamemnon his sceptre. The scholar is +pushed aside, Delsarte takes his place.</p> + +<p>Then the artist is seen to the utmost advantage. There, dressed in the +vast, shapeless coat which drapes itself about him as he gesticulates, +his neck free from the cravat which puts modern Europeans in the +pillory, and allowing himself greater space than at his concerts--there, +and there alone, is Delsarte wholly himself.</p> + +<p>The piano strikes the opening notes of the prelude, and before the +artist has uttered a word, he is transfigured. If he is singing serious +opera, the oval of his face lengthens, the lines become more fixed, his +cheeks shrink, his forehead is lighted up and his eye flashes with +inspiration; the pallor of profound emotion pervades his features, the +somewhat gross proportions of his figure are disguised by the firmness +of his pose and the juvenile precision of his gesture.</p> + +<p>The part of <i>Robert the Devil</i> is one of those in which Delsarte best +developed the resources and suppleness of his genius. <i>Robert</i> is the +son of a demon, but his mother was a saint. He loves with sincere love; +but even this love is subject to the influence of the evil spirit; +hence, these outbursts followed by such tender remorse, that heart which +melts into tears after a fit of rage. <i>Robert</i> is jealous, less so than +<i>Othello</i> possibly, but <i>Robert's</i> jealousy is stimulated by infernal +powers and must differ in its manifestation. It was in these shades of +distinction that Delsarte's greatness was apparent to every eye.</p> + +<p>Then came those indescribable inflections--words which pierced your +heart, cold as a sword-blade: "Come, come!" says <i>Robert</i>, striving to +drag <i>Isabella</i> away, ... and that simple word was made frantic, +breathless, by the accent accompanying it. No one who has not heard +Delsarte utter the word <i>rival</i> can conceive of all the mysteries of +hate and pain contained in the word.</p> + +<p>In the trio from "William Tell," after the words, "has cut an old man's +thread of life," Arnold feels that Gessler has had his father murdered. +A first and vague suspicion dawned on the artist's face. Little by +little, the impression became more marked, a clearer idea of this +misfortune was shown by pantomime; his eye was troubled, it kindled, +every feature questioned both William and Walter; the actor's hand, +trembling and contracted, was stretched toward them and implored them to +speak more clearly. He was horror-stricken at the news he was to hear, +but uncertainty was intolerable; and when, after these touching +preparations, Arnold himself tore away the last shred of doubt, when he +uttered the cry: "My father!" there was not a heart--were it bathed in +the waters of the Styx--which did not melt from the counter shock of +such violent despair.</p> + +<p>The effects of rage, hate, irony, the terrors of remorse, the bitterness +of disappointment, were not the only dramatic means in the possession of +that artist whom Madame Sontag proclaimed as "the greatest known +singer." None could express as did Delsarte, contemplation, serenity, +tenderness--the dreams of a sweet and simple soul, and even the divine +silliness of innocent beings. Wit and malice were equally easy for him +to render.</p> + +<p>In the duet from "Count Ory:"</p> + +<blockquote class="poem"><p> +<span class="line">"Once more I'll see the beauty whom I love,"</span> +</p></blockquote> + +<p>he was quite as apt at interpreting the hypocritical good-nature of the +false hermit as the sentimental playfulness of the love-lorn page.</p> + +<p>In his school the comic style bore an impress of propriety and +distinction, because it resulted from intellectual perceptions rather +than it expressed the vulgar sensations manifested by exaggerated +caricature and grimace.</p> + +<p>Delsarte thus put his stamp upon every style which he attempted; he +renovated every part. He restored Gluck to life; he revealed Spontini to +himself. The latter--the illustrious author of "Fernando Cortez"--was at +a musical entertainment where Delsarte, whom he had never known, sang. +He had drunk deep of the composer's inspiration: he showed this in the +very first phrase of the great air:</p> + +<blockquote class="poem"><p> +<span class="line">"Whither do ye hasten? Oh, traitorous race!"</span> +</p></blockquote> + +<p>He sang with such vigorous accent, such great <i>maestria</i>, that--in the +mouth of Montezuma--the words must have sufficed to rally the Mexican +army from its rout. He gave the cantabile:</p> + +<blockquote class="poem"><p> +<span class="line">"Oh country, oh spot so full of charm!"</span> +</p></blockquote> + +<p>with indescribable sadness; desolation and despair seemed to fill his +soul, and when the conquered man invoked the spirits of his ancestors:</p> + +<blockquote class="poem"><p> +<span class="line">"Shall I say to the shadows of my fathers,<br /></span> +<span class="line">Arise--and leave your gloomy tomb!"</span> +</p></blockquote> + +<p>it seemed--so powerful was the adjuration--as if the audience must see +the sepulchre open on the spot which the singer and actor indicated by +his gesture and his gaze.</p> + +<p>Such profound knowledge, sublime talent, terrifying effects and +contrasts so skilfully managed, and yet so natural in their transition, +strongly moved the composer.</p> + +<p>"Do you know that you made me tremble?" Delsarte said to him after he +had sang.</p> + +<p>"Do you know that you made me weep?" replied Spontini, charmed to see +his work raised to such proportions.</p> + +<p>Delsarte was always master of himself, however impassioned he appeared.</p> + +<p>Often, in his lessons, when every soul hung upon his accents, he would +stop abruptly and restore the part to his pupil. Then, as if a magic +wand had touched him, all the attributes of the personage who had lived +in him, vanished. His face, his form, his bearing resumed their usual +appearance. The artist disappeared, and the professor quietly resumed +his place, without seeming to notice that the audience--still shaken by +the emotions they had felt--blamed him for this too prompt +metamorphosis.</p> + +<p>Yet Delsarte was as agreeable a teacher as he was a marvelous artist. +His instruction was enlivened by countless unexpected flashes; his +sallies were as quick as gunpowder.</p> + +<p>"<i>I die!</i>" languidly sang a tenor.</p> + +<p>"You sleep!" said the master.</p> + +<p>"<i>Come, lady fair!</i>" exclaimed another singer.</p> + +<p>"If you call her in that voice, you may believe that she will never +come!"</p> + +<p>"Don't make a public-crier of your Achilles," said the master to some +one with a rich organ, given over to its own uncultivated power.</p> + +<p>All three smiled. The one tried to die more fitly; the other to call his +lady fair in more seductive accents. The petulant outburst of the master +taught them more than many a long dissertation.</p> + +<p>Delsarte made great use of his power of imitating a defect; he even +exaggerated it so that the scholar, seeing it reflected as in a +magnifying-glass, more readily perceived his insufficiency or his +exaggeration.</p> + +<p>If this mode of procedure was somewhat trying to sensitive vanity, it +was easy to see its advantages. The master's censure, moreover, was of +that inoffensive and kindly character which is its own justification. It +was a criticism governed by gaiety. Delsarte laughed at himself quite as +readily as at the ridiculous performances which he caricatured, if +opportunity offered. And if by chance any pupil less hardened to these +assaults was intimidated or distressed, consolation was quick to follow.</p> + +<p>I remember that a young girl gave rise to one of these striking +imitations. Delsarte put such an irresistible comedy into it, that the +audience was seized with an uncontrolable fit of mirth. The master's +mimicry had far more to do with this than the poor girl's awkwardness. +But she did not understand this. Her heart sank at this harsh merriment +and tears rushed to her eyes.</p> + +<p>"What is the matter," asked Delsarte; "why are you so disturbed? Among +the persons whose laughter you hear, I do not think there is one who +sings as well as you do! I exaggerated your mistake to make you aware of +it; but you did your work in a way that was very satisfactory to all but +your teacher."</p> + +<p>Speaking of this irony tempered by mercy, I recollect that Delsarte, +after a great success, was once complimented by the singer P., whose +popularity far exceeded that of the "lyric Talma."</p> + +<p>"And yet you have given me lessons," said Delsarte, emphasizing the word +<i>yet</i>. Well! in such circumstances Delsarte showed neither the pride nor +the malicious spirit which might be imputed to him; his mind seized a +contrast which amused him, and his face interpreted it, but his voice +remained soft and friendly; for, in spite of his biting wit and cutting +phrases, his feelings were easily touched and his heart was truly rich +in sympathy.</p> + +<p>Delsarte sang a great deal during his lessons; and perhaps he gained, +from the point of view of the voice, by confining himself to fragments; +seizing the opportune moment, and his voice not having had time to be +tired, he could give, for a relatively long space, the clear, ringing +tones necessary for brilliant pieces. Then his vocalization--which has +only a mechanical value with most singers--became sobs, satanic +laughter, delirium, and terror.</p> + +<p>Then, too, thanks to proximity, the most delicate tones could be heard +to the extreme limits of the <i>smorzando</i>, still preserving that slightly +veiled timbre unique in its charm, the mysterious interpreter of +infinite sweetness and unspeakable tenderness.</p> + +<p>One might perhaps have made a complete analysis of Delsarte from hearing +him sing some dramatic song, but let him give Eleazar's air from "The +Jewess:"</p> + +<blockquote class="poem"><p> +<span class="line">"Rachel, when the Lord,"</span> +</p></blockquote> + +<p>or that of Joseph:</p> + +<blockquote class="poem"><p> +<span class="line">"Paternal fields, Hebron, sweet vale,--"</span> +</p></blockquote> + +<p>let the artist give this in a quiet style, as putting a mute upon his +voice, and the observer forgot his part; he followed the entrancing +melody as far as it would lead him into the realms of the ineffable +whence he returned with the fascination of memory and the sorrow of +exile.</p> + +<p>Let no one cry that this is hyperbole! One of the most remarkable +accompanists in Paris, an attaché of the Opéra Comique, M. Bazile, was +once so overcome by emotion in accompanying Delsarte that for some +seconds the piano failed to do its duty.</p> + +<p>I might recount numberless proofs of admiration equal to mine. One +evening, at a lecture, the lesson turned upon a song from "William +Tell:"</p> + +<blockquote class="poem"><p> +<span class="line">"Be motionless, and to the ground<br /></span> +<span class="line">Incline a suppliant knee."</span> +</p></blockquote> + +<p>For stage effect, Delsarte called in one of his children, about eight or +nine years old.</p> + +<p>The subject is well known: William has been condemned to strike from a +distance, with the tip of his arrow, an apple placed on the head of his +child.</p> + +<p>William bids the child pray to God, and implores him not to stir. +Reversing the action of all actors whom we usually see, the artist +recited the fragment in a wholly concentric fashion; he did not declaim; +he made no gesture toward the audience; but what emotion in his voice, +and how his gaze hovered over and around the dear creature who was +perhaps to be forever lost to him! He called the child to him, he +pressed him to his heart; he laid his hands on that young head. His +caresses had the lingering slowness of supreme and final things, the +solemnity of a last benediction.</p> + +<blockquote class="poem"><p> +<span class="line">"This point of steel may terrify thine eyes!"</span> +</p></blockquote> + +<p>says the text, and the tragedian, enlarging the meaning of the words by +inflection and accent, showed that this precious life hung on a thread +and depended on the firmness of his hand.</p> + +<p>At the last phrase:</p> + +<blockquote class="poem"><p> +<span class="line">"Jemmy, Jemmy, think of thy mother,<br /></span> +<span class="line">She who awaits us both at home!"</span> +</p></blockquote> + +<p>his voice became pathetic to such a degree that it was difficult to +endure it. The child, who had restrained himself during the tirade, +began to sob. All eyes were full of tears. One lady fainted.</p> + +<p>At concerts his triumph was the same on a larger scale. I will give but +one anecdote. A man of letters, who was also a skilled physician, said +to Delsarte:</p> + +<p>"Do you know, sir, that I made your acquaintance in a very strange way? +I was at the Herz Hall, at your concert. Your voice and singing so +agitated me that I was forced to leave the room, feeling oppressed and +almost faint."</p> + +<p>This impressionable listener referred to a day memorable in the annals +of the master. Delsarte--he sang certain airs written for women in +Gluck's operas--had selected Clytemnestra's song:</p> + +<blockquote class="poem"><p> +<span class="line">"A priest, encircled by a cruel throng,<br /></span> +<span class="line">Shall on my daughter lay his guilty hand."</span> +</p></blockquote> + +<p>Just as this maternal despair reached its paroxysm, the artist raised +both hands to his head and remained in the most striking attitude +possible to overwhelming grief. Loud applause burst from every part of +the hall; there was a frenzy, a delirium of enthusiasm. At the same +time, a violent storm burst outside; the roaring thunder, the rain +beating in floods upon the windows, the flashing lightning which turned +the gas-lights pale, formed a tremendous orchestra for Gluck's music, +and a fantastic frame for the sublime actor. Then, as if crushed by his +glory, he prolonged that marvelous effect, and stood a moment as if +annihilated by the frantic and tumultuous shouts of the audience.</p> +</div> + + +<div class="chapter" id="p4-17"> +<h3>Chapter XVII.<br /> + +Delsarte's Inventions.</h3> + + + +<p>Delsarte always had his father's propensity to devote himself to +mechanics that he might apply his knowledge of them to new things. When +he felt his artistic abilities, not growing less, but their plastic +expression becoming more difficult, owing to the cruel warnings of his +departing youth, this tendency toward occupations more especially +intellectual, became more marked.</p> + +<p>It may be helpful here to note that a <i>machine</i>--that positive and most +material of all things--is the thing whose creation requires force of +understanding in the highest degree.</p> + +<p>The brain, that living machine, lends its aid to the intellect; it +represents the physical side; it is the spot where the work is carried +on. Feeling has no part in the intellectual acts which work together in +mechanical production,--mathematics playing the principal part,--it has +no other share, I say, but to inspire certain persons with a passionate +taste for abstract studies, which leads them toward useful and glorious +discoveries.</p> + +<p>Thus, this thought of Delsarte and Pierre Leroux seems to be justified: +that, in no case, can man break his essential triplicity.</p> + +<p>Delsarte, moreover, by changing the direction of his faculties, or +rather by displacing the dominant, affirmed his freedom of will. If he +did not always class himself with the strong, he still loved to reign +over himself in the omnipotence of his will.</p> + +<p>The artist became an inventor; he took out letters-patent for various +discoveries, among others for an instrument of precision applicable to +astronomical observations. Competent persons have recognized the great +value of this invention, conceived without previous study, and which +remains hidden among the papers of some official.</p> + +<p>Only one of his mechanical conceptions was ever really put to practical +use, that of the <i>Guide-accord</i>; it gained him a gold medal at the +Exhibition of 1855; Dublin awarded it the same praise.</p> + +<p>Berlioz wrote of this invention, in his book entitled, "<i>A Travers +Chants</i>:"</p> + +<p>"M. Delsarte has made piano tuning easier by means of an instrument +which he calls the <i>phonopticon</i>. Any one who will take the trouble to +use it will find that it produces such absolute correctness, that the +most practiced ear could not attain to similar perfection. This +<i>Guide-accord</i> cannot fail to gain speedy popularity."</p> + +<p>On reading these lines, one is tempted to say: Here is an open-hearted +writer; one likes this outburst in regard to a man who was in some sense +his brother-artist. But what are we to think of this critic, when we +reflect that in this same book, where he exalts the inventor, he never +seems to remember Delsarte the revealer of a law, the creator of a +science, the distinguished teacher, the famous artist. "He has rendered +all pianists a great service by inventing this instrument," says the +author of "<i>A Travers Chants</i>," and that is all. And he calls him +<i>Monsieur</i> Delsarte, as if he were some unknown musical instrument maker +or dealer! Had the author of "William Tell" or "Aida" vexed him, he +would have spoken of them as M. Rossini, M. Verdi!</p> + +<p>And yet he knew all about the man whom he seemed anxious to extinguish, +for it was he who, in a musical criticism, wrote, among other praises: +"It is impossible to imagine superior execution;" and elsewhere: "He +renders the thoughts of the great masters with such brilliancy and +strength, that their masterpieces are made accessible to the most +stubborn intellect and the most hardened sensibilities are roused by his +tones."</p> + +<p>What had happened to make the author of the "Pilgrims' March" so +oblivious of his own admiration? I have heard that the two musicians +quarreled as to the interpretation of a passage by Gluck, and that a +correspondence much resembling a literary warfare, followed. Could this +justify defection? Perhaps a desire to stifle this glory, thereby to +lend more lustre to some <i>meteor</i> or <i>star</i>, had some share in this +supposed motive.</p> + +<p>At any rate, the affair is not to the honor of Berlioz. We should never +deny, whatever may happen, the just judgment which we have uttered. +Direct or indirect, the rivalries of artists are to be regretted for +the sake of art itself, which lives on noble sentiments and high +thoughts. Although we may laugh at the inconsequence of a critic who +extinguishes with one hand that which the other hand brought to light, +we cannot repress a deep feeling of sadness when we see upon what +reputation too often depends, and when we ask ourselves how much we are +to believe of the opinions of certain chroniclers.</p> + +<p>The fact which I have just quoted is the more surprising, inasmuch as +Berlioz often drew his inspiration from the method of, and from certain +modes of expression peculiar to Delsarte.</p> +</div> + + +<div class="chapter" id="p4-18"> +<h3>Chapter XVIII.<br /> + +Delsarte before the Philotechnic Association.<sup><a href="#fn8">8</a></sup></h3> + + + +<p>It was in 1865 that Delsarte was heard in public for the last time. The +meeting took place at the Sorbonne where the lectures of the +Philotechnic Society were then given.</p> + +<p>I see him before me now with his strong personality, his captivating and +persuasive speech, his mind with its incisive flashes; but a visible +melancholy swayed him and was to follow him through the variety and +contrasts of the subjects on his program.</p> + +<p>And first, he takes pleasure in proclaiming to all the tale of his +mistakes. Still young in heart and in mind, it seems as if in giving up +hope on earth, he tolled the knell of all the enchantments that were +passed and gone; that creative head fermenting with the ardor of +discovery seems to doubt the future and bow beneath the burden of a +sombre submission.</p> + +<p>And yet he is surrounded by picked men who admire him, by women, young, +beautiful, brilliant, eager to hear him, as of old; but he is not +deceived by all this. A magic spell has vanished; sympathy is not denied +him, but perhaps he feels it to be less tender, less <i>affectionate</i> +than in the radiant days of his youth.</p> + +<p>This explains how, in the course of that evening, a recrudescence of +Christian feeling more than once tore him away from the undeniable +assertions of science, not to drag him down to the puerilities of the +letter, but to draw him up into the clouds of theology, whence hope of a +future life, the consolation of farewell hours, smiled upon him.</p> + +<p>But if Delsarte appeared depressed, he was not to be conquered. His +restless spirit betrayed him to those whom his mystic fervor might have +misled.</p> + +<p>"Many persons," he said, "feel confident that they are to hear me recite +or sing.</p> + +<p>"Nothing of the sort, gentlemen; I shall not recite, and I shall not +sing, because I desire less to show you what I can do, than to tell you +what I know."</p> + +<p>Soon a wonderful change passed over him. It seemed as if he had been +covered with ashes for an instant, only to come forth in a more dazzling +light. Hardly had his audience felt a slight sense of revolt at the +words: "I shall not sing," than they found themselves in the presence of +an orator not inferior to the greatest in the force of his images, and +who, with all his serious and pathetic eloquence, never forgot the +studied touches of the poet, or the dainty style of the artist.</p> + +<p>But I will not delay my reader to listen to me! It is Delsarte himself +who should be heard. I will give a few extracts:</p> + +<p>"I count," he said, "on the novelty, the absolute novelty, of the +things which I shall teach you: Art is the subject of this conversation.</p> + +<p>"Art is divine in its principle, divine in its essence, divine in its +action, divine in its aim.</p> + +<p>"Ah! gentlemen, there are no pleasures at once more lasting, more noble +and more sacred than those of Art.</p> + +<p>"Let us glance around us: not a pleasure which is not followed by +disappointment or satiety; not a joy which does not entail some trouble; +not an affection which does not conceal some bitterness, some grief, and +often some remorse!</p> + +<p>"Everything is disappointing to man. Everything about him changes and +passes away. Everything betrays him; even his senses, so closely allied +to his being and to which he sacrifices everything, like faithless +servants, betray him in their turn; and, to use an expression now but +too familiar, they go on a strike, and from that strike, gentlemen, they +never return.</p> + +<hr /> + +<p>"The constituent elements of the body sooner or later break into open +rebellion, and tend to fly from each other as if filled with mutual +horror.</p> + +<p>"But under the ashes a youthful soul still lives, and one whose +perpetual youth is torture; for that soul loves, in spite of the +disappointments of its hard experience; it loves because it is young; it +loves just because it is a soul and it is its natural condition to love.</p> + +<p>"Such is the soul, gentlemen. Well! for this poor, solitary and +desolate soul, there are still unutterable joys; joys not to be measured +by all which this world can offer. These joys are the gift of Art. No +one grows old in the realms of Art."</p> + +<p>After a pungent criticism of the official teaching of art as hitherto +practiced, Delsarte explained the chief elements of æsthetics. He said:</p> + +<p>"Æsthetics, henceforth freed from all conjecture, will be truly +established under the strict forms of a <i>positive science</i>."</p> + +<p>But, as in the course of his lecture he had more than once touched the +giddy regions of supernaturalism, this formula seemed a contradiction to +certain minds, yet enthusiastic applause greeted the orator from all +parts of the hall.</p> + +<p>One paper, <i>L'Union</i>, said in this connection:</p> + +<blockquote><p> + "M. Delsarte is a spontaneous soul, his mind is at once Christian + and free, his only passion is the proselytism of the Beautiful, and + this is the charm of his speech....I do not assert that everything + in it should be of an absolute rigor of philosophy," etc. +</p></blockquote> + +<p>The same paper says elsewhere:</p> + +<blockquote><p> + "All these theories are new, original, ingenious, in a word, + <i>felicitous</i>. Are they undeniably true? What I can affirm is that + none doubt it who hear the master make various applications of them + by examples. Delsarte is an irresistible enchanter." +</p></blockquote> + +<p>The opposition of principles with which he is reproached, these doubts +of the strength of his logic, will be greatly diminished if this point +of view be taken: that Delsarte traced back an assured science, that he +deduced from the faculties of man the hypothesis that these faculties +are contained in essence and in the full power of their development, in +an archetype which, to his mind, is no other than the Divine Trinity. +Plato's ideal in æsthetics and in philosophy was similar although less +precise.</p> + +<p>There is a saying that Italians "have two souls." In Delsarte there were +two distinct types, the theistic philosopher and the scientist.</p> + +<p>Now, the philosopher could give himself up to the study of causes and +their finality, that faculty being allotted to the mental activity; he +could even, without giving the scientist cause for complaint, make, or +admit, speculative theories regarding the end and aim of art, provided +that the scientific part of the system was neither denied nor diminished +thereby.</p> + +<p>And is there not a certain kinship between science and hypothesis which +admits of their walking abreast without conflicting?</p> + +<p>Delsarte, as we have seen, rarely left his audience without winning the +sympathy of every member of it. At the meeting of which I speak, he +vastly amused his hearers by an anecdote. He doubtless wished to clear +away the clouds caused by that part of his discourse which, by his own +confession, had a good deal of the sermon about it.</p> + +<p>I will repeat the tale, a little exaggerated perhaps, but still very +piquant, which doubtless won his pardon for those parts of his speech +which might have been for various reasons blamed, misunderstood or but +half understood!</p> + +<p>The story was of four professors who, having examined him, had each, in +turn, he said, administered upon his [Delsarte's] cheeks smart slaps to +the colleagues by whose advice he had profited in previous lessons.</p> + +<p>The following lines were the subject of the lesson:</p> + +<blockquote class="poem"><p> +<span class="line">"Nor gold nor greatness make us blest;<br /></span> +<span class="line">Those two divinities to our prayers can grant<br /></span> +<span class="line">But goods uncertain and a pleasure insecure."</span> +</p></blockquote> + +<p>"The first teacher to whom I turned declared there was but one way to +<i>recite them properly</i>, and this single method, you of course perceive, +gentlemen, could be only his own.</p> + +<p>"'Those lines,' said he, 'must be recited with breadth, with dignity, +with nobleness. Listen!' Upon which my instructor began to declaim in +his most sonorous, most magisterial tones. He raised his eyes to heaven, +rounded his gestures and struck a heroic attitude.</p> + +<p>"'Show yourself,' he resumed (after this demonstration), 'by the +elevation of your manners, worthy of the lessons I have given you.'</p> + +<p>"'Ah!' I exclaimed, 'at last I possess the noble manner of rendering +these fine lines.'</p> + +<p>"Next day, having practiced the noble manner to the utmost of my +ability, I went to my second professor, fully persuaded that I should +hear nothing but congratulations. Well!... I had hardly ended the +second line, when a shrug of the shoulders accompanied by a terrible +burst of laughter, very mortifying to my noble manner, closed my mouth +abruptly.</p> + +<p>"'What do you mean by that emphatic tone? What is all this bombastic +sermon about? What manners are these? My friend, you are grotesque. +Those lines should be repeated simply, naturally and with the utmost +artlessness. Remember that it is <i>the good La Fontaine</i> who speaks! +[accenting each syllable] <i>the-good-La-Fon-taine</i>--do you hear? There is +but one way possible to render the lines faithfully. Listen to me.'</p> + +<p>"Here the professor tapped his snuff-box,--compressed his lips, dropped +the corners of his mouth in an ironical fashion, slightly contracting +his eyes, lifting his eyebrows, moving his head five or six times from +right to left, and began the lines in a firm and somewhat nasal tone.</p> + +<p>"Ah!" I cried, amazed, 'there is no other way ... what wonderful +artlessness, simplicity and truth to nature!'</p> + +<p>"So I set to work upon a new basis, saying to myself: 'Now, at last, I +have got the natural style which fits the spirit of this charming work. +I am very curious to know the impression which I shall make to-morrow on +my third teacher.'</p> + +<p>"The moment came. I struck an attitude into which I introduced the +elliptic expressions shown to me the day before, and with the +confidence inspired in me by a sense of the naturalness with which I was +pervaded, I began:</p> + +<blockquote class="poem"><p> +<span class="line">"'Nor gold nor great....'</span> +</p></blockquote> + +<p>"'Wretch!' cried my third professor. 'What do you mean by that senile +manner, that tart voice! What a Cassandra-like tone! You disgrace those +beautiful lines, miserable fellow!'</p> + +<p>'"But, sir....'</p> + +<p>"'But, but, but. I will drop you from the list of my pupils, if you dare +to utter a remark! You can do very well when you wish! But every now and +then you are subject to certain eccentric flights. You sometimes imitate +X---- well enough to be mistaken for him; then you are detestable, for you +change your nature, and I will not permit it. Besides, it is a vulgar +type. Stay, you looked like him just then, and it was hideous.</p> + +<p>"'Now, listen, and bear my lesson well in mind: <i>there is but one proper +way of reciting those lines</i>, do you hear? <i>There is but one way</i>, and +this is it.'</p> + +<p>"Here, my professor took a pensive attitude: then, as if crushed by the +weight of some melancholy memory, he cast slowly around him a look in +which the bitterness of a deep disappointment was painted. He heaved a +sigh, raised his eyes to heaven, still keeping his head bent, and began +in a grave, muffled and sustained voice:</p> + +<blockquote class="poem"><p> +<span class="line">"'Nor gold nor greatness....'</span> +</p></blockquote> + +<p>"'See,' said my master, 'with what art I manage to create a pathetic +situation out of those lines! That is what you should imitate!'</p> + +<p>"'Ah! my dear master, you are right; that is the only reading worthy of +that masterpiece. Heavens, how beautiful!' I said to myself; 'decidedly, +my <i>noble</i> teacher and my <i>natural</i> teacher understood nothing about +this work. What an effect I shall make to-morrow at my fourth +professor's class!'</p> + +<p>"Alas! a fresh disappointment awaited me at the hands of my fourth +master. He was, perhaps, even more pitiless than the others to all the +meanings that I strove to express.</p> + +<p>"'Why, my poor boy,' said he, 'where the deuce did you hunt up such +meanings?' What a sepulchral tone! What is the meaning of that cavernous +voice? And why that mournful dumb show? Heaven forgive me! it is +melodrama that you offer us! you have done no great thing. You have +completely crippled poor La Fontaine.'</p> + +<p>"'Alas! alas!' said I to myself, 'is my dramatic teacher as absurd as +the other two?'"</p> + +<p>After the three preceding imitations, just as the audience had reached +the height of merriment, the story-teller stopped.</p> + +<p>"I will excuse you, gentlemen, from the reasonings of my fourth +professor, for I do not wish to prolong my discourse indefinitely."</p> + +<p>If this retreat was an orator's artifice--which may well be,--it was a +complete success.</p> + +<p>There was a shout: "<i>The fourth! the fourth!</i>"</p> + +<p>"Well, gentlemen, the fourth, like the other three, claimed that his was +the <i>only correct style</i>: I made no distinction between verse and prose, +thus following the false method recently established by the +Théâtre-Français. To his mind the cadence of the verse and the euphonic +charm should outweigh every other interest. The pauses which I made +destroyed its measure. I had no idea of caesura, my gestures destroyed +its harmony, etc., etc. His pedagogic manner had nothing in common with +that of his brethren."</p> + +<p>This episode was not a mere witticism on Delsarte's part; he intended it +to prove his constant assertion--and with persistent right,--that +previous to his discovery, art, destitute of law and of science, had had +none but chance successes.</p> + +<p>Delsarte closed this session by a summary of the law and the science +which I have set forth in this book; but I must say it was at this +moment especially that he seemed anxious that his religious convictions +should profit by his artistic wealth; all outside the sphere of rational +demonstration is treated from a lofty standpoint, it is true, and is +freed from the commonplaceness of <i>the letter</i>, but we can recognize +none but a poetic and literary merit in it.</p> + +<p>It is to this latter period of his existence that many will doubtless +try to fasten the synthesis of this great personality; but if any one +wishes to gain an idea of François Delsarte, of his ability, the extent +of his views, the power of his reason, the graces of his mind, his +artistic perfection, it is in his law, in his science, in the memories +which his lectures and his concerts left in the press of the time, that +such an one must seek to understand him.</p> +</div> + + +<div class="chapter" id="p4-19"> +<h3>Chapter XIX.<br /> + +Delsarte's Last Years.</h3> + + + +<p>Before concluding these essays, my homage to the innovating spirit, the +matchless art, the sympathetic and generous nature of François Delsarte, +I make a final appeal to my memory, and, first, I invoke afresh the +testimony of others.</p> + +<p><i>La Patrie</i>, June 18, 1857, says in an enthusiastic and lengthy article:</p> + +<p>"His deep knowledge, his incessant labors, his long and fatiguing +studies, have not allowed his life to pass unnoted; but although great +renown, attached in a short space to his name, has sufficed for the +legitimate demands of his pride, it has done nothing, it must be owned, +to provide for the wants which the negligences of genius do not always +foresee."</p> + +<p>Then, apropos of Gluck and other unappreciated composers of genius, the +author of the article, Franck Marie, goes on:</p> + +<p>"With the confidence to which I recently referred, Delsarte has +undertaken the reform. Sure of the success which shall crown his bold +undertaking, he began almost unaided, a movement which was no less than +a revolution. Between two snatches from Romagnesi or Blangini, the +majestic pages of Gluck appeared to the surprise of the auditor. The +heroes of the great master took the place of Thyrcis and Colin, the +songs of Pergolese and Handel, coming from the inspired mouth of the +virtuoso, at once aroused unknown sensations. Lully and Rameau, +rejuvenated in their turn, surprised by beauties hitherto unsuspected."</p> + +<p>Earlier still (in the <i>Presse</i> for December 6, 1840) in an article +signed Viscount Charles Delaunay are these lines:</p> + +<p>"We are, to-night, to hear an admirable singer (Delsarte). He is said to +be the Talma of music; he makes the most of Gluck's songs, as Talma made +the most of Racine's verses. We must hasten, for his enthusiastic +admirers would never pardon us if we arrived in the middle of the air +from 'Alcestis;' and if all we hear be true, we could never be consoled +ourselves, for having missed half of it."</p> + +<p>March 14, 1860, we read in the <i>L'Independance Beige:</i></p> + +<p>"Among the many concerts announced there is one which is privileged to +attract the notice of the <i>dilettanti</i>. We refer to that announced, +almost naively, by the two lines: Concert by François Delsarte, Tuesday, +April 4.--Nothing more! These two lines tell everything! Why give a +program? Who is there in the enlightened world who would not be anxious +to be present at a concert given by Delsarte? For, at <i>his</i> concert, he +will sing--he who never sings anywhere, at any price. Observe what I +say: <i>never anywhere, at any price</i>, and I do not exaggerate."</p> + +<p>This assertion, which shows the indifference of Delsarte to the +speculative side of art, is not without a certain analogy to the fact +which follows. At one of his concerts he was to be aided by one of the +great celebrities of the time; Rachel was to recite a scene from some +play.</p> + +<p>The actress failed to appear. Some few outcries were heard. Delsarte +considered this a protest: "I beg those who are only here to hear +Mademoiselle Rachel," said he, "to step to the box-office. The price of +their tickets will be returned." Applause followed these words, and the +artist sang in a way to leave no room for regret.</p> + +<p>I quote the following lines from an article published by the "<i>Journal +des Villes et des Campagnes</i>" in reference to a lecture given in the +great amphitheatre of the Medical School, March 11, 1867:</p> + +<p>"Should I say lecture? It was rather a chat--simple, and wholly free +from academic forms. In somewhat odd, perhaps, but picturesque and +original form, M. Delsarte told us healthy and strengthening +truths:--'The misery of luxury devours us, but the truth makes no +display; it is modestly bare.'.... 'Art may convince by deceit; then it +blinds. When it carries conviction by contemplating truth, it +enlightens. Art may persuade by evil; then it hardens. When it persuades +by goodness, it perfects.' These are noble words. Orator, poet, +metaphysician, artist, M. Delsarte offers new horizons to the soul."</p> + +<p>The sources whence I draw are not exhausted, but I must pause.</p> + +<p>Thus all have hailed him with applause! Save for some few interested +critics, without distinction of opinions, political, religious or +philosophical, all differences were silenced by this admirable harmony +of the highest æsthetic faculties: the spirit of justice conquered party +spirit.</p> + +<p>But whatever may have been said--and whatever may still be said,--those +who never heard Delsarte can never be made to comprehend him: in him, +feeling, intellect, physical beauty and beauty of expression formed a +magnificent assemblage of natural gifts and of acquired faculties. In +this distinguished personality nature became art, to prove to us that +outside her limits, as outside the limits of science, arbitrary +agreement and the caprices of imagination can create nothing noble and +great, persuasive and touching.</p> + +<p>With this artist there was never anything to betray the <i>artificiality</i> +of a situation; interpreted by him, the creation, the invention, became +real. 'From his lips a cry never seemed a studied effect. It was the +rending of a bosom. A tear seemed to come straight from the heart; his +gesture was conscious of what it had to teach us; in all these +applications "of the sign to the thing," there was never an error, never +a mistake. It was <i>truth</i> adorned by <i>beauty</i>. In his singing, roulades +became true bursts of laughter or true sobs.</p> + +<p>Yes, all these things surpass description.</p> + +<p>But what any and every mind may appreciate, is the lovable, loving and +generous nature which invested these transcendant qualities with +simplicity, with charm and with life. Delsarte had a wealth of +sentiment which overflowed upon the humble and the outcast, as well as +upon those favored by nature and by fortune. Without the riches which he +knew not how to gain, disdainful as he was of petty and sinuous ways, he +was benevolent in spite of his moderate means.</p> + +<p>He gave, perhaps, oftener than he accepted payment for them, his time, +his knowledge and his advice to all who needed them. He admitted to his +classes pupils whose beautiful voices were their only wealth, and who +could pay him only in hope.</p> + +<p>We may say of François Delsarte, that so sympathetic a nature is rarely +seen in this world of ours, where still prevail--tyrants to be +destroyed--so much antagonism, jealousy and rivalry. If some few of the +weaknesses natural to poor humanity may be laid to his charge, no one +had a greater right to redemption than he.</p> + +<p>He once distressed a fashionable woman by speaking severely to her of +one of her friends. She was much troubled, but out of respect, dared not +complain. Delsarte saw tears in her eyes. He instantly confessed his +fault, and acknowledged, with the utmost frankness, that he spoke from +hearsay, and very lightly. He added that this mistake should be a lesson +to him, and that he would think twice before becoming the echo of evil +report.</p> + +<p>If, touching his science and his art, this master often made assertions +which might seem conceited, aside from those convictions which, to his +mind, had the character of orthodoxy, he used forms of speech of which +judges without authority would never have dreamed. I have heard him say:</p> + +<p>"I cannot be much of a connoisseur in regard to pianists, for I only +like to hear Chopin."</p> + +<p>He was always ready to praise the amateurs who came to him for a +hearing, even if they were the pupils of other masters, finding out +among all their faults, the little acquirements or talent which he could +from their performance; sure, it is true, to correct them if he +afterward became their instructor.</p> + +<p>Honors and fortune seemed within his grasp when he neared his end. +America offered him immense advantages, with a yearly salary of $20,000, +to found a conservatory in one of her cities. A street in Solesmes was +named for him. The King of Hanover sent him, as an artist, the Guelph +Cross, and, as a friend, a photograph of himself and family; it was to +this prince, the patron of art, that Delsarte wrote regarding his +"Episodes of a Revelator:"</p> + +<p>"I am at this moment meditating a book singular for more than one +reason, which will be no less novel in form than in idea.... I know not +what fate is in store for this work, or if I shall succeed in seeing it +in print during my lifetime."</p> + +<p>He did not realize this dream.</p> + +<p>It was at about this same time that Jenny Lind took a long journey to +hear him and to consult him about her art.</p> + +<p>At the period of the war of 1870-1871, Delsarte took refuge at +Solesmes, his native place. He left Paris, with his family, Sept. 10, +1870. Already ill, he lived there sad, and crushed by the misfortunes of +his country. Nevertheless, during this stay, he developed various points +in his method, and there his two daughters wrote at his dictation the +manuscript, "Episodes of a Revelator;" his intellect had lost none of +its vigor, but his nature was shadowed.</p> + +<p>François Delsarte returned to Paris March 10, 1871, after his voluntary +exile. He soon yielded to a painful disease, doubtless regretting that +he had not finished his work, but courageous and submissive.</p> + +<p>As far as it lay in my power, my task is done. I have furnished +documents for the history of the arts; I have aroused and tried to fix +attention upon that luminous point which was threatened with oblivion.</p> + +<p>Now I call for the aid of all, that the work of memory may be +accomplished.</p> + +<p>There are still among us many admirers of François Delsarte, many hearts +that loved him; a sort of silent freemasonry has been established +between them; when they meet in society, at the theatre, at concerts, +they recognize each other by mutual signs of regret or disappointment. +His name is pronounced, a few words are interchanged.</p> + +<p>"Oh! those were happy days. Will his like ever be seen again?"</p> + +<p>To these I say: Let us unite to assure him his place in the annals which +assert the glories of the artist and the man of science! Why should we +not combine soon to raise a statue on the modest grave where he lies? +Why should we not do for the innovator in the arts what the country +daily does for mechanical inventors and soldiers?</p> +</div></div> + + + +<div class="part" id="p5"> +<h2>Part Fifth.<br /> + +The Literary Remains of François Delsarte.</h2> + +<h3>Translated by Abby L. Alger.</h3> + + + +<div class="chapter" id="p5-01"> +<h3>Publisher's Note.</h3> + + + +<p><i>Part Fifth contains François Delsarte's own words.</i></p> + +<p><i>The manuscripts were purchased of Mme. Delsarte with the understanding +that they were all she had of the literary remains of her illustrious +husband. They are published by her authorisation.</i></p> + +<p><i>The reader will probably notice that at times Delsarte talks as if +addressing an audience. This he really did, and some of the manuscripts +are headings or draughts of his lectures before learned societies or of +talks at his own private sessions.</i></p> + +<p><i>These writings are given to the public in the same fragmentary +condition that Delsarte left them in. They were written upon sheets of +paper, scraps of paper, doors, chairs, window casements and other +objects. A literal translation has been made, without a word of comment, +and without any attempt at editing them. The aim has been to let +Delsarte speak for himself, believing that the reader would rather have +Delsarte's own words even in this disjointed, incomplete form--mere +rough notes--than to have them supplemented, annotated, interpreted and +very likely perverted by another person.</i></p> + +<p><i>Edgar S. Werner.</i></p> +</div> + + + +<p><img src="images/illus031.png" alt="François Delsarte." /></p> + + + +<div class="chapter" id="p5-02"> +<h3>Extract from the Last Letter to the King of Hanover</h3> + + + +<p>I am at this moment meditating a book, singular for more than one +reason, whose form will be no less novel than its contents. Your majesty +will read it, I hope, with interest.</p> + +<p>The title of this book is to be: "My Revelatory Episodes, or the History +of an Idea Pursued for Forty Years."</p> + +<p>It will be my task to connect and condense into a single narrative all +the circumstances of my life which had as logical consequences the +numerous discoveries which it has been granted me to follow up, +discoveries which my daily occupations left me neither time nor ability +to set forth as a whole.</p> + +<p>I know not what fate is reserved for this book. I know not whether I +shall succeed in seeing it in print during my lifetime. The minds of men +are, in these evil days, so little disposed to serious ideas, that it +seems to me difficult to find a publisher disposed to publish things so +far removed from the productions of the century.</p> + +<p>But, however it may be, if I succeed in getting at least some part of my +work printed, I crave, sire, your majesty's permission to offer the +dedication to you. This favor I entreat not only as an honor, but also +as an opportunity to pay public homage to all the kindnesses which your +majesty has never ceased to lavish upon me.</p> + +<p>François Delsarte.</p> + + + + +<h4 id="p5-02-1">Episode I.</h4> + + + +<p>The subject in question was a scene in the play of the <i>Maris-Garçons</i>. +The young officer, whose part I was studying, met his former landlord +after an absence of several years, and as he owed him some money, he +desired to show himself cordial.</p> + +<p>"Ah! how are you, papa Dugrand?" he says, on encountering him. This +apostrophe is, therefore, a mixture of surprise, soldierly bluntness and +joviality.</p> + +<p>At the first words I was stopped short by an almost insurmountable +difficulty. This difficulty was all in my gesture. Do what I would, my +manner of accosting papa Dugrand was grotesque; and all the lessons that +were given me on that scene, all the pains I took to profit by those +lessons, effected no change. I paced to and fro, saying and resaying the +words: "How are you, papa Dugrand?" Another scholar in my place would +have gone on; but the greater the difficulty seemed to me, the higher my +ardor rose. However, I had my labor for my pains.</p> + +<p>"That's not it," said my instructors. Good heavens! I knew that as well +as they did; but what I did not know was <i>why</i> that was not it. It seems +that my professors were equally ignorant, since they could not tell me +exactly in what my way differed from theirs.</p> + +<p>The specification of that difference would have enlightened me, but all +remained, with them as with me, subject to the uncertain views of a +vague instinct.</p> + +<p>"Do as I do," they said to me, one after the other.</p> + +<p>Zounds! the thing was easier said than done.</p> + +<p>"Put more enthusiasm into your greeting to papa Dugrand!"</p> + +<p>The greater my enthusiasm, the more laughable was my awkwardness.</p> + +<p>"See here; watch my movements carefully!"</p> + +<p>"I do watch, but I don't know how to go to work to imitate you; I don't +seize the details of your gesture." (It varied with every repetition.) +"I don't understand why your examples, with which I am satisfied, lead +to nothing in me."</p> + +<p>"You don't understand! You don't understand! It's very simple! Really, +your wits must have gone wool-gathering, my poor boy, if you are unable +to do what I have shown you so many times. Watch closely now!"</p> + +<p>"I am watching, sir, with all my eyes."</p> + +<p>"You certainly see that the first thing is to stretch out your arms to +your papa Dugrand, since you are so pleased to see him again!"</p> + +<p>I stretched out my arms to their utmost extent; but my body, not +following the movement, still wanted poise, and recoiled into a +grotesque attitude. My teacher, for lack of basic principles to guide +him, was unable to correct my awkwardness; and, vexed at his inability +which he wished to conceal, fell back on blaming my unlucky intellect.</p> + +<p>"Fool," said he finally, "you are hopelessly stupid! Why are you so +embarrassed? Are my examples, then, worthless?"</p> + +<p>"Indeed, sir, your examples are perfect."</p> + +<p>"Well, then, imitate them, imbecile!"</p> + +<p>"I will try, sir."</p> + +<p>In this, as in all preceding lessons, I could give only a blind +imitation, which had not the small merit of being twice alike, even in +my own eyes, for every time I reproduced them I observed marked +variations which the master did not perceive.</p> + +<p>I went to my room, as I had done many times before, with tears in my +eyes and despair in my heart, to renew my useless efforts, vainly +turning and returning in all lights my unfortunate papa Dugrand.</p> + +<p>This cruel ordeal lasted five months without the least progress to +lessen its bitterness.</p> + +<p>Heaven knows with what ardor I cultivated my papa Dugrand! I thought of +him by day, and I dreamed of him by night. I clung to him with all the +frenzy of despair, for I was determined not to be beaten. I was bound to +triumph at any cost, for it was life or death to me. I resolved not to +give up papa Dugrand, even though he should resist me ten years!</p> + +<p>My unceasing repetitions of (to them abominable) papa Dugrand caused my +comrades to call me a bore. In short, I became disagreeable to all +around me. Alas! all this study, all these efforts, could not overcome +the stubborn resistance of papa Dugrand. My teachers were at their wits' +end, and finally refused to give me another lesson on the subject. But +nothing could daunt the ardor of my zeal.</p> + +<p>One day I was measuring the court-yard of the Conservatory, as usual, in +company with papa Dugrand, and repeating my "how are you?" in every +variety of tone, when, all at once, having got as far as: "How are you, +pa--," I stopped short without finishing my phrase. It was interrupted +by the sight of a cousin of mine, whose visit was most unexpected.</p> + +<p>"Ah! how are you?" I said; "how are you, dear cou--"</p> + +<p>Here my words were again interrupted by a surprise; but this surprise +was far greater than that caused by the appearance of my cousin. Struck +by the analogy between this greeting and the unstudied attitude which I +had assumed under the action of a genuine emotion, I cried in a +transport of joy which bewildered my innocent cousin: "Leave me--don't +disturb me--I've got it--wait for me--stay where you are--I've got it."</p> + +<p>"But what is it that you've got?"</p> + +<p>"The dickens, papa Dugrand!"</p> + +<p>Thereupon I vanished like a flash, to run to my mirror and reproduce to +my sight papa Dugrand, Judge of my astonishment: not only my gesture, +until now so persistently awkward, seemed suddenly metamorphosed and +became harmonious and natural; but, stranger yet, it did not correspond +in the least to what had been prescribed. However, it was nature herself +that had revealed this to me. Then, the movements of my body, but a +moment before so discordant in my eyes, had acquired, under the +influence of this gesture inspired from above, an ease and a grace that +filled me with surprise. Without doubt, I now possessed the truth. An +emotion, spontaneously produced and so deeply felt, could not result in +an error.</p> + +<p>This is what had happened under the action of a natural surprise:</p> + +<p>My hands were not extended toward the object of my surprise--not the +least in the world. By an anterior extension of the arms, they were +raised high above my head, which, far from being uplifted with the +exultation which I had hitherto simulated, was lowered to my breast; and +my body, stranger yet, instead of bending toward the attractive object, +bent suddenly backward.</p> + +<p>What a blow nature had given to my masters! What an overthrowal of all +conjectures! My reason, before this sovereign decision, was humbled and +dumbfounded. What arguments could my instructors invoke in the face of +truth itself?</p> + +<p>"What," thought I, "are my masters absolutely ignorant of the laws of +nature?"</p> + +<p>"What, does their reason, as well as mine, know nothing of all this? +How is it that this much-praised reason has inspired me with effects +precisely opposite to those that were prescribed? What is reason? Is it, +then, a blind faculty?"</p> + +<p>Let us first see what these strange phenomena, whose importance I cannot +deny without denying nature herself, signify.</p> + +<p>I was in the midst of these reflections when the recollection of my +cousin came into my mind.</p> + +<p>"Good heavens," thought I; "I had forgotten all about my poor cousin; +what will he think? I will hurry down, and, lest my precious ideas take +flight, send him away, and return to my reflections.</p> + +<p>"Wretch that I am; I think only how to get rid of him, when he has so +enriched me! This is a lesson to me. Poor boy! What opinion will he have +of me? Ah, that is he whom I see stretched out on that stone bench. He +has been patient, indeed. I believe that he is asleep!"</p> + +<p>"No, I am not asleep," said he, rising; "I am furious! Explain, if you +are not too insane to be rational, the extraordinary manner in which you +received me. Do you know that I have been waiting here for you more than +an hour?"</p> + +<p>"Ah, my dear cousin," said I, embracing him warmly, "you do not know +what a service you have rendered me. I embrace you now, my good friend, +for the wonderful lesson you have given me. Without you I should never +have found it out, and, rest assured, I shall never forget it."</p> + +<p>"What? Who? What is it?"</p> + +<p>"Zounds, papa Dugrand! I freely acknowledge that I have learned more +from you in one second than from all my masters during four years."</p> + +<p>"Are you in your right senses?"</p> + +<p>The matter was finally explained. My cousin then told me about my home +and my family; but I must confess that I paid little attention to the +good news that he brought me, so excited and preöccupied was my mind. +Even then I could not help thinking of the fragility of the heart in its +affections. We soon separated, and I hurried to my room, which seemed to +me on this day-paradise itself.</p> + +<p>I gave myself up to my interrupted course of reflections.</p> + +<p>I had proved the impotence of my own reason, and also that of my +masters. Now, as it was not probable that all my teachers and myself +were more stupid than the rest of mankind--the common herd--I concluded +that reason is blind in the matter of principles, and that all her +instructions would be powerless to guide me in my researches. But, from +another side, it was evident to me that without this reason I could not +utilize a principle. What is human reason, that faculty at once of so +little avail and yet so precious? What role does it play in art? I feel +that this is most important for me to know.</p> + +<p>The answer to this question must spring from the study of the phenomena +of instinct. Let us examine, then, what nature offers us freely.</p> + +<p>If these phenomena are directed by a physiological or a spiritual +necessity, a necessity on which instinct is based, I am forced to admit, +here, a reason that is not my reason; a superior, infallible reason in +the disposition of things; a reason that laughs at my reason, which, in +spite of itself, must submit under pain of falling into absurdity. I +feel that it is only by this absolute submission of my reason that it +can rise to the reason of things, since, of itself, it would know +nothing. [See definition of reason.]</p> + +<p>Let us seek, then, without prejudice, the reason of the things that +interested me, in order that my own reason may be raised to a higher +plane. And when it shall be illumined with the light that must break +upon it from the superior reason, I feel that my reason can generalize +instruction, and will be all-powerful in arranging the conclusions that +it may deduce. I am aware, from the utter impotence of my reason, that +all principles must be accepted humbly, in order to understand the +deductions. My reason does not know how to lead me to principles of +which it is ignorant; but it knows how to guide me back. In other words, +it is a blind person <i>a priori</i>, it is a luminary <i>a posteriori</i>. Though +it may not know at first, once shown, it readily recognizes; though it +may not divine, it learns by study; though it may not seize, it +retains, masters and generalizes.</p> + +<p>Reason, then, is a reflex power, and as such, if, in a matter of +principle, it recognizes itself as impotent and even absurd <i>a priori</i>, +it knows that once in possession of the principle, it borrows from its +light and becomes identified with it--an incomparable power of +generalization.</p> + +<p>Let the reason of the attitudes that I had observed be once shown me, +and my individual reason would possess the Archimedean lever with which +I might open unknown worlds.</p> + +<p>My reason! Ah! I will identify it with the reason of things! +Henceforward this shall be my method, this shall be my law.</p> + +<p>But the reason of things--who will give it to me? Is it not my reason +itself? Oh, mystery! I will follow thee to the depths of thy abyss. Thou +shalt have no more secrets from me, for God has said that He hides only +from the wise and prudent man, but reveals Himself to the simple and to +children. Yes, these things shall be given to me through my reason, if +it will bow itself and be attentive and humble; if it will patiently +await the teachings of a mute and persevering observation; if it will +subordinate itself to the intuitive lights that constitute genius; and, +finally, if it knows how to estimate things other than itself.</p> + +<p>Thus my reason, established, inflamed, consumed by the charm of its +contemplation, will be transfigured in order to be more closely united +to the sovereign reason toward which it ever reaches out.</p> + +<p>The first fruit of my observation consists in making me recognize, in +the facts examined, the proof of a superior and infallible reason, and +then to arm against my individual reason and all its errors. Another +thing yet more strange, but easily comprehended on reflection, is that +to this defiance, this contempt of self, I owe the boldness and the +power of my investigations.</p> + +<p>Let us see, now, from which observations the preceding thoughts are the +direct result.</p> + +<p>In the phrase, "How are you, etc.," my reason dictated this triple, +parallel movement: Advancing the head, and the arms, with the torso on +the fore-leg. Now, the similar phrase, "How are you, dear cousin," +although uttered in a situation identical with that of papa Dugrand, +produced phenomena diametrically opposed to those that my reason had +said were the only ones admissible. Is it not reasonable to suppose that +the sight of an agreeable or loved object will excite in us a genuine +feeling that before we had vainly striven to simulate? Does it not seem +natural to extend the hand to a friend when, with affectionate surprise, +we exclaim: "How are you, dear friend?" And should we ever think of +drawing the body away from the object that attracts us? Finally, does it +not seem that the head should be raised, the better to see that which +charms us?</p> + +<p>Ah, no! All these things, apparently so true and so perfectly clear, +are radically false. Facts prove this beyond a doubt, and with facts +there can be on discussion, no argument. We must admit them <i>a priori</i> +or renounce the truth. Here, as in all questions of principle, <i>the +greatest act of reason consists in an act of faith</i>. This is absolutely +undeniable.</p> + +<p>In the phrase, "How are you, papa Dugrand," the arms should be raised, +the head lowered and the torso thrown back, supporting itself on the +back leg. This was indeed a blow to the presumption of my poor reason, +but should it complain? No, for it has gained even from its confusion +most fruitful instruction.</p> + +<p>Let us see. In questioning the effects and the analogy, we shall +doubtless explain their reason of being. Why should the head become +lowered? I do not see all at first sight; but let us generalize the +question and probably it will specify itself.</p> + +<p>When does a man bow his head before the object which strikes his eye?</p> + +<p>When he considers or examines it.</p> + +<p>Does he never consider things with head raised?</p> + +<p>Yes, when he considers them with a feeling of pride. It is thus that he +rules them or exalts them; and also when he questions them with his +glance; in fine, when what he sees astonishes or surprises him.</p> + +<p>This last statement contradicts the example in question, and seems to +condemn it. Not the least in the world. How is this? Thus: when the +astonishment or the surprise is not intense enough to shake the frame, +the head wherein all the surprise is concentrated, is lifted and +exalted. But so soon as that surprise is great enough to raise the +shoulders and the arms, as by a galvanic shock, the head takes an +inverse direction, it sinks and seems anxious to become solid to offer +more resistance to that which might attack it, for the first instinctive +movement in such a case is to guard against any unpleasant event; then +if the head is lifted to look at that which surprises it, it is because +it has no great interest in the recognition of that which it considers; +but as soon as that interest commands it to examine, to recognize, it is +instantly lowered and placed in the state of expectation.</p> + +<p>O, now it becomes clear.</p> + +<p>Now, how does surprise cause us to lift our arms?</p> + +<p>The shoulder, in every man who is agitated or moved, rises in exact +proportion to the intensity of his emotion.</p> + +<p>It thus becomes the thermometer of the emotions. Now, the commotion that +imprints a strong impression, communicates to the arms an ascending +motion which may lift them high above the head.</p> + +<p>But why do not the arms, in an agreeable surprise, tend toward the +object of that surprise?</p> + +<p>The arm should move gently toward the object that it wishes to caress. +Under the rapid action of surprise, therefore, it could only injure or +repel that object.</p> + +<p>This it does in affright.</p> + +<p>But instinct--that marvelous agent of divine reason--in that case turns +the arms away from the object which they might injure by the rapidity of +their sudden extension, and directs them toward heaven, leads them to +rise as if expressing thanks for an unexpected joy, so true it is that +everything is turned to use and is modified under the empire of our +instinct. Certainly, there is no similarity between this and the +superfluous action, the inconsequent movements determined by the working +of a rule without a reason. And this is so because in all that instinct +suggests, it is the Supreme Artist himself who disposes of us and acts +in us, while whatever is suggested by a reason insufficiently inspired +by the contemplation of the divine handiwork is fatally incoherent, for +we thus pretend to substitute ourselves for God, and God thenceforth +leaving us to ourselves, surrenders us to all the discordant effects of +an inconsequential and vain conception.</p> + +<p>It remains to find the justificatory reason for this retroactive +movement of the body, which seems illogical at first sight.</p> + +<p>Let us inquire in what case and under the action of what emotions a man +may shrink from the object which he is considering.</p> + +<p>In the first place, he shrinks back whenever it inspires him with a +feeling of repulsion. He shrinks from it particularly when it inspires +him with fright. This is a matter of course and self-evident.</p> + +<p>In what case does the body take an inverse direction to the object +which attracts it? This we must know before we can explain the +phenomenon in question.</p> + +<p>We move away from the thing which we contemplate to prove to it, +doubtless, the respect and veneration that it inspires. In fact, it +seems a lack of respect to that which we love to approach it too +closely; we move away that we may not profane it by a contact which it +seems might injure its purity.</p> + +<p>Thus the retrograde movement may be the sign of reverence and +salutation, and moreover a token that the object before which it is +produced is more eminent and more worthy of veneration.</p> + +<p>A salutation without moving shows but little reverence, and should only +occur in the case of an equal or an inferior.</p> + +<p>In justification of the actual fact, let me give another observation of +quite another importance.</p> + +<p>When a painter examines his work, he moves away from it perceptibly. He +moves away in proportion to the degree of his admiration of it, so that +the retroactive movement of his body is in equal ratio to the interest +that he feels in contemplating his work, whence it follows that the +painter who examines his work in any other way, reveals his indifference +to it.</p> + +<p>The picture-dealer usually proceeds in quite another manner. He examines +it closely and with a magnifying-glass in hand. Why is this? Because it +is less the picture which he examines than the handiwork of the painter, +the actual work which is the chief object of his survey.</p> + +<p>But why does the artist move away from the work which he contemplates? +The better to seize the total impression. For instance: if it be a full +length portrait and the artist studies it too closely he sees, I will +suppose, the nose of his portrait and nothing more. If he moves a little +farther off he sees a little more, he sees the head; still farther and +he sees both the head and the torso which supports it. Finally, moving +still farther away, he gets a view of the whole and thus seizes its +harmonious relations. This inspection may be called synthetic vision, +and in opposition to this, direct vision, which I assumed before +instinct taught me better, is but short and limited.</p> + +<p>To sum up: If instinct did not lead us to retroact, to examine an object +unexpectedly offered to our gaze, each surprise would expose us to +error.</p> + +<p>Now we must retroact to see an object as a whole and not expose +ourselves to error, and then, too, does not the love which a creature +inspires within us naturally extend to the medium which surrounds him, +and in this way does it not seem as if all that touched him partook of +his life and thus acquired some title to our contemplation?</p> + +<p>Thus my mind, tortured by one preoccupying thought, had, thanks to the +fixed idea which swayed it, found wondrous lessons in the simple +incident of my cousin's return, otherwise so devoid of interest; and I +may truly say that the lesson learned from meeting my cousin taught me +more than all those I had received in the space of three years. In +short, I had learned how vain is advice dictated by the caprice of a +master without a system! I had learned the inanity of individual reason +in a matter of experience. I knew that certain laws existed, that those +laws proceeded from a Supreme Reason, an immense centre of light, of +which each man's reason is but a single ray. I knew without a doubt how +ignorant my masters were of those laws to the study of which I meant to +devote my life. I possessed facts which I saw could be applied in +countless ways, luminous doctrines radiating from the application.</p> + +<p>Thenceforth I had the nucleus of the science I had so vainly asked of my +masters, and I did not despair of formulating it.</p> + +<p>Judge of my joy! The facts I then found myself the possessor of, seemed +to me more valuable than all the treasures of the world.</p> + + + + +<h4 id="p5-02-2">Episode II.</h4> + + + +<p>Some time later, I again saw my worthy cousin, the innocent cause of all +my joys. He was a medical student, and came to propose a visit to the +dissecting-room. I did not hesitate to accept; the proposal harmonized +with my desire.</p> + +<p>I did not go, as so many go to the morgue, merely to see dead bodies. +No; the curiosity that impelled me, and the avidity with which I pursued +the object of my study, was not to be so easily satisfied.</p> + +<p>Dead bodies only attracted me when they were--if not dissected--at least +flayed. Children break their dolls to see what there is inside; so I, +too, wanted to see what there was in a corpse. It seemed to me that +under the mutilations which the scalpel had inflicted on the body, I +should find the answer to more than one enigma--might solve some of the +secrets of life.</p> + +<p>The prospect of this visit had the charm of a pleasure party to me. I +made it a holiday and awaited the hour with impatience.</p> + +<p>But, on arriving, when I found myself in that place chill and gloomy as +the tomb; when I felt choked by the mephitic gases that arose from this +seat of infection; when I found myself in the presence of a heap of +corpses mutilated by the scalpel, disfigured by putrefaction and +partially devoured by rats and worms; when, beneath tables laden with +these horrible remains, I saw mean tubs filled with human entrails +mingled with limbs and heads severed from their trunks; when I felt +fragments of flesh reduced to the state of filthy mud, clinging to my +feet, my heart throbbed violently, and I was overcome by an +indescribable sense of repulsion.</p> + +<p>"What," I said to myself, "those shapeless and putrifying masses have +lived! They have thought, they have loved! And, who would believe it +from the horror and disgust that they inspire, they have been loved, +cherished, perhaps adored! Ah! if, as some think, the soul is not +immortal, if so many aspirations, so many schemes, so many hopes are to +end here--what is man?"</p> + +<p>But yet more lamentable food for thought was reserved for me: the +spectacle of a ruin yet more profound than those which my eyes could +scarce endure, was to appear before me in all its hideousness.</p> + +<p>In fact, there reigns in these gloomy halls where no tear has ever +fallen, no prayer has ever been heard and no ray of hope has ever +pierced--there reigns something yet colder than death, something more +unwholesome, more nauseous, more deleterious than the putrid miasmas +that infect the air, something more sad to see than the nameless +fragments of extinct life, something more loathsome than those filthy +and disgusting remnants, something more repulsive than those noses eaten +by worms and those empty eyeballs devoured by rats. I mean the cynicism +of the dwellers in that place; I mean their insensibility, their +indifference and calm heedlessness in the presence of such grave +subjects for thought. I mean that lack of perception, that spirit of +negation and revolt of which those wretched men make a boast and which +they obstinately oppose to all religious sentiment, all principle of +tradition or revealed authority. I mean the atheism and ceaseless +mockery with which they invariably meet any generous impulse aroused in +an honest soul by a healthy faith.</p> + +<p>This struck me even more sensibly than the spectacle of death and +dissolution which I have striven to describe. Thus the apparently living +men who haunt this spot are more truly dead than the corpses upon which +they exercise their pretended science. They seemed to me ruins far more +terrible than those of the body, ruins which repelled all hope, being +born of doubt and leading to negation.</p> + +<p>If the mutilated and half-devoured bodies that lay before me, filled me +with horror and disgust, they, at least, left within me a faint +lingering hope surviving death; but the state of blindness of those +souls who have lost consciousness of their being and even the feeling of +their existence, the shadowy abyss into which they allow themselves +complaisantly to glide, the nullity which they adorn with the title of +science,--all this filled me with fright, for I felt the doubt and +despair into which contact with it would inevitably have plunged me, +if, by a special favor, the tone and mimetics, alike self-sufficient and +mocking, of these free-thinkers, as they are now styled, had not, from +the first, inspired me with aversion for them and a salutary hatred of +their doctrine.</p> + +<p>And yet, amidst so many repulsive objects, the faculty of observation to +which I already owed such fruitful remarks was not dormant in me: I had +already asked myself by what evident sign one could recognize a recent +corpse.</p> + +<p>From this point of view, I made a rapid exploration, and I questioned +the various corpses left almost intact; I sought in some portion of the +body, common to all, a form or a sign invariably found in all.</p> + +<p>The hand furnished me that sign and responded fully to my question.</p> + +<p>I noticed, in fact, that in all these corpses the thumb exhibited a +singular attitude--that of adduction or attraction inward, which I had +never noted either in persons waking or sleeping.</p> + +<p>This was a flash of light to me. To be yet more sure of my discovery, I +examined a number of arms severed from the trunk; they showed the same +tendency. I even saw hands severed from the forearm; and, in spite of +this severing of the flexor muscles, the thumb still revealed this same +sign. Such persistence in the same fact could not allow of the shadow of +a doubt: I possessed the sign-language of death, the semeiotics of the +dead.</p> + +<p>I rejoiced, foreseeing the service which this discovery would render +upon a battle-field, for instance, where more than one man risks being +buried alive. I divined, moreover, something of its artistic importance.</p> + +<p>I then questioned my cousin and the other students present in regard to +the symptomatics of death, and I saw with surprise that, not only had +the expression of this phenomenon escaped them hitherto, but that they +had no exact and precise knowledge concerning this grave and important +question.</p> + +<p>There remained, in order to complete my discovery and to deduce useful +results from it, to verify the symptom on the dying man. It was +important for me to know in what degree it might become manifest on the +approach of death.</p> + +<p>My wishes were gratified as if by magic, for I was led from the school +of anatomy to that of clinical medicine. There a house-student, a friend +of my cousin, placed me beside a dying patient, and I examined with the +utmost attention the hands of the unhappy man struggling against the +clutches of inevitable death.</p> + +<p>At first I observed something strange in regard to myself, namely that +the emotion which such a sight would have caused me under any other +circumstances, was absolutely null at this moment; close attention +dulled all feeling in me. I then understood the courage which may +inspire the surgeon in the discharge of his duty; and I drew from this +observation deductions of great artistic interest.</p> + +<p>Now I proved that the thumbs of the dying man contracted at first in +almost imperceptible degree; but as the last struggle drew near, and in +the supreme efforts made by the patient to hold fast to the life which +was slipping from him, I saw all his fingers convulsively directed +toward the palm of the hand, thus hiding the thumbs which had previously +approached that centre of convergence. Death speedily followed this +crisis and soon restored to the fingers a more normal position; but the +contraction of the thumb persistently conformed to my previous +observations. The presence and progress of this phenomenon in the dying +was invariably confirmed by numerous tests which I afterward tried.</p> + +<p>Thus, I had acquired the proof that, not only does the total adduction +of the thumb characterize death, but that this phenomenon indicates the +approach of death in proportion to its intensity. I, therefore, +possessed the fundamental principle of a system of semeiotics hitherto +unknown to physiologists; but this principle, already so full of +interest, must be made profitable to art.</p> + +<p>A multitude of pictures, which in former times I had admired at the +museum, passed before my mind's eye. I recalled battle-scenes where the +dying and the dead are represented; descents from the cross where Christ +is necessarily represented as dead. The idea struck me that I would go +and verify the action of the thumb in these various representations +which the painter's fancy has given us of death.</p> + +<p>It was on a Sunday. The Louvre was on my way to the Conservatory, +where, as is well known, I lived as pensioner.</p> + +<p>I had often traversed the galleries of the Louvre; but now I was armed +with a criterion that would give my criticisms indisputable authority.</p> + +<p>The ignorance of the fact I sought, even among artists of renown, was +not long in being made apparent: all those hands, where they thought +they had depicted death, afforded me nothing but the characteristics of +a more or less peaceful sleep. The correctness of my criticism may be +verified anywhere.</p> + +<p>Thus, the mere discovery of a law sufficed to elevate a poor boy of +fifteen years, destitute of all science and deploring the deep ignorance +in which he had hitherto been left, to the height of an infallible +critic in whom the greatest artists found no mercy. I then understood +all the power, all the fertility given by an acquaintance with the laws +that regulate the nature of man, and in how much even genius itself may +be rendered sterile by ignorance of those laws which simple observation +would make them acquainted with. But, I thought, my discovery is not +complete, for if, thanks to it, I have succeeded in proving that all +these pictures of death are false, true only as representing sleep, it +is, on the other hand, impossible for me to prove in how far those +figures live, in which the painter aims to represent life. I must, +therefore, seek the sign of life to complete my standard of criticism.</p> + +<p>Suddenly, struck with amazement by the dazzling rays of unexpected +light, I asked myself whether the criterion of death would not reveal to +me, by the law of contraries, the thermometer of life. It should <i>a +priori</i>--it does!</p> + +<p>Still I felt that it was not here that I might be permitted to +contemplate the vital phenomena attached to the thumb: since death was +so badly rendered here, I had strong reasons for thinking that life was +no better treated.</p> + +<p>I left the museum, then, where I had nothing more to learn; and, to +observe living mimetics of the thumb, I went out on the promenade of the +Tuileries thronged by aristocratic people. I carefully examined the +hands of this crowd, but I was not long in discovering that these +elegant idlers had nothing good to offer. "This class," I said to +myself, "is false from head to foot. They live an artificial, unnatural +life. I see in them only artifice, or an art dishonored by using it to +mask their insincerity and artificiality."</p> + +<p>The happy idea came to me to mingle with mothers, children and nurses.</p> + +<p>"Ah," said I, "in the midst of this throng, laughing and crying at the +same time--singing, shouting, gesticulating, jumping, dancing--here is +life! If the contemplation of this turbulent and affectionate little +world does not instruct me, where shall I find the solution I seek?"</p> + +<p>I did not have to wait long for this solution.</p> + +<p>I noticed nurses who were distracted and indifferent to the children +under their charge; in these the thumb was invariably drawn toward the +fingers, thus offering some resemblance to the adduction which it +manifests in death. With other nurses, more affectionate, the fingers of +the hand that held the child were visibly parted, displaying a thumb +bent outward; but this eccentration rose to still more startling +proportion in those mothers whom I saw each carrying her own child; +there the thumb was bent violently outward, as if to embrace and clasp a +beloved being.</p> + +<p>Thus I was not slow to recognize that the contraction of the thumb is +inversely proportionate, its extension directly proportionate to the +affectional exaltation of the life. "No doubt," I said to myself, "the +thumb is the <i>thermometer of life</i> in its extending progression as it is +of <i>death</i> in its contracting progression."</p> + +<p>Countless examples have confirmed this. I could even, on the spot, form +an idea of the degree of affection felt for the children entrusted to +their care, by the women who passed before my eyes.</p> + +<p>Sometimes I would say: "There is a servile creature whose heart is dead +to that poor child whom she carries like an inert mass; the position of +the thumb drawn toward the fingers renders that indifference evident," +Again it was a woman in whom the sources of life swelled high at the +contact with the dear treasure which she clasped; that woman was surely +the mother of the child she carried, the excessive opening of her thumb +left no room for doubt.</p> + +<p>Thus my diagnostics were invariably confirmed by exact information, and +I could see to what extent the remarks which I had recorded, were +justified. I drew from them most interesting applications for my special +course of study.</p> + +<p>Thus, suppose I had asked the same service from three men, and that each +had answered me with the single word <i>yes</i>, accompanied by a gesture of +the hand. If one of them had let his thumb approach the forefinger, it +is plain to me that he would deceive me, for his thumb thus placed tells +me that he is dead to my proposition.</p> + +<p>If I observe in the second a slight abduction of the thumb, I must +believe that he, although indisposed to oblige me, will still do so from +submission.</p> + +<p>But if the third abducts his thumb forcibly from the other fingers, oh! +I can count on him, he will not deceive me! The abduction of his thumb +tells me more in regard to his loyalty than all the assurances which he +might give me.</p> + +<p>Behold, then, an intuition whose correctness the experience of forty +years has not contradicted.</p> + +<p>It is hard to imagine the joy I felt at my discovery produced and +verified in a single day by so many examples, differing so greatly one +from another and of such diverse interest.</p> + +<p>All the emotions of this extraordinary and fertile day had so +over-excited my imagination that I had great difficulty in calming my +poor brain, and far from being able to enjoy the rest which I so much +needed, I was a prey to wakefulness in which the turmoil of my ideas at +one time made me fear that I was going mad. I then felt for the first +time the frailty of the instrument of thought in regard to the faculty +which rules and governs it.</p> + +<p>In brief, I was--thanks to my double discovery--in possession of a law +whose deductions ought to touch the loftiest questions of science and +art,--and I was enabled thenceforth to affirm upon strong and +irrefragable proof that the thumb, in its double sphere of action, is +the thermometer of life as well as of death.</p> + + + + +<h4 id="p5-02-3">Episode III.</h4> + + + +<p>The day after that which had been so fruitful both in emotions and +discoveries, a thousand recollections tumultuously besieged my mind and +still disturbed me. I saw that if I could not contrive to classify them +in strict order of succession, I should never be able to derive any +practical value from them. I therefore took up link by link the chain of +events of the previous day, but in inverse order. That is, I began my +course where I left off the day before, and thus proceeded toward the +Tuileries to end at the Medical School.</p> + +<p>At the retrospective sight of all that merry, noisy little world, of all +those fat, cheerful nurses, careless and laughing as they were, of those +mothers each so tenderly expansive in contemplation of her child, so +happy in its health and strength, so joyous and so proud of its small +progress, the recollection of a phenomenon which I had not at first +observed struck me with all the force of a vivid actuality.</p> + +<p>I should say, by the way, that it is much more to the strength of my +memory than to the present observation of facts, that I owe these +remarks. Stability is the <i>sine qua non</i> of the things one proposes to +examine, and the memory must possess the singular power of communicating +fixity to fugitive things, permanence to instantaneousness, and +actuality to the past.</p> + +<p>Now, the phenomena of life occurring with the rapidity of lightning can +only be studied retrospectively; that is to say, in the domain of +memory, except to be verified if the attention, free from all other +preöccupation, allows us to seize them on the wing once more. The remark +suggested to me by memory seemed all the more interesting because it +formed in a new order of facts a flagrant opposition to the opinion +formulated by my masters under the title of theory. Thus nature once +more proved to me that the only point in which I had found them to +agree, rested upon a fundamental error. I have since recognized that it +is thus in the majority of cases, so that one may almost certainly +pronounce erroneous any statement in regard to which all the masters of +art agree.</p> + +<p>This proposition at first seems inexplicable, but its reason is readily +understood by those who know the sway of falsehood over a society +perverted in its opinions as in its tastes; to those who know the +deplorable facility with which error is spread and the tenacity with +which it clings to our poor mind. Error, moreover, owes to our abasement +which it flatters and crushes, the privilege of freedom from +contradiction, and it is only in regard to truth that the minds of men +are divided and contend.</p> + +<p>On retracing in my memory the walks I had taken in the Tuileries, I was +struck by an important fact amidst the phenomena called up: the voice +of the nurse or mother, when she caressed her child, invariably assumed +the double character of tenuity and acuteness. It was in a voice equally +sweet and high-pitched that she uttered such words as these: "How lovely +he is!" ... "Smile a little bit for mamma!" Now this caressing +intonation, impressed by nature upon the upper notes of all these +voices, forms a strange contrast to the direction which all +singing-teachers agree in formulating; a direction which consists in +augmenting the intensity of the sound in direct ratio to its acuteness. +Thus, to them, strange to say, the entire law of vocal shades would +consist in augmenting progressively the sound of the ascending phrase or +scale, and diminishing in the same proportion for a descending scale. +Now, nature, by a thousand irrefutable examples, directs us to do the +contrary, that is, she prescribes a decrease of intensity (in music, +<i>decrescendo</i>) proportionate to the ascensional force of the sounds.</p> + +<p>Another blow, I thought, for my masters, or rather I receive it for +them, for they, poor fellows, do not feel it. But how can these +phenomena of nature have escaped them, and by what indescribable +aberration can they direct, under the name of law, a process absolutely +contrary to that so plainly followed by those same phenomena? However, I +added, every supreme error under penalty of being self-evident, must, to +endure, necessarily rest upon some truth or other. Now, on what truth do +so many masters claim to base so manifest an error? This is what we +must discover.</p> + +<p>I was now convinced that caressing, tender and gentle emotions find +their normal expression in <i>high</i> notes. This is beyond all doubt. Thus, +according to the foregoing examples, if we propose to say to a child in +a caressing tone that he is a darling, it would clearly be very bad +taste to bellow the words at him on the pretext that, according to +singing-teachers, the intensity of the sound is augmented in direct +ratio to its acuteness.</p> + +<p>But my memory, as if to confirm this principle, and to show its contrast +with the custom admitted by those gentlemen, suggests to me other +instances derived from the same source. Let a mother be <i>angry</i> with her +child and threaten him with punishment; she instantly assumes a grave +tone which she strives to render powerful and intense. Here, then, on +the one hand (and nature proclaims it), the voice decreases in intensity +in proportion as it rises higher; and, on the other hand, it increases +in proportion as it sinks. This double fact, undeniably established, +constitutes an unanswerable argument against the system in question. But +it is not, therefore, necessarily its radical and absolute refutation. +No, doubtless, whatever may be the significance and the number of the +facts opposed to the directions of those gentlemen, these facts do not +seem to exclude exceptions upon which they may be founded. In fact, I +find in my memory many examples favorable to those masters. Thus, I +have seen many nurses lose their temper and still use the higher tones +of their voice; and, on the other hand, I also remark (and the remark is +important) a certain form, the appellative form, where all the +characters agree without exception in producing the greatest intensity +possible upon the high notes.</p> + +<p>The professors of singing triumph, for they find in this appellative +form, always and necessarily sharp and boisterous at the same time, a +striking confirmation of their system. Here I seem to stray far from the +solution which I thought I already grasped! Far from it; the light is +breaking. Hitherto the examples evoked had only increased my obscurity +by their multiplicity, and I saw nothing in all these remarks but a +series of contradictions whence it seemed impossible to deduce anything +but confusion, into which I found myself plunged.</p> + +<p>But was this confusion really in the facts which I examined, or was it +not rather the creation of my own mind? Now, in the matter of principle, +the weakness of individual reason has been too often proved to me to +allow of my attaching any other cause to the contradictions which block +my path and force me to confess my ignorance. I will not, then, here cry +<i>mea culpa</i> for myself or for others to justify that ignorance or excuse +its confession. It must be acknowledged that God knows what He does, and +His omnipotence is assuredly guiltless of the divagations which an +impotent mind finds it convenient to attribute to it.</p> + +<p>Now, let others in the blindness of proud reason, forget this truth, +which they contest even by opposing to it the quibbles for which +free-thinkers are never at a loss, and to escape the confusion which +they inevitably derive from the ill-studied work of the Supreme Artist. +Let them venture to attribute to it their own darkness. For my part, I +shall not thereby lose my conviction that all which seems to me +disordered or contradictory in the expression of the facts which I +question, is only apparent and only exist in my own brain.</p> + +<p>The profound obscurity into which light plunges us does not prevent the +light from being; and the chaos of ideas which, most generally, results +from our examination of things, proves nothing against the harmonies of +their constitution.</p> + +<p>The pebble virtually contains the spark, but we must know how to produce +it. Thus the phenomena of nature contain luminous lessons, but we must +know how to make them speak; and, what is more, understand their +language. Now, I would add, the spirit of God is inherent in all things; +and this spirit should, at a given moment, flash its splendors in the +eyes of an intellect alike submissive, attentive, patient and suppliant.</p> + +<p>Moreover, does not the Gospel show us the way to fertilize +investigations such as those to which I have given my life? Does it not +say: "Knock and it shall be opened, ask and it shall be given?" Then +what must I do to find my way out of the maze in which my reason +wanders? What must I do in presence of the contradictions which +nevertheless must needs contain a fecund principle? Finally, what must I +do in order to see light break from the very heart of those obscurities +wherein light is lost?</p> + +<p>I will seek anew, night and day, if needful; I will knock incessantly at +the door of the facts which I desire to examine. I will descend into the +secret depths of their organism; there I will patiently question every +phenomenon, every organ, and I will entreat their Author to divulge to +me their purpose, their relations and their very object.</p> + +<p>Well! It is thus that those men, proud of their vain knowledge, were +made dizzy by the splendor of that same light which they thought that +they could subject to their investigations, and the blindness which has +fallen upon them is the punishment which God is content to inflict upon +them in this world.</p> + +<p>Having said this, where was I in my investigations? Ah! it was here.</p> + +<p>The memory of the high inflections invariably affected by the women whom +I had seen on the previous day, caressing their infants, struck me with +the more force that I had learned from my masters that law which had +hitherto ruled uncontested, and now underwent a refutation which +demonstrated the falsity of its applications with a clearness and +minuteness which left no room for doubt.</p> + +<p>The examples in virtue of which I saw the errors of my masters, +unanimously proclaimed the tenuity of the voice to be in proportion to +its acuteness.</p> + +<p>Now this formula is, in letter as in spirit, the reverse of the +prescription upon which, by a caprice whose cause I have just explained, +all the masters of art agree.</p> + +<p>I then perceived that my first affirmations were no better founded than +those of the masters, whose theories I had attacked. The truth of the +matter is that ascending progressions may arise from opposite shades of +meaning. "Therefore," said I to myself, "it is equally inadmissible to +exclude either affirmation."</p> + +<p>The law is necessarily complex: let us bring together, that we may seize +them as a whole, both the contrary expressions and the circumstances +which produce them.</p> + +<p>Vulgar and uncultured people, as well as children, seem to act in regard +to an ascensional vocal progression in an inverse sense to +well-educated, or, at any rate, affectionate persons, such as mothers, +fond nurses, etc.</p> + +<p>No example has, to my knowledge, contradicted this remark.</p> + +<p>But why this difference? What are its motive causes?</p> + +<p>"Ha!" I cried, as if struck by lightning, "I've found the law! As with +the movements of the head, <i>sensuality</i> and <i>tenderness</i>, these shades +of the voice may be traced back to two distinct sources: <i>sentiment</i> and +<i>passion</i>. It is sentiment which I have seen revealed in mothers; it is +passion which we find in uncultured persons."</p> + +<p>Sentiment and passion, then, proceed in an inverse way. Passion +strengthens the voice in proportion as it rises, and sentiment, on the +contrary, softens it in due ratio to its intensity. It was the confusion +of these different sources which caused a momentary obscurity in my +understanding.</p> + +<p>Let us now formulate boldly the law of vocal proportions.</p> + +<p>Given a rising form, such as the ascending scale, there will be +intensitive progression when this form should express passion (whether +impulse, excitement or vehemence).</p> + +<p>There will be, on the other hand, a diminution of intensity where this +same form should express sentiment.</p> + +<p>This law even seems regulated by a quantitative expression, the form of +which appeared to me like a flash of light. This is the formula:</p> + +<p>Under the influence of sentiment the smallest and most insignificant +things that we may wish to represent proportion themselves to the degree +of acuteness of the sounds, which become softened in proportion as they +rise.</p> + +<p>Under the influence of passion, on the contrary, the voice rises, with a +corresponding brilliancy, in proportion to the magnitude of the thing +it would express, and becomes lowered to express smallness or meanness. +Thus an ascending scale being given, it must be considered as a double +scale of proportion, agreeing alternately with an increasing or +decreasing intensitive progression, increasing under the influence of +passion and decreasing under the influence of sentiment.</p> + +<p>Thus we would not use the same tones for the words: "Oh, what a pretty +little girl!" "What a lovely little flower!" and: "See that nice, fat +peasant woman!" "What a comfortable great house!"</p> + +<p>By such formulæ as these I was able to sum up, in clear and didactic +form, the multifarious examples suggested by my memory, startled at +first by their contradiction and then delighted at the light thrown upon +them by these very formulæ, due, not to my own merit, but to the favor +of Him who holds in His hand the source of all truth.</p> + +<p>Thus, I feel and readily acknowledge, that the discovery upon which I am +at work is not my own work; and, therefore, I pray for it as for a +signal favor. Nor can it be otherwise with any man. It is, therefore, +always an impertinence for any man to attribute to his personal genius, +vast as he may suppose it to be, the discovery of any law. God alone +discloses His treasures, and, as I have experienced, He only reveals +them to the eye of reason raised by humility to contemplation.</p> + +<p>Man seeks that which he desires to know with attention and patience +proportioned to the ardor of his desire. The attention of which his mind +is capable and the constancy of will brought to bear in pursuit of his +research, constitute his only mark of distinction. Herein lies all the +merit to which he can lay just claim. But at a moment absolutely +unforeseen, God reveals to him that which he seeks, I should say that +for which he does not seek, and for his due edification it is generally +the opposite of what he seeks which is revealed to him. This is not to +be contested. Thus the things discovered to him cause him such surprise +that he never fails to beat his brow when he sees them, as if to prove +that he is not the author of their discovery, and that he was far from +foreseeing anything like what has been shown to him; and that there may +be no possible mistake in the interpretation of the gesture, he +invariably accompanies it by the phrase: "What a fool I am!" All will +admit that if a man really believed himself the author of his discovery, +he takes a very inopportune time to declare his impotence and his +stupidity so distinctly. But taking none too kindly his avowal which, +moreover, is but the proclamation of an indisputable truth, let us +rather say that this act of humility is forced from him by the greatness +of his surprise.</p> + +<p>Happy, very happy is the man whose pride does not instantly react +against the humble and truthful confession of his folly.</p> + +<p>Ever since I made these remarks I have asked myself the cause of the +sterility of the learned bodies, and I do not hesitate to say to-day, +that it is because scientists refuse to declare themselves fools, and it +is to this lack of sincerity that they doubtless owe the punishment that +paralyzes their genius.</p> + +<p>How can these men fail to take seriously the little knowledge to which +they cling and their fortune and renown; how can these wise men, to whom +the world pays incessant homage, consent meekly to confess the infirmity +of their reason? They feign, on the contrary, even when crushed beneath +the Divine splendor, an air of great importance; and when the Omnipotent +in His mercy deigns to bend to their low level, to lay open to them the +treasures of His sovereign thought, do you think that in token of the +sacred and respectful admiration which they owe in return for such +goodness, they will prostrate themselves like the Seraphim whose +knowledge assuredly equals the few notions which they adorn with that +title? Ah! far from it. You little know these scientists, when you +impute to them an act which they would qualify as contemptible and would +declare unworthy of a free-thinker! They stand erect, on the contrary, +with head held high, insolently laying claim, by virtue of I know not +what conquest of the human mind, to judge the eternal and immovable +light of the Divine Reason.</p> + + + + +<h4 id="p5-02-4">Episode IV.</h4> + + + +<p>My retrospective journey from this point of departure seemed destined to +be even more full of observations than that which preceded it. My day +had been so full of work, so fruitful in unexpected discoveries, that it +was absolutely necessary for me to stop at this first station.</p> + +<p>After a few days of rest I naturally resumed my walk, toward the garden +of the Tuileries, whither I was led by an instinct full of promise. +There, in fact, fresh re-appearances were not long in adding light to +that with which I was still dazzled!</p> + +<p>I remember that I had been vaguely struck by the contemplative attitude +of a mother toward her child. The reason why this attitude struck +even in the midst of my absorption in search of notes relative to the +thumb, was, first, because this attitude was a contrast to that assumed +by most of the nurses under the action of the same feeling; and, in the +next place, it seemed to deny the contemplative forms which I had +deduced from my first discovery, and which rested upon such motives as +the following: That a painter admires his work by throwing back his +head. Hitherto it had seemed to me clearly proven that admiring +contemplation entailed this retroaction. I considered this, it will be +remembered, the characteristic feature of a law, and that for the +reasons which I had previously given. Well! were all these reasons, +plausible as they appeared, to be contradicted by a single fact still +present to my memory, in spite of the observations in the midst of which +it arose, and which, moreover, should have been more than enough to +efface it? Strange to say, this fact vaguely noted amidst preöccupations +to which it seemed absolutely foreign, had remained persistently in my +mind! Now this fact, becoming by a reflex act the object of serious +thought, resulted from this observation:</p> + +<p>That a woman, as she contemplated her child, bent her head toward it.</p> + +<p>Searching in my memory, I found several similar instances completely +confirming this principle, opposed to my observations, that +contemplation tends to push the head toward the object contemplated.</p> + +<p>And yet this example does not affect those to which I had at first paid +exclusive heed. Here, as in the preceding remarks, the law is complex, +and it must first be recognized that contemplation or simple admiration +is produced alike by the retreat or advance of the head. This double +action being admitted, it remained to decide how far they might be +mingled in a single situation; that is to say, to what point these two +inverse inclinations might be produced indifferently; and if, as I must +<i>a priori</i> suppose, these inclinations recognized two distinct causes. +If so, what were those reasons? The question was not easy of solution, +and yet it must be decided definitely. I could enjoy no peace until I +had answered it. The doubt instilled into my mind by this new +contradiction was intolerable. I set boldly to work, determined not to +pause until I had found a final solution. I called to mind all my +memories having any bearing on this double phenomenon. These memories +were far more numerous and far more striking than I had dared to hope. +What a magnificent thing are those mysterious reservoirs whence, at a +given moment, flow thousands of pictures which until then we knew not +that we possessed? A whole world of prostrate believers adoringly +turning their heads toward the object of their worship, appeared before +me to support the example afforded me by the mother lovingly bending her +head toward the child at which she gazed.</p> + +<p>Among other instances, I saw a venerable master affectionately bending +his head toward the being to whom he thus seemed with touching +predilection to give luminous instructions.</p> + +<p>I saw lovers gazing at their loved one with this attractive pose of the +head, their tenderness seeming thus to be eloquently affirmed. But, side +by side with these examples, I saw others totally opposite; thus, other +lovers presented themselves to my mind's eye with very different aspect, +and their number seemed far greater than that of the other. These lovers +delighted to gaze at their sweetheart as painters study their work, with +head thrown back. I saw mothers and many nurses gazing at children with +this same retroactive movement which stamped their gaze with a certain +expression of satisfied pride, generally to be noted in those who +carried a nursling distinguished for its beauty or the elegance of its +clothes.</p> + +<p>Two words, as important as they are opposite in the sense that they +determine, are disengaged: <i>sensuality</i> and <i>tenderness</i>.</p> + +<p>Such are the sources to which we must refer the attitudes assumed by the +head on sight of the object considered.</p> + +<p>Between these inverse attitudes a third should naturally be placed. It +was easy for me to characterize this latter: I called it <i>colorless</i> or +<i>indifferent</i>.</p> + +<p>It is entirely natural that the man who considers an object from the +point of view of the mere examination which his mind makes of it, should +simply look it in the face until that object had aroused the innermost +movements of the soul or of the life.</p> + +<p>Whence it invariably follows that from the incitement of these +movements, the head is bent to the side of the soul or to the side of +the senses.</p> + +<p>"Which is, then, for the head, the side of the soul," you will ask me, +"and which the side of the senses?"</p> + +<p>I will reply simply, to cut short the useless description of the many +drawbacks that preceded the clear demonstration that I finally +established, that the side of the heart is the objective side that +occupies the interlocutor, and that the side of the senses is the +subjective, personal side toward which the head retroacts; that is to +say, the side opposed to the object under examination. Thus, when the +head moves in an inverse direction from the object that it examines, it +is from a selfish standpoint; and when the examiner bends toward the +object it is in contempt of self that the object is viewed.</p> + +<p>These are the two related looks that I have named Sensuality and +Tenderness, for these reasons:</p> + +<p>The former of these glances is addressed exclusively to the form of its +object; it caresses the periphery of it, and, the better to appreciate +its totality, moves away from it. This is what occurs in the retroactive +attitude of the head.</p> + +<p>The other look, on the contrary, aims at the heart of things without +pausing on the surface, disdaining all that is external. It strives to +penetrate the object to its very essence, as if to unite itself more +closely within it; it has the expression of confidence, of faith--in a +word, the giving up of self.</p> + +<p>Thus, when a man presses a woman's hand, we may affirm one of three +things from the attitude which his head assumes:</p> + +<p>1. That he does not love her, if his head remains straight or simply +bent in facing her.</p> + +<p>2. That he loves her tenderly, if he bows his head obliquely toward her.</p> + +<p>3. Finally, that he loves her sensually--that is to say, solely for her +physical qualities--if, on looking at her, he moves his head toward the +shoulder which is opposite her.</p> + +<p>Such are, in brief, the three attitudes of the head and the eyes, which +I have named <i>colorless, affectional, sensual</i>.</p> + +<p>Henceforth I possessed completely the law of the inclinations of the +head, a law which derives from its very complexity the fertility of its +applications.</p> + + + + +<h4 id="p5-02-5">Episode V.<br /> + +Semeiotics of The Shoulder.</h4> + + + +<p>When I found myself the possessor of this law whose triple formula is of +a nature to defy every objection, I sought to appropriate to myself, +before the mirror, all its applications.</p> + +<p>But there arose yet another difficulty that I had not foreseen.</p> + +<p>I, indeed, reproduced, and at the proper time, the movements of the head +already described, but they remained awkward and lifeless.</p> + +<p>What was the cause of this awkwardness and coldness of which I was well +aware, but which I could not help? I strove unceasingly to reproduce the +examples that lived so vividly in my memory, but all these laborious +reproductions, these efforts from memory, were futile. The stubbornness +of an indomitable will, however, led only to a negative result. I was +vexed at an awkwardness the reason of which I could not find.</p> + +<p>One day, almost discouraged by the lack of success in my researches, I +sorrowfully said to myself: "What shall I do? Alas! the more I labor, +the less clearly I see; am I incapable of reproducing nature--is the +difficulty that holds me back invincible?"</p> + +<p>As I uttered the preceding words, I noticed that, under the sway of the +grief which dictated them, my shoulders were strangely lifted up, and, +as then I found myself in the attitude which I had previously tried to +render natural, the unexpected movement of my shoulders, joined to that +attitude, suddenly impressed it with an expression of life so just, so +true, so surprising, that I was overwhelmed.</p> + +<p>Thus I gained possession of an æsthetic fact of the first rank, and I +was as amazed at my discovery as I was surprised that I had not observed +sooner a self-evident movement, whose powerful and expressive character +seems fundamentally connected with the actions of the head. "How stupid +I am," I thought, "not to have remarked so evident an action of an agent +which leads the head itself. How could I let this movement of the +shoulder escape me!" And I revelled in the pleasurable triumph of +reproducing and contemplating expressions which I could not have +rendered previously without dishonoring them. Thenceforth I understood +without a doubt all the importance of this latest discovery. But this +importance, clearly proven as it was, was not yet fully explained to me.</p> + +<p>Thus, I knew henceforth the necessity for movements of the shoulder, but +I was still ignorant of their motive cause; and I was reluctant to be +longer ignorant. I foresaw a concomitance of relations between this +movement of the shoulder and the expression of the head.</p> + +<p>The shoulder, then, became, in its turn, the chief object of my +studies, and I gained therefrom clear and indisputable principles.</p> + +<p>In this way I managed to form the bases of my discovery. The mothers +whom I had seen bending their heads over the children on whom they +gazed, thus revealed something unreserved and touching; and in my +ignorance the important part which the shoulder played in the attitude +had escaped me. It was indeed from the action of the shoulder, even more +than from the inclination of the head, that this expression of +tenderness, so touching to behold, proceeded.</p> + +<p>The head, in such a case, accordingly receives its greatest sum of +expression from the shoulder. That is a fact to be noted.</p> + +<p>For instance, let a head--however loving we may suppose it to be +intrinsically--bend toward the object of its contemplation, and let the +shoulder not be lifted, that head will plainly lack an air of vitality +and warm sincerity without which it cannot persuade us. It will lack +that irresistible character of intensity which, in itself, supposes +love; in brief, it will be lacking in love.</p> + +<p>"Then," I said, "I have found in the shoulder the agent, the centre of +the manifestations of love."</p> + +<p>Yes, if in pressing a friend's hand I raise my shoulders, I shall +thereby eloquently demonstrate all the affection with which he inspires +me.</p> + +<p>If in looking at a woman I clasp my hands and at the same time raise my +shoulders, there is no longer any doubt as to the feeling that attaches +me to her, and instinctively every one will say: "He loves her truly;" +but if, preserving the same attitude in the same situation, the same +facial expression, the same movement of the head, I happen to withhold +the action of the shoulder, instantly all love will disappear from my +expression and nothing will be left to that attitude but a sentiment +vague and cold as falsehood.</p> + +<p>Once more, then, the inclinations of the head whose law I have +previously determined, seem, to owe to the shoulder alone the +affectionate meaning that they express; but the head--as I have +said,--in its double inclination, characterizes two kinds of love (or +rather two sources of love) which are not to be confounded: <i>sensuality</i> +and <i>tenderness</i>.</p> + +<p>What part, then, does the shoulder play in regard to this distinction? +It will be curious to determine this point. Let us see!</p> + +<p>The part played by the shoulder is considerable in tenderness; that is +not to be doubted. But its role seems to be less in sensuality. Thus the +shoulder generally rises less when the head retroacts than when it +advances toward the object of its contemplation. Why is this? Is it +because sensuality pertains less to love than tenderness? Has it not the +same title to rank as one of the aspects of love? In a word, why is less +demand made upon the shoulder in one instance than in the other?</p> + +<p>If I do not mistake, the reason is this: love gives more than it lays +claim to receive, while sensuality asks continually and seeks merely the +possession of its object. Love understands and loves sacrifice; it +pervades the whole being; it inspires it to bestow its entire self, and +that gift admits of no reserve.</p> + +<p>Sensuality, on the contrary, is essentially selfish; far from giving +itself, it pretends to appropriate and absorb in itself the object of +its desires. Sensuality is, so to speak, but a distorted, narrow and +localized love; the body is the object of its contemplation, and it +[sensuality] sees nothing beyond the possession of the object.</p> + +<p>But love does not stop at the body--that would be its tomb; it crosses +the limits of it, to rise to the soul in which it is utterly absorbed. +Thus love transfigures the being by consuming its personality, whence it +comes that he who loves, no longer lives his own life, but the life of +the being whom he contemplates.</p> + +<p>Let the vulgar continually confound these two things in their +manifestations; let lovers themselves fail to distinguish accurately +between tenderness and sensuality; for me this confusion is henceforth +forbidden, and I can from the first glance boldly separate them, thanks +to the lessons taught me by the inflections of the head.</p> + +<p>But let us return to the shoulder. Am I not right in saying that in this +agent I possess the organic criterion of love? Yes, I maintain it. But +let us follow the action of this organ in its various manifestations.</p> + +<p>One thing at first amazed me, in view of the part which I felt I must +assign to the shoulder. Whence comes, if the designation of that role be +in conformity with truth,--whence comes the activity so apparent, so +vehement indeed, which the shoulder displays in a movement of anger or +of mere impatience? Whence comes its perfect concomitance or relations +with moral or physical pain? Lastly, whence comes that universal +application which I just now perceived clearly and which, until now, I +had confined to such narrow limits? But if the elevation of the shoulder +is not the criterion of love, if, on the contrary, that movement is met +with again just as correctly associated with the most contradictory +impressions, what can it mean?</p> + +<p>Here I was, once again, thrown far back from the discovery that I was so +sure I possessed.</p> + +<p>It is very fortunate that I have been neither an author nor a +journalist, and I bless to-day that distrust of self which has saved me +from the mania of writing. I highly congratulate myself on the spirit of +prudence that has invariably made me reply to whoever pressed me to +publish: "When I am old."</p> + +<p>Age has come, and it has found me even less disposed to publicity than +ever. This work owes its existence solely to the earnest and continual +solicitations, the sometimes severe demands of deep friendship and +devotion, which it was impossible for me to refuse. This book is not, +then, a spontaneous enterprise on my part; it is the work of friendship. +And if this book has any measure of success, if it accomplishes any +good, it may be traced back to and acknowledged as rising from the +never-failing encouragement of my old friend Brucker.</p> + +<p>Let us return, now, to where I was in my researches.</p> + +<p>It remains, then, for me to specify the true meaning of the shoulders in +the expression of the passions. Their intervention in all forms of +emotion being proven to me, it would seem that the very frequency of +that intervention should exclude the possibility of assigning any +particular role to this agent.</p> + +<p>Fancy my perplexity, placed face to face with an organ infinitely +expressive, but whose physiognomy is mingled promiscuously with every +sentiment and every passion!</p> + +<p>How, then, are we to characterize the shoulder? What name shall we give +to its dominant rôle? How specify that supreme power outside of which +all expression ceases to exist? Is it allowable for me to call it +<i>neutral?</i> And if the universal application of that agent apparently +authorizes that appellation up to a certain point, whence comes its +importance? Whence the empire that it exerts over the aspect of its +congeners? Is it admissible for a neutral agent to exert so much action +upon the totality of the forces to which it is allied?</p> + +<p>Assuredly not! The word <i>neutral</i>, moreover, excludes the idea of +action, and even more strongly that of predominant action which belongs +surpassingly to the shoulder. Truly, here was a treasure-house for me. +It was, as they say, "to give speech to the dogs."</p> + +<p>This new difficulty only increased the determination with which I had +pursued my researches; and with the confidence arising from the fact +that no obstacle had yet conquered me, I said to myself that the +solution of this problem would be due to my perseverance. I could not, +in view of the importance of its expression, consider the shoulder as a +neutral agent. After spending a long time in vain study, I was on the +point of giving up as insoluble the problem that I had set myself. Let +us see by what simple means I obtained the solution. How much trouble +and pains one will sometimes give himself in looking for spectacles that +are on his nose!</p> + +<p>The shoulder, in every man who is moved or agitated, rises sensibly, his +will playing no part in the ascension; the successive developments of +this involuntary act are in absolute proportion to the passional +intensity whose numeric measure they form; the shoulder may, therefore, +be fitly called <i>the thermometer of the sensibility</i>.</p> + +<p>"Thermometer," I cried, "there is an excellent word, strikingly correct. +But have I not, in pronouncing it, simply and naturally characterized +the rôle that I am striving to define?</p> + +<p>"Thermometer of the sensibility! Is not that the solution of the +enigma? Thermometer; yes, that is it! That is the very expression to +give to my researches, an expression without which nothing could be +explained. That, indeed, answers to everything, and makes the +difficulties against which my reason struggled disappear."</p> + +<p>The shoulder is, in fact, precisely the thermometer of passion as well +as of sensibility; it is the measure of their vehemence; it determines +their degree of heat and intensity. However, it does not specify their +nature, and it is certainly in an analogous sense that the instrument +known by the name of thermometer marks the degrees of heat and cold +without specifying the nature of the weather--a specification belonging +to another instrument, the complement of the thermometer--the barometer. +The parallel is absolute, perfect.</p> + +<p>Let us examine this point:</p> + +<p>The shoulder, in rising, is not called upon to teach us whether the +source of the heat or vehemence which mark it, arise from love or hate. +This specification does not lie within its province; it belongs entirely +to the face, which is to the shoulder what the barometer is to the +thermometer. And it is thus that the shoulder and the face enter into +harmonious relations to complete the passional sense which they have to +determine mutually and by distinct paths.</p> + +<p>Now, the shoulder is limited, in its proper domain, to proving, first, +that the emotion expressed by the face <i>is</i> or <i>is not</i> true. Then, +afterward, to marking, with mathematical rigor, the degree of intensity +to which that emotion rises.</p> + +<p>After having finished the formulation of this principle I exultingly +exclaimed:</p> + +<p>"God be praised! I now possess the semeiotics of the shoulder, and +thereby I hold the criterion of the passional or sensitive powers--a +criterion outside of which no truth can be demonstrated in the sphere of +sentiment or feeling."</p> + +<p>Thus, a word suggested by chance became my Archimedean lever. The word, +like a flash of light, flooded my mind with radiance which suddenly +revealed to me the numerous and fertile applications of a principle +hitherto unknown. Yes, I henceforth possessed an æsthetic principle of +the utmost value, the consequences of which, I could readily see, were +as novel as they were profound.</p> + + + + +<h4 id="p5-02-6">Episode VI.<br /> + +First Objection to the Thermometric System of the Shoulder.</h4> + + + +<p>The innate æsthetic principle of the semeiotics of the shoulder was at +last clearly demonstrated to me, and no more doubt or uncertainty upon +that point seemed to me possible. I might safely formulate the following +rule:</p> + +<p>When a man says to you in interjective form: "I love, I suffer, I am +delighted," etc., do not believe him if his shoulder remains in a normal +attitude. Do not believe him, no matter what expression his face may +assume. Do not believe him--he lies; his shoulder denies his words. That +negative form betrays his thoughts; and, if he expresses ardent passion, +you have merely to consult the thermometer which, all unwittingly, he +himself offers to your inspection. See, it marks zero! therefore he +lies; doubt it not, he lies! but his shoulder does not lie. He amiably +puts it at your disposal--read, read at your ease; it bears inscribed in +living letters his deceit and craft. It can never cheat you, and when +the gentleman accosts you with such words as: "Dear friend! how charmed +I am to see you!" say to yourself as you look at his thermometer: +"Traitor, your delight as well as your friendship is below zero! You try +to deceive me, but in vain; henceforth you have no secrets from me, +clumsy forger! You do not see, as with one hand you proffer the false +jewel which you would sell me, that the other at the same instant gives +me the touch-stone which reveals your tricks; your right hand thus +incessantly exposing to me the secrets of your left hand!"</p> + +<p>What an admirable thing is this mechanism of the body working in the +service of the soul! With what precision it reveals the least movements +of its master! What magnificent things it lays bare! Voluntarily or +involuntarily, everything leads to truth under the action of the +translucid light which breaks forth in the working of each of our +organs!</p> + +<p>And yet, well founded as the preceding theory may be, solid as are the +bases upon which it rests, is it free from any and all objection? May +not some oppose to it, for instance, the impassibility of men and women +of the world, among whom it would be difficult to find the movements of +the shoulder, which such people deem so ungraceful in others as to +deprive them of all desire to imitate them? Now what conclusions are we +to draw from the absence of this movement in those who are known as +aristocrats? Must we tax them all indiscriminately with falsehood?</p> + +<p>Here I might, and without hesitation, answer by the affirmation, Yes, +all aristocrats lie! The medium which they constitute and which is +called <i>the world</i> is nothing but a perpetual lie. Civility itself +rests upon a lie. Nay, more, it insists upon deceit as a duty. Heavens, +what would become of the world if truth were a necessity! Quarter of an +hour of sincerity would be intolerable; ... the inhabitants would slay +each other!</p> + +<p>In the world people display their feelings, even the most avowable, with +great reserve; this prudence, which paralyzes the very springs of +sensitive life, seems as if it needs must neutralize the role which I +attribute to the shoulder; and yet, in spite of contrary appearances, I +deny that the thermometric action of the shoulder undergoes the least +alteration in the aristocratic world; I deny explicitly that this agent +proves less expressive and, above all, less truthful there than in the +street; and that for the following reasons:</p> + +<p>In the first place, we cannot reasonably suppose very ardent passions in +men who are enervated by the perpetual influence of an artificial +society. Now, here the stationary condition of the thermometer is +explained: it proves absolutely nothing against the truth of the +reports; it remains at zero to mark a colorless medium totally destitute +of vitality. The shoulder would violate its law if it were to rise under +such circumstances. It is, therefore, perfectly in character here; it +should be, <i>a priori</i>, impassive in a negative society.</p> + +<p>But is the shoulder really impassive in that medium which we call +society?</p> + +<p><i>Yes</i>, in the eyes of people who are not of it, and who, from that very +fact, cannot understand the value of certain expressions which are +almost imperceptible; <i>no</i>, to those who constitute that special world +of relations called superior.</p> + +<p>How many things, in fact, the shoulder reveals by those slight changes +unseen by ignorant persons, and expressing particularly the delicate and +exquisite charm of spiritual relations! It is the law of infinitesimal +quantities, of those scarcely perceptible movements or sensations that +characterize the finer relations of people of culture, of eloquence, of +grace, and of refined tastes.</p> + +<p>It should be borne in mind, as I have already shown, that the +manifestations of the shoulder in the street by no means accord with +those of people ruled by the fashions of society. There is very little +harmony or relation between the exquisite joints of a refined nature, +the swift and flexible movements of an elegant organism, and the +evolutions clumsily executed by torpid limbs, ankylosed, as it were, by +labor at once hard and constant</p> + +<p>This observation logically led me to an important conclusion, namely, +that the value or importance of a standard is deduced expressly from the +nature of the being, or the object to which it is applied. Of what +value, for instance, could a millimeter be when added to the stature of +a man? That same millimeter, however, would acquire a colossal value +when added to the proportions of a flea. It would form a striking +monstrosity.</p> + +<p>An imperceptible fraction may, in certain cases, constitute an +enormity. Again, the value of a standard, not the specific or numerical +value which is an invariable basis, but the relative or moral value, +must be deduced from the importance of the medium to which it applies. +For instance: Five hundred men constitute a very good army in the midst +of a peaceful population; and this handful of soldiers exerts, indeed, +more moral power than the multitudes restrained under their government. +A smile coming from the lips of a sovereign leaves in the soul that it +penetrates a far deeper trace than all the demonstrations of a common or +vulgar crowd. The traveler, detained by the winter in the polar regions, +finds that he is warm and takes pleasure in the discovery, though at the +time the thermometer marks 10 degrees below zero.</p> + +<p>The atmosphere of a cave that we find warm in winter seems to us, +without being modified in the least, of an icy coldness in summer.</p> + +<p>The large quantity of alcohol that laboring people consume would ruin +the health of less strongly constituted persons.</p> + +<p>To conclude, then, these examples prove beyond dispute that one can only +appreciate the importance of an act when he takes into account the +nature of its agents, and that without these considerations he will be +obliged to give up immediately all serious estimation of these +manifestations.</p> + +<p>Here I touch, it seems to me, a law of harmony, a curious law that I +wish to examine incidentally. I shall, then, occupy myself with the +objections that may, perhaps, be opposed even yet to the thermometric +system of the shoulder</p> + + + + +<h4 id="p5-02-7">Episode VII.</h4> + + + +<p>The foregoing study has, as it seems, established an important fact, +namely, that among the various classes of men which make up society +there is no common standard of measure. It, therefore, appears +impossible, at first sight, to establish a harmonious scale of relations +between so many various circles.</p> + +<p>However, if these circles, whatever their differences may be, were +specified and sufficiently known; if I could, for example, judge <i>a +priori</i> of the style and mode of activity adapted to each class of +society; in a word, if it were possible for me to characterize each of +its classes dynamically, should I not succeed in ascertaining a +proportionate gamut or scale among them, and thereby should I not be +enabled securely to apply the principles established above?</p> + +<p>Let us say, to begin with, that if each social sphere affects a +determinate character in the intensity of its passional evolutions, it +has, in consequence, its special gamut; then, as many spheres as there +are, so many gamuts must there be. Now, all these gamuts taken together +must form a scale of proportion in virtue of which they may be +characterized. That is obvious. But the difficulty is to prove the mode +or first tonality of these gamuts. How are we to set to work?</p> + +<p>I cut short, for the clearness of my demonstrations, the recital of the +events through which I have been obliged to pass before realizing even +my earliest observations. I shall set forth, plainly and simply, the +final result of my studies; and it will be seen, in spite of the many +difficulties that may arise, with what absolute certainty the principles +I have established can be applied.</p> +</div> + + +<div class="chapter" id="p5-03"> +<h3>What I Propose.</h3> + + + +<p>I propose a great, a worthy subject for your study. At those oratorical +sessions which are rapidly increasing under the name of conferences, +sessions at which so many distinguished men take the floor, you have +been told in elegant terms, often in eloquent terms, of the sciences, of +their application and of their progress. You have listened to discourses +upon art, its primitive purity, its supposed principles, its decadence, +its renaissance, its multifarious changes; its masterpieces have been +pointed out to you; they have been described to you; you have, in some +degree, been made familiar with their origin. You have heard the story +of the lives of the great artists. They have been shown to you in their +weakness and in their strength. The times and manners amid which they +lived have been painted for you in more or less imaginary colors. I +propose something better than all this.</p> + +<p>I offer you a work superior even to those sciences which have been +described to you; superior to all which the genius of a Michael Angelo +or a Raphael could conceive; a work in comparison with which all the +magnificences of science and of art must pale. I propose that you should +contemplate yourselves!</p> + +<p>Nothing is so unfamiliar to man as himself. I will, therefore, as I have +promised, show you the marvels which God himself has placed within you, +in the transluminous obscurities of your being.</p> + +<p>Now, if there be more science, more genius in the production of a violet +or a worm than is revealed by all the combined powers of science and of +art, how much admiration should we not feel at the sight of all the +splendors which God has spread broadcast in the privileged work wherein +He was pleased to reveal his own image! But a light inaccessible to the +vain demonstrations of your sciences constantly removes this mysterious +image from your gaze. As light eludes the eye which it illumines, if we +would seize and contemplate it, we must have two things: we must have a +special and a supernatural object. There must be light within you, and +it must pierce the depths wherein that image dwells.</p> + +<p>Here there is no question of the light which shines to show us the +things of the natural world by which we are surrounded. Nor is it a +question of the intellectual light sometimes visible to scholars. I +speak of that light which is hidden from those very scholars because +their eyes could not bear its lustre, a transluminous light which fills +the soul with beatific visions, and of which it is said that God wraps +it about Him as a mantle.</p> + +<p>Now, three worlds, of the nature of which man partakes, are offered for +our contemplation. These three worlds are: The <i>natural</i>, the +<i>intellectual</i>, and the <i>supernatural</i>.</p> + +<p>Three sorts of vision have been given man to initiate him into these +three worlds. These different forms of vision are: <i>Direct, inward</i> and +<i>higher</i>.</p> + +<p>By means of direct vision man is made acquainted with the world of +nature; by inward vision he is shown the world of science; and, lastly, +by higher vision he sees the world of grace. But as there can be no +vision where no light penetrates, it follows that between the three +kinds of vision described and the corresponding worlds there must +intervene three sorts of light, in order to produce the triple vision +necessary for the knowledge of man:</p> + +<p>Direct vision--sidereal light--natural world.</p> + +<p>Inward vision--the light of tradition--the world of science.</p> + +<p>Higher vision--revealed light--supernatural world.</p> + +<p>Such are the conditions necessary for the understanding of my +demonstrations.</p> + +<p>Having prepared your eye for the vision of these three worlds which +serve as the bases of art, I shall, then, reveal to you their splendors; +happy if, thus, I can help to make you bless the author of so many +marvels, and communicate to you those keen joys which perpetuate in the +soul a fountain of youth which can never be quenched by the infirmities +of the body.</p> +</div> + + +<div class="chapter" id="p5-04"> +<h3>The Beautiful</h3> + + + +<p>Beauty is that reason itself which presides at the creation of things. +It is the invincible power which attracts and subjugates us in it. The +Beautiful admits of three characters, which we distinguish under the +titles of <i>ideal</i> beauty, <i>moral</i> beauty, <i>plastic</i> beauty.</p> + +<p>Plato defined ideal beauty when he said: "Beauty is the splendor of +truth." St. Augustine said of moral beauty that it is the splendor of +goodness. I define plastic beauty as the plastic manifestation of truth +and goodness.</p> + +<p>In so far as it responds to the particular type in accordance with which +it is formed, every creature bears the crown of beauty; because in its +correspondence with its type it manifests, according to its capacity, +the Divine Being who created it.</p> + +<p>The Beautiful is an absolute principle; it is the essence of beings, the +life of their functions. Beauty is a consequence, an effect, a form of +the Beautiful. It results from the attractions of the form. The +attraction of the form comes from the nobility of the function. This is +why all functions not being equally noble, all do not admit of beauty. +The characteristic of beauty is to be amiable; consequently a thing is +ugly only in view of the amiable things which we seek in beauty.</p> + +<p>Beauty is to the Beautiful what the individual reason is to the Divine +reason of things. Human reason is but one ray of a vast orb called the +reason of things,--Divine reason. Let us say of beauty what we have said +of the individual reason, and we shall understand how the Beautiful is +to be distintinguished from it. Beauty is one ray of the Beautiful.</p> + +<p>Beauty is the expression of the object for which the thing is.</p> + +<p>It is the stamp of its functions. It is the transparency of the +aptitudes of the agent and the radiance of the faculties which it +governs. It is the order which results from the dynamic disposition of +forms operated in view of the function.</p> + +<p>Beauty is based on three conditions: Clearness, integrity and due +proportion.</p> + +<p>Beauty exists in the practical knowledge of the tendencies affected by +the form in view of the object for which it is; in view, above all, of +the action which it exerts upon the beings with whom it is in relation. +Thus a thing is not only beautiful from the transparency of its +aptitudes, it is especially so from the beauty of the acts which its use +determines abroad. This is the reason why beauty is to all creatures an +object of appetency, of desire and of love.</p> +</div> + + +<div class="chapter" id="p5-05"> +<h3>Trinity.</h3> + + + +<p>There is a mystery full of deep instruction, a mystery whose divine +obscurities surpass all the light whose splendors dazzle us by their +supernatural clarity, and which, as a great saint once said, radiates +splendid beams and floods with the glory of its fires those spirits who +are blind with the blindness of holiness. This mystery, outside of which +all is to man dark and incomprehensible, illuminates everything and +explains it in the sense that it is the cause, the principle and the end +of all things.</p> + +<p>This dazzling mystery is the universal criterion of all truth; it is the +science of sciences, which is self-defining and whose name is Trinity.</p> + +<p>Here we foresee an objection to which we must first reply. Some will be +surprised that a system declared to be infallible should rest upon a +mystery; they will ask what a mystery can have to do with a purely +didactic question. Patience! You shall see that it cannot be otherwise. +Nothing is more evident than light, yet light is a mystery, the most +obscure of all mysteries. Thus light escapes the eye and it does not see +that by means of which it sees. Now, if light is a mystery, why should +not mystery be a light? Let us see first what the church teaches us in +regard to this mystery.</p> + +<p>God is a word which serves as a pretext for every Utopia, for every +illusion and for every human folly. The Trinity is the express +refutation of all these stupidities; it is their remedy, corrective and +preservative. Deprive me of the Trinity and I can no longer understand +aught of God. All becomes dark and obscure to me, and I have no longer a +rational motive for hope.</p> + +<p>The Trinity, the hypostatical basis of beings and things, is the +reflection of the Divine Majesty in its work. It is, as it were, a +reflection upon us of its own light. The Trinity is our guide in the +applied sciences of which it is at once the solution and the enigma.</p> + +<p>The Trinity is manifest in the smallest divisions of the Divine work, +and is to be regarded as the most fertile means of scientific +investigation; for if it is at once the cause, the principle and the end +of all science, it is its infallible criterion and we must start from it +as an immovable axiom.</p> + +<p>Every truth is triangular, and no demonstration responds to its object +save in virtue of a triply triple formula.</p> + +<p><i>Theory of Processional Relations; or of the Connection between +Principiants and Principiates.</i></p> + +<h4>Theorem.</h4> + +<p>Each term in the Trinity is characterized processionally by the +arrangement of the relations which unite it to its congeners. We will +represent the nature of these relations by an arrow, the head of which +starts from the principiant, touching with its point the principiate.</p> + + + +<h4>Example.</h4> + + +<p><img src="images/illus032.png" alt="Principiant terms ---------------> Principiate terms" /></p> + +<p>This established, let us see by what sort of relations we are to +distinguish the persons in the Trinity represented by 1, 2 and 3.</p> + +<p>1. The Father--a term exclusively principiant, giving the mission and +not receiving it.</p> + +<p>2. The Son--a term both principiant and principiate, receiving and +giving the mission.</p> + +<p>3. The Holy Ghost--a term exclusively principiate, receiving the mission +and not giving it.</p> + +<p><img src="images/illus033.png" alt="Relationships of the Trinity" /></p> + + +<p style="text-align: center"> + TYPICAL<br /> + ARRANGEMENTS<br /> + BASED ON THE KNOWLEDGE<br /> + OF THE PROCESSIONAL<br /> + RELATIONS INTERUNITING<br /> + THE PERSONS IN THE TRINITY.</p> + +<p><img src="images/illus034.png" alt="Trinity in a triange." /></p> + +<p><i>A.</i> Relation of generation starting from the generator, ending at the +engendered (2), expressing by its horizontality the co-equality of the +principiant with the principiate.</p> + +<p><i>B.</i> Relation of spiration starting from the spirator or first +principiant 1, ending at the principiate 3.</p> + +<p><i>C.</i> Relation of spiration starting from the spirator or second +principiant 2, ending at the principiate 3, emanated by way of the +common spiration of its double principle 1 and 2.</p> + + +<div class="sec" id="p5-05-1"> +<h4><i>Vicious Arrangements.</i></h4> + +<h5>Reversal of the Processional Relations and Confusion Which Leads to +Reversals.</h5> + + +<p>These first three examples sin from lack of a necessary relationship, in +default of which the extreme terms cannot be designated. Here, +therefore, the intermediate term alone can be estimated.</p> + +<p><img src="images/illus035.png" alt="1 >--------> 2 <--------< 3" /></p> + +<p>Here the Son offers the relational characteristics of the Holy Ghost.</p> + +<p><img src="images/illus036.png" alt="1 <--------< 2 >--------> 3" /></p> + +<p>Here He plays the part of the Father by the arrangement of His +relations.</p> + +<p><img src="images/illus037.png" alt="1 >--------> 3 >--------> 2" /></p> + +<p>Here the Holy Ghost is evidently out of place, for He indicates +relations which belong only to the Word.</p> + +<p>(1.) According to these relations, the Holy Ghost plays the part of the +Son, and the Son that of the Holy Ghost.</p> + +<p><img src="images/illus038.png" alt="Holy Ghost is the Son, and the Son is the Holy Ghost" /></p> + +<p>(2.) Here all the relations are reversed so that the Father plays the +part of the Son; the Holy Ghost plays the part of the Father; and, +finally, the Son that of the Holy Ghost.</p> + +<p><img src="images/illus039.png" alt="Father plays Son; Holy Ghost plays Father; Son plays Holy Ghost" /></p> + +<p>(3.) This curious example represents by the identical arrangement of +the terms that it brings together, three Sons; that is to say, the +person of the Son three times over.</p> + +<p><img src="images/illus040.png" alt="Three Sons" /></p> + +<p>(4.) Another reversal of the relations, which derives the Holy Ghost +from the Father, the Father from the Son, and the Son from the Holy +Ghost.</p> + +<p><img src="images/illus041.png" alt="Holy Ghost derived from Father; Father derived from Son; Son derived from Holy Ghost" /></p> +</div></div> + + +<div class="chapter" id="p5-06"> +<h3>Passion Of Signs. Signs of Passion.</h3> + + + +<p>These two terms at first sight seem very similar. It is not so. They +express two wholly distinct things. Therefore to know the meaning of +words by no means proves one capable of finding words and fitting them +to the meaning.</p> + +<p>It is clearly easier to translate a language than to write it, and just +as we must learn to translate before we can compose, so we must become +thoroughly familiar with semeiotics before trying to work at æsthetics; +and, as the science of semeiotics is still wholly incomplete, it is, +therefore, absolutely impossible that that which is called æsthetics +should in the least resemble the science which I have just defined.</p> + +<p>I have shown you æsthetics as a science. I have given you its +definition. I have fixed its special part in the sum total of knowledge +which goes to make up art; moreover, I have pointed out what this +science is intended to teach you. I have, by so doing, assumed serious +obligations toward you. I must needs produce under this title something +more than mere fantastic reflections upon works of art, or more or less +attractive stories about their authors and the circumstances in which +they lived. It will not be so amusing, but assuredly it will be more +profitable, and that is all for which I aspire.</p> + +<p>Art, then, is an act whose semeiotics characterizes the forms produced +by the action of powers, which action is determined by æsthetics, and +the causes of which are sought out by ontology.</p> + +<table summary="Art"> +<tr> + <td rowspan="3">Art.</td> + <td rowspan="3" style="font-size: 3em">{</td> + <td>Ontology examines the constituent virtues of the being.</td> +</tr> +<tr><td>Æsthetics examines its powers.</td></tr> +<tr><td>Semeiotics characterizes its forces.</td></tr> +<tr> + <td rowspan="3">Art.</td> + <td rowspan="3" style="font-size: 3em">{</td> + <td>Inherent form of sentiments . . . . . . Æsthetics.</td> +</tr> +<tr><td>Metaphysical form of the principles . . Ontology.</td></tr> +<tr><td>Organic form of signs . . . . . . . . . Semeiotics.</td></tr> +</table> + +<p>The object of art, therefore, is to reproduce, by the action of a +superior principle (ontology), the organic signs explained by +semeiotics, and whose fitness is estimated by æsthetics.</p> + +<p>Semeiotics is the science of the organic signs by which æsthetics must +study inherent fitness.</p> + +<p>Æsthetics is the science of the sensitive and passional manifestations +which are the object of art, and whose psychic form it constitutes.</p> + +<p>If semeiotics does not tell us the passion which the sign reveals, how +can æsthetics indicate to us the sign which it should apply to the +passion that it studies? In a word, how shall the artist translate the +passion which he is called upon to express?</p> + +<p>Æsthetics determines the inherent forms of sentiment in view of the +effects whose truth of relation it estimates.</p> + +<p>Semeiotics studies organic forms in view of the sentiment which produces +them.</p> + +<p>It is thus that <i>wisdom</i> and <i>reason</i> proceed in inverse sense from the +principle to the knowledge which is the object of both. Wisdom, in fact, +studies the principle in its consequences, while reason studies the +consequences in the principle, hence it comes that wisdom and reason are +often at war with each other; hence also the obscurity which generally +prevails as to the distinction between them. Let us say that <i>wisdom</i> +and <i>reason</i> are to intelligence what æsthetics and semeiotics are to +art. Let us add to this parallel that <i>wisdom</i> and <i>reason</i> are to +intelligence what æsthetics and semeiotics are to ontology; that is:--</p> + +<p>1. If, from a certain organic form, I infer a certain sentiment, that is +<i>Semeiotics</i>.</p> + +<p>2. If, from a certain sentiment, I deduce a certain organic form, that +is <i>Æsthetics</i>.</p> + +<p>3. If, after studying the arrangement of an organic form whose inherent +fitness I am supposed to know, I take possession of that arrangement +under the title of methods, invariably to reproduce that form by +substituting my individual will for its inherent cause, that is <i>Art</i>.</p> + +<p>4. If I determine the initial phenomena under the impulsion of which the +inherent powers act upon the organism, that is <i>Ontology</i>.</p> + +<p>5. If I tell how that organism behaves under the inherent action, that +is <i>Physiology</i>.</p> + +<p>6. If I examine, one by one, the agents of that organism, it is +<i>Anatomy</i>.</p> + +<p>7. If, amid these different studies, I seek by means of analogy and +generalization for light to guide my steps toward my advantage, that is +<i>System</i>.</p> + +<p>8. If I make that light profitable to my material and spiritual +interests, that is <i>Reason</i>.</p> + +<p>9. If I add to all this the loving contemplation of the Supreme Author +in His work, that is <i>Wisdom</i>.</p> + +<p>Let us now leave the abstractions to which you have kindly lent your +attention. I cannot here avoid casting a rapid glance at those sources +of science and art, the sources whence I desire to draw applications +which I am assured will interest you as they interest me. May they +afford you the same delight!</p> + +<p>By listening to me thus far you have passed through the proofs requisite +for your initiation into science as well as art; into science, whose +very definition is unknown to the learned bodies, since they have never +studied aught of it but its specialties; into art, whose very +fundamental basis is unsuspected by the School of Fine Arts, as I have +elsewhere demonstrated. Therefore, I now desire in the course of these +lectures to set aside the terms of a technology which I could not avoid +at the outset, and by the recital of my labors and my researches, my +disappointments and my discoveries, to show you the painful birth of a +science, whose possession entitles me to the honor of addressing you +to-day.</p> +</div> + + +<div class="chapter" id="p5-07"><h3>Definition of Form.</h3> + +<p>Form is the garb of substance. It is the expressive symbol of a +mysterious truth. It is the trademark of a hidden virtue. It is the +actuality of the being. In a word, form is the plastic art of the Ideal.</p> + +<p>We have to consider three sorts of form: The form assumed by the being +at birth and which we will call <i>constitutional</i> form. Under the sway of +custom forms undergo modifications: We will call these forms <i>habitual</i> +forms. Then there are the <i>fugitive</i> forms, modifications of the +constitutional form, which are produced under the sway of passion. These +forms, which we will call <i>accidental, passional</i> or <i>transitory</i>, are +fugitive as the things which give them birth.</p> +</div> + + +<div class="chapter" id="p5-08"> +<h3>On Distinction and Vulgarity of Motion.</h3> + + + +<p>Motion generally has its reäction; a projected body rebounds and it is +this rebound which we call the reäction of the motion.</p> + +<p>Rebounding bodies are agreeable to the eye. Lack of elasticity in a body +is disagreeable from the fact that lacking suppleness, it seems as if it +must, in falling, be broken, flattened or injured; in a word, must lose +something of the integrality of its form. It is, therefore, the reäction +of a body which proves its elasticity, and which, by this very quality, +gives us a sort of pleasure in witnessing a fall, which apart from this +reäction could not be other than disagreeable. Therefore, elasticity of +dynamic motions is a prime necessity from the point of view of charm.</p> + +<p>In the vulgar man there is no reäction. In the man of distinction, on +the contrary, motion is of slight extent and reäction is enormous. +Reäction is both slow and rapid.</p> +</div> + + +<div class="chapter" id="p5-09"> +<h3>Gesture.</h3> + + + +<p>The artist should have three objects: To <i>move</i>, to <i>interest</i>, to +<i>persuade</i>. He interests by <i>language</i>; he moves by <i>thought</i>; he moves, +interests and persuades by <i>gesture</i>.</p> + +<p>Language is the weakest of the three agents. In a matter of the feelings +language proves nothing. It has no real value, save that which is given +to it by the preparation of gesture.</p> + +<p>Gesture corresponds to the soul, to the heart; language to the life, to +the thought, to the mind. The life and the mind being subordinate to the +heart, to the soul, gesture is the chief organic agent. So it has its +appropriate character which is persuasion, and it borrows from the other +two agents interest and emotion. It prepares the way, in fact, for +language and thought; it goes before them and foretells their coming; it +accentuates them.</p> + +<p>By its silent eloquence it predisposes, it guides the listener. It makes +him a witness to the secret labor performed by the immanences which are +about to burst forth. It flatters him by leading him to feel that he +partakes in this preparation by the initiation to which it admits him. +It condenses into a single word the powers of the three agents. It +represents virtue effective and operative. It assimilates the +auxiliaries which surround it, and reflects the immanence proper to its +nature, the contemplation of its subject deeply seen, deeply felt. It +possesses them synthetically, fully, absolutely.</p> + +<p>Artistic gesture is the expression of the physiognomy; it is +transluminous action; it is the mirror of lasting things.</p> + +<p>Lacordaire, that spoiled child of the intellect, spoke magnificently. He +interested, he aroused admiration, but he did not persuade. His organism +was rebellious to gesture. He was the artist of language. Ravignan, +inferior intellectually, prepared his audience by his attitude, touched +them by the general expression of his face, fascinated them by his gaze. +He was the artist of gesture.</p> + +<p>Thus, if we sing, let us not forget that the prelude, the refrain, is +the spiritual expression of the song; that we must take advantage of +this exordium to guide ourselves, to predispose our hearers in our +favor; that we must point out to them, must make them foresee by the +expression of our face the thought and the words which are to follow; +that, in fact, the ravished spectator may be dazzled by a song which he +has not yet heard, but which he divines or thinks that he divines.</p> + + +<div class="sec" id="p5-09-01"> +<h4><i>Definition of Gesture.</i><br />(Compare Delaumosne, page 43.)</h4> + + +<p>Gesture is the direct agent of the heart. It is the fit manifestation of +feeling. It is the revealer of thought and the commentator upon speech. +It is the elliptical expression of language; it is the justification of +the additional meanings of speech. In a word, it is the spirit of which +speech is merely the letter. Gesture is parallel to the impression +received; it is, therefore, always anterior to speech, which is but a +reflected and subordinate expression.</p> + +<p>Gesture is founded on three bases which give rise to three orders of +studies; that is, to three sciences, namely: The <i>static</i>, the <i>dynamic</i> +and the <i>semeiotic</i>.</p> + +<p>What are these three sciences, and, first of all, what are they in +relation to gesture? The semeiotic is its mind; the dynamic is its soul; +the static is founded on the mutual equilibrium or equipoise of the +agents.</p> + +<p>The dynamic presents the multiple action of three agents; that is to +say, of the constituent forces of the soul.</p> + +<p>The semeiotic presents to our scrutiny a triple object for study. It +sets forth the cause of the acts produced by the dynamic and the static +harmonies. Moreover, it reveals the meaning of the types which form the +object of the system. It offers us a knowledge of the formal or +constitutional types, of the fugitive or accidental types, and, finally, +of the habitual types.</p> + +<p>The triple object of the dynamic are the <i>rhythmic, inflective</i> and +<i>harmonic</i> forms. Dynamic rhythm is founded upon the important law of +mobility, inversely proportionate to the masses moved. Dynamic +inflections are produced by three movements: Direct movements, rotary +movements and movements of flexion in the arc of a circle.</p> + +<p>Dynamic harmony is founded on the concomitance of the relations existing +between all the agents of gesture. This harmony is regulated by three +states, namely: The tonic or eccentric state, the atonic or concentric +state, and the normal state. It, therefore, remains for us to fix the +three vital conditions of the static part of gesture. The vital +condition of the static is based upon the knowledge of the nine +stations. The spirit of the static entails the study of scenic planes +which embrace three conditions: The condition of the personage in +relation to the scenic centre or to the interlocutor whom he addresses; +in the second place, his situation; and, finally, the direction assumed +by his body in regard to the conditions already indicated.</p> + +<p>The soul of the static is in the harmonic opposition of the surfaces +moved.</p> + +<p>The most powerful of all gestures is that which affects the spectator +without his knowing it.</p> + +<p>From this statement may be deduced the principle that: Outward gesture, +being only the echo of the inward gesture which gave birth to it and +rules it, should be inferior to it in development and should be in some +sort diaphanous.</p> +</div></div> + + +<div class="chapter" id="p5-10"> +<h3>Attitudes of the Head.</h3> + + + +<p>The head, considered in its three direct poses, presents three +conditions or states. When facing the object contemplated, it presents +the normal state; bent forward and in the direction of the object, it +presents the concentric state; raised and considering the object from +above, it presents the eccentric state. [Compare Delaumosne, page 65.]</p> + +<p>If, now, we consider each of its attitudes in connection with a double +lateral inclination of which they are capable, we have the following +nine:</p> + +<p>1. The first is normal. The head is neither high nor low, the glance +being direct.</p> + +<p>2. The second is characteristic of tenderness. This attitude consists in +bending the head obliquely toward the interlocutor. The body, in this +attitude, should not face the object; thus the head, in bending toward +it, bends sidewise in relation to the body.</p> + +<p>3. The third attitude is characteristic of sensuality. This attitude is +marked by an inclination quite the reverse of the second; that is to +say, away from the interlocutor. Naturally, in this attitude, as in the +preceding one, the glance is oblique; the head being bent forward and +backward, is here placed obliquely.</p> + +<p>4. The fourth is characteristic of scrutiny, reflection. The head in +this attitude is bent forward as we said in concentration, and the eye, +from the effort to lower the head, is thrown up to inspect the object.</p> + +<p>5. The fifth is characteristic of veneration. This attitude offers the +same inclination as the second; but here, as the head must be lowered, +the eye is directed both obliquely and upward.</p> + +<p>6. The sixth is characteristic of suspicion. This attitude offers the +same inclination as the third, with the concentric modifications +indicated for the preceding one.</p> + +<p>7. The seventh is characteristic of exaltation, passion. This attitude +is eccentric and direct, as we have already said.</p> + +<p>8. The eighth attitude is characteristic of abandonment, extreme +confidence. This attitude presents the inclination of the second and the +fifth, with this difference, that here the head is thrown back and the +eye, instead of being bent directly upon the object as in the second and +upward as in the fifth, here gazes downward.</p> + +<p>9. The ninth attitude is characteristic of pride. This last attitude +takes the inclination of the sixth and eighth attitudes, with the +differences in gaze indicated in the foregoing.</p> + +<p>Thus, to sum up what we have already said, we see that the first, fourth +and seventh attitudes are directly toward the object; that the second, +fifth and eighth bend obliquely toward the object; and, finally, that +the third, sixth and ninth are the result of an oblique inclination away +from the object.</p> + +<p>NOTE.--It is to be understood that the various attitudes of the head are +asserted only in regard to the direction taken by the eye. Thus it is +not absolutely true to say that the head is in the eccentric state +because it is raised; for it may be that, raised as it is, the direction +of the eye may be even higher than it, and, in that case, the head +might, although raised, present the aspect of the concentric state. Then +it would be true to say that the head presents the concentric state in a +high direction.</p> +</div> + + +<div class="chapter" id="p5-11"> +<h3>Attitudes of the Hands.</h3> + + + +<p>The hands, like the legs, have three kinds of attitudes. They open +without effort and present the normal state; they close and present the +concentric state; then they open forcibly and present the eccentric +state. These three kinds of attitudes produce nine forms.</p> + +<p>1. The first is characteristic of acceptance. In this the hand is +presented open without effort, the fingers close together and the palm +up.</p> + +<p>2. The second is characteristic of caressing. In this attitude the palm +of the hand faces the object considered and gently follows its forms.</p> + +<p>3. The third is characteristic of negation. This attitude is executed in +the following fashion: The arm and hand are placed as in caressing; but, +instead of following the form of the object, the hand rids itself of it +by a rotary movement, thus placing the palm in a lateral direction.</p> + +<p>4. This attitude is executed with the closed fist, the arm hanging +naturally, that is, without any action determined by the will.</p> + +<p>5. The fifth is characteristic of will. This attitude consists in +carrying the fist forward, the back up.</p> + +<p>6. The sixth attitude is characteristic of menace. This attitude is +effected by an outward rotary movement compressed in the fist, so that, +contrary to the will, the back of the hand is down.</p> + +<p>7. The seventh is characteristic of desire. The hand, in this attitude, +moves forward as in the first, but with the difference that here the +fingers are spread apart, this spreading signifying "I do not possess," +expresses desire. There is, by the fact of the advance of the hand, +aspiration and not possession.</p> + +<p>8. The eighth is characteristic of imprecation. It consists in +stretching the palm of the hand toward the object as in a caress, but +with this difference, that the fingers are spread apart, thus offering a +repulsive aspect.</p> + +<p>9. The ninth is characteristic of refusal, repulsion. It consists in +carrying the hand obliquely as in negation, observing the spreading of +the fingers which characterizes this species.</p> + + +<div class="sec" id="p5-11-1"> +<h4><i>Affirmation--The Hand.</i></h4> + + +<p>To make the demonstration of the different affirmations of the hand more +clear, we employ the cube which, as is well known, has six faces, eight +angles, and twelve edges.</p> + +<p>When the hand is placed upon a flat surface the affirmation is simple; +when the hand is placed upon an angle the affirmation is triple or +common to three faces or surfaces. There are three directions in the +cube: Horizontal, vertical and transverse. So, too, there are three +directions possible for the hand in relation to the body:</p> + +<ol> + <li>Abduction--which removes,</li> + <li>Adduction--which brings close, and</li> + <li>The normal direction.</li> +</ol> + +<p>There are three sorts of adduction, three sorts of abduction, and three +sorts of normal direction.</p> + +<p>There are three horizontal, three vertical and three transverse +directions; hence nine terms applicable to the nine modes of presenting +the hand in connection with the cube, which are:</p> + +<div class="image"><p><a href="images/illus015.png">The nine primitive forms of the hand</a></p></div> + +<table summary="Table of the Normal Character of These Nine Attitudes." id="p5-11-2"> +<caption>Table of the Normal Character of These Nine Attitudes.</caption> + +<tr> + <td rowspan="3">2. Concentro.</td> + <td rowspan="3" style="font-size: 3em">{</td> + <td>2. Concentric</td> + <td>Conflict.</td> +</tr> +<tr><td>3. Normal</td><td>Power.</td></tr> +<tr><td>1. Eccentric</td><td>Convulsion.</td></tr> +<tr> + <td rowspan="3">3. Normo.</td> + <td rowspan="3" style="font-size: 3em">{</td> + <td>2. Concentric</td> + <td>Prostration.</td> +</tr> +<tr><td>3. Normal</td><td>Abandon.</td></tr> +<tr><td>1. Eccentric</td><td>Expansion.</td></tr> +<tr> + <td rowspan="3">1. Eccentro.</td> + <td rowspan="3" style="font-size: 3em">{</td> + <td>2. Concentric</td> + <td>Execration.</td> +</tr> +<tr><td>3. Normal</td><td>Exaltation.</td></tr> +<tr><td>1. Eccentric</td><td>Exasperation.</td></tr> +</table> + +<p>These nine physiognomies of the hand modify those of the face, often +supply their place and sometimes even contradict them. When they are +appropriate to the hand and face alike, there is homogeneity. The +expression of the hands results from the coöperation of three orders of +phenomena. The first order comprises the intrinsic physiognomies assumed +by the hand under the influence of the passions. The second order +comprises the attitudes assumed by the hand toward the object of the +passion. The third order comprises the evolutions impressed upon the +hand by the body, fore-arm and shoulder. These evolutions are so many +inflections.</p> + +<p>We know the nine attitudes appropriate to the hand, and the nine +attitudes designated by the nine modes of presentation of the hand in +regard to the cubic surfaces. We must examine the nine inflections which +arise in the first instance from the three directions, antero-posterior, +vertical and transverse.</p> + +<p>These inflections again include three movements of three kinds: Direct +movements, circular movements and oblique movements. These movements +are produced by three sorts of action: Sectional action, rotary action +and translative action.</p> + +<p>To recapitulate: These physiognomies, attitudes and inflections form by +their combination the multifarious expressions of which the hand is +capable, as are all parts of the body.</p> + +<p>Having spoken of the affirmations of the hand, we must speak of its +degree of certainty of which the arm is the thermometer. This +affirmation varies with the angle formed by the fore-arm with the arm. +All these modes of affirmation may be applied to negation.</p> +</div></div> + + +<div class="chapter" id="p5-12"> +<h3>Attitudes of the Legs.</h3> + + + +<p>1. The first attitude is normal; it consists of an equal balance of the +weight of the body on the two legs. This attitude is that of the soldier +carrying arms, without the stiffness assumed by the wilful regularity of +rigid discipline. It is also that attitude taken by a man in the act of +salutation; it is also characteristic of the weakness of a child or of +old age; it is the sign of respect. [Compare Delaumosne, p. 100.]</p> + +<p>2. The second attitude is characteristic of repose in strength. The +weight of the body is thrown upon one hip, the free leg being carried +forward. This change should be effected without tension or stiffness. +This attitude is also characteristic of certain concentric passions +hidden under seeming calm.</p> + +<p>3. This attitude is characteristic of vehemence, of which it is the +type. It is preëminently the eccentric attitude. It consists in carrying +the whole weight of the body forward, the backward leg extended in equal +proportion to the forward poise of the torso.</p> + +<p>4. This attitude is characteristic of the weakness which follows +vehemence. It is the type of concentration; it is also in character as +in species the antipodes of the third attitude, since it is its resolute +expression. This attitude consists in throwing the whole weight of the +body backward, contrary to the preceding attitude where the body was +brought forward, and in bending the leg which bears the weight of the +body, which is also the reverse of the preceding attitude, where the leg +is extended. This attitude is nearly that of the fencing-master; it +differs, however, in the position of the backward foot, which, in +fencing, is turned outward. The regularity of this attitude may be +verified by kneeling, which is its paroxysm. If the attitude is well +done it leads to it naturally.</p> + +<p>5. The fifth attitude serves as a preparation for oblique steps; it is +also colorless, transitive, suspensive. It ends all the angles formed by +walking. We may define this attitude as a third transversal; that is to +say, the free leg, instead of being behind as in the third, is +impassive, so that the body, instead of being advanced, should be +slightly inclined to one side.</p> + +<p>6. The sixth attitude is an attitude of pomp and ceremony. It is only +assumed in the presence of kings, princes, or persons for whom we have +great respect. We will define this attitude as a third crossed +proceeding from the fifth; that is to say, the free leg of the fifth +becomes the strong leg moving sidewise and slightly forward, thus +crossing the back leg.</p> + +<p>7. The seventh attitude is an attitude characteristic of absolute +repose. It is the strongest attitude, and, consequently, that assumed by +intoxication to resist a lack of equilibrium. It is the attitude of +vertigo, or of extreme trust.</p> + +<p>Do not be surprised by the bringing together of these very different and +opposite terms in one and the same attitude. It is a sufficient +explanation to say that the strong attitude is sought out by weakness as +a weak attitude is sought by strength. This attitude consists in the +division of the weight of the body between both legs, which are spread +wide apart in parallel directions. This attitude would be improper in a +parlor.</p> + +<p>8. The eighth attitude is an attitude characteristic of the alternation +between the offender and defender. It is the exact medium between the +third and fourth; it, therefore, expresses moral as well as physical +alternation. A man placed between the offensive and the defensive always +assumes this attitude as if to sound the resources of his courage in +face of an enemy stronger than himself; in this attitude he may advance +or recede. This attitude is a seventh, whose direction, instead of being +lateral, is parallel to the body and antero-posterior. In this position +the body faces the forward leg, both legs being spread wide apart, as in +the seventh, both receive an equal portion of the weight of the body.</p> + +<p>9. The ninth attitude is characteristic of defiance. This attitude is a +stiff second. It differs only in that the free leg is rigid instead of +being bent as in the second. To execute this attitude thoroughly well +the free leg must be stretched to the very utmost, without allowing the +strong leg to bend as in the fourth, which is the only attitude where +the strong leg should be bent. To prevent this flexion, the body must be +carried well over on the hip of the strong leg, so that the side of the +free leg may be elongated.</p> + +<h4><i>Chart Considered from the Organic Point of View.</i></h4> + +<p><img src="images/illus042.png" alt="Chart considered from the organic point of view" /></p> + +<ul style="list-style-type: none"> + <li>2. The Son,</li> + <li>3. The Holy Ghost,</li> + <li>1. The Father.</li> +</ul> + +<p>Having examined the table organically, we will study it essentially.</p> + + + +<h5>Example.</h5> + + +<p>What we have called eccentric, concentric and normal, we will call +vitality, intellectuality and spirituality; lastly, having established +this table from the organic and the essential point of view, it remains +for us to examine it æsthetically and from a practical point of view.</p> + +<p>Let us first examine a few gestures, for instance:</p> + +<h4><i>Of the Hand.</i></h4> + +<p><img src="images/illus043.png" alt="Of the Hand" /></p> + +<h4><i>Of the Eye.</i></h4> + +<p><img src="images/illus044.png" alt="Of the Eye" /></p> + +<h4><i>Of the Torso.</i></h4> + +<p><img src="images/illus045.png" alt="Of the Torso" /></p> + +<h4><i>Æsthetic Division.</i></h4> + +<p><img src="images/illus045.png" alt="Æsthetic Division" /></p> + +<p><img src="images/illus046.png" alt="?" /></p> +</div> + + +<div class="chapter" id="p5-13"> +<h3>The Holy Trinity Recovered in Sound.</h3> + + + +<p>Sound is the reflection of the Divine image. In sound there are three +reflex images: The reflex of life; of the intellect; and of love. They +result from the parallel and simultaneous action of three agents: The +projective (life), reflective (intellect), and vibrative (love).</p> + +<p>Sound contains three sounds: That of the <i>tonic</i>, the <i>dominant</i>, and +the <i>mediant</i>. The tonic (Father) necessarily generates the dominant +(Son), and the mediant (Holy Ghost) proceeds necessarily from the first +two.</p> + +<p>Pythagoras discovered this law. Passing before a blacksmith's shop, he +heard the sound of heavy hammer strokes upon a forge. He recognized +perfectly that each blow gave out beside the principal tone (tonic) two +other tones, which corresponded to the twelfth and seventeenth of the +tonic. Now, the twelfth reversed is nothing but the fifth or dominant, +and the seventeenth becomes, by a double reversion, the third or mediant +of the tonic.</p> + +<p>Let us say, then, that every tone necessarily contains the tonic its +generator, the dominant its engendered, and the mediant which proceeds +from the other two. The reünion of these three tones which makes them +into one, forms the perfect chord. Full and absolute consonance is the +expression of union, of love, of order, of harmony, of peace; it is the +return to the source of goodness, to God.</p> + +<p>If a fourth form should be added to the perfect chord, to consonance, +there would necessarily be a dissonance. This fourth can only enter by +an effort, almost by violence. It is outside of plenitude, of the calm +established by the Divine law; it produces a painful sensation, a +dissonance. As soon as there is a discord, a dissonance, the animal +cries out, the dog howls, inert bodies suffer and vibrate; but all is +order and calm again when consonance returns.</p> +</div> + + +<div class="chapter" id="p5-14"> +<h3>Speech.</h3> + + + +<p>Speech is an act posterior to will, itself posterior to love; this again +posterior to judgment, posterior in its turn to memory, which, finally, +is posterior to the impression.</p> + +<p>Every impression, to become a sensation, must first be perceived by the +intelligence, and thus we may say of the sensation that it is a definite +impression. But, to be definite, it must pass into the domain of memory +and there solicit the reappearance of its congeners with which it may +identify itself. It is in this apparatus and surrounded by this throng +of homogeneous impressions which gather round it, as if by magic, or +rather which it draws about it as the magnet draws the iron, it is, I +say, in this complex state that it appears before the intelligence to +receive from the latter a fitting name. For the intelligence could not +give it a name if the homogeneous impressions in which it has, so to +speak, arrayed itself, did not serve to point it out.</p> + +<p>Now, by this distinction, established by the double operation of the +memory and the intelligence, a movement takes place in the soul, of +attraction, if the intelligence approve; or of repulsion, if it +disapprove. This movement is called the will. The will, therefore, +becomes the active principle in virtue of which speech is expressed; +thus speech is the express agent of the will. It is speech, in fact, +which, under the incubation of this mysterious power, rules, groups and +moves bodies with the aid of memory.</p> + +<p>Inflection is the life of speech; the mind lies in the articulative +values, in the distribution of these articulations and their +progressions. The soul of speech is in gesture.</p> +</div> + + +<div class="chapter" id="p5-15"> +<h3>Breathing.</h3> + + + +<p>Breathing, according to its form of production, is: (1) Costal or +combined; (2) diaphragmatic; (3) costo-diaphragmatic.</p> + +<p>Breathing is a triple act based upon three phenomena: Inspiration, +suspension, expiration. From the successive predominance of each of +these three phenomena, or from their equal balance, result eighty-one +respiratory acts, which may be reduced to three terms: The breathing is +<i>normal, spasmodic</i>, or <i>sibilant</i>.</p> + +<p>There are three questions to be considered in regard to breathing:</p> + +<p>1. How should it, the breath, be produced to gain the greatest +development for the voice?</p> + +<p>2. What place should it occupy in speech?</p> + +<p>3. What aspect does it assume under the influence of the passions?</p> + +<p>In other words, three characters may be attributed to respiration: +Vocal, logical, pathetic or passional.</p> + +<div class="sec" id="p5-15-1"> +<h4><i>Vocal Respiration.</i></h4> + +<p>The lungs constantly contain a quantity of air, which is the source of +life and with which we cannot dispense without inconvenience to health +and to the voice. The quantity of air requisite for the renewing of the +blood, and which is called the breath of life, amounts to a third of +what the lungs are capable of receiving. In order to sing, therefore, +it must be increased by two-thirds, and it is this borrowed breath only +which should be given out in singing. When the lungs are thus filled +with air, the sound is produced by escapement. From this it receives +greater force, and its production, far from being a fatigue, becomes a +relief.</p> + +<p>Inspiration should always be followed by a suspensive silence; otherwise +the lungs, agitated by the act of inspiration, perform the expiration +badly.</p> +</div> + +<div class="sec" id="p5-15-2"> +<h4><i>Logical Respiration.</i></h4> + + +<p>Logical respiration constitutes the respiration itself. Suspension +expresses reticence, disquietude. Inspiration is an element of +dissimulation, concentration, pain. Hence, we have normal, oppressive, +spasmodic, superior, sibilant, rattling, intermittent, crackling, and +hiccoughing respiration.</p> + +<p>Expiration is an element of trust, expansion, confidence and tenderness. +If the expression contains both pain and love, the inspiration and +expiration will both be noisy; but the one or the other will predominate +according as pain predominates over love, or <i>vice versa.</i></p> +</div> +<div class="sec" id="p5-15-3"> +<h4><i>Passional Respiration.</i></h4> + +<p>The source of passional respiration lies in the agitation of the heart. +The effect of respiration is most powerful, for the slighter and more +imperceptible the phenomena are, the more effect they have upon the +auditors.</p> +</div></div> + + +<div class="chapter" id="p5-16"> +<h3>Vocal Organ.</h3> + + + +<p>The organ assumes at birth a form; this form is called the timbre or +tone, This tone corresponds to the constitutional form. Under the sway +of habit, the form assumes an acquired tone which is called emission. +The emissive form corresponds to the habitual tone. Under the sway of +emotion the voice is modulated and assumes forms which we will call +passional or transitory.</p> + +<p>The mouth is normal, concentric and eccentric. [See chart in Delaumosne, +page 81.]</p> + +<p>From these three types we have succeeded in fixing and classifying +forty-eight million phenomena.</p> +</div> + + +<div class="chapter" id="p5-17"> +<h3>Definition of the Voice.</h3> + + + +<p>The voice is the essential element in singing. It is based upon sound. +This is based upon three agents:</p> + +<p>The <i>projective</i> agent, or the <i>lungs</i>.</p> + +<p>The <i>vibrative</i> agent, or the <i>larnyx</i>.</p> + +<p>The <i>reverberative</i> agent, or the <i>mouth</i>.</p> + +<p>Each of these agents acts in different ways, nine acts resulting +therefrom, which we will call products of phonetic acts.</p> + +<p>The projective agent in its special activities engenders</p> + +<ul class="simple"> +<li>Intensities,</li> +<li>Shades,</li> +<li>Respirations.</li> +</ul> + +<p>The vibrative agent in its special activities engenders</p> + +<ul class="simple"> +<li>Prolations,</li> +<li>Pathetic effects,</li> +<li>Registers.</li> +</ul> + +<p>The reverberative agent in its special activities engenders</p> + +<ul class="simple"> +<li>Emissions,</li> +<li>Articulations,</li> +<li>Vowels.</li> +</ul> + +<p>To recapitulate, the phonetic agents give us nine products; but, when +studied from the vocal point of view, these products become as many +elements and must be examined from the triple point of view of +preparatory, practical and transcendant studies. We must, therefore, +know first the general definition of these elements, their cause and +their theoretical history, which constitutes phonology or the +preparatory study of the voice.</p> + +<p>Secondly, we must know the physical order in virtue of which these +phenomena may be acquired or developed. The various special exercises +and the vices to be avoided constitute phonation or the practical study +of the voice.</p> + +<p>Thirdly, we must know and appreciate the physiological, intellectual and +moral meaning of these elements, the different relations of resemblance, +of opposition and of identity which exist between these different +phenomena.</p> + +<p>The modes of application or principles of style form the transcendent +study or æsthesiophony, that is, the voice applied to feeling, etc.</p> + + +<div class="sec" id="p5-17-1"> +<h4><i>What the Register is.</i></h4> + + +<p>The register is an intrinsic modification of the sound; a modification +which is produced in the larynx itself and which does not belong to the +mouth. Now, we may say of registers that they are to the larnyx what +emissions are to the mouth. Thus registers form a physiognomy which the +sound assumes in the larynx, and emissions form the physiognomy which +that same sound takes on in the mouth.</p> +</div> + +<div class="sec" id="p5-17-2"> +<h4><i>On Shading.</i></h4> + + +<p>Light and shade are not, as has been asserted, subject to the +arbitration or inspiration of the moment. They are ruled by laws; for in +art there is not a single phenomenon which is not subject to absolute +mathematical laws. A knowledge of these laws is important, the art of +shading forming the basis of style.</p> + +<p>The opinion which makes the ascending phrase progressive is false six +times out of seven. It is only correct in the following cases:</p> + +<p>1. If an ascending phrase encounters no repeated and no dissonant note +it is progressive, and the culminating note is the most intense. It has +one degree of intensity.</p> + +<p>2. If we find a note repeated in the ascending phrase, that note, even +if it be the lowest of all, must be made more important than the highest +note and will have two degrees of intensity. In this case, the higher +the voice rises the softer it must become; for there cannot be more than +one culminating point in a musical phrase any more than in a logical or +mimetic phrase. All sounds must, therefore, diminish in proportion to +their distance from this centre of expression, from this repeated note. +The reason of the intensity of a repeated note lies in the fact that we +repeat only that thing which we desire, and this intensity gives it a +greater value.</p> + +<p>3. If the repeated note be at the same time the culminating note, it +will require a new degree of intensity. It will have three degrees of +intensity.</p> + +<p>4. We may possibly find a dissonant note in the ascending phrase, with a +repeated culminating note. (This note would, then, be more than an +indication; it would receive an adjective form from the accident, +assuming in the musical phrase the value that an adjective would have in +a logical phrase.) Its intensity, therefore, would be greater than that +of the highest repeated note, and it would have four degrees of +intensity.</p> + +<p>5. If the dissonant note is also the highest note, it acquires from that +position a fifth degree of intensity.</p> + +<p>6. It may happen that the dissonant note appearing in a rising phrase is +repeated; by reason of this repetition it would receive a sixth degree +of intensity.</p> + +<p>7. Finally, if the dissonant note is at the same time culminating and +repeated, it has seven degrees of intensity.</p> +</div> + +<div class="sec" id="p5-17-3"> +<h4><i>Pathetic Effects.</i></h4> + + +<p>Pathetic effects are nine in number, the principal of which are as +follows: The veiled tone; the flat or compressed tone; the smothered +tone; the ragged tone; the vibrant tone. The last is the most powerful.</p> + +<p>Vibration or tremolo, bad when produced involuntarily by the singer, +becomes a brilliant quality when it is voluntary and used at an +opportune time. Every break must be preceded by a vibration, which +prepares the way for it.</p> + +<p>Prolations are laryngeal articulations. Great care must be taken not to +substitute pectoral articulations for them.</p> + +<p>The chest is a passive agent; it should furnish nothing but the breath. +The mouth and the larynx alone are entitled to act.</p> +</div> + +<div class="sec" id="p5-17-4"> +<h4><i>On the Tearing of the Voice.</i></h4> + + +<p>Exuberance of the contained brings on destruction of that which contains +it. Tearing of the voice, therefore, should only be associated with an +excessive extension of the sound whose intensity, as we have +demonstrated, is in inverse ratio to the dramatic proportion.</p> +</div></div> + + +<div class="chapter" id="p5-18"> +<h3>Number.</h3> + + + +<p>The figure 1 is characteristic of unity and measure. The figure 2, which +is the measure in the 1, should become subordinate in its greatness and +be equal with it. It is another one which gives birth to the idea of +number.</p> + +<p>The idea of number can only arise from the presence of terms of the same +nature. Thus the idea of number cannot arise from the presence of a cart +and a toad. We shall thus have two very distinct unities, having no kind +of relation to each other. There must, therefore, be equality before +there can be number. This is so true that we cannot say of a man and a +child that they are two men or two children, because the one is not +equal to the other. It is, therefore, from the point of an attributive +equality that we are enabled to say: They are two. But we can say: There +are two beings, because in regard to being they are equal one to the +other. We now understand how two equals one, that the two figures have +an equal importance, and that the figure 1 contains exclusively the idea +of measure; the figure 2 contains the idea of number, which is not in +the 1, this being the characteristic feature by which the two terms +differ.</p> + +<p>Now, how are we to form a perfect unity between these two equal but +distinct terms?</p> + +<p>A single operation will suffice to give us the idea we wish, and this +operation is revealed to us entire in the word <i>weight</i>. In fact, the +two terms can only be united by this word. We feel that 1 and 2 give us +a common weight, the sum of which is represented by the figure 3. The +figure 3 is, therefore, equal in importance to 1 and to 2; it maintains +equality in the terms of which it is the representative, and its +characteristic feature is equally important with those already +described.</p> + +<p>Thus to the figure 1 belongs the idea of <i>measure</i>; to the figure 2 +belongs the idea of <i>number</i>; to the figure 3 belongs exclusively the +idea of reünion, of community, of unity in fine, which no other figure +can reveal to us. We may say: 1 and 1 are equal among themselves, in the +unity of the figure 3; or, in other words: Measure and number find their +unity in weight.</p> +</div><div class="chapter" id="p5-19"> +<h3>Medallion of Inflection<br /> (Compare Delaumosne, page 119.)</h3> + +<p><img src="images/illus047.png" alt="Medallion of Inflection" /></p> + +<p>Explanation.--The vertical line 1 (from top to bottom) expresses +affirmation, confirmation; 2, the horizontal line, expresses negation. +The oblique lines, 3 and 4, from within outward and from without inward, +express rejection. 4, an oblique line from within outward rejects things +which we despise. 3, a line from within outward, rejects things which +oppress us and of which we wish to get rid. 5, the quadrant of a circle, +whose form recalls that of a hammock, expresses well-being, contentment, +confidence and happiness. 6, a similar quadrant of a circle, an +eccentric curvilinear, expresses secrecy, silence, domination, +persuasion, stability, imposition, inclosure. The reëntering external +curvilinear quadrant of a circle, 7, expresses graceful, delicate +things. Produced in two ways, from above downward, it expresses physical +delicacy; from below upward, moral and intellectual delicacy. The +external quadrant of a circle, 8, expresses exuberance and plenitude, +amplitude and generosity. The circular line surrounding and embracing is +characteristic of glorification and exaltation.</p> + + + +<h5>Examples.</h5> + + +<p><img src="images/illus048.png" alt="Example 1" /></p> +<ol> + <li>You may believe</li> + <li>That none, oh Lord</li> + <li>Had such glory</li> + <li>Or such happiness.</li> +</ol> + +<p><img src="images/illus049.png" alt="Example 2" /><br /> +Thy voice, brother, +cannot be heard.</p> + +<p><img src="images/illus050.png" alt="Example 3" /><br /> +After such a marvel +one might believe a thousand +others +without raising his eyebrows.</p> + +<p><img src="images/illus051.png" alt="Example 4" /><br /> +The other was a perfect +master of the art of cheating.</p> + +<p>Remark.--These inflections being produced, it is essential to know the +centre from which they emanate. The amplitude of the circle described +must be in harmony with the object in question. Thus a circle may be +produced with the entire arm, and glorification is the thing in +question.</p> + +<p><img src="images/illus052.png" alt="grace, elegance charm, elevation" /></p> +<p><img src="images/illus053.png" alt="Light and amiable. Light and spiritual." /></p> + +<p>The half quarter of a circle characteristic of exuberance combined with +the half quarter circle characteristic of delicacy, expreses grace. It +is delicacy mixed with abundance; tenuity supported by generosity.</p> + +<p><img src="images/illus054.png" alt="The rejection of a contemptible thing (4) concluded by happiness, well-being (5) signifies that repose will not be purchased at the cost of a contemptible thing." /></p> + +<p><img src="images/illus055.png" alt="The possession of happiness." /></p> + +<p><img src="images/illus056.png" alt="The 3 combined with the 5 rejection of an illusory happiness." /></p> + +<p>Note.--The figures 3, 4, 5, 6, refer to the corresponding figures in the +Medallion of Inflection.</p> + +<p>The hand placed horizontally, the back uppermost pirouetting on the +wrist alternately in pronation and supination, thus passing from force +to feebleness and from feebleness to force, characterizes irritability. +[Compare Delaumosne, pages 114-118.]</p> + +<p><img src="images/illus057.png" alt="Chart of Man. Human Nature." /></p> + +<p><img src="images/illus058.png" alt="Chart of the Angels. Angelic Nature." /></p> +</div> + + +<div class="chapter" id="p5-20"> +<h3>The Nature of the Colors of Each Circle in the Color Charts.</h3> + + + +<h4><i>Red, Blue and Yellow.</i></h4> + + +<p>Red is the color of life. Indeed, this is asserted by fire, by the heat +of the blood.</p> + +<p>Blue is the color of the mind. Is not blue the color of the sky, the +home of pure intellects, set free from the body, who see and know all +things? To them everything is in the light.</p> + +<p>Yellow is the color of the soul. Yellow is the color of flame.</p> + +<p>Flame contains the warmth of life and the light of the mind. As the soul +contains and unites the life and the mind, so the flame warms and +shines. [Compare Delaumosne, page 157.]</p> +</div> + + +<div class="chapter" id="p5-21"> +<h3>The Attributes of Reason.</h3> + + + +<p>The human reason, that haughty faculty, deified in our age by a myriad +of perverse and commonplace minds known under the derisive and doubly +vain title of freethinkers, is but blind, despite its high opinion of +its own insight. Yes, and we affirm by certain intuition that man's +reason is not and cannot be otherwise than blind, aside from the +revealing principle which only enlightens it in proportion to its +subordination; for, abandoned to itself, reason can only err and must +fatally fall into an abyss of illusions.</p> + +<p>The melancholy age in which we live but too often offers us an example +of the lamentable mistakes into which we are hurried by misguided +reason, which, yielding to a criminal presumption, deserts without +remorse the principle super-abounding in <i>life, light</i> and <i>glory</i>.</p> + +<p>To understand such an anomaly, to explain how reason, which constitutes +one of the highest attributes of man, is so far subject to error, it is +essential to have a thorough apprehension of the complexity of its +nature. What, then, is the real nature of the reason so little studied +and so illy known by those very men who raise altars in its honor? Let +us try to produce a clear demonstration. And let us first say that +reason does not constitute a primary principle in man; for a primary +<i>principle</i> could never mistake its object. Neither is it a primary +<i>faculty</i>; it is only the form or the manner of being of such a faculty, +and thus cannot be a light in itself. The rays by which it shines are +external to it in the sense that it receives them from the principle +which governs and fertilizes it. Still, let us say that, although +neither a principle nor a faculty, reason is none the less, with +conscience, of which it forms the base, the noblest power of man; for +this power God created free; free from subjection to the principle that +enlightens it; free, too, to escape from it. Yet every power necessarily +recognizes a guiding principle to whose service it needs must bow; but +to reason alone it is granted to avoid the law which imperiously rules +the relations of the harmonious subordination of principiant faculties +to their principles. Hence the error or possible blindness of reason; +hence also its incomparable grandeur, which lies solely in its free and +spontaneous subordination. These principles established, let us go still +farther, and penetrate deeper into the mysterious genius of reason.</p> + +<p>authorized to define reason. He did it in terms at once so simple, so +precise, and of such exquisite clarity, that we may venture to think +that reason itself could not have better rendered the terms of its own +entity.</p> + +<p>This definition, let no one fail to see, contains in its extreme brevity +more substance than would fill a voluminous treatise. This, then, is his +definition:</p> + +<blockquote><p><i>Reason is the discursive form of the intellect.</i></p></blockquote> + +<p>Now by this St. Thomas plainly establishes that reason, distinct from +the intellect, with which we must beware of confounding it, proceeds +from it as effect proceeds from cause. Therefore, intellect surpasses +reason as its principiant and guiding faculty; and reason only figures +in the intelligential sphere, despite the important part it plays in +virtue of its adjunctive or supplementing power.</p> + +<p>But what is the purpose of this adjunction? Here, in reply to this grave +and important question, let us refer to what the same scholar says +elsewhere. "Reason arises," he says, "from the failure of intellect." +Certainly this is a luminous, and doubtless a very unexpected +proposition. From it we learn, on the one hand, that the intellect is +liable to defects and consequently to weaknesses; on the other hand, it +seems established that the adjunctive power comes to aid the faculty +which governs it, since here the subjected is born of the failure of +the subjector.</p> + +<p>Let us explain this fresh anomaly. We have in the first place declared +the preceding proposition luminous in spite of the obscurity into which +we are plunged by the consequences which we have derived from it; but, +patience! We are already aware that it is from the very obscurity of +things that the brightest light sometimes bursts upon contemplative +eyes; and since faith is the next principle to knowledge, let us have +faith at least in the trustworthiness of him who addresses us, +especially as he has given us repeated, unequivocal tokens of sound and +upright reason. Let us, then, have no doubt that the preceding +proposition contains a precious precept; and very certainly light will +soon dawn on our mind.</p> + +<p>This settled, and for the better understanding of the meaning attached +to this proposition, let us call to our aid the powers of analogy.</p> + +<p>If reason arises from the failure of intellect it is doubtless to +rectify the valuations of the ego. Now the <i>compass</i>, which is in itself +very inferior to the hand which fashions it and appropriates it to its +own use, nevertheless implies a defect in that hand which directs it. So +there is between the eye and the telescope, which comes to its aid, all +the distance that divides the faculty from the instrument which it +governs. Still the telescope joined to the eye communicates to it a +great power of vision; but the instrument arises from the failure of +the eye, which is nevertheless infinitely superior to it; for it is the +eye which sees, and not the telescope.</p> + +<p>It is thus that we must understand the relations of reason and +intellect. Let us say, then, that the reason is to the intellect exactly +what the telescope is to the eye. This established, we can formulate the +following definition as well founded.</p> + +<p>The intellect is the spiritual eye whose mysterious telescope reason +forms, or: reason is a necessary appendage of mental optics, or again: +reason is the glass used by the eye of a defective intellect.</p> + +<p>But this is not all. St. Thomas provides us still elsewhere with the +means of making our analogy more striking. He says, indeed: reason is +given us to make clear that which is not evident. Is not this, as it +were, the seal of truth applied to our demonstration? Thus the eye uses +the telescope absolutely as the intellect employs the reason, to make +clear that which is not evident.</p> + +<p>Of course it is plain that if the sight and the intellect answered +perfectly to their object, they could do without this adjunct which +betrays their imperfection. The intellect would thenceforth have no more +need of reason than the eye of glasses.</p> + +<p>This explains the fact, so important to consider, that the clearer the +mental vision is the less one reasons. The angels do not reason; they +see clearly what is troubled and confused by our mind. No one reasons in +heaven, there is no logician there, no--Intelligence is immortal, but +reason, which serves it here below, will fade away in eternity with the +senses which like it do but form the conditions of time.</p> + +<p>Divine reason alone will endure because it has nothing accidental, and +it is substantially united to the eternal word. It is that reason toward +which all blest intelligences will finally gravitate. Hence, we see that +what already partakes of the celestial life repels reasoning as a cause +of imperfection or infirmity. It is thus, by its exclusion of reasons, +that the Gospel supremely proves its celestial origin. It is, indeed, a +thing well worth remark, especially worthy of our admiration, that there +is not to be found, in the four Gospels, a single piece of reasoning, +any more than there is an interjection to be found.</p> + +<p>Let us add that faith does not reason: which does not mean, as so many +misbelievers feign, that faith is fulfilled by blindness or ignorance of +the objects of its veneration. Quite the contrary. Faith dispenses with +reason because of the perfection of its sight. It is, finally, because +it is superior to reason and sees things from a higher plane. This is +what so many short-sighted people cannot see; and, to return to our +analogy, it seems to them able to see nothing save through the glasses +of reason. It seems to them, I say, that any man who does not wear +glasses must see crooked. Keep your glasses, my good souls! They suit +short limits of sight. But we, who, thank God, have sound sight, are +only troubled and clouded by them.</p> + +<p>It is thus that reason, which is given us to make clear what is not +evident, frequently obscures even the very evidence itself. We might +confirm this declaration by a thousand examples. To cite but one, let us +point out how plainly the spectacle of the universe of thought and the +idea of a Divine Creator prove that no glasses are required to +contemplate God in His works. Well! scientists have felt obliged to +direct theirs upon these simple notions, and have thus, <i>i.e.</i>, by force +of reasoning, succeeded in confusing out of all recognition a question +sparkling with evidence, so much so that they will fall into such a +state of blindness that they can no longer see in this world any trace +of the Supreme Intelligence which is yet manifested with glory in the +least of His creatures. Consequently, they will bluntly deny the +existence of God; but as they still must needs admit a creative cause, +they have to that end invented <i>moving atoms</i> and have made from these +strange corpuscles something so perfectly invisible that they can spare +themselves the trouble of providing public curiosity with a living proof +of their theory.</p> + +<p>The scientist is born perverted, as was said of the Frenchman who +created the vaudeville; and men, too strong-minded and above all too +full of reason to give any credence to the mysteries taught by the +church, have displayed a blind faith in respect to <i>moving atoms</i>. They +think thus to set themselves free from what they call the prejudices of +their fathers. They find no difficulty in attributing to invisible +corpuscles both the plan and the execution of the beings who people the +universe.</p> + +<p>This is the fine conception attributed to what is called a higher +reason--a conception before which bow legions of strong minds. To such a +degree of degradation can reason drag man down.</p> + +<p>It is, therefore, dangerous to consult the reason in any case where +evidence is likely to be called into play. But, before proceeding +farther in the course of our demonstrations, a question presents itself. +It may be asked what we think of another kind of reason--<i>pure reason</i>; +for it appears that in the opinion of certain philosophers pure reason +does exist. I do not know where they authenticated and studied this +species of reason. For myself I confess in all humility that not only +have I never seen a pure reason, but it has never even been possible for +me to raise my mind to the point of comprehending the signification of +pure reason. I greatly fear that some nonsense lurks within the phrase, +such transcendental nonsense as belongs to ideological philosophers +alone. I know not why, but these gentlemen's pure reason always gives me +the sensation of a strong blast of <i>moving atoms</i>. In fact, it is not +clear; but why require clarity of philosophers and ideologists?</p> + +<p>But let us leave these senseless words and pursue the course of our +demonstrations.</p> + +<p>What we have said of reason is quite sufficient to prevent its +confusion with the faculty whose discursive form it is. But this is not +enough. We must, by still more delicate distinctions, make any confusion +between these two terms impossible.</p> + +<p>Reason, although essentially allied to intelligence, is not, like it, +primordial in man. Thus God created man intelligent, and consequently +susceptible of reason; but we do not see the word reason brought into +play in Genesis, because it merely expresses a derivation from the mind +or intellect. Reason, therefore, is secondary and posterior in the +genetic order. But here to the support of this assertion we have a +striking and undeniable proof; namely, that the infant is born +intelligent but not reasonable. Intellect proceeds directly from <i>that +true light which shines in every man on his entrance into the world</i>, +while reason is merely the fruit of experience. A proof of the +superiority of intelligence to reason is seen in the fact that it +partakes of the immutable, and is not like the latter, liable to +progress.</p> + +<p>Thus the child is seen to be as intelligent as an adult man can be. Let +us rather say that it is in the child especially that intelligence +displays its brightest rays. Yet he is not furnished with reason. And +why not? Because he has no experience. Reason, therefore, is an acquired +power, whose light is borrowed from experience or tradition.</p> + +<p>Reason is proportional to the experience acquired. Practical reason or +rationality is the ration or portion of experience allotted to each +person.</p> + +<p>Reason is to the mental vision exactly what the eye is to optical +vision, and just as the eye borrows its visual action from external +light, so reason borrows its power of clear and correct vision from +traditional experience. The similarity is absolute.</p> + +<p>Suppress light, and vision ceases to be possible. Suppress revelation +from intellectual objects, and reason is thenceforth blind.</p> + +<p>Between reason and intelligence, although there be inclusion and +co-essentiality in these terms, there is a great difference in the mode +of cognizance; for, as St. Augustine says, intelligence is shown by +simple perception, and reason by the discursive process. Thus, while +intelligence acts simply, as in knowing an intelligible truth by the +light of its own intuition, reason goes toward its end progressively, +from one thing known to another not yet known.</p> + +<p>The latter, as St. Thomas says, implies an imperfection. The former, on +the contrary, beseems a perfect being. It is, therefore, evident, adds +the same profound thinker, that reasoning bears the same relation to +knowledge that motion does to repose, or as acquisition to possession. +The one is of an imperfect nature, and the other of a perfect nature. +Boëthius compares the intellect to eternity; reason, to time.</p> + +<p>Yet human reason, according to the principle which illuminates it, +offers three degrees of elevation which we will distinguish, for +readier comprehension, by three special terms, namely: first, tradition +or the experience of another; second, personal experience; third, the +reason of things.</p> + +<p>Trained by tradition, reason is called <i>common sense</i>. Trained by +personal experience to the knowledge of principles, reason is called +<i>science</i>. Trained by the contemplation of principles to the perfection +of the intellect, reason is called <i>wisdom</i>.</p> + +<p>What we call practical reason is based upon the authority of tradition +and the lessons of other people's experience in regard to the customary +and moral matters of life.</p> + +<p>Speculative or discursive reason judges by the criterion of its own +experience; thereby inferring consequences more or less in conformity +with traditional teachings, and arriving by the logical order of its +deductions and in virtue of the principles which it accepts and which it +applies to its discoveries, at what we call science.</p> + +<p>Transcendental reason pursues, in the effects which it examines, the +investigation of their cause, and rises thence to the very reason of +things. Wherefore it silences reasoning, enters into a silent and +persistent course of observation, consults the facts, examines, studies +and questions the principles whence it sees them to be deduced; and, +without yielding to the obscurity in which these principles are +enveloped, pierces that obscurity by the penetrative force of +unremitting attention. Inspired by the standard of faith, it knows that +the spirit of God exists at the root of these mysteries. It clings +thereto, unites itself thereto by contemplation, and finally draws from +this union its <i>strength</i>, its <i>light</i> and its <i>joy</i>.</p> + +<p>Such is the course of wisdom, and such are the inestimable advantages of +faith to reason. It is in fact by faith that reason is aggrandized and +elevated to the height of the intellect whence it draws its certitude.</p> + +<p>Reason believes because it desires to understand, and because it knows +that faith is the next principle to knowledge.</p> + +<p>Thus the grandeur of reason is proportioned to its humility; +proportioned, I would say, to the efforts which it multiplies to forget +itself when the truth addresses it. But such is not the method of +procedure of "strong minds." They have a horror of the mysteries toward +which they are still urged by correct instincts. The fact is, let us say +it boldly, they fear lest they find God there.</p> + +<p>In these misguided spirits there is so much presumption, self-conceit, +self-love, that they are, in the nullity of their lofty pride, a worship +unto themselves, an idolatry of their own reason. They have deified +it,--that poor, frail reason; and this, while mutilating it, while +proclaiming it independent and free from all law, from all principle, +from everything definite.</p> + +<p>To what excess of imbecility, then, have we not seen these freethinkers +fall, these apostles of independent reason, who on principle boast that +they have no faith and no law! Thence comes the scorn which afflicts +these unbelievers for all who believe and hope here below; thence, their +systematic ignorance of fundamental questions; thence, the incurable +blindness in which they bask; thence, finally, the inconsistencies and +contradictions which make them a spectacle humiliating to the human +mind.</p> + +<p>But agnostic man labors in vain. He cannot escape the mysteries which +surround him on every hand, like a gulf in which reason is inevitably +lost so soon as it ceases to seek the light.</p> + +<p>Man stumbles at every turn against the efforts of a stronger reason than +his own,--the Supreme Reason before which, nilly nilly, his must bow and +confess the insanity of its judgments.</p> + +<p>Logic is not, to reason, a sure guide; and even where it feels its +foothold most strong, it sometimes trips, to the disgrace of the good +opinion it had of its own infallibility.</p> + +<p>Let us show by a simple example to what rebuffs our reason is exposed +when counting on the support of its logic, face to face with the reason +of facts.</p> + +<p>Undoubtedly it is logical and perfectly in conformity with reason, to +say that <i>one</i> and <i>one</i> make <i>two</i>. No doubt seems possible on that +point. Well, this elementary truth, the most undeniable in the eyes of +all men which can be produced, does not, despite the assurances which +seem to uphold it, constitute an impregnable axiom; for there are cases +when <i>one</i> and <i>one</i> do not make <i>two</i>! Certainly such a proposition +seems scarcely reasonable, for its admission would entail the reversal +of what are called the sound notions of logic! But what will the +logician say if I affirm that in a certain case, <i>one</i> and <i>one</i> make +but <i>one-half</i>? Would he even take the trouble to refute me? No, he +would laugh in my face; he would not listen to me; he would tax me with +absurdity and insanity, preferring thus to lose a chance of instruction +rather than confess the impotence of his logic.</p> + +<p>There is the evil, and it is generally in this way that ignorance is +perpetuated. But let us return to the fact which we desire to prove, +contrary to logic and the pretensions of ordinary reason.</p> + +<p>Now, it is logical and perfectly in conformity with reason to say that +two musical instruments make more noise than one; and that thus two +double basses, for example, tuned in unison and placed side by side, +produce one sound of a double intensity. This seems an elementary +matter. It is as clear, you say, as that one and one make two. Well, no, +it is not so clear as you suppose. It is, on the contrary, a mistake; +for attentive experiment proves that the result is diametrically +opposite to the logical conclusion.</p> + +<p>This is a fact which no argument can destroy. Two double basses, placed +in the above-named conditions--conditions of vicinity and tonal +identity--far from adding up their individual result, are thus reduced +each to a quarter of its own sonority, which in the sum total, instead +of producing a double sound, produces a sound reduced to half of that +given individually by each instrument taken alone. This is how a power +plus an analogous power equals together with it but half a power; and +thus we are forced to admit that one and one do not necessarily make +two.</p> + +<p>I have carried the experiment still farther; in the instrument which +gained me a first-class medal at the exhibition of 1854, I was enabled +to put thirty-six strings of the same piano into unison at once. Well! +All these strings, struck simultaneously, did not attain to the +intensity of sound produced by one of them struck singly. All these +sounds, far from gaining strength by union, reciprocally neutralized one +another. This is not logical, I admit; but we must submit to it.</p> + +<p>Logic must be silent and reason bow before the brutal force of a fact to +which there is no objection to be raised.</p> + +<p>Since we are on the subject of the phenomena of sonority, let us draw +another illustration from it, quite as overwhelming in its illogicalness +as the former.</p> + +<p>When two similar phenomena differ from one another on any side, the +discord brought about by this difference is more apparent and more +striking by reason of the closer conjunction of these phenomena. By way +of compensation the dissimilarity is less appreciable in proportion as +these phenomena are farther apart from each other.</p> + +<p>This is rigorously logical and perfectly conformable to reason; yet +there are cases where we must affirm the contrary. Thus the same sound +produced, I will suppose, by two flutes not in accord with one another, +forms those disagreeable pulsations in the air which discordant sounds +inevitably produce. There seems to be no doubt that by gradually +bringing these discordant instruments together, the falseness of their +relation must be more and more striking, more and more intolerable. +Wrong! For then, and above all if the mouths of these instruments be +concentrically directed, a mutual translocation is produced between the +two discordant sounds, which restores the accuracy of their agreement. +Thus the lower sound is raised, while the higher one is lowered, in such +a way that the two sounds are mingled on meeting and form a perfect +unison. Now, here are contrasts, which, contrary to all rational data, +so far from being exaggerated by contact, diminish gradually, until they +are utterly annihilated. Thus, then, given two instruments of the same +nature, if the harmony which they effect be true, they enter by reason +of their conjunction into a negative state which neutralizes their +sonority; while the contrary occurs in the case of false unison. Here +the instruments become identical with one another, the sonority is +increased and the tonal deviation is corrected to the most perfect +harmony.</p> + +<p>Obstinate rationalists, what is your logic worth here? Has it armed you +against the surprises held in store for you by a multitude of facts +inaccordant with your reasonings? Oh, proud and haughty reason, bow your +head! Confess the inanity of your ways. Bow yet, once again, and +contemplate the mystery whence luminous instruction shall beam for you!</p> + +<p>At bottom these mysteries may surprise and baffle a reason deprived of +principle; but they are never contrary to it, because they proceed from +reason itself, from that Supreme Reason which created us in its own +image; and, by that very fact, is always in accord with individual +reason in so far as this will consent to sacrifice its own prejudices to +it, or listen to its infallible lessons.</p> + +<p>But man's reason most frequently heeds itself alone. Thence, once again, +arise its infirmities. Thus, what will happen, if, because the truths +which I utter here are obscure and do not at the first glance appear to +conform to the requirements of logic, you hastily reject them with all +the loftiness of your scornful reason, which would blush to admit what +it did not understand! Poor reason! which in and of itself understands +so little, and admits so many follies as soon as a scholar affirms them. +The consequence will be that you will be strengthened in the error which +flatters your ignorance. Behold that proud reason which would never +bend before a mystery revealed, behold it, I say, bowed beneath the +weight of prejudices, which there will be more than one scholar, more +than one logician, ready to endorse.</p> + +<p>Thus reason will refuse as unworthy itself, all belief in the actions of +God or of unseen spirits, the angels, heaven, but will not dare to doubt +the existence of <i>moving atoms</i>, invisible corpuscles. This is the +mental poverty into which the enemies of religious faith unwittingly +fall. They pervert that instrument of reason whose true use is to +supplement and fortify imperfect intelligence, and misuse it to +discredit and overthrow the original intuitions of intelligence.</p> +</div> + + +<div class="chapter" id="p5-22"> +<h3>Random Notes.</h3> + + + +<ul class="simple"> +<li>Type--Man.</li> +<li>Prototype--Angel.</li> +<li>Archetype--God.</li> +</ul> + +<p>It is within himself that man should find the reason of all he studies. +In the angels he should find the secret of his being: they are his +prototypes. Lastly, it is in the Divine archetype that we are to look +for the universal reason.</p> + +<hr /> + +<h4><i>The Senses.</i></h4> + +<blockquote class="poem"><p> +<span class="line">Taste and smell say: It is <i>Good</i>.<br /></span> +<span class="line">Sight and touch say: It is <i>Beautiful</i>. + Hearing and speech say: It is <i>True</i>.</span> +</p></blockquote> + +<hr /> + +<p>Every agreeable or disagreeable sight makes the body reäct backward. The +degree of reaction should be in proportion to the degree of interest +caused by the sight of the object presented to our sight.</p> + +<hr /> + +<p>The <i>soul</i> is a triple virtue, which, by means of the powers that it +governs, forms, develops and modifies the sum total of the constituent +forces of the body.</p> + +<p>The <i>body</i> is that combination of co-penetrating forces whose inherent +powers govern all acts under the triple impulse of the constituent +forces of the being.</p> + +<p>The <i>immanences</i> are powers which, under the impulse of the constituent +virtues of the being, govern and modify the co-penetrating forces of the +body.</p> + +<p>The <i>powers</i> govern the forces under the impulse of the virtues.</p> + +<p>The <i>virtues</i> are the impulses under the sway of which the powers govern +and direct the forces.</p> + +<hr /> + +<p>Light is the symbol of order, of peace, of virtue.</p> + +<hr /> + +<p>Science and art form two means of assimilation: The one by means of +absorption, the other by means of emanation. The one, more generous than +the other, gives and communicates; the other unceasingly receives and +appeals. Science receives, art gives. By science man assimilates the +world; by art he assimilates himself to the world. Assimilation is to +science what incarnation is to art.</p> + +<p>If science perpetuates things in us, art perpetuates us in things and +causes us to survive therein.</p> + +<p>If by science man makes himself preëminent in subjugating the things of +this world, by art he renders them supernatural by impressing upon them +the living characters of his being and of his soul.</p> + +<p>Art is an act by which life lives again in that which in itself has no +life.</p> + +<p>Art should move the secret springs of life, convince the mind and +persuade the heart.</p> + +<hr /> + +<blockquote class="poem"><p> +<span class="line">Beauty purifies the sense,<br /></span> +<span class="line">Truth illuminates the mind, + Virtue sanctifies the soul.</span> +</p></blockquote> + +<hr /> + +<p>The more lofty the intellect, the more simple the speech. (So in art.)</p> + +<hr /> + +<p>Accent is the modulation of the soul.</p> + +<hr /> + +<p>The artist who does not love, is by that fact rendered sterile.</p> + +<hr /> + +<p>Art is a regenerating or delighting power.</p> + +<hr /> + +<p>Routine is the most formidable thing I know.</p> + +<hr /> + +<p>If you would move others, put your heart in the place of your larynx; +let your voice become a mysterious hand to caress the hearer.</p> + +<hr /> + +<p>Nothing is more deplorable than a gesture without a motive.</p> + +<p>Perhaps the best gesture is that which is least apparent.</p> + +<hr /> + +<p>There is always voice enough to an attentive listener.</p> + +<hr /> + +<p>Persuade yourself that there are blind men and deaf men in your +audience whom you must <i>move</i>, <i>interest</i> and <i>persuade!</i> Your +inflection must become pantomime to the blind, and your pantomime, +inflection to the deaf.</p> + +<hr /> + +<p>The mouth plays a part in everything evil which we would express, by a +grimace which consists of protruding the lips and lowering the corners. +If the grimace translates a concentric sentiment, it should be made by +compressing the lips.</p> + +<hr /> + +<p>Conscious menace--that of a master to his subordinate--is expressed by a +movement of the head carried from above downward.</p> + +<p>Impotent menace requires the head to be moved from below upward.</p> + +<hr /> + +<p>Any interrogation made with crossed arms must partake of the character +of a threat.</p> + +<hr /> + +<p>When two limbs follow the same direction, they cannot be simultaneous +without an injury to the law of opposition. Therefore, direct movements +should be successive, and opposite movements should be simultaneous.</p> + +<hr /> + +<p>There are three great articular centres: the <i>shoulder, elbow</i> and +<i>wrist</i>. Passional expression passes from the shoulder, where it is in +the emotional state, to the elbow, where it is presented in the +affectional state; then to the wrist and the thumb, where it is +presented in the susceptive and volitional state.</p> + +<hr /> + +<p>Three centres in the arm: the <i>shoulder</i> for pathetic actions; the +<i>elbow</i>, which approaches the body by reason of humility, and +reciprocally (that is, inversely) for pride; lastly, the <i>hand</i> for +fine, spiritual and delicate actions.</p> + +<hr /> + +<p>The initial forms of movements should be--in virtue of the zones whence +they proceed--the only explicit, and consequently the only truly +expressive ones.</p> + +<hr /> + +<p>Bad actors exert themselves in vain to be moved and to afford a +spectacle to themselves. On the other hand, true artists never let their +gestures reveal more than a tenth part of the secret emotion that they +apparently feel and would hide from the audience to spare their +sensibility. Thus they succeed in stirring all spectators.</p> + +<hr /> + +<p>No, art is not an imitation of nature: art is better than nature. It is +nature illuminated.</p> + +<hr /> + +<p>There are two kinds of loud voices: the vocally loud, which is the +vulgar voice; and the dynamically loud, which is the powerful voice. A +voice, however powerful it may be, should be inferior to the power +which animates it.</p> + +<hr /> + +<p>Every object of agreeable or disagreeable aspect which surprises us, +makes the body recoil. The degree of reaction should be proportionate to +the degree of emotion caused by the sight of the object.</p> + +<hr /> + +<p>Without abnegation, no truth for the artist. We should not preoccupy the +audience with our own personality. There is no true, simple or +expressive singing without self-denial. We must often leave people in +ignorance of our own good qualities.</p> + +<hr /> + +<p>To use expression at random on our own authority, expression <i>at all +hazards</i>, is absurd.</p> + +<hr /> + +<p>The mouth is a vital thermometer, the nose a moral thermometer.</p> + +<hr /> + +<p>Dynamic wealth depends upon the number of articulations brought into +play; the fewer articulations an actor uses, the more closely he +approaches the puppet.</p> + +<hr /> + +<p>A portion of a whole cannot be seriously appreciated by any one ignorant +of the constitution of that whole.</p> + +<hr /> + +<p>An abstract having been made of the modes of execution which the artist +should learn before handling a subject, two things are first of all +requisite:</p> +<ol> +<li>1. To know what he is to seek in that subject itself;</li> + +<li>2. To know how to find what he seeks.</li></ol> + +<hr /> + +<p>Is not the essential principle of art the union of truth, beauty and +good? Are its action and aim anything but a tendency toward the +realization of these three terms?</p> + +<hr /> + +<p>We have a right to ask a work of art by what methods it claims to move +us, by which side of our character it intends to interest and convince +us.</p> + +<hr /> + +<p>Speech is external, and visible thought is the ambassadress of the +intellect.</p> + +<hr /> + +<p>How should the invisible be visible when the visible is so little so!</p> + +<hr /> + +<p>One cannot be too careful of his articulation. The initial consonant +should be articulated distinctly; the spirit of the word is contained in +it.</p> + +<hr /> + +<p>Two things to be observed in the consonant: its explosion and its +preparation. The <i>t, d, p,</i> etc., keep us waiting; the <i>ch, v, j,</i> +prepare themselves, as: "<i>vvvenez</i>." The vocals <i>ne, me, re</i> are +muffled.</p> + +<hr /> + +<p><i>Rhythm</i> is that which asserts; it is the form of movement.</p> + +<p><i>Melody</i> is that which distinguishes.</p> + +<p><i>Harmony</i> is that which conjoins.</p> + +<hr /> + +<p>Let your attitude, gesture and face foretell what you would make felt.</p> + +<hr /> + +<p>Be wary of the tremolo which many singers mistake for vibration.</p> + +<hr /> + +<p>If you cannot conquer your defect, make it beloved.</p> + +<hr /> + +<p>A movement should never be mixed with a facial twist.</p> + +<hr /> + +<p>Things that are said quietly should sing themselves in the utterance.</p> +</div></div> + + + +<div class="part" id="p6"> +<h2>Part Sixth.<br /> + +Lecture and Lessons Given by Mme. Géraldy (Delsarte's Daughter) in +America.</h2> + +<p>[Illustration: Mme. Marie Delsarte-Géraldy.]</p> + + + + +<h3>Lecture</h3> + +<h4><i>Delivered by Mme. Géraldy at the Berkeley Lyceum, New York, February 6, +1892.</i></h4> + + + +<p>Ladies:</p> + +<p>When I made up my mind to come to this country it was not with the +object of exhibiting <i>myself</i>, but to speak to you of my father. In your +country my father is much talked of. In my country, unfortunately, he is +forgotten. My father did not write anything--that is a terrible thing! +He expected to do so some day, but he always put it off. At last he +decided to do so during the war--our unfortunate war! He did not have +many lessons to give at that time, for nobody thought of taking any. +This gave him leisure to write. His work was to have borne the title, +"My Revelatory Episodes." He had only written five chapters when he +died. It was to bring to you these five chapters that I came to America. +But as soon as I began to speak of them I was stopped. "Why do you tell +us this?" they said; "we know all this already." I then discovered that +the books written on my father by the Abbé Delaumosne and by Mme. +Angélique Arnaud had been translated and published in this country. Mme. +Arnaud's book is the better of the two, but it is not practical--not at +all practical.</p> + +<p>I have gathered together what I remember in the form of lectures, which +I offer to you. I have been asked for examples; I shall give you +examples. I will begin, however, by giving you a little biographical +sketch of my father, and by telling you how he happened to make his +discovery. He was the son of a country doctor, a man poor but original. +My father was still a very little boy when his father sent him and his +younger brother to Paris. There they were apprenticed to a jeweler and +made bands of gold. Soon the little brother died, and my father was the +only one to follow him to the cemetery. On his way back, after the +burial, he fell fainting on the plain. When he regained consciousness he +heard music in the distance, and, not knowing whence it came, thought it +was the music of the angels. Since then he dreamed of nothing but music; +he wanted to hear all he could; he longed to study it. One day he heard +two little urchins singing in the street. He asked them: "Do you know +music?" The urchins replied: "Yes!" "Will you teach it to me?" "Yes, +certainly," and they sang a scale for him. "Is that all there is of +music?" "Why, yes."</p> + +<p>Not long after, he made the acquaintance of an old musician, who became +interested in him, gave him a few lessons, and entered him at the +Conservatoire. There he attended the elocution classes, and a role was +given to him to learn in which he had to say: "How do you do, Papa +Dugrand!" He had no success with this sentence. Each of his four +professors told him a different way of saying it, and he wondered: "How +is this? Are there, then, no principles to go by?" One day a cousin of +his arrived unexpectedly from the country. "How do you do, my dear +cousin!" And immediately after this warm greeting he ran away from his +cousin, crying, excitedly, "I have it! I have it!" and did not stop +until he got to his room and in front of a looking-glass. What he had +was the right attitude and way to say, "How do you do, Papa Dugrand!" +and this way was diametrically opposed to the instruction his professors +had given him on the subject.</p> + +<p>My father spent forty-five years in observing. He was the king of +observers. What remains to us is but one-quarter of all his +observations. My father's method is comprehensive; it can be applied to +the arts, to the sciences. His pupils were orators, painters, sculptors, +comedians, lawyers, doctors, society amateurs.</p> + +<p>My father had read in the first chapter of Genesis that God made man in +His image. God is Trinity. Trinity is the criterion of my father.</p> + +<p>Raymond Brucker was an old friend of my father's. "What is this method +of your friend Delsarte?" was a question often put to him. "Delsarte's +method," he would reply, "is an orthopedic machine to straighten +crippled intellects."</p> + +<p>My father considered man as the principle of all arts. He used three +terms to express man: Life, mind and soul. He would compare man to a +carriage occupied by a traveler. In front sits a coachman, who drives +the horse. The carriage is the body of man; the horse that makes it move +is life; the coachman who drives the horse is the mind; the occupant of +the carriage, who gives orders to the coachman, is the soul. Man feels, +thinks and loves.</p> + +<p>My father made use of three terms to express three states: Concentric, +normal and excentric. These he would combine with each other. I will +show you, for example, the three concentric attitudes of the hand: The +concentro-concentric, expressing struggle; the concentro-normal, meaning +power; the concentro-excentric, showing convulsion. [<i>Illustrates.</i>] In +the same way we have the combinations of the eyes and eyebrows, and, +again, those of the head. The head is concentro-concentric when the eyes +look in the same direction as that toward which the head inclines; this +expresses veneration. Notice how different the words, "I love him!" +sound when said first with the head inclined from and then inclined +toward the object.</p> + +<p>An interesting series of movements for the arms that my father used to +give is the following: "It is impossible;" "It is not so;" "It is +improbable;" "Maybe;" "It is so;" "It is evident;" "There is no doubt +whatever about it." [<i>Illustrates.</i>] This series is equally applicable +to affirmation and to negation. For example, you can begin by, "It is +impossible that it is not true!" and continue with that meaning.</p> + +<p>I have been requested to give the attitudes of the feet. I do not like +to give them because they are not feminine, and I abhor all that is not +feminine. However, as I have been asked for them, and as I wish to prove +that my father had also given his attention to their study, here they +are: (1) The attitude of little children and of old men, expressing +weakness; (2) that of absolute repose; (3) vehemence; (4) prostration; +(5) transitory attitude, preparatory to (6) reverential walk; (7) +vertigo, intoxication, which is an ignoble vertigo, or familiarity; (8) +the alternative between the positions of offensive and defensive; (9) +defiance. [<i>Applause</i>.] Oh! I beg of you! [<i>Deprecatingly</i>.] It is +horribly ugly in me; but in a man it is all right.</p> + +<p>I shall now speak of the interesting role that the shoulder plays in the +expression of emotions. My father called the shoulder "the thermometer +of passion." Indeed, the shoulders rise with every strong emotion. If I +say, "Oh! how angry I am!" without raising the shoulders, it sounds if +not false at least weak; but listen, when I raise my shoulders: "Oh! how +angry I am!" Again, if I say, "How I love you!" the words are cold; but, +with shoulders raised, listen, "How I love you!" Thus we see actors +every day who portray different passions, but whose shoulders remain +"cold;" they do not move us.</p> + +<p>There is a very pretty observation to make about the elbow. My father +called it the "thermometer of pride and humility," and used to call our +attention to the different ways the soldiers carry their elbows. You +know we have a great many soldiers in France and we have a good, chance +to observe them. A corporal--that is, nothing at all--carries his elbows +like this [<i>elbows turned outward</i>]. A sergeant, whose rank is a little +higher than that of a corporal, carries them this way [<i>elbows slightly +drawn in</i>]. By the time he becomes lieutenant he is used to authority, +and does not have to show it off so much [<i>elbows drawn in still more</i>]. +As for a general, one whose rank is the highest in the army, he walks +with his arms hanging naturally at his sides.</p> + +<p>Now let me tell you about the thumb. My father being the son and the +nephew of doctors, was interested enough in the science to enter, at one +time, the school of medicine. Here, while dissecting, he noticed that +the thumb of a dead man falls inward toward the palm. This led him to +study the attitude of the thumb in life. He would pass days in the +garden of the Tuileries watching the nurses and the mammas carrying +their babes, noting how their thumbs spread out to clasp the precious +burden, and how the mothers' hands spread wider open than those of hired +servants; so he called the thumb "the thermometer of life."</p> + +<p>My father always used to say to his pupils: "Be warm outwardly, cold +inwardly." He wanted them to pass suddenly from one great emotion to +another. All great actors do so. He would point to a portrait of +Garrick, representing the great actor with one-half of his face +laughing, the other half weeping. He himself, in his lessons, after +having given expression to some pathetic sentiment, would become +immediately his own kind self again. He insisted on self-possession. +Often when I was a little girl, and would slip into the room during his +lessons, for I loved to listen to them, and would find him portraying +some terrible passion, he would stop suddenly, seeing the expression of +horror on my face, and would burst out laughing and catch me in his +arms, saying: "Poor little one, are you frightened?"</p> + +<p>"The artist," said my father, "must move, interest and convince." +Gesture is the agent of the heart. Gesture must always precede speech. +"Make me feel in advance," he used to say; "if it is something +frightful, let me read it on your face before you tell me of it." To +illustrate the practice of gesture before speech, I will now recite the +fable of "The Cock, the Cat and the Mouse." [Here followed the +recitation of the fable.]</p> + +<p>My father once held his whole audience under a spell, showing them, +through the medium of a little girl of eight, a hundred different ways +of saying, "That dog is pretty." I will show you one or two ways If I +really think the dog is pretty, I will say it in this tone, "That dog is +pretty." If the dog's coat is soiled, I will say in a different tone, +"That dog is pretty." And if the dog has rubbed against my dress, there +will be a vexed tone, "That dog is pretty!"</p> + +<p>My father used to divide orators into "artists in words and artists in +gesture." Those who are simply artists in words are those who do not +move you. Lamartine said of my father, "He is art itself." Théophile +Gautier said of him that he "took possession" of his public.</p> + +<p>In 1848 the National Guard was appointed to guard the public monuments. +My father, who was a member of the Guard, had his station near an +archbishopric. A poor fellow was arrested one day who looked suspicious; +he was searched and a chaplet was found on him. The cry arose +immediately that he should be drowned. The poor man was being hustled +off when my father stopped them, saying that he claimed his part of the +punishment, and he drew from his own pocket a chaplet and showed it to +them. Oh! my father was kind. He was goodness itself. He was often asked +to give lectures at the court, but he would answer: "I do not sell my +talent, I give it." He was especially fond of his poor pupils, those who +did not pay him; he would often invite them to dine with him.</p> + +<p>And now let me show you a series of lines which my father called the +inflective medallion. Imagine a circle [<i>describing a circle in the air +with her hand</i>]. Within this circle a vertical line, a horizontal line, +and two oblique lines, all intersecting each other. At both ends of the +vertical and horizontal lines are small curved lines, the whole forming +the medallion. This medallion contains all necessary gestures. If the +vertical line is made from on high downward ↓ [Illustration], it means +affirmation; if made from below upward ↑ [Illustration], it means hope. +The horizontal line means negation. One oblique line means simple +rejection ↙ [Illustration]; the other ↗ [Illustration] means rejection +with scorn, as in a line from Lafontaine's fable, "The Lion's Court:" +"The monarch, vexed, sent him to Pluto." The little curve at the top of +the vertical line ⌣ [Illustration] expresses ease, repose; it has the +form of a hammock. The opposite curve ⌢ [Illustration] means secrecy and +mystery. This curve ([Illustration] means amplitude. The other one, when +made in this direction ⤶ [Illustration] expresses admiration for +physical beauty, and in the other direction ⤴ [Illustration], admiration +for moral beauty. The entire circle ○ [Illustration] expresses +glorification. These gestures can be made with the whole arm, with the +forearm only, or simply with the waving hand; the degree of expression +varies accordingly.</p> + +<p>Lastly, I will speak about the law of opposition. The arm and the head +should move in inverse directions [<i>illustrating</i>]; also the arm and the +hand. The statue of the Gladiator is a beautiful example of this law of +opposition. He is what we French call "well based;" you cannot overthrow +him. In contrast to him, my father used to cite Punchinello, the +children's toy, an object of ridicule. Punchinello, when the string is +pulled, raises his right arm and his right leg at the same time.</p> + +<p>Notice the different ways in which people scold. The schoolmaster moves +his head from above downward; the boy threatens back, tossing his head +upward.</p> + +<p>And now, ladies, I hope that what I have said will move you to take a +deeper interest in my father's work, and enable you to understand his +methods better than heretofore. I shall then feel, when I return to my +country, that I have not crossed the Atlantic in vain.</p> + + + + +<h3>The Course of Lessons Given in America By Mme. Géraldy</h3> + + + +<p>Mme. Géraldy prefaced her course of lessons with the following remarks:</p> + +<p>God is Trinity. Man, created in the image of God, bears the seal of the +Trinity. In these lessons we shall analyze our whole person. We shall +dwell upon three terms: Concentric, normal, excentric. We find them +everywhere.</p> + +<p>1, excentric; 2, concentric; 3, normal.</p> + +<p><img src="images/illus059.png" alt="1, excentric; 2, concentric; 3, normal" /></p> + +<p>We will begin with the eye--it is the most difficult.</p> + + + + +<h4>Lesson I.<br /> + +The Eye and the Eyebrow.</h4> + + +<table summary="The Eye and the Eyebrow"> +<tr><td rowspan="3">The Eye.</td> +<td> Concentric </td><td> Closed.</td></tr> +<tr><td> Normal </td><td> Open, without expression.</td></tr> +<tr><td> Excentric </td><td> Wide open.</td></tr> +<tr><td></td></tr> +<tr><td rowspan="3">The Eyebrow.</td><td> Concentric</td><td> Lowered.</td></tr> +<tr><td> Normal </td><td> Without expression.</td></tr> +<tr><td> Excentric </td><td> Raised.</td></tr> +</table> + +<table summary="Combinations of the Eye and Eyebrow."> +<caption>Combinations of the Eye and Eyebrow.</caption> +<tr><th> Eye.</th><th> Eyebrow.</th><th> Expression.</th></tr> +<tr><td> Concentric </td><td> Concentric </td><td> Intenseness of thought.</td></tr> +<tr><td> Concentric</td><td> Normal </td><td> Heaviness, or somnolency.</td></tr> +<tr><td> Concentric </td><td> Excentric </td><td> Disdain.</td></tr> +<tr><td></td></tr> +<tr><td> Normal </td><td> Concentric </td><td>Moroseness.</td></tr> +<tr><td> Normal </td><td> Normal </td><td> Without expression.</td></tr> +<tr><td> Normal </td><td> Excentric </td><td> Indifference.</td></tr> +<tr><td></td></tr> +<tr><td> Excentric </td><td> Concentric </td><td> Firmness.</td></tr> +<tr><td> Excentric </td><td> Normal </td><td> Stupor.</td></tr> +<tr><td> Excentric </td><td> Excentric </td><td> Astonishment.</td></tr> +</table> + +<p>The expressions of stupor and of astonishment +are greatly increased when preceded by a quivering +of the eyelid (blinking). This should be very rapid +and very energetic. Delsarte always insisted on this +blinking.</p> + +<p>Anxiety calls for a double movement of the eyebrows: +First, contract them; secondly, raise them.</p> + +<p>Vitality is expressed by raising the outer part of +the eyebrows. This accomplishment is very rare; +but, then, it is not necessary.</p> + +<p>Contraction of the lower eyelid expresses sensitiveness.</p> + + + + +<h4>Lesson II.<br /> + +The Head.</h4> + + + +<table summary="The Head."> +<tr><td rowspan="3">The Head.</td><td> Concentric </td><td>Bent forward.</td></tr> +<tr><td>Normal </td><td> Upright.</td></tr> +<tr><td> Excentric </td><td>Bent backward.</td></tr> +</table> + +<table summary="Combinations of Head-movements."> +<caption>Combinations of Head-movements.</caption> +<tr><td> Concentro-concentric</td><td> Bent forward and inclined to one side (toward + the person): Veneration.</td></tr> +<tr><td> Concentro-normal </td><td> Bent forward: Examination.</td></tr> +<tr><td> Concentro-excentric </td><td> Bent forward and inclined to the other side + (from the person): Suspicion.</td></tr> +<tr><td> Normo-concentric </td><td> Inclined toward the person: Tenderness.</td></tr> +<tr><td> Normo-normal </td><td> Upright: Without expression.</td></tr> +<tr><td> Normo-excentric </td><td> Inclined from the person: Sensuality.</td></tr> +<tr><td> Excentro-concentric</td><td> Bent backward and inclined to one side (toward + the person): Abandon.</td></tr> +<tr><td> Excentro-normal </td><td> Bent backward, straight: Exaltation, vehemence.</td></tr> +<tr><td> Excentro-excentric </td><td> Bent backward and inclined to the other side + (from the person): Pride.</td></tr> +</table> + +<p>It is the position of the eye that determines the expression of the +head, for it is the direction of the eye that tells us on which side the +object of veneration, suspicion, etc., is supposed to be. The shoulders +should be observed here. They are the thermometer of passion; the +stronger the emotion, the higher they should be raised.</p> + + + + +<h4>Lesson III.<br /> + +The Hand.</h4> + + +<table summary="The Hand."> +<tr><td rowspan="3">The Hand.</td><td> Concentric </td><td>Closed.</td></tr> +<tr><td>Normal </td><td> Open.</td></tr> +<tr><td> Excentric </td><td>Wide open.</td></tr> +</table> + +<table summary="Combinations of Hand-Movements."> +<caption>Combinations of Hand-Movements.</caption> +<tr><td> Concentro-concentric</td><td> Fist closed tight, thumb pressing against the + knuckles: Struggle.</td></tr> + +<tr><td> Concentro-normal </td><td> Hand closed, thumb resting lightly against the + side of the index finger: Power, authority.</td></tr> + +<tr><td> Concentro-excentric </td><td> Hand open, fingers contracted: Convulsion.</td></tr> + +<tr><td> Normo-concentric </td><td> Limp, fingers turned slightly inward: + Prostration.[A]</td></tr> + +<tr><td> Normo-normal </td><td> Limp: Abandon.</td></tr> + +<tr><td> Normo-excentric </td><td> Open, fingers straight: Expansion.</td></tr> + +<tr><td> Excentro-concentric </td><td> Wide open, fingers stretched apart and + contracted: Execration.</td></tr> + +<tr><td> Excentro-normal </td><td> Fingers stretched apart and straight: Exaltation.</td></tr> + +<tr><td> Excentro-excentric </td><td> Fingers stretched wide apart and backward: + Exasperation.</td></tr> +</table> + + + + +<h4>Lesson IV.<br /> + +The Arms.</h4> + + +<p>Let the arms swing backward from their natural position, with the palm +of the hands turned toward the front; head raised. Say: "It is +impossible!"</p> + +<p>There is no doubt whatever about it.</p> + +<p><img src="images/illus060.png" alt="arm movements" /></p> + +<p>Arms at the side in their natural position, palms toward the front; head +straight, Say: "It is not so."</p> + +<p>Arms slightly forward; head very slightly bent. Say: "It is +improbable."</p> + +<p>Forearms slightly raised. Say: "Maybe."</p> + +<p>Forearms still higher. Say: "It is probable."</p> + +<p>Forearms at right angles with upper arms, palms always upward; head +bent. Say: "It is so."</p> + +<p>Forearms higher. Say: "It is certain."</p> + +<p>Forearms still higher (upper arms follow); head bent forward. Say: "It +is evident!"</p> + +<p>Forearms still higher (by this time the upper arms are horizontal); head +bent way forward. Say: "There is no doubt whatever!"</p> + +<p><img src="images/illus061.png" alt="arm movements" /></p> + +<p>As will be noticed, the head moves in the opposite direction from the +arms. The face must express what the words say. The movements of the +arms alone, without the expression of the face, do not mean anything.</p> + + + + +<h4>Lesson V.<br /> + +Inflections of the Hand.--Combinations of the Arm and Hand.</h4> + + +<p>1. <i>Acceptance</i>. Put the arm out naturally, palm upward.</p> + +<p>2. <i>Caress</i>. Raise the shoulder; bend the head, keep the elbow close to +the side; raise the hand as high as the face and, with palm outward, +bring it slowly down again as if stroking an object, at the same time +raising the head.</p> + +<p>3. <i>Negation</i>. Draw a horizontal line in the air, the movement finishing +in an outward direction.</p> + +<p>4. <i>Self-control</i>. Arm hanging at the side, hand in the concentro-normal +condition, denoting authority, power over one's self.</p> + +<p>5. <i>Authority</i>. Extend the arm and raise it in front a little higher +than the level of the shoulder; then raise the hand, which should be in +the concentro-normal state, from the wrist and let it fall again with +decision.</p> + +<p>6. <i>Menace</i>. The arm is kept in the same position, the fist clenched +(hand concentro-concentric).</p> + +<p>7. <i>Execration</i>. Arm extended from the previous position sideward; hand +excentro-concentric, palm toward the back; head turned in opposite +direction,</p> + +<p>8. <i>Horror</i>. Arm outstretched in front; hand excentric, palm outward; +head thrown back.</p> + +<p>9. <i>Desire</i>. Arm in same position; hand assumes the normal condition +and turns its palm upward; head still thrown back.</p> + +<p>These movements should blend one into the other, and should be executed +without any affectation. The law of opposition should be observed here; +for example: In the ascending movement of the arm the hand falls from +the wrist; when the arm descends, the hand points upward.</p> + + + +<h4>Lesson VI.<br /> + +Basic Attitudes.</h4> + + +<p>1. <i>Weakness</i>. Feet close together, weight of body on both. This +attitude is that of childhood and old age.</p> + +<p>2. <i>Perfect calm and repose.</i> Rest weight on one foot (settling at the +hip), bend the knee of the other leg and advance the foot.</p> + +<p>3. <i>Vehemence</i>. Move the body forward so that the weight rests on the +foot that is in front; the heel of the foot that is behind is thus +raised.</p> + +<p>4. <i>Prostration</i>. Throw one foot far behind the other, with the knee +bent and the weight of the body upon it. This attitude, when properly +taken, leads to the kneeling position.</p> + +<p>5. <i>Transitive position.</i> In walking, stop midway between two steps and +you have the 5th attitude or transitive position. It is the one that +leads to all kinds of walks, and especially to the reverential or +oblique walk.</p> + +<p><i>6. Reverential walk</i>. Let the foot which is behind take a step forward +in this manner: With the toe describe on the ground a semi-circle that +bends inward toward you; this will cause the heel to pass over the +instep of the other foot. The other foot now takes a straight step +forward, and you pause in a respectful attitude before the personage of +importance whom you wish to salute. Several steps may be taken in +succession before the final pause. The ceremonious step is always taken +with the foot you begin with (the one toward the person you salute); the +other foot always takes natural steps. This walk is only meant for men, +and only on grand occasions.</p> + +<p>7. <i>Intoxication, vertigo</i>. The feet are planted on the ground and +apart. This attitude expresses familiarity.</p> + +<p>8. <i>The alternative</i>. One foot in a straight line behind the other, the +weight of the body on both. This attitude is offensive and defensive.</p> + +<p>9. <i>Defiance</i>. The weight of the body on the foot that is behind, the +other foot diagonally forward; head thrown back.</p> + +<p>Delsarte never classed the basic attitudes under the heads of +concentric, normal or excentric, any more than he so classed gestures. +He simply gave them in the above sequence.</p> + + + + +<h4>Lesson VII.<br /> + +The Medallion of Inflection.</h4> + + +<p>"<i>The Key to all Gestures</i>"</p> + +<p><img src="images/illus062.png" alt="The Medallion of Inflection" /></p> + + +<p> +↓ Affirmation.<br /> +⇄ Negation.<br /> +↑ Hope.<br /> +↙ Rejection of things that harm us.<br /> +↗ Rejection of things that we despise.<br /> +⌣ Ease, comfort (resembles a hammock).<br /> +⌢ Silence, secrecy.<br /> +() Plenitude, amplitude.<br /> +)( Delicacy, grace.<br /> +⤶ Physical beauty.<br /> +⤴ Beauty of intellect.</p> + +<p><img src="images/illus063.png" alt="You may believe that no lord had as much glory or happiness." /></p> + +<p>↓ "You may believe +→ that no lord +<img src="images/illus064.png" class="inline" alt="had as much glory or happiness." /> had as much glory or happiness." +</p> + + + + +<h3>Mme. Géraldy's Lessons On Lafontaine's Fables.</h3> + + + +<h4>The Wolf and the Lamb.</h4> + + +<p>Might makes right; we shall prove this presently.</p> + +<p>A Lamb was quenching his thirst in a stream of pure water. A Wolf, in +quest of adventures, happened by, drawn to the spot by hunger.</p> + +<p>"What makes thee so bold as to pollute the water I drink?" said he, +angrily. "Thy impudence deserves to be punished."</p> + +<p>"Sire," answered the Lamb, "soften your wrath, and consider that I am +drinking the water more than twenty feet below your Majesty, and can, +therefore, in no way pollute your Majesty's drink."</p> + +<p>"You do pollute it!" replied the savage animal, "and I know that last +year you slandered me."</p> + +<p>"How could I when I was not born?" replied the Lamb. "I am still a +suckling babe."</p> + +<p>"If it was not you, then it was your brother."</p> + +<p>"I have none."</p> + +<p>"Then it was some member of your family, for you do not spare me--you, +your shepherds and your dogs. I have been told so. I must revenge +myself."</p> + +<p>Thereupon the Wolf carried him into the depths of the forest, and ate +him without further trial.</p> + + +<h4>Lesson Given By Mme. Géraldy.</h4> + +<p>In the narrative portions of a recitation, the eyes of the speaker +should meet the eyes of the audience. In this way he fixes their +attention and engages their sympathy.</p> + +<p>Looking straight at the audience: "Might makes right [deplore the fact]. +We shall prove this presently. A Lamb [by tone of voice and gesture show +what a weak, gentle creature a lamb is] was quenching his thirst in a +stream of pure water. A Wolf [a strong, cruel animal], in quest of +adventures, happened by, drawn to the spot by hunger." [Fold the arms; +gesture should always precede speech.] "'What makes thee so bold as to +pollute the water I drink?' said he, angrily. 'Thy impudence deserves to +be punished.'</p> + +<p>"'Sire,' answered the Lamb [humbly], 'soften your wrath +and--[conjunctions should almost always be followed by a pause] consider +that I am drinking the water more than <i>twenty feet</i> ["Mark me!"] below +your Majesty, and can, therefore, in no way pollute your Majesty's +drink.'</p> + +<p>"'You <i>do</i> pollute it!' replied the savage animal, 'and--I know that, +last <i>year</i>, you <i>slandered</i> me.' [With this line Delsarte always gave a +progressive gesture, which can best be described in this way:</p> + +<p>Give the gesture of affirmation ↓ [see Lesson VII.], +stopping twice in the downward movement, on the words <i>that</i> and <i>year</i>, +thus:</p> + +<table summary="example"> +<tr><td rowspan="3">↓</td> +<td>I</td></tr> +<tr><td>know</td></tr> +<tr><td>that</td></tr> +<tr><td rowspan="2">↓</td> +<td>last</td></tr> +<tr><td>year</td></tr> +<tr><td rowspan="2">↓</td> +<td>you</td></tr> +<tr><td>slandered me.</td></tr></table> + +<p>"'How could I when I was not born?' replied the Lamb [gentle voice]. 'I +am still a suckling babe.'</p> + +<p>"'If it was not you, then it was your brother' [gruff voice].</p> + +<p>"'I have none.'</p> + +<p>"'Then it was some member of your family, for--you do not spare me, you, +your shepherds and your dogs. [There is no pause after the conjunction +<i>and</i> here, as it simply joins together words in a list.] I have been +told so [impatiently; the wolf is tired of parleying so long]. I must +revenge myself.'</p> + +<p>"'Thereupon [lower the voice to fix the attention] the Wolf carried him +into the depths of the forest and--ate him [deplore the fact] without +further trial'" [voice low].</p> + + + + +<h3>The Cat, the Weasel and the Little Rabbit.</h3> + + +<p>The palace of a young Rabbit was taken possession of, one fine morning, +by Dame Weasel; she is a sly one. The master being absent, it was an +easy thing for her to do. She carried her belongings there one day when +he had gone to do homage to Aurora, amid the thyme and the dew. After +having nibbled, and trotted, and made all his rounds, Bunny Rabbit +returned to his subterranean dwelling. Mrs. Weasel was looking out of +the window.</p> + +<p>"Hospitable gods! what do I see!" exclaimed the animal, who had been +shut out from his ancestors' home. "Hello there, Madam Weasel, come out +without delay, or I shall notify all the rats in the country."</p> + +<p>The lady with the pointed nose replied that land belonged to the first +occupant; that a lodging which he himself could enter only on his +stomach was a fine subject for war. "And even if it were a kingdom, I +should like to know why," said she, "it should belong forever to John, +son or nephew of Peter or William, more than to Paul, more than to me?"</p> + +<p>Bunny Rabbit alleged the rights of use and custom. "It is these laws," +said he, "that have made me lord and master of this dwelling; passing +from father to son, it was transmitted from Peter to Simon and then to +me, John. Is the right of the first occupant a wiser law?"</p> + +<p>"Oh! well, instead of disputing any more," said she, "let us have the +matter settled by Raminagrobis Grippeminaud."</p> + +<p>The latter was a cat who lived as a devout hermit; a cat whose ways and +words were smooth; a pious cat, warmly clothed and fat and comfortable; +an umpire, expert in all cases. Bunny Rabbit accepted him as judge, and +they both went before his furred Majesty.</p> + +<p>Said Grippeminaud to them: "Come nearer, my children, come nearer; I am +deaf; it is the result of old age."</p> + +<p>They both drew nearer, suspecting nothing. As soon as he saw the +contestants within reach, Grippeminaud, the sly fellow, throwing out his +paws on both sides at once, caused the two suitors to be of one mind by +eating them both up.</p> + + +<h4>Lesson Given By Mme. Géraldy.</h4> + +<p>[Begin slowly, making frequent pauses] "The palace--of a young Rabbit [a +nice little animal]--was taken possession of, one fine morning, by Dame +Weasel [a personage with nose and manners sharp]; she is a sly one. The +master being absent, it was an easy thing for her to do. She carried her +belongings there [without asking by your leave!] one day when he had +gone to do homage to Aurora, amid the thyme and the dew. [I do not know +if you see the poetry here, but we French people consider this last line +one of the loveliest bits of Lafontaine.] After having nibbled, and +trotted, and made all his rounds, Bunny Rabbit returned to his +subterranean dwelling. Mrs. Weasel was looking out of the window. [Start +back in surprise, raise the arms and shoulders high, eyes wide open with +astonishment, excentro-excentric; see Lesson I.]</p> + +<p>"'Hospitable gods! what do I see!' exclaimed the animal who had been +shut out from his ancestors' home. 'Hello there, Madam Weasel [with one +arm raised, beckon to her to come down], come out without delay, or--I +shall notify all the rats in the country.'"</p> + +<p>"The lady with the pointed nose replied that land belonged to the first +occupant; that a lodging which he himself could enter only [scornfully; +eyes concentro-excentric, see Lesson I.] on his stomach was a fine +subject for war! 'And even if it were a kingdom [the weasel talks very +fast], I should like to know why,' said she, 'it should belong forever +to John, son or nephew of Peter or William [talk very fast, with a great +many gesticulations], more than to Paul, more than to me? '</p> + +<p>"Bunny Rabbit alleged the rights of use and custom. 'It is these laws,' +said he [the rabbit talks slowly], 'that have made me lord and master of +this dwelling; passing from father to son [count on your fingers], it +was transmitted from Peter to Simon, and then--to me, John, Is the right +of the first occupant a wiser law?'"</p> + +<p>"'Oh! well! instead of disputing any more,' said she [it is the weasel +who disputes; she talks in a high key and very fast] 'let us have the +matter settled by Raminagrobis Grippeminaud.'"</p> + +<p>The latter was a cat who lived as a devout hermit; a cat whose ways and +words were smooth; a pious cat [assert the fact], warmly clothed and fat +and comfortable [said with the gesture expressive of plenitude made with +both arms [Illustration]; see Lesson VII.]; an umpire, expert in all +cases. Bunny Rabbit accepted him as judge, and--they both went before +his furred Majesty.</p> + +<p>"Said Grippeminaud [the concentric state; take the attitude of one who +is wrapped up in himself, head bent, shoulders warped, hands holding +each other; hardly unclasp to make the sign of beckoning] to them: 'Come +nearer, my children, come nearer; [point to the ears] I am deaf; it is +the result of old age.'</p> + +<p>"They both drew nearer, suspecting nothing. As soon as he saw the +contestants within reach, [prepare the claws] Grippeminaud, the sly +fellow [act the following] throwing out his paws on both sides at once, +caused the two suitors to be of one mind by eating them both up."</p> + + + + +<h3>Delsarte's Daughter In America.<br /> + +By Adèle M. Woodward.</h3> + + + +<p>Mme. Géraldy being asked, during her recent visit to this country, what +she thought of the system of gymnastics called "Delsarte," said (to +translate literally the expressive French): "It makes me jump! And yet +you have my father's method," she continued, showing two of the +principal works on the subject published in this country.<sup><a href="#fn9">9</a></sup> "All that +is correct (pointing to some of the charts); what more do you want?"</p> + +<p>The trouble lies here: Americans wanted more. They added, they devised, +they evolved from the few gestures given by the French master a whole +system of movements which they called by his name, and which has become +very popular in young ladies' seminaries and young ladies' clubs. The +name of Delsarte has been so strongly associated with this system, that +to most people the word "Delsarte" without the word "gymnastics" would +not mean anything.</p> + +<p>Mme. Géraldy came to our country to tell us what the name of Delsarte +means. Delsarte never taught gymnastics. His whole life was devoted to +the study of the laws that govern expression. His pupils were men of all +professions, ministerial and legal orators, actors, singers, etc. "The +first half of his lesson," said she, "was always devoted to theory, the +second to practice."</p> + +<p>Mme. Géraldy is a tall, dark-haired, middle-aged woman, with an +interesting face and a charming French manner. She wears mourning for +her mother, who died in 1891.</p> + +<p>"My mother," she said, "was a remarkable woman; she ought to be as well +known as my father is. I would rather my father were not known at all," +she continued, "than to be known as he is in your country, that is, as a +professor of gymnastics."</p> + +<p>She said she had heard of the American "Delsarte gymnastics" while in +Paris (Americans passing through the city had often come to her and +asked questions), but she had no idea, until she came here, that they +were pushed so far. She was quite amused at having dumb-bells given her +at one of her lectures in a town in Pennsylvania. "In a gymnasium, as +usual," she said, smiling. Anybody who had ever been through the +Delsarte gymnastics and afterward followed the course of lessons that +Mme. Géraldy gave to a class while in New York, would have been struck +by the beauty and simplicity of her father's method, and her clear and +direct exposition of it. Here was no affectation. "I abhor all that is +affected," she said. There were no intricate convolutions, no +flourishes, and, above all, no "decomposing exercises."</p> + +<p>An interesting fact to note is that Mme. Géraldy began by teaching her +pupils the expressions of the eyes, and when she gave them attitudes or +gestures, she always called for the facial expression to accompany them. +A woman, well-known in her profession throughout the country, is said to +have made the remark that Mme. Géraldy was wrong in beginning with the +eyes; she should begin with the feet. Only after showing the +possibilities of expression by face, head, hands, arms and shoulders, +did Mme. Géraldy give the basic attitudes. She was very patient and +painstaking with her pupils, and showed herself interested in every one. +She would often pause, while showing some expressive gestures, and say, +smiling: "But you Americans do not express yourselves in gestures. You +do not 'move' as much as we do." And again, when insisting on the +expressiveness of the shoulders when raised ("the shoulders are the +thermometer of passion," said Delsarte) she would conclude: "But all +this is not American; you Americans do not shrug your shoulders."</p> + +<p>In giving the gesture of caress, she quoted her father as saying that +the attitude of the hands in prayer is a certain form of caress. In our +desire to have the thing we pray for, we clasp our hands together and +press them to our bosom as if we already held it.<sup><a href="#fn10">10</a></sup></p> + +<p>She was sometimes amused at the numerous questions that were asked her +during the lessons. "What searching minds you Americans have!" she would +remark, admiringly. "You must know the why and the wherefore of +everything. We French people are of much lighter mind and take things +more for granted."</p> + +<p>During the lesson on basic attitudes, the following question was put: +"In the attitude of repose is the mind in a passive state, and in the +attitude expressive of vehemence is the mind in an active state?" The +simple answer was: "It is the mind that governs the feet and not the +feet that govern the mind."</p> + +<p>Mme. Géraldy always insisted on the law of opposition in movements, +nature's and her father's great law. She gave, for example, an +interesting series of gestures, which might be called the ascending +scale from doubt to conviction, in which the head moves simultaneously +with the arms and in an inverse direction. The figure on page 547* +represents the angles made by the arms and shoulders and, at the same +time, those made by the head and shoulders to express the accompanying +ideas.</p> + +<p>Delsarte used to say: "When I am speaking, stop me in the moment of my +greatest exaltation, and I defy you to find me, from my head to my feet, +in a position contrary to my method."</p> + +<p>"Voice-culture for the speaking-voice is not an art that is cultivated +in France," Mme. Géraldy said, "What can you do to change your voice? It +was given to you by nature; you cannot change your vocal cords."</p> + +<p>Mme. Géraldy returned to France, bearing with her the hope that her +efforts have not been altogether unsuccessful in making the great work +of her father's life better known to Americans, better understood and +appreciated by them.</p> +</div> + + + +<div class="part" id="p7"> +<h2>Part Seventh.<br /> + +Addenda.</h2> + + + +<div class="chapter" id="p7-01"> +<h3>Trueness in Singing.</h3> + +<h4>Notes of a Lecture by Delsarte, Taken by His Pupil A. Giraudet, of The +National Academy of Music, Paris.</h4> + +<p>By a most reasonable deduction derived from his admirable principles, +Delsarte reckoned three modes or degrees of correct singing:</p> +<ol> +<li>Absolute trueness;</li> + +<li>Temperate trueness;</li> + +<li>Passional trueness.</li></ol> + +<p>Absolute trueness is that adopted by theorists, who divide the gamut +into five notes and two semi-notes; the note into nine commas, or shades +of tone; the chromatic semi-tone into five, and the diatonic semi-tone +into four.</p> + +<p>Thus from C to C# they count five shades of tone; whereas from C to Db +they count but four. Likewise, from D to Db they count five shades of +tone, and from D to C# but four.</p> + +<p><img src="images/illus066.png" alt="absolute trueness" /></p> + +<p>The difference of a comma between the D flat and the C sharp, seemingly +a very slight difference, is, nevertheless, most important in singing, +as we shall see later on. But performers, to simplify our musical +system, have divided this comma into two, making synonymous notes of D +flat and C sharp; that is to say, notes having the same sound. The note +is, therefore, practically divided into two semitones of four commas and +a half. This is what is known as moderation or temperate trueness.</p> + +<p><img src="images/illus067.png" alt="temperate trueness" /></p> + +<p>Temperate trueness is defective from many points of view. This is the +universal opinion, but we are forced to accept this method by the +absolute impossibility of any improvement, especially with the key-board +instruments now in vogue; and it must be accepted until some new +invention shall revolutionize the piano by modulating its tones, a +transformation which would give that instrument not only the musical +design, but also the color and warmth which it now lacks.</p> + +<p>Let us pass to passional trueness, leaving science to enter the domain +of art. "Passional trueness," said Delsarte, "consists in giving each +semitone three, four, five, six, or even seven commas, according to its +tendency." As we see, the precept is daring, and an inattentive scholar +would only have to forget the last words of the definition to make +people say that the great master of lyric art taught his pupils to sing +false.</p> + +<p>Every rule has its reason and its consequences. St. Augustine, who knew +the Beautiful, of which art is only the expression, and who could +explain it well, has given us a brief but admirable definition of music: +"Music is a succession of sounds each calling forth the other." Simple +yet profound words! The sounds call each other forth, desire and +mutually attract each other, and in every age this attraction has been +so clearly evident, that the seventh note in the scale, when it meets +the others each of which has its particular name relating to its +particular function, tonic, dominant, etc., is simply called the +sensitive note, from its tendency to pass into the atonic.</p> + +<p>Passional trueness is based upon this tendency of the notes to pass into +those which succeed them, and upon this reciprocal attraction of sounds. +Thus, notes, which have a tendency toward the acute or shrill, may be +raised two commas or more above temperate trueness. Notes which have a +tendency toward the grave may be lowered in the same proportion. +(Example, taken from "The Prophet," by Meyerbeer.)</p> + +<p><a href="images/example1.midi"><img src="images/illus068.png" alt="Ex. No. 1. [Music] Ah! mon fils" /></a></p> + +<p><a href="images/example2.midi"><img src="images/illus069.png" alt="Ex. No. 2. [Music] il re-nia ta me-re" /></a></p> + +<p>Here, the B may be but two commas distant from the C; and in the second +example given, the A flat may also be but two commas removed from the +G, and this change far from producing a disagreeable effect upon the +ear, will make a most striking impression and the accent will be far +more dramatic than before. Try the reverse, that is, divide the interval +B sharp-C into seven commas on the semitones A flat-G; it will be +unendurable. Whence we may deduce the fact that to sing false is to sing +above or below a note in the inverse direction to its attraction.</p> + +<p>Delsarte, in his definition, speaks only of the semitone, and we +ourselves give examples of that sort of attraction only; but it does not +follow that the other intervals are not equally subject to the same law. +Their attraction may not be shown by the same effects.</p> + +<p>The master added, in speaking of trueness in singing: "The triad is the +breathing-place of the tonality; the notes composing it should be +absolutely true. They are the singer's invariable and necessary law. +They characterize repose. Their office is that of attraction, and they +can only be attracted mutually, with the exception of the tonic, which +is the centre of attraction not only for various notes, but for the +phrase and the entire composition."</p> + +<p>Delsarte was very severe in regard to those who sang false; but to sing +true was not, to his thinking, a good quality. He said, on this point, +that no one would compliment an architect because he had built a house +in accordance with geometrical rules. Whence he concluded that trueness +is the least of good qualities, and the lack of it the greatest of +vices, and he added in regard to style: "The most important quality is +expression, and a lack of expression is the least of vices."</p> + +<p>Let us add that the application of passional trueness depends upon a +thousand conditions of rhythm and harmony, to analyze which would lead +us much too far. The artist must make use of it according to his +aptitudes and his tendencies, for he must preserve his individuality. He +must learn by observation and the study of his own faculties to apply +theoretical rules founded upon natural laws.</p> + +<p>Practical trueness, while it allows us to depart from legitimate +trueness, has strong analogies with the <i>tempo rubato</i>. The <i>tempo +rubato</i>, which Delsarte employed in a remarkable and striking way in +dramatic passages, actually permits the musician, in certain cases and +in the desired proportion, to change the value of the notes while +respecting the principle of time, which is invariable. But the +application of these rules is subject to the emotional intensity; it is, +therefore, impossible to determine theoretically and absolutely its +various bearings.</p> +</div> + + +<div class="chapter" id="p7-02"> +<h3>Delsarte.</h3> + +<h4>[From the <i>Atlantic Monthly</i> for May, 1871, by permission of Houghton, +Mifflin & Co.]</h4> + +<h4>By Francis A. Durivage.</h4> + + + +<p>It was not until last summer, and then under peculiarly impressive +circumstances, that I saw, for the first time, a remarkable man whose +name is indissolubly associated with French art--François Delsarte, of +Paris. My curiosity had been deeply excited by what I had heard of him. +I was told that, after long years of patient toil and profound thought, +his genius had discovered and developed a scientific basis for +histrionic art, that he had substituted law for empiricism in the domain +of the most potential of the fine arts; and when the names of Rachel and +Macready were quoted in his list of pupils, I was eager to behold the +master and to learn something of the system which has yielded such +fruits to the modern stage.</p> + +<p>The kindness of a friend procured me the rare privilege of admission to +the last session of Delsarte's course, which closed in July. It was on +one of those weary summer days when the hush of expectation, following +the fierce excitement caused by the declaration of war, had eclipsed the +gayety of Paris.</p> + +<p>The notes of the Marseillaise had ceased to stir the blood like the +sound of a trumpet. The glare and glitter of French chivalry, which had +masked the feebleness of the Imperial military system, had vanished. The +superb Cent Gardes, the brilliant lancers, the savage Turcos, and the +dashing Spahis had been replaced by the coarsely clad troops of the +line. It was "grim-visaged war" and not its pageantry that we beheld; +heavy guns rumbling slowly across the Place de la Concorde; dark masses +of men moving like shadows on their funeral march to the perilous edge +of battle. It was a relief to exchange these sad scenes for that quiet +interior of the Boulevard de Courcelles, where a little group of persons +devoted to æsthetic culture were gathered around their teacher, perhaps +for the last time.</p> + +<p>The personal appearance of Delsarte is impressive. Years have not +deprived his massive form of its vigor, nor dimmed the fire of his eye. +His head is cast in a Roman mould; indeed, the fine medallion likeness +executed by his daughter might well pass for an antique in the eyes of a +stranger. In his personal bearing there is nothing of that +self-assertion, that posing, which is a common defect of his +distinguished countrymen.</p> + +<p>The pupils whom I met were ladies, with the single exception of a young +American, Mr. James S. MacKaye, to whom, as his favorite disciple and +one designated to succeed him in his profession, Delsarte has imparted +all the minutiae of his science. To this gentleman was assigned the +honor of opening the <i>séance</i> by a brief exposition of the system, and +of closing it by reciting in French a brilliant tragic monologue, the +effect of which, in spite of the absence of appropriate costume and +scenic illusion, electrified the audience. In this scene, "Les Terreurs +de Thoas," those rapidly changing expressions of the features, those +statuesque attitudes melting into each other, which we all remember in +Rachel, indicated a common origin. It needed not the added eloquence of +words and the sombre music of the voice to tell the tragic story of the +victim of the Eumenides. After listening to the recitation, I was not +surprised to learn that the young student was to appear, under the +auspices of his teacher, at the Théâtre Français, during the approaching +winter,--an honor never before conceded to any foreigner. The large +American colony in Paris was looking forward to this <i>début</i> with a +natural pride, and Delsarte with the calm assurance of his favorite's +triumph. Alas! we all reckoned without taking King William, the Crown +Prince, the Fed Prince, von Moltke, and von Bismarck into our account. +We never fancied, on that bright July morning, that Krupp of Essen's +cannon and the needle-gun were soon to give laws to Paris. But <i>inter +arma silent artes</i> as well as <i>leges</i>. Nearer and deadlier tragedies +than those of Corneille and Racine were soon to be enacted; and the +poor players were summoned to perform their parts upon no mimic stage. +However, "what though the field be lost? all is not lost." The <i>venue</i>, +to borrow a legal phrase, has been changed, but the cause has not been +abandoned. Our young countryman has returned to his native land, +bringing with him the fruits of his long studies, to appeal to an +American audience, and it is quite possible that his teacher may be +induced to transfer his school of art to the United States.</p> + +<p>Although at this <i>séance</i> Delsarte appeared disposed to efface himself +in favor of his brilliant representative, he kindly consented to speak a +few words (and what a charming French lesson was his <i>causerie</i>!) and to +present a specimen of his pantomimic powers. The latter exhibition was +really surprising. He depicted the various passions and emotions of the +human soul, by means of expression and gesture only, without uttering a +single syllable; moving the spectators to tears, exciting them to +enthusiasm, or thrilling them with terror at his will; in a word, +completely magnetizing them. Not a discord in his diatonic scale. You +were forced to admit that every gesture, every movement of a facial +muscle, had a true purpose, a <i>raison d'être</i>. It was a triumphant +demonstration.</p> + +<p>The life of this great master and teacher, hereafter to be known as the +founder of the Science of Dramatic Art, crowded with strange +vicissitudes and romantic episodes, forms a record full of interest.</p> + +<p>François Delsarte was born at Solesmes, Department of the North, France, +in 1811. His father was a physician, and his mother a woman of rare +abilities, who taught herself to speak and write several languages.</p> + +<p>Shortly after the battle of Waterloo a detachment of the allied troops +was passing through Solesmes, in the midst of a dead and sullen silence, +when the commandant's quick ear caught the sound of a childish voice +crying, "Vive l'Em-pe-weur! Vive Na-po-lé-on!" Every one smiled at the +juvenile speaker's audacity, except the stern officer whose name has, +unfortunately, escaped the infamous celebrity it deserved. By his +orders, a platoon of soldiers sought out the child's home and burned it +to the ground; and thus little François Delsarte became the innocent +cause of the ruin of his family.</p> + +<p>The atrocities committed during the White Terror, of which this incident +is an example, though passed over by history, are not forgotten by the +survivors of that cruel period. The leaders in the second terror could +not plead the ignorance of Robespierre's followers in excuse of their +excesses, for they were nobles, magistrates, priests and officers of +rank.</p> + +<p>Delsarte's early years were passed in the midst of cruel privations and +domestic troubles, for even love forsook a home blighted by poverty. His +father, naturally proud and imperious, irritated by straitened +circumstances, out of which there seemed no issue, crushed by the weight +of obligations to others, lost heart and hope, became morose, sceptical +and bitter, and treated his wife and family with such harshness and +injustice, that Delsarte's mother was finally compelled to abandon her +husband. She fled with her two boys to Paris, hoping there to make her +talents available. All her efforts, however, were fruitless, and she +found herself on the verge of starvation.</p> + +<p>One evening, as she sat with her two boys in her wretched room, tortured +by their questions after their father, she could not suppress her tears. +François, the eldest, then nine years of age, tried to console her. He +told her that he was almost a man, able to earn his food and to take +care of her and his little brother. She listened to his prattle with a +sad smile, kissed him and embraced him.</p> + +<p>During all of the sleepless night which followed, François was revolving +his hidden projects of independence, and at gray dawn, confiding his +purpose only to his brother, and bidding him tell his mother, when she +awoke, that he would soon be back with money to buy bread for them, the +child stole forth to seek his fortune in the great dreary world of +Paris.</p> + +<p>He wandered about all day, and at night, hungry and weary, entered a +jeweler's shop in the Palais Royal, kept by an old woman, to whom he +appealed for employment--vainly at first. Finally, however, she +consented to engage him as a drudge and errand boy, allowed him to sleep +in an <i>armoire</i> over the door, and gave him four pounds of bread a week +in lieu of wages. Four pounds of bread a week! The allowance appeared +munificent, and he accepted the offer with gratitude. A brief experience +dispelled his illusions. He was always weary and always hungry. After a +few weeks' trial, he left his first benefactress and secured some kind +of employment at five sous a day, out of which he contrived to save two. +In two weeks he had saved nearly a franc and a half for his dear mother. +One day, while executing a commission for his employer, he found his +little brother alone in the street crying bitterly.</p> + +<p>"How is dear mamma?" was his first question.</p> + +<p>"Dead, and carried away by ugly men."</p> + +<p>The winter of 1821 was unusually severe for Paris. One night Delsarte +and his brother fell asleep in each other's arms in the wretched loft +they occupied; but when the former opened his eyes to the morning's +light he was holding a corpse to his heart. The little boy had perished +of cold and starvation. Almost mad with terror and grief, the survivor +rushed into the streets to summon the neighbors.</p> + +<p>The next day a little hatless boy, in rags and nearly barefooted, +followed two men bearing a small pine coffin which they deposited in the +<i>fosse commune</i> of <i>Pére la Chaise</i>.</p> + +<p>After seeing the grave covered, Delsarte left the cemetery and wandered +wearily through the snow, now utterly alone in the world, across the +plain of St. Denis. Overcome by cold, hunger, and grief, he sank to the +ground, and then, before he lost consciousness, a strain of music, real +or imaginary, met his ear and charmed him to a forgetfulness of misery, +bereavement, all the evils that environed him. It was the first +awakening of his artist soul, and to this day Delsarte believes that it +was no earthly music that he heard.</p> + +<p>Rousing himself from a sort of stupor into which he had fallen, he saw a +<i>chiffonnier</i> bending over him. The man had for a moment mistaken the +prostrate form for a bundle of rags; but taking pity on the half-frozen +lad, he placed him in his basket and carried him to his miserable home. +And so the future artist commenced his professional career as a Parisian +rag-picker.</p> + +<p>While wandering about the great city in the interest of his employer, +his only solace was to listen to the songs of itinerant vocalists and +the occasional music of a military band. Music became his passion. From +some of the gamins he learned the seven notes of the scale, and, to +preserve the melodies that delighted him, he invented a system of +musical notation. On a certain holiday, when he was twelve years old, +while listening to the delightful music in the garden of the Tuileries, +the little <i>chiffonnier</i> busied himself with drawing figures in the +dust. An old man of eccentric appearance, noticing his earnest +diligence, accosted him.</p> + +<p>"What are you doing there, boy?" he asked.</p> + +<p>Terrified at first, but reassured by the kind manner of the stranger, +Delsarte replied: "Writing down the music, sir."</p> + +<p>"Do you mean to say those marks have any significance? That you can read +them?"</p> + +<p>"Certainly, sir."</p> + +<p>"Let me hear you."</p> + +<p>Encouraged by the interest manifested in him, the lad sang in a sweet +and pure but sad voice the strains just played by the military band. The +old man was amazed.</p> + +<p>"Who taught you this process?"</p> + +<p>"Nobody, sir; found it out myself."</p> + +<p>Bambini--for it was the then distinguished, but now almost forgotten, +professor--offered to take the boy home with him; and he who had entered +the garden of the Tuileries a rag-picker, left it a recognized musician. +In the dust of Paris were first written the elements of a system +destined to regenerate art. Bambini taught his protégé all he knew, but +the pupil soon surpassed the master and became his instructor in turn; +for if the one had talent, the other possessed genius.</p> + +<p>Bambini predicted the future of Delsarte. One day when they were walking +arm-in-arm in the Avenue des Champs-Elysées, the former said: "Do you +see all those people in carriages, with their fine liveries and +magnificent clothes? Well, the day will come when they will only be too +happy to listen to you, proud of your presence in their <i>salons</i>, +envying your fame as a great artist."</p> + +<p>Bambini's death left Delsarte poor and friendless. At fourteen, however, +he managed to get admitted into the Conservatoire, where, though he +labored hard, he met with harsh treatment and discouragement. The +professors disliked him for his reflective nature and persistent +questionings which brought to light the superficiality of their +acquirements; his fellow-pupils, for his exclusive devotion to study and +his reserve, the result of diffidence rather than of <i>hauteur</i>. His +professors were dictators, who, while differing from each other as +teachers, were yet united in frowning upon any attempt on the part of +their pupil to emancipate himself from the thraldom of conventionalism +and routine. Genius was a heresy for which they had no mercy.</p> + +<p>Thrown upon his own resources, he soon developed, by careful observation +of nature and a constant study of cause and effect, a system and a style +radically differing from those of the professors and their servile +imitators.</p> + +<p>One day, after having sung in his own style at one of the public +exhibitions--applauded, however, only by a single auditor,--he was +walking sadly and slowly in the court-yard of the Conservatoire, when a +lady and a gentleman approached him.</p> + +<p>"Courage, my friend," said the lady. "Your singing has given me the +highest pleasure. You will be a great artist."</p> + +<p>So spake Marie Malibran, the queen of song.</p> + +<p>"My friend," said her companion, "It was I who applauded you just now. +In my opinion, you are a singer <i>hors de ligne</i>. When my children are +ready to learn music, you, above all others, shall be their professor."</p> + +<p>These were the words of Adolphe Nourrit. The praises of Malibran and +Nourrit gave Delsarte courage, revived his hopes, and decided him to +follow implicitly the promptings of his genius. His extreme poverty +compelled him at last to apply to the Conservatoire for a diploma which +would enable him to secure a situation at one of the lyric theatres. It +was refused.</p> + +<p>The autumn of 1829 found him a shabby, almost ragged applicant for +employment at the stage-door of the Opéra Comique. Repeated rebuffs +failed to baffle his desperate pertinacity.</p> + +<p>One day the director, hearing of the annoyance to which his +subordinates were subjected by Delsarte, determined to abate the +nuisance by one of those cruel <i>coups-de-main</i> of which Frenchmen are +pre-eminently capable. The next night, during the performance, when +Delsarte called, he was, to his surprise and delight, shown into the +great man's presence.</p> + +<p>"Well, sir, what do you want?"</p> + +<p>"Pardon, Monsieur, I came to seek a place at your theatre."</p> + +<p>"There is but one vacant, and you don't seem capable of filling that. I +want only a call-boy."</p> + +<p>"Sir, I am prepared to fill the position of a <i>premier sujet</i> among your +singers."</p> + +<p>"<i>Imbécile!</i>"</p> + +<p>"Monsieur, if my clothes are poor, my art is genuine."</p> + +<p>"Well, sir, if you will sing for me, I will hear you shortly."</p> + +<p>He left Delsarte alone, overjoyed at having secured the manager's ear. +In a few moments a surly fellow told him he was wanted below, and he +soon found himself with the manager upon the stage behind the green +curtain.</p> + +<p>"You are to sing here," said the director. "There is your piano. In one +moment the curtain will be rung up. I am tired of your importunities. I +give you one chance to show the stuff you're made of. If you discard +this opportunity, the next time you show your face at my door you shall +be arrested and imprisoned as a vagrant."</p> + +<p>The indignation excited in Delsarte by this cruel trick instantly gave +way before the reflection that success was a matter of life and death +with him, and that perhaps his last chance lay within his grasp. He +forgot his rags; every nerve became iron; and when the curtain was rung +up, a beggar with the bearing of a prince advanced to the foot-lights, +was received with derisive laughter by some, with glances of surprise +and indignation by others, and, with a sad and patient smile on his +countenance, gracefully saluted the brilliant audience. The courtliness +of his manner disarmed hostility; but when he sat down to the piano, ran +his fingers over the keys, and sang a few bars, the exquisite voice +found its way to every heart. With every moment his voice became more +powerful. Each gradation of emotion was rendered with an ease, an art, +an expression, that made every heartstring vibrate. Then he suddenly +stopped, bowed, and retired. The house rang with bravos. The +dress-circle forgot its reticence and joined in the tumult of applause. +He was recalled. This time he sang a grand lyric composition with the +full volume of his voice, aided in effect by those imperial gestures of +which he had already discovered the secret. The audience were +electrified. They declared that Talma was resuscitated. But when he was +a second time recalled, his tragic mood had melted; there were "tears +in his voice" as well as on his cheeks.</p> + +<p>After the fall of the curtain the director grasped his hand, loaded him +with compliments, and offered him an engagement for a year at a salary +of ten thousand francs. He went home to occupy his wretched attic for +the last time, and falling on his knees poured forth his soul in prayer.</p> + +<p>The next day Delsarte, neatly dressed, paid a visit to the directors of +the Conservatoire.</p> + +<p>"Gentlemen," said he, "<i>you</i> would not give me a recommendation as a +<i>chorister</i>; the <i>public</i> have accorded me <i>this</i>." And he displayed his +commission as <i>Comédien du Roi</i>.</p> + +<p>Delsarte remained upon the lyric stage until 1834, when the failure of +his voice, which had been strained at the Conservatoire, compelled him +to retire. He continued, however, the study of music, and his +productions, particularly a "Dies Irae," placed him in the front rank of +composers. At this period of his life, meditation and study resulted in +a firm religious faith, which never wavered afterward.</p> + +<p>He now applied himself to the task of establishing a scientific basis +for lyric and dramatic art, and after years of patient labor perfected a +system on which probably his fame will ultimately rest. His <i>cours</i> for +instruction in the principles of art was first opened in 1839. From the +outset he was appreciated by the highly cultivated few, nor was it long +before the circle extended and the new master won a European +reputation. Some of his pupils were destined for a professional career; +but many, men and women of rank and fortune, sought to learn from him +the means of rendering their brilliant <i>salons</i> yet more attractive. +Members of most of the reigning families of Europe were numbered among +his pupils, and his apartments in Paris were filled, when I saw them, +with pictures, photographs, and other souvenirs of esteem and +friendship, from the highest dignitaries of Europe. When he consented, +on one occasion, to appear at a <i>soirée</i> at the Tuileries, Louis +Philippe received him at the foot of the grand staircase, as if he had +been his peer, and bestowed on him during the evening the same +attentions he would have accorded to a fellow-sovereign. The citizen +king recognized the royalty of art. And it may be noted that Delsarte +would not have appeared on this occasion, except on the condition that +no remuneration should be offered to him for the exercise of his +talents.</p> + +<p>Malibran, whose kind word in the courtyard of the Conservatoire had +revived Delsarte's fainting hopes, attended his early course of +lectures. I have already mentioned Rachel and Macready as his pupils. I +now recall the names of Sontag, of the gifted Madeleine Brohan, of +Carvalho, Barbot, Pasca (who owed everything to Delsarte), and Pajol. He +was the instructor in pulpit oratory of Père Lacordaire, Père +Hyacinthe, and the present abbé of Nôtre Dame.</p> + +<p>Notwithstanding the labor exacted by his great specialty, he has done +much good work in various other directions. Among his mechanical +inventions are a sonotype, a tuning instrument by means of which any one +can tune a piano accurately, an improved level, theodolite and sextant, +a scale for measuring the differences in the solidity of fluids, etc.</p> + +<p>Of the conscientiousness with which he works, it may be mentioned that +he devoted five years to the study of anatomy and physiology, to obtain +a perfect knowledge of all the muscles, their uses and capabilities,--a +knowledge of which he has utilized with remarkable success.</p> + +<p>It is now time to give some idea of his system, which can be done most +satisfactorily, perhaps, through the medium of an article which appeared +in the <i>Gazette Musicale</i>, from the authoritative pen of A. Guéroult. +After having analyzed the maestro's theory of vocal art, he says:</p> + +<p>"The study of gesture and its agents has been subjected by M. Delsarte +to an analysis no less profound. Thus he recognizes in the human body +three principal agents of expression, the head, the torso and the limbs, +which perform each a distinct part in the economy of a character. +Gesture, sometimes expressive, sometimes excentric, and sometimes +compressive, assumes in each case special forms, which have been +classified and described by M. Delsarte with a care and perspicuity +which make his labors on this subject entirely new, and for which I know +no equivalent anywhere. Permit me to explain more fully the utility of +this study, to cite an application, for examples are always more +eloquent than generalities. In the play of the physiognomy every portion +of the face performs a separate part. Thus, for instance, it is not +useless to know what function nature has assigned to the eye, the nose, +the mouth, in the expression of certain emotions of the soul. True +passion, which never errs, has no need of recurring to such studies; but +they are indispensable to the feigned passion of the actor. How useful +would it not be to the actor who wishes to represent madness or wrath, +to know that the eye never expresses the sentiment experienced, but +simply indicates the object of this sentiment! Cover the lower part of +your face with your hand, and impart to your look all the energy of +which it is susceptible, still it will be impossible for the most +sagacious observer to discover whether your look expresses anger or +attention. On the other hand, uncover the lower part of the face, and if +the nostrils are dilated, if the contracted lips are drawn up, there is +no doubt that anger is written on your countenance. An observation which +confirms the purely indicative part performed by the eye is, that among +raving madmen the lower part of the face is violently contracted, while +the vague and uncertain look shows clearly that their fury has no +object. It is easy to conceive what a wonderful interest the actor, +painter, or sculptor must find in the study of the human body thus +analysed from head to foot in its innumerable ways of expression. +Hence, the eloquent secrets of pantomime, those imperceptible movements +of great actors which produce such powerful impressions, are decomposed +and subjected to laws whose evidence and simplicity are a twofold source +of admiration.</p> + +<p>"Finally, in what concerns articulate language M. Delsarte has assumed a +yet more novel task. We all know the power of certain inflections; we +know that a phrase which accented in a certain way is null, accented in +another way produces irresistible effects upon the stage. It is the +property of great artists to discover this preëminent accentuation; but +never, to my knowledge, did anyone think of referring these happy +inspirations of genius to positive laws. Yet, whence comes it that a +certain inflection, a certain word placed in relief, affects us? How +shall we explain this emotion, if not by a certain relation existing +between the laws of our organization, the laws of general grammar, and +those of musical inflection? There is always, in a phrase loudly +enunciated, one word which sustains the passionate accent. But how shall +we detach and recognize it in the midst of the phrase? How distribute +the forces of accentuation on all the words of which it is composed? How +classify and arrange them in relation to that sympathetic inflection, +without which the most energetic thought halts at our intelligence +without reaching our heart? M. Delsarte has had recourse to the same +method which guided him in the study of gesture. He did not study +declamation on the stage, but in real life, where unpremeditated +inflections spring directly from feeling; then, fortified by innumerable +observations, he rearranged grammar and rhetoric from this special point +of view, and has obtained results as simple in their principles as they +are fertile in their application.</p> + +<p>"If I wished to classify the nature and value of M. Delsarte's labors in +relation to what has been spoken or written up to this time on the art +of singing or acting, I should say that the numerous precepts which have +been formulated on dramatic art have had hardly any object other than +the manner in which each character ought to be conceived. Ingenious and +multiplied observations have been employed to bring forth the delicacies +of the part and its unpcrceived features. The intellectual strength of +the actor or vocalist has been directed to the author's conception. He +has been told to be pathetic here, menacing there; here to assume a +slight tinge of irony transpiercing apparent politeness, or, again, to +make his gesture a seeming contradiction of his words. Such an analysis +of the poet's work is certainly imperative, but how far from adequate! +And what an immense distance there is from the intelligence which +comprehends to the gesture which translates, from the song which moves +to the inflection which interprets! It is with the new purpose which M. +Delsarte has embraced that, without neglecting an understanding of the +author, he says to the actor: 'This is what you must express. Now, how +will you do it? What will you do with your arms, with your head, with +your voice? Do you know the laws of your organization? Do you know how +to go to work to be pathetic, dignified, comic, or familiar, to +represent the clemency of Augustus or the drunkenness of a coachman?' In +a word, he teaches the vocalist or actor the laws of this language, of +this eloquence which nature places in our eyes, in our gestures, in the +suppressed or expansive tones of our voice, in the accent of speech. He +teaches the actor, or, to speak more properly, the man, to know himself, +to manage artistically that inimitable instrument which is man himself, +all of whose parts contribute to a harmonious unity. Hence, aware of the +gravity of such an assertion, I do not hesitate to proclaim here that I +believe M. Delsarte's work will remain among the fundamental bases; I +believe that his labors are destined to give a solid foundation to +theatric art, to elevate and to ennoble it; I believe that there is no +actor, no singer, however eminent, who cannot derive from the +acquirements and luminous studies of M. Delsarte, positive germs of +development and progress. I believe that whoever makes the external +interpretation of the sentiments of the human soul his business and +profession, whether painter, sculptor, orator, or actor, that all men of +taste who support them will applaud this attempt to create the <i>science +of expressive man</i>; a science from which antiquity seems to have lifted +the veil, and what appears willing to revive in our days, in the hands +of a man worthy by his patient and conscientious efforts to discover +some of its most precious secrets."</p> + +<hr /> + +<p>Delsarte has sought neither fame nor wealth. He could easily have +secured both by remaining on the stage as an actor, after he had lost +his power as a vocalist. He preferred to surrender himself in +comparative retirement to the study of science and art, and the +instruction of those who sought his aid in mastering the principles of +the latter. To the needy this instruction was imparted gratuitously, and +more than one successful actress has been raised from penury to fortune +by the benevolence of her teacher.</p> + +<p>It would be easy to cite many illustrations of the goodness and +tenderness of this man. Religious fervor has largely influenced his life +and is the key-note of his character; but his faith is not hampered by +bigotry. Like all minds of high rank, he holds that science and art are +the handmaids of religion.</p> + +<p>I have said that this remarkable man did not seek fame; it has come to +him unsought. Pages might be filled with voluntary tributes to his +genius from the foremost minds of France,--Jules Janin, Théophile +Gautier, Mme. Emile de Girardin. Lamartine pronounced him "a sublime +orator." Fiorentino, the keen, delicate, and calm critic, spoke of him +as "this master, whose feeling is so true, whose style is so elevated, +whose passion is so profound, that there is nothing in art so beautiful +and so perfect."</p> + +<p>If we hazarded an intrusion into the domestic circle of Delsarte, we +should find one of those pure and happy family groups, fortunately for +France by no means rare even in her capital; one of those French homes +the existence of which nearly all Englishmen and many Americans deny. We +should find a bond of sympathy and a community of talent uniting father +and mother, two fair daughters, and three brave sons. Or, rather, we +should have found this happy gathering, for the iron hand of war has +broken the charmed ring. The dear old home on the Boulevard de +Courcelles is deserted. Father, mother, and daughters were compelled to +seek refuge in the North of France, the sons to march against the +Prussians. Let us trust that long ere this they have reached home +unwounded, and that the grand old maestro has no further ills in store +for his declining years.</p> +</div> + + +<div class="chapter" id="p7-03"> +<h3>Delsarte's Method for Tuning Stringed Instruments Without the Aid of +The Ear.<sup><a href="#fn11">11</a></sup></h3> + +<h4>By Hector Berlioz.</h4> + + + +<p>Do you hear, you pianists, guitarists, violinists, violoncellists, +contra-bassists, harpists, tuners, and you, too, conductors of +orchestras--without the aid of the ear! What a vast, incomparable, nay, +priceless discovery, especially for the rest of us wretched listeners to +pianos out of tune, to violins and 'cellos out of tune, to harps out of +tune, to whole orchestras out of tune! Delsarte's invention will now +make it your positive duty to cease torturing us, to cease making us +sweat with agony, to cease driving us to suicide.</p> + +<p>Not only is the ear of no use in tuning instruments, but it is even +dangerous to consult it; it must by no possible chance be consulted. +What an advantage for those who have no ear! Hitherto, it has been just +the opposite, and we forgave you the torments that you inflicted on us. +But in future, if your instruments be out of tune, you will have no +excuse, and we shall hand you over to public vengeance. Without the aid +of the ear, mark you--aid so often useless and deceptive.</p> + +<p>Delsarte's discovery holds good only for stringed instruments, but this +is much; this is an enormous gain. Hence, it follows that in orchestras +directed and tuned without the aid of the ear, there will be no more +discords, save between the flutes, hautboys, clarionets, bassoons, +horns, cornets, trumpets, trombones, kettle-drums and bass drums. The +triangle might, at a pinch, be tuned by the new method; but it is +generally acknowledged that this is not necessary, just as with bells, a +discord between the triangle and the other instruments is a good thing; +it is popular in all lyric theatres.</p> + +<p>And the singers, whom you do not mention, someone may ask, will it be +possible to make them sing true, to put them in tune? Two or three of +them are naturally in tune. Some few, by great care and exactness, may +be brought very nearly into tune. But all the others were not, are not, +and will not be in tune, either individually, or with each other, or +with the instruments, or with the leader of the orchestra, or with the +rhythm, or with the harmony, or with the accent, or with the expression, +or with the pitch, or with the language, or with anything resembling +precision and good sense.</p> + +<p>Delsarte has made it especially easy to tune the piano, by means of an +instrument that he calls the phonopticon, which it would take too long +to describe here. Suffice it to say, that it contains an index-hand +that marks the exact instant when two or more strings are in perfect +unison. It may be added that the invariable result is so absolutely +correct, no matter who may try it or under what conditions, that the +most practiced ear could not possibly attain to similar perfection. +Acousticians should not fail to examine this invention at once, the use +of which cannot be long in becoming universal.</p> +</div> +</div> + +<div class="chapter" id="index"> +<h2>Index.</h2> + + + +<h3>A.</h3> + + +<p>Abdominal centre, the, life<br /> +Accent<br /> +Accord of nine, the<br /> +Actors, bad<br /> +Adjective, the<br /> +Adverb, the<br /> +Æsthetic division, chart of<br /> +Æsthetic fact of first rank<br /> +Æsthetics<br /> + course of, applied<br /> + lay of<br /> +Alto voice, the<br /> +Anatomy<br /> +Angelo, Michael<br /> +Angels, the<br /> +Anger<br /> +Animals do not laugh<br /> +Ankylosed limbs<br /> +Apollo, the<br /> +Appoggiatura<br /> +Aquinas, St. Thomas<br /> +Archimedean lever<br /> +Architecture, application of the law to<br /> +Aristocrats lie<br /> +Aristotle<br /> +Arms, movements of the<br /> + five million movements of the agents of the<br /> + division of<br /> + three centres in the<br /> +Art<br /> + the true aim of<br /> + all, has the same principle<br /> + definition of<br /> + how Delsarte considered<br /> + religious sentiment in<br /> + the death of<br /> + elements of<br /> + the plastic<br /> + the grand<br /> + the supreme<br /> + dramatic, lyric and oratorical<br /> + best conditions for a work of<br /> + object of<br /> + sources of fine<br /> + not imitation of nature<br /> +Article, the<br /> +Articulate language, weakness of<br /> + origin and organic apparatus of<br /> + elements of<br /> +Articulation, in the service of thought<br /> +Articulations, the<br /> +Artificial breath<br /> +Artistic personages, classification of<br /> +Artist, the proclivities necessary to an<br /> +Art-writings of the Greeks<br /> +Attraction<br /> +Attractive centres<br /> +Attribute, the<br /> +Attributes of reason, the<br /> +Audience, an, different from an individual--the greater the numbers the<br /> + less the intelligence,</p> + + + +<h3>B.</h3> + + +<p>Bacchus, the<br /> +Balzac<br /> +Bambini, Father<br /> +Barbier<br /> +Barbot, Mme.<br /> +Bass voice, the<br /> +Baudelaire, Charles<br /> +Baxile, M.<br /> +Beautiful, the<br /> +Beauty exists only in fragments<br /> + moral and intellectual<br /> +Belot, Adolphe<br /> +Béranger<br /> +Berlioz<br /> +Bizet, George<br /> +Blanchecotte, Mme.<br /> +Blangini<br /> +Body, the<br /> + divisions of the<br /> + retroactive movement of<br /> +Boileau<br /> +Bonnat<br /> +Breathing<br /> +Brohan, Madeleine<br /> +Brucker, Raymond<br /> +Buccal (cheek) zone, the<br /> + machinery (articulate speech), the language of the mind,</p> + + + +<h3>C.</h3> + + +<p>Calculation and artifice, if detected, quicksands to the orator<br /> +Canova<br /> +Captain Renard, fable of<br /> +Captivating an audience, secret of<br /> +Caress, the<br /> +Carvalho, Mme.<br /> +Charts classifying celestial spirits<br /> +Charts list of<br /> +Chastity, concave<br /> +Chaudesaigues, Mlle.<br /> +Chest, the<br /> + the three attitudes of<br /> + divisions of<br /> +Chest, a passive agent<br /> +Chest-voice, the<br /> + the expression of the sensitive life<br /> + should be little used<br /> + the eccentric voice<br /> +Chevé, M. and Mme.<br /> +Children, why are they graceful?<br /> +Chopin<br /> +Chorography<br /> +Chorre, Mother<br /> +Cicero<br /> +Circle, the, for exalting and caressing<br /> +Colin<br /> +Colors, symbolism of<br /> + the primitive<br /> + the three that symbolize the life, soul and mind<br /> +Color charts, the<br /> +Concentric state, the<br /> +Conjunction, the<br /> + the soul of the discourse<br /> +Consonants, musical<br /> + are gestures<br /> + the initial<br /> + variation in the value of<br /> + beat time for the pronunciation of<br /> + every first, is strong<br /> + two things to be observed in<br /> +Contemplation and retroaction<br /> +Corneille<br /> +Costal breathing<br /> +Courier, Paul Louis<br /> +Cousin, Victor<br /> +Cries<br /> +Cros, Antoine<br /> +Czartoriska, Princess</p> + + + +<h3>D.</h3> + + +<p>Dailly, Dr.<br /> +Darcier<br /> +Davout, Marshal<br /> +Death, the sign language of<br /> +De Bammeville, July<br /> +De Blocqueville, Mme.<br /> +De Chimay, Princess<br /> +Degrees, theory of<br /> +D'Haussonville, Countess<br /> +Déjazet<br /> +De Lamartine, Mme.<br /> +De la Madelène, Jules<br /> +Delaunay, Charles<br /> +Delivery, a hasty<br /> +De Leomenil, Mme. Laure<br /> +Delsarte, biographical sketch of<br /> + criterion of<br /> + method of<br /> + took much time in educating a pupil<br /> + was he a philosopher?<br /> + lectures of<br /> + teachings of<br /> + the press on<br /> + the discoverer of the law<br /> + can never be reproduced<br /> + birth, death, name, early history of<br /> + how he learned music<br /> + enters the conservatory<br /> + theatre and school of<br /> + becomes a teacher of singing and elocution<br /> + history of the voice of<br /> + dramatic career of<br /> + recitations of<br /> + sings at the Court<br /> + marriage and family of<br /> + religion of<br /> + friends of<br /> + the "Talma of music"<br /> + anecdotes of<br /> + scholars of<br /> + "Stanzas to Eternity" of<br /> + "dear and last pupil" of<br /> + musical compositions of<br /> + an instance of the singing of<br /> + shapeless coat of<br /> + imitating defects<br /> + singing during lessons<br /> + inventions of<br /> + Berlioz's treatment of<br /> + before the Philotechnic Association<br /> + and the four professors<br /> + last years of<br /> + a concert of<br /> + character and merit of<br /> + "Episodes of a Revelator" of<br /> + America's offer to<br /> + return to Paris of<br /> + last letter to the King of Hanover of<br /> + struggles with his teachers<br /> + visit to the dissecting room<br /> + a pensioner of the conservatory<br /> + mystical or religious musings of<br /> + the way of making his discovery<br /> + is grateful because he had not written<br /> + his book not spontaneous<br /> + on trueness in singing<br /> +Delsarte, Mme., maiden name of<br /> + beauty and talent of<br /> +Delsarte, Gustave<br /> +De Meyendorf, Mme.<br /> +Demosthenes<br /> +De Musset, Alfred<br /> +De Riancey, Henry<br /> +Desbarolles<br /> +Descartes<br /> +Deshayes, M.<br /> +De Staël, Mme.<br /> +Devotion<br /> +Diaphragmatic breathing<br /> +Dictation exercises<br /> +Discovery, dawn of Delsarte's<br /> +Dissecting room, Delsarte's visit to the<br /> +Divine Majesty, reflection of the<br /> +Divine reason<br /> +Donoso-Cortes, M.<br /> +Donot<br /> +Dramatic singing<br /> +Dugrand, Delsarte's struggles with papa<br /> +Dupré<br /> +Duprez<br /> +Dynamic apparatus, its composition<br /> + harmony<br /> + wealth</p> + + + +<h3>E.</h3> + + +<p>Ear, the most delicate sense<br /> +Eccentric state, the<br /> +E flat<br /> +Elbow, the<br /> + thermometer of the relative life<br /> + sign of humility, pride, etc.<br /> +Ellipsis<br /> +Eloquence holds first rank among the arts<br /> + to be taught and learned<br /> + is composed of three languages<br /> + does not always accompany intellect<br /> +Emotions, tender, expressed by high notes<br /> +Emphasis, example of<br /> +E mute before a consonant<br /> + before a vowel<br /> +Epic, the<br /> +Epicondyle, the eye of the arm<br /> +Epigastric centre, the, soul<br /> +Epiglottis, contracting the<br /> +Epilogue<br /> +Episodes of a Revelator<br /> +Episode I<br /> +Episode II<br /> +Episode III<br /> +Episode IV<br /> +Episode V<br /> +Episode VI<br /> +Episode VII<br /> +Equilibrium, the laws of<br /> +Error must rest upon some truth<br /> +Etruscans, the<br /> +Evolutions, passional<br /> +Expiration, the sign of<br /> +Exclamations<br /> +Expression, very difficult<br /> + the whole secret of<br /> +Expressive centres<br /> +Eye, the tolerance of<br /> +Eyes, the<br /> + the nine expressions of<br /> + parallelism between the voice and the<br /> + chart of the<br /> +Eyebrow, the<br /> + the thermometer of the mind</p> + + + +<h3>F.</h3> + + +<p>Fables, recitation of<br /> +Face, divided into three zones<br /> +Fact, the value of a<br /> +Father, Son, and Holy Ghost<br /> +Fingers, the<br /> +Florentine<br /> +Force and interest consist in suspension<br /> +Form, the vestment of substance<br /> + definition of<br /> +Fourier, Charles<br /> +Free-thinkers, blindness of<br /> +French prosody<br /> +French versification<br /> +Fright<br /> +Frontal (forehead) zone, the</p> + + + +<h3>G.</h3> + + +<p>Galen<br /> +Garrick<br /> +Gautier, Théophile<br /> +Genal (chin) zone, the<br /> +Géraldon<br /> +Gesture, in general<br /> + is for sentiments<br /> + its services to humanity<br /> + reveals the inner man<br /> + the direct agent of the heart<br /> + the interpreter of speech<br /> + the interpreter of emotion<br /> + an elliptical language<br /> + division of<br /> + harmony and dissonance of<br /> + origin and oratorical value of<br /> + superior to the other languages<br /> + is magnetic<br /> + the laws of<br /> + must always precede speech<br /> + retroaction<br /> + joy and fright require backward movement<br /> + equilibrium the great law of<br /> + the hirmonic law of<br /> + parallelism of<br /> + numbers of<br /> + lack of intelligence indicated by many<br /> + duration of<br /> + the rhythm of<br /> + importance of the laws of<br /> + the semeiotic or reason of<br /> + the types that characterize<br /> + its modifying apparatus<br /> + the inflections of<br /> + delineation of<br /> + spheroidal form of<br /> + the sense of the heart<br /> + the spirit of<br /> + the inflection of the deaf<br /> + a series of, for exercises<br /> + the static the life of<br /> + the semeiotic the spirit and rationale of<br /> + the series of, applied to the sentiments oftenest expressed<br /> + the, of interpellation<br /> + the, of thanks, affectionate and ceremonious<br /> + the, of attraction<br /> + the, of surprise and assurance<br /> + the, of devotion<br /> + the, of interrogative surprise<br /> + the, of reiterated interrogation<br /> + the, of anger<br /> + the, of menace<br /> + the, of an order for leaving<br /> + the, of reiteration<br /> + the, of fright<br /> + three important rules for<br /> + how produced<br /> + dilatory<br /> + difficulty in<br /> + object of<br /> + definition of<br /> + without a motive<br /> +Giraudet, Alfred<br /> + report of Delsarte's lecture<br /> +Gluck<br /> +God, the spirit of, in all things<br /> + how He reveals things<br /> + a pretext for every Utopia<br /> + the archetype<br /> +Good, the<br /> +Gospel, the, directs investigation<br /> +Gounod<br /> +Grace<br /> +Great movements for exaltation of sentiment<br /> +Greeks, the, had no school of æsthetics<br /> +Groans<br /> +Guéroult, Adolphe<br /> +Guide-accord, the, of Delsarte<br /> +Gymnastics, the grand law of organic<br /> + the practice of</p> + + + +<h3>H.</h3> + + +<p>Habit<br /> +Halévy<br /> +Hand, the, another expression of the face<br /> + expressions of the<br /> + its three presentations<br /> + criterion of the<br /> + chart of<br /> + the digital face<br /> + the back and the palmar face<br /> + the three rhythmic actions<br /> + the, in natural surprise<br /> + the, in death<br /> + attitudes of the<br /> + in affirmation<br /> + the nine physiognomies of<br /> +Handel<br /> +Harmony<br /> +Harmony, born of contrasts<br /> + is in opposition<br /> +Head, the, movements of<br /> + the occipital, parietal and temporal zones<br /> + the primary agent of movement<br /> + action of, in surprise<br /> + which side is for the soul and which for the senses?<br /> + attitudes of<br /> +Head voice, the<br /> + how produced<br /> + interprets mental phenomena<br /> + the concentric voice<br /> +Heart, when to carry the hand to the<br /> +Hegel<br /> +Hervet<br /> +High head, small brain<br /> +Hippias<br /> +Hoffman<br /> +Horace<br /> +Hugo<br /> +Humanity is crippled<br /> +Human reason<br /> +Human science, the alpha and omega of<br /> +Human triplicity, the<br /> +Human word composed of three languages</p> + + + +<h3>I.</h3> + + +<p>Ideal, the<br /> +Imitation, the melody of the eye<br /> + uselessness of<br /> +Immanences, the<br /> +Impressionalism<br /> +Impressions and sensations<br /> +Individual type, how formed<br /> +Infant, the, has neither speech nor gesture<br /> +Infinitesimal quantities<br /> +Inflection, a modification of sound<br /> + their importance<br /> + illustrations of<br /> + rules of<br /> + must not be multiplied<br /> + special<br /> + life revealed through four millions of<br /> + the melody of the ear<br /> + the gesture of the blind<br /> + differentiating the<br /> + high<br /> + life of speech<br /> + medallion of<br /> +Ingres<br /> +Inspiration, when allowable<br /> +the sign of<br /> +Interjection, the<br /> +Interpellation<br /> +Interrogative surprise<br /> +Intonations, caressing<br /> +Italian, no two equal sounds in</p> + + + +<h3>J.</h3> + + +<p>Jacob, Mlle.<br /> +Jacotot<br /> +Jesus of Nazareth<br /> +Joncières<br /> +Joy, the greatest in sorrow<br /> +Joys, keen</p> + + + +<h3>K.</h3> + + +<p>Kant<br /> +King of Hanover<br /> + Delsarte's last letter to the<br /> +King Louis Philippe<br /> +Kreutzer</p> + + + +<h3>L.</h3> + + +<p>Lablache<br /> +Laboring men, the ways of<br /> +Lachrymose tone disgusting<br /> +Lacordaire<br /> +La Fontaine<br /> +La Harpe<br /> +Lamaitre, Frederick<br /> +Lamartine<br /> +Lamentation<br /> +Language<br /> +Laocoon, the<br /> +Larynx, the<br /> + coloring of<br /> + lowering the<br /> + the thermometer of the sensitive life<br /> +Larynxes, artificial<br /> +Latin prosody<br /> +Laugh, signification of the<br /> + its composition<br /> +Law, definition of<br /> + application of the, to various arts<br /> +Legouvé<br /> +Legs, the, and their attitudes<br /> +Leibnitz<br /> +Leroux, Pierre<br /> +Liars do not elevate their shoulders<br /> +Life, the sensitive state<br /> + principal elements of<br /> + the phenomena of<br /> +Light<br /> +Lind, Jenny<br /> +Literary remains of Delsarte<br /> +Literature, the law applied to<br /> +Littré's Dictionary<br /> +Logic often in default<br /> +Longus<br /> +Louvre, false pictures in the<br /> +Love gives more than it receives<br /> +Lovers, the gaze of<br /> +Loyson, Father<br /> +Lucht, Auguste<br /> +Lully<br /> +Lungs, the<br /> +Lyric art</p> + + + +<h3>M.</h3> + + +<p>Malherbe<br /> +Malibran<br /> +Man<br /> + the three phases of<br /> + either painter, poet, scientist, or mystic<br /> + three types in<br /> + the object of art<br /> + a triplicity of persons<br /> + the agent of Æsthetics<br /> + when a man shrinks<br /> + unfamiliar to himself<br /> +Marcello<br /> +Marie, Franck<br /> +Mars<br /> +Martellato<br /> +Massenet<br /> +Materialism<br /> +Measure<br /> + in oratorical diction<br /> +Medallion of inflection<br /> +Mediocrity<br /> +Medium voice, the expression of moral emotions<br /> + the normal voice<br /> +Melody<br /> +Menace, the head and hand<br /> +Mengs<br /> +Mental or reflective state<br /> +Mercié<br /> +Mind, the intellectual state<br /> +Mode simpliste<br /> +Modest people turn out the elbow<br /> +Mohere<br /> +Monsabre, Father<br /> +Moral or affective state<br /> +Mother, the voice of the<br /> +Mother vowel, the<br /> +Motion, distinction and vulgarity of<br /> +Mouth, the<br /> + no contraction of back part<br /> + openings of, for various vowels<br /> + a vital thermometer<br /> +Movements from various centres<br /> + flexor, rotary, and abductory<br /> + initial forms of<br /> +Mucous membrane, transmitter of sound<br /> +Muscular machinery (gesture), the language of emotion<br /> +Music, the seven notes of<br /> + a succession of sounds<br /> +Musset</p> + + + +<h3>N.</h3> + + +<p>Napoleon III<br /> +Nasal cavities, the<br /> +Naturalism<br /> +Ninefold accord, the<br /> +Normal state, the<br /> +Nose, a complex and important agent<br /> + nine divisions of<br /> +Nose, a moral thermometer<br /> +Notes, high, for tender emotions<br /> +Nourrit, Adolph<br /> +Number</p> + + + +<h3>O.</h3> + + +<p>Occipital zone, the life<br /> +Ontology<br /> +Opposition of agents<br /> +Orator, the, should be a man of worth<br /> +Oratorical sessions<br /> +Oratory, definition of<br /> + the science of, not yet taught<br /> + the essentials<br /> + the fundamental laws of<br /> + the criterion of<br /> + the student of, should not be a servile copyist<br /> + three important rules for the student of<br /> + symbolism of colors applied to<br /> + perseverance and work necessary to the student of<br /> +Order for leaving, an<br /> +Organic chart</p> + + + +<h3>P.</h3> + + +<p>Painter, how a, examines his work<br /> +Painting, application of the law to<br /> +Palate, the<br /> +Pantomime, secrets of<br /> +Parietal zone, the soul<br /> +Particle, the<br /> +Pasca, Mme.<br /> +Passion<br /> + of signs<br /> +Passive attitude, the type of energetic natures<br /> +Pasta, Mme.<br /> +People, vulgar and uncultured<br /> +Pergolesi<br /> +Phenomena, natural, contain lessons<br /> +Phidias<br /> +Philotechnic Association<br /> +Physiology<br /> +Plato<br /> +Poe, Edgar A.<br /> +Poets are born, orators are made<br /> +Poise<br /> + lack of, in body<br /> +Powers, the<br /> +Praxiteles<br /> +Preacher, a, must not be an actor<br /> +Preposition, the<br /> +Pricette, Father<br /> +Principiants and principiates<br /> +Processional relations, theory of<br /> + reversal of<br /> +Professors, Delsarte and the four<br /> +Progressions<br /> +Pronoun, the<br /> +Pronunciation<br /> +Proudhon<br /> +Pythagoras</p> + + + +<h3>Q.</h3> + + +<p>Quintilian</p> + + + +<h3>R.</h3> + + +<p>R, cure of the faulty<br /> +Rachel<br /> +Racine<br /> +Rainbow, the<br /> + the colors of<br /> +Rameau<br /> +Random notes<br /> +Raphael's picture of Moses, a fault in<br /> +Ravignan<br /> +Reaction<br /> +Realism<br /> +Reason<br /> + a blind faculty<br /> + an act of faith<br /> + the attributes of<br /> +Reber<br /> +Reboul<br /> +Recitative<br /> +Reiterated interrogation<br /> +Reiteration<br /> +Respect, a sort of weakness<br /> +Respiration<br /> + suppressing the<br /> + and silence<br /> + three movements of<br /> + multiplied<br /> + to facilitate<br /> + vocal, logical, passional<br /> +Respiratory acts, their signification<br /> +Retroaction<br /> +Reverence, the sign of<br /> +Reynaud, Jean<br /> +Rhythmus<br /> +Romagnesi<br /> +Rossini<br /> +Roulade<br /> +Routine<br /> +Royer, Mme., Clémence</p> + + + +<h3>S.</h3> + + +<p>St. Augustine<br /> +St. Saens<br /> +St.-Simonism<br /> +St. Thomas<br /> +Salutation, the sign of<br /> +Sand, George<br /> +Schiller<br /> +Science, bases of the<br /> + and art<br /> +Scientists, cause of the failure of<br /> +Sculptor, aims of the<br /> +Sculpture, application of the law to<br /> +Semeiotics<br /> + of the shoulder<br /> +Senses, the<br /> +Sensibility, thermometer of<br /> +Sensitive nature betrayed by voice<br /> +Sensitive or vital state<br /> +Sensualism, convex<br /> +Sensuality<br /> +Sentiment<br /> +Shades and inflections<br /> +Shakespeare<br /> +Shoulder, the<br /> + thermometer of love<br /> + the sensitive life<br /> + the sign of passion<br /> + action of, in surprise<br /> + thermometer of emotions<br /> + semeiotics of<br /> + in the aristocratic world<br /> +Sigh, the<br /> +Signs of passion<br /> +Silence, the father of speech<br /> + the speech of God<br /> + the rule of<br /> +Simplisme<br /> +Sincerity intolerable<br /> +Singing<br /> +Sob, the<br /> +Societies, meeting of the learned<br /> +Socrates<br /> +Sontag, Mme.<br /> +Soprano voice, the<br /> +Sorbonne, the<br /> +Soul, the moral state<br /> +Souhe, Frederic<br /> +Sound, the first language of man<br /> + revelation of the sensitive life<br /> + is painting<br /> + should be homogeneous<br /> + every sound is a song<br /> + the sense of the life<br /> + reflection of divine image<br /> +Souvestre, Emile<br /> +Speech<br /> + the omnipotence of<br /> + inferior to gesture<br /> + anticipated by gesture<br /> + the sense of the intelligence<br /> + the three agents of<br /> + oratorical value of<br /> + soul of<br /> + visible thought<br /> +Spontini<br /> +Standard, value of a<br /> +Subject, the<br /> +Subjectivity in Æsthetics<br /> +Substantive, the<br /> +Sue, Eugene<br /> +Sully-Prudhomme<br /> +Surprise and assurance<br /> +System</p> + + + +<h3>T.</h3> + + +<p>Talma<br /> +Teachers, ignorance of the<br /> +Tears, accessory matters<br /> + to be shed only at home<br /> +Temporal region, the mind<br /> +Tenderness<br /> +Tenor voice, the<br /> +Thanks, affectionate and ceremonious<br /> +Thermometers, the three<br /> + the articular arm centres called<br /> +Thermometric system of the shoulder<br /> +Theresa<br /> +Thoracic centre, the mind<br /> +Threatening with the shoulder<br /> +Thumb, the thermometer of the will<br /> + has much expression<br /> + the sign of life<br /> + the, in death<br /> + living mimetics of<br /> + the thermometer of life and death<br /> +Thyrcis<br /> +Tone, position of<br /> +Tones, the lowest, best understood<br /> + prologation of<br /> +Torso, the<br /> + divisions of<br /> + chart of<br /> +"Treatise on Reason"<br /> +Tremolo, the<br /> +Trinitarians, the<br /> +Trinity, the<br /> + the holy, recovered in sound<br /> +True, the<br /> +Trueness in singing<br /> +Truth, men are divided in regard to<br /> +Types, the, in man<br /> +Typical arrangements<br /> + phrases</p> + + + +<h3>U.</h3> + + +<p>Uchard, Mario<br /> +Ugly, the<br /> +Uprightness, perpendicular<br /> +Uvula, raising the</p> + + + +<h3>V.</h3> + + +<p>Values, the law of<br /> + resume of the degrees of<br /> +Verb, the<br /> +Verdi<br /> +Véron, Eugene<br /> +Vertebrae, three sorts of<br /> +Vice, hideousness of<br /> +Vicious arrangements<br /> +Violent emotion, in, the voice stifled<br /> +Virtues, the<br /> +Vision, three sorts of<br /> +Vital breath<br /> +Vocal cords, fatiguing the<br /> +Vocal music<br /> +Vocal organ, the<br /> +Vocal shades, law of<br /> +Vocal tube, the, must not vary for a loud tone<br /> +Voice, the charms of<br /> + organic apparatus of<br /> + a mysterious hand<br /> + the kinds of<br /> + the registers of<br /> + meaning of the high and deep<br /> + the language of the sensitive life<br /> + the chest, the medium, the head<br /> + the white<br /> + dimensions and intensity of<br /> + how to obtain a stronger<br /> + three modes of developing<br /> + method of diminishing<br /> + the less the emotion, the stronger the<br /> + how to gain resonance<br /> + a tearful, a defect<br /> + the tremulous, of the aged<br /> + the rhythm of its tones<br /> + must not be jerky<br /> + inflections of<br /> + great affinity between the arms and the<br /> + exercises for<br /> + the mixed<br /> + tenuity and acuteness of<br /> + shades of<br /> + definition of the<br /> + shading of the<br /> + pathetic effects in the<br /> + tearing of the<br /> + two kinds of loud<br /> +Voltaire<br /> +Volubility, too much<br /> +Vowels correspond to the moral state<br /> + length of the initial</p> + + +<h3>W.</h3> + + +<p>Wartel<br /> +Weight<br /> +"What I Propose"<br /> +Will, the<br /> +Winkelmann<br /> +Wisdom<br /> +Wolf and the lamb, the fable of the<br /> +Words, the value of, in phrases<br /> + dwelling on the final<br /> +Worlds, three, presented<br /> +Wrist, the<br /> + thermometer of the physical life<br /> +Writing, a dead letter</p> + + +<h3>Z.</h3> + + +<p>Zaccone, Pierre<br /> +Zeuxis<br /> +Zola, M.</p> +</div> + + + +<div class="chapter" id="footnotes"> +<h2>Footnotes</h2> + + + +<div id="fn1"><p>1. The sensitive is also called the vital, the mental, the reflective, +and the moral the affective state. The vital sustains, the mental +guides, the moral impels.--<span class="smallcaps">Translator</span>.</p></div> + +<div id="fn2"><p>2. The registers here given undoubtedly refer to the singing voice, as +the range of notes in the speaking voice is very much more limited. Very +frequently voices are found whose range in singing is very much greater +than that which the author has given here; however, on the other hand, +many are found with even a more limited range.--<span class="smallcaps">Translator</span>.</p></div> + +<div id="fn3"><p>3. The sounds here given are those of the French vowels.</p> + +<ul style="list-style-type: none"> +<li> <i>A</i> has two sounds, heard in <i>mat</i> and <i>far</i>.</li> +<li> <i>E</i> with the acute accent (é) is like <i>a</i> in <i>fate</i>,</li> +<li> <i>E</i> with the grave accent (è) is like <i>e</i> in <i>there</i>.</li> +<li> <i>I</i> has two sounds--the first like <i>ee</i> in <i>reed</i>, the second</li> +<li> like <i>ee</i> in <i>feel</i>.</li> +<li> <i>O</i> has a sound between that of <i>o</i> in <i>rob</i> and <i>robe</i>.</li> +<li> <i>O</i> with the circumflex (ô) is sounded like <i>o</i> in <i>no</i>.</li> +<li> The exact sound of <i>u</i> is not found in English.</li> +<li> <i>Ou</i> is sounded like <i>oo</i> in <i>cool</i>.</li> +<li> The nasal sound <i>an</i> is pronounced nearly like <i>an</i> in <i>want</i>.</li> +<li> The nasal <i>in</i> is pronounced somewhat like <i>an</i> in <i>crank</i>.</li> +<li> The nasal <i>on</i> is pronounced nearly like <i>on</i> in <i>song</i>.</li> +<li> The nasal <i>un</i>is pronounced nearly like <i>un</i> in <i>wrung</i>.</li> +</ul> + +<p>Consult some work on French pronunciation, or, as is far preferable, +learn these sounds from the living voice of the teacher--<span class="smallcaps">Translator</span>.</p></div> + +<div id="fn4"><p>4. From γἑνειου, the chin.</p></div> + +<div id="fn5"><p>5. Many of these papers were entrusted by the family to a former pupil +of Delsarte, who took them to America.</p></div> + +<div id="fn6"><p>6. Notes taken by his pupils, during the latter years of his lessons +prove that the master touched upon this question. I do not copy them +because, being somewhat confused, they might give rise to +misunderstandings; neither do they in any way contradict anything that I +have said above; they confirm, on the contrary, what remains in my +memory of the interpretation of Delsarte, who never belied himself.</p></div> + +<div id="fn7"><p>7. The existence of the persons of the Trinity, the one in the other. +These charts and diagrams are given in Part Fifth.</p></div> + +<div id="fn8"><p>8. For a fuller report of this lecture, see "Delsarte System of +Expression," by Genevieve Stebbins, second edition, $2. Edgar S. Werner, +Publisher, 48 University Place, New York.</p></div> + +<div id="fn9"><p>9. "Delsarte System of Oratory" and "Delsarte System of Expression."</p></div> + +<div id="fn10"><p>10. See page 549 for complete lesson.</p></div> + +<div id="fn11"><p>11. This extract shows that Delsarte was not unknown to Berlioz. Mme. +Arnaud refers to the coldness with which Berlioz treated Delsarte. The +article given here has been translated so as to preserve as nearly as +possible the quaint, half sarcastic style of the author.--<span class="smallcaps">Publisher</span>.</p></div> +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Delsarte System of Oratory, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK DELSARTE SYSTEM OF ORATORY *** + +***** This file should be named 12200-h.htm or 12200-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/2/2/0/12200/ + +Produced by Distributed Proofreaders + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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\ No newline at end of file diff --git a/12200-h/images/example1.midi b/12200-h/images/example1.midi Binary files differnew file mode 100644 index 0000000..204b907 --- /dev/null +++ b/12200-h/images/example1.midi diff --git a/12200-h/images/example1.pdf b/12200-h/images/example1.pdf Binary files differnew file mode 100644 index 0000000..c19d747 --- /dev/null +++ b/12200-h/images/example1.pdf diff --git a/12200-h/images/example1.preview.png b/12200-h/images/example1.preview.png Binary files differnew file mode 100644 index 0000000..b0bbe79 --- /dev/null +++ b/12200-h/images/example1.preview.png diff --git a/12200-h/images/example2.ly b/12200-h/images/example2.ly new file mode 100644 index 0000000..18f993b --- /dev/null +++ b/12200-h/images/example2.ly @@ -0,0 +1,38 @@ +\include "paper20.ly" +\paper { + linewidth = 200.244096\pt + + +} + +\header { +} + +melody = \notes \relative c'' { + \clef treble + \key ees \major + \cadenzaOn + g4 g4. g16 g4 g8 \bar"|" + aes2 g4 + \cadenzaOff +} + +words = \lyrics { + il re -- nia ta me -- re +} + +\score { << + \property Staff.TimeSignature \override #'transparent = ##t + \property Score.automaticMelismata = ##t + + \addlyrics + \context Staff { + \melody + } + \context Lyrics \words + >> + + + \paper { } + \midi { \tempo 4 = 120 } +}
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