,,delsarte ,,system ,,of ,,oratory #a4 ,the ,complete ,work of ,l',abbe ,delaumosne #b4 ,the ,complete ,work of ,mme4 ,angelique ,arnaud #c4 ,all the ,literary ,remains of ,francois ,delsarte 7,given in his own words7 #d4 ,the ,lecture and ,lessons ,given by ,mme4 ,marie ,geraldy 7,delsarte's ,daughter7 in ,america #e4 ,articles by ,alfred ,giraudet1 ,francis ,a4 ,durivage1 and ,hector ,berlioz ,fourth ,edition ,new ,york ,edgar ,s4 ,werner #ahic ,copyright ,by ,edgar ,s4 ,werner #ahhb1 #ahhd1 #ahhg1 #ahib ,contents4 ,delaumosne ,on ,delsarte4 ,biographical ,sketch ,preface ,part ,first4 ,voice4 ,chapter ,i4 ,preliminary ,ideas--,criterion of the ,oratorical ,art4 ,chapter ,,ii4 ,of ,the ,voice4 ,organic ,apparatus of the ,voice--,the ,voice in ,relation to ,compass--,the ,voice in ,relation to ,vowels--,practical ,conclusions ,chapter ,,iii4 ,the ,voice in ,relation to ,intensity of ,sound4 ,what is ,understood by ,intensity of ,sound--,means of ,augmenting the ,timbre of the ,voice--,rules for ,intensity of ,sound ,chapter ,,iv4 ,the ,voice in ,relation to ,measure4 ,of ,slowness and ,rapidity in ,oratorical ,delivery--,of ,respiration and ,silence--,inflections--,rules of ,inflection--,special ,inflections ,part ,second4 ,gesture4 ,chapter ,i4 ,of ,gesture in ,general ,chapter ,,ii4 ,definition and ,division of ,gesture4 ,gesture is the ,direct ,agent of the ,heart--,gesture is the ,interpreter of ,speech--,gesture is an ,elliptical ,language ,chapter ,,iii4 ,origin and ,oratorical ,value of ,gesture ,chapter ,,iv4 ,the ,laws of ,gesture4 ,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 ,chapter ,v4 ,of ,gesture in ,particular4 ,the ,head--,movements of the head3 ,the ,normal ,state1 ,the ,eccentric ,state1 ,the ,concentric ,state--,of the ,eyes--,of the ,eyebrows ,chapter ,,vi4 ,of ,the ,torso4 ,the ,chest--,the ,shoulders4 ,chapter ,,vii4 ,of ,the ,limbs4 ,the ,arms--,inflections of the ,forearm--,of the ,elbow--,of the ,wrist--,of the ,hand3 ,the ,digital ,face1 ,the ,back ,face1 ,the ,palmar ,face--,of the ,fingers--,of the ,legs4 ,chapter ,,viii4 ,of the ,semeiotic1 or the ,reason of ,gesture4 ,the ,types which ,characterize ,gesture--,of ,gesture ,relative to its ,modifying ,apparatus ,chapter ,,ix4 ,of ,gesture in ,relation to the ,figures ,which ,represent ,it4 ,part ,third4 ,articulate ,language4 ,chapter ,i4 ,origin and ,organic ,apparatus of ,language4 ,chapter ,,ii4 ,elements of ,articulate ,language4 ,chapter ,,iii4 ,the ,oratorical ,value of ,speech4 ,chapter ,,iv4 ,the ,value of ,words in ,phrases4 ,the ,conjunction--,the ,interjection in ,relation to its ,degree of ,value--,a ,resume of the ,degrees of ,value ,chapter ,v4 ,french and ,latin ,prosody ,chapter ,,vi4 ,method4 ,dictation ,exercises ,chapter ,,vii4 ,a ,series ,of ,gestures ,for ,exercises4 ,preliminary ,reflections--,the ,series of ,gestures ,applied to the ,sentiments ,oftenest ,expressed by the ,orator3 7#a7 ,interpellation2 7#b7 ,thanks1 ,affectionate and ,ceremonious2 7#c7 ,attraction2 7#d7 ,surprise and ,assurance2 7#e7 ,devotion2 7#f7 ,interrogative ,surprise2 7#g7 ,reiterated ,interrogation2 7#h7 ,anger2 7#i7 ,menace2 7#aj7 ,an ,order for ,leaving2 7#aa7 ,reiteration2 7#ab7 ,fright--,important ,remarks ,appendix ,epilogue ,arnaud ,on ,delsarte4 ,part ,fourth4 ,chapter ,i4 ,the ,bases of the ,science ,chapter ,,ii4 ,the ,method4 ,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 ,vowel4 ,chapter ,,iii4 ,was ,delsarte a ,philosopher8 ,chapter ,,iv4 ,course of ,applied ,a,esthetics4 ,meeting of the ,circle of ,learned ,societies--,theory of the ,degrees4 ,chapter ,v4 ,the ,recitation of ,fables4 ,chapter ,,vi4 ,the ,law of ,a,esthetics4 ,chapter ,,vii4 ,the ,elements of ,art4 ,the ,true4 ,the ,good4 ,the ,beautiful4 ,chapter ,,viii4 ,application of the ,law to ,various ,arts4 ,dramatic1 ,lyric and ,oratorical ,art4 ,application of the ,law to ,literature4 ,application of the ,law to ,architecture4 ,application of the ,law to ,sculpture4 ,application of the ,law to ,painting4 ,chapter ,,ix4 ,delsarte's ,beginnings4 ,chapter ,x4 ,delsarte's ,theatre and ,school4 ,chapter ,,xi4 ,delsarte's ,family4 ,chapter ,,xii4 ,delsarte's ,religion4 ,chapter ,,xiii4 ,delsarte's ,friends4 ,chapter ,,xiv4 ,delsarte's ,scholars4 ,chapter ,,xv4 ,delsarte's ,musical ,compositions4 ,chapter ,,xvi4 ,delsarte's ,evening ,lectures4 ,chapter ,,xvii4 ,delsarte's ,inventions4 ,chapter ,,xviii4 ,delsarte before the ,philotechnic ,association4 ,chapter ,,xix4 ,delsarte's ,last ,years4 ,literary ,remains ,of ,francois ,delsarte4 ,part ,fifth4 ,publisher's ,note4 ,delsarte's ,last ,letter ,to ,the ,king ,of ,hanover ,episode ,i4 ,episode ,,ii4 ,episode ,,iii4 ,episode ,,iv4 ,episode ,v4 ,semeiotics of the ,shoulder4 ,episode ,,vi4 ,episode ,,vii4 ,what ,i ,propose4 ,the ,beautiful4 ,trinity4 ,reversal of ,processional ,relations4 ,passion of ,signs1 ,signs of ,passion4 ,definition of ,form4 ,on ,distinction and ,vulgarity of ,motion4 ,gesture4 ,definition of ,gesture4 ,attitudes of the ,head4 ,attitudes of the ,hands4 ,affirmation of the ,hand4 ,table of the ,normal ,character of the ,nine ,attitudes4 ,attitudes of the ,legs4 ,the ,holy ,trinity ,recovered in ,sound4 ,speech4 ,breathing4 ,vocal ,respiration4 ,logical ,respiration4 ,passional ,respiration4 ,vocal ,organ4 ,definition ,of ,the ,voice4 ,what the ,register is4 ,on ,shading4 ,pathetic ,effects4 ,on the ,tearing of the ,voice4 ,number4 ,medallion of ,inflection4 ,the ,nature of the ,colors of ,each ,circle in the ,color ,charts4 ,the ,attributes of ,reason4 ,random ,notes4 ,part ,sixth4 ,the ,lecture and ,lessons ,given by ,mme4 ,marie ,geraldy 7,delsarte's ,daughter7 in ,america4 ,part ,seventh4 ,article by ,alfred ,giraudet4 ,article by ,francis ,a4 ,durivage4 ,article by ,hector ,berlioz4 ,delaumosne ,on ,delsarte4 ,the ,delsarte ,system1 by ,m4 l',abbe ,delaumosne1 7,pupil of ,delsarte47 ,translated by ,frances ,a4 ,shaw4 ,francois ,delsarte4 ,francois ,delsarte was born ,november #aa1 #ahaa1 at ,solesme1 a little town of the ,department of the ,north1 in ,france4 ,his father1 who was a renowned physician and the author of several inventions1 might have secured a fortune for his family1 had he been more anxious for the morrow1 but he died in a state bordering upon poverty4 ,in #ahbb1 ,francois was apprenticed to a porcelain painter of ,paris1 but1 yielding to a taste and aptitude for music1 in the year #ahbe1 he sought and obtained admission to the ,conservatory as a pensioner4 ,here a great trial awaited him--a trial which wrecked his musical career1 but was a decided gain for his genius4 ,he had been placed in the vocal classes1 and in consequence of faults in method and direction1 he lost his voice4 ,he was inconsolable1 but1 without making light of his sorrow1 we may count that loss happy1 which gave the world its first law-giver in the art of oratory4 ,the young student refused to accept this calamity without making one final effort to retrieve it4 ,he presented himself at the musical contest of #ahbi4 ,his impaired voice rendered success impossible1 but kind words from influential friends in a great measure compensated for defeat4 ,the celebrated ,nourrit said to him3 ,i have given you my vote for the first prize1 and my children shall have no singing-master but you4 ,courage1 said ,madame ,malibran1 pressing his hand4 ,you will one day be a great artist4 ,but ,delsarte knew that without a voice he must renounce the stage1 and yielding to the inevitable1 he gave up the role of the actor to assume the functions of the professor4 ,after his own shipwreck upon a bark without pilot or compass1 he summoned up courage to search into the laws of an art which had hitherto subsisted only upon caprice and personal inspiration4 ,after several years of diligent study1 he discovered and formulated the essential laws of all art2 and1 thanks to him1 aesthetic science in our day has the same precision as mathematical science4 ,he had numerous pupils1 many of whom have become distinguished in various public careers--in the pulpit1 at the bar1 on the stage1 and at the tribune4 ,madame ,sontag1 when she wished to interpret ,gluck's music1 chose ,delsarte for her teacher4 ,rachel drew inspiration from his counsels1 and he became her guardian of the sacred fire4 ,he was urgently solicited to appear with her at the ,theatre-,francais1 but religious scruples led him to refuse the finest offers4 ,madame de ,giradin 7,delphine ,gay71 surnamed the ,muse of her country1 welcomed him gladly to her salon1 then the rendezvous of the world of art and letters1 and regretted not seeing him oftener4 ,he was more than once invited to the literary sessions of ,juilly college1 and1 under the spell of his diction1 the pupils became animated by a new ardor for study4 ,monseigneur ,sibour had great esteem and affection for ,delsarte1 and made him his frequent guest4 ,it was in the salon of this art-loving archbishop that ,delsarte achieved one of his most brilliant triumphs4 ,all the notable men of science had gathered there1 and the conversation took such a turn that ,delsarte found opportunity to give1 without offence1 a challenge in these two lines of ,racine3 ,l'onde approche1 se brise1 et vomit a nos yeux1 ,parmi des flots d'ecume1 un monstre furieux4 7,the wave draws near1 it breaks1 and casts before our eyes1 ,amid the floods of foam1 a monster grim and dire47 ,please tell me the most emphatic and significant word here1 said ,delsarte4 ,all reflected1 sought out and then gave1 each in turn1 his chosen word4 ,every word was selected save the conjunction et 7and74 ,no one thought of that4 ,delsarte then rose1 and in a calm and modest1 but triumphant tone1 said3 ,the significant1 emphatic word is the only one which has escaped you4 ,it is the conjunction and1 whose elliptic sense leaves us in apprehension of that which is about to happen4 ,all owned themselves vanquished1 and applauded the triumphant artist4 ,donoso ,cortes made ,delsarte a chosen confidant of his ideas4 ,one day1 when the great master of oratorical diction had recited to him the ,dies ,irae1 the illustrious philosopher1 in an access of religious emotion1 begged that this hymn might be chanted at his funeral4 ,delsarte promised it1 and he kept his word4 ,when invited to the court of ,louis ,philippe1 he replied3 ,i am not a court buffoon4 ,when a generous compensation was hinted at1 he answered3 ,i do not sell my loves4 ,when it was urged that the occasion was a birth-day fete to be given his father by the ,duke of ,orleans1 he accepted the invitation upon three conditions1 thus stated by himself3 #ast4 ,i shall be the only singer2 #b;d4 ,i shall have no accompaniment but the opera chorus2 #c;d4 ,i shall receive no compensation4 ,the conditions were assented to1 and ,delsarte surpassed himself4 ,the king paid him such marked attentions that ,m4 ,ingres felt constrained to say3 ,one might declare in truth that it is ,delsarte who is king of ,france4 ,delsarte's reputation had passed the frontier4 ,the king of ,hanover committed to his instruction the greatest musical artiste of his realm1 and was so gratified with her improvement that1 wishing to recompense the professor1 he sent him the much prized ,hanoverian medal of arts and sciences1 accompanied by a letter from his own royal hand4 ,delsarte afterwards received from the same king the cross of a ,chevalier of the ,guelph order4 ,delsarte's auditors were not the only ones to sound his praises4 ,the learned reviews extolled his merits4 ,such writers as ,laurentie1 ,riancey1 ,lamartine and ,theophile ,gautier awarded him the most enthusiastic praise4 ,posterity will perpetuate his fame4 ,m4 ,laurentie writes3 ,i heard ,delsarte recite one evening ',iphigenia's ,dream1' which the audience had besought of him4 ,the hall remained thrilled and breathless under this impaired and yet sovereign voice4 ,all yielded in rapt astonishment to the spell4 ,there was no prestige1 no theatrical illusion4 ,iphigenia was a professor in a black frock coat2 the orchestra was a piano1 giving forth here and there an unexpected modulation4 ,this was his whole force2 yet the hall was mute1 hearts beat1 tears flowed from many eyes1 and when the recital ended1 enthusiastic shouts arose1 as if ,iphigenia in person had just recounted her terrors4 ,after ,delsarte had gathered so abundant a harvest of laurels1 fate decided that he had lived long enough4 ,when he had reached his sixtieth year1 he was attacked by hypertrophy of the heart1 which left his rich organization in ruins4 ,he was no longer the artist of graceful1 supple1 expressive and harmonious movements2 no longer the thinker with profound and luminous ideas4 ,but in the midst of this physical and intellectual ruin1 the ,christian sentiment retained its strong1 sweet energy4 ,a believer in the sacraments which he had received in days of health1 he asked for them in the hour of danger1 and many times he partook of that sacrament of love whose virtue he had taught so well4 ,finally1 after having lingered for months in a state that was neither life nor death1 surrounded by his pious wife1 and his weeping1 praying children1 he rendered his soul to ,god on the #bjth of ,july1 #ahga4 ,delsarte never could be persuaded to write anything upon themes foreign to those connected with his musical and vocal work4 ,the author of this volume desires to save from oblivion the most wonderful conception of this superior intellect3 his ,course of ,a,esthetic ,oratory4 ,he dares promise to be a faithful interpreter4 ,if excuse be needed for undertaking a task so delicate1 he replies that he addresses himself to a class of readers who will know how to appreciate his motives4 ,the merit of ,delsarte1 the honor of his family1 the gratification of his numerous friends1 the interests of science1 the claims of friendship1 demand that this light should not be left under a bushel1 but placed upon a candlestick--this light which has shed so brilliant a glow1 and enriched the arts with a new splendor4 ,preface4 ,orators1 you are called to the ministry of speech4 ,you have fixed your choice upon the pulpit1 the bar1 the tribune or the stage4 ,you will become one day1 preacher1 advocate1 lecturer or actor2 in short1 you desire to embrace the orator's career4 ,i applaud your design4 ,you will enter upon the noblest and most glorious of vocations4 ,eloquence holds the first rank among the arts4 ,while we award praise and glory to great musicians and painters1 to great masters of sculpture and architecture1 the prize of honor is decreed to great orators4 ,who can define the omnipotence of speech8 ,with a few brief words ,god called the universe from nothingness2 speech falling from the glowing lips of the ,apostles1 has changed the face of the earth4 ,the current of opinion follows the prestige of speech1 and to-day1 as ever1 eloquence is universal queen4 ,we need feel no surprise that1 in ancient times1 the multitude uncovered as ,cicero approached1 and cried3 ,behold the orator6 ,would you have your speech bear fruit and command honor8 ,two qualities are needful3 virtue and a knowledge of the art of oratory4 ,cicero has defined the orator as a good man of worth3 ,vir bonus1 dicendi peritus4 ,then1 above all1 the orator should be a man of worth4 ,such a man will make it his purpose to do good2 and the good is the true end of oratorical art4 ,in truth1 what is art8 ,art is the expression of the beautiful in ideas2 it is the true4 ,plato says the beautiful is the splendor of the true4 ,what is art8 ,it is the beautiful in action4 ,it is the good4 ,according to ,st4 ,augustine1 the beautiful is the lustre of the good4 ,finally1 what is art8 ,it is the beautiful in the harmonies of nature4 ,galen1 when he had finished his work on the structure of the human body1 exclaimed3 ,behold this beautiful hymn to the glory of the ,creator6 ,what1 then1 is the true1 the beautiful1 the good8 ,we might answer1 it is ,god4 ,then virtue and the glory of ,god should be the one end of the orator1 of the good man4 ,a true artist never denies ,god4 ,eloquence is a means1 not an end4 ,we must not love art for its own sake1 that would be idolatry4 ,art gives wings for ascent to ,god4 ,one need not pause to contemplate his wings4 ,art is an instrument1 but not an instrument of vanity or complaisance4 ,truth1 alas6 compels us to admit that eloquence has also the melancholy power of corrupting souls4 ,since it is an art1 it is also a power which must produce its effect for good or evil4 ,it has been said that the fool always finds a greater fool to listen to him4 ,we might add that the false1 the ugly and the vicious have each a fibre in the human heart to serve their purpose4 ,then let the true orator1 the good man1 armed with holy eloquence1 seek to paralyze the fatal influence of those orators who are apostles of falsehood and corruption4 ,poets are born1 orators are made3 nascuntur poetae1 fiunt oratores4 ,you understand why ,i have engraved this maxim on the title-page of my work4 ,it contains its raison d'etre1 its justification4 ,men are poets at birth1 but eloquence is an art to be taught and learned4 ,all art presupposes rules1 procedures1 a mechanism1 a method which must be known4 ,we bring more or less aptitude to the study of an art1 but every profession demands a period more or less prolonged4 ,we must not count upon natural advantages2 none are perfect by nature4 ,humanity is crippled2 beauty exists only in fragments4 ,perfect beauty is nowhere to be found2 the artist must create it by synthetic work4 ,you have a fine voice1 but be certain it has its defects4 ,your articulation is vicious1 and the gestures upon which you pride yourself1 are1 in most cases1 unnatural4 ,do not rely upon the fire of momentary inspiration4 ,nothing is more deceptive4 ,the great ,garrick said3 ,i do not depend upon that inspiration which idle mediocrity awaits4 ,talma declared that he absolutely calculated all effects1 leaving nothing to chance4 ,while he recited the scene between ,augustus and ,cinna1 he was also performing an arithmetical operation4 ,when he said3 ,take a chair1 ,cinna1 and in everything ,closely observe the law ,i bid you heed-- he made his audience shudder4 ,the orator should not even think of what he is doing4 ,the thing should have been so much studied1 that all would seem to flow of itself from the fountain4 ,but where find this square1 this intellectual compass1 that traces for us with mathematical precision1 that line of gestures beyond which the orator must not pass8 ,i have sought it for a long time1 but in vain4 ,here and there one meets with advice1 sometimes good but very often bad4 ,for example1 you are told that the greater the emotion1 the stronger should be the voice4 ,nothing is more false4 ,in violent emotion the heart seems to fill the larynx and the voice is stifled4 ,in all such counsels it behooves us to search out their foundation1 the reason that is in them1 to ask if there is a type in nature which serves as their measure4 ,we hear a celebrated orator4 ,we seek to recall1 to imitate his inflections and gestures4 ,we adopt his mannerisms1 and that is all4 ,we see these mannerisms everywhere1 but the true type is nowhere4 ,after much unavailing search1 ,i at last had the good fortune to meet a genuine master of eloquence4 ,after giving much study to the masterpieces of painting and sculpture1 after observing the living man in all his moods and expressions1 he has known how to sum up these details and reduce them to laws4 ,this great artist1 this unrivaled master1 was the pious1 the amiable1 the lamented ,delsarte4 ,there certainly was pleasure and profit in hearing this master of eloquence1 for he excelled in applying his principles to himself4 ,still from his teachings1 even from the dead letter of them1 breaks forth a light which reveals horizons hitherto unknown4 ,this work might have been entitled3 ,philosophy of ,oratorical ,art1 for one cannot treat of eloquence without entering the domain of the highest philosophy4 ,what1 in fact1 is oratorical art8 ,it is the means of expressing the phenomena of the soul by the play of the organs4 ,it is the sum total of rules and laws resulting from the reciprocal action of mind and body4 ,thus man must be considered in his sensitive1 intellectual and moral state1 with the play of the organs corresponding to these states4 ,our teaching has1 then1 for its basis the science of the soul ministered to by the organs4 ,this is why we present the fixed1 invariable rules which have their sanction in philosophy4 ,this can be rendered plain by an exposition of our method4 ,the art of oratory1 we repeat1 is expressing mental phenomena by the play of the physical organs4 ,it is the translation1 the plastic form1 the language of human nature4 ,but man1 the image of ,god1 presents himself to us in three phases3 the sensitive1 intellectual and moral4 ,man feels1 thinks and loves4 ,he is en rapport with the physical world1 with the spiritual world1 and with ,god4 ,he fulfils his course by the light of the senses1 the reason1 or the light of grace4 ,we call life the sensitive state1 mind the intellectual state1 and soul the moral state4 ,neither of these three terms can be separated from the two others4 ,they interpenetrate1 interlace1 correspond with and embrace each other4 ,thus mind supposes soul and life4 ,soul is at the same time mind and life4 ,in fine1 life is inherent in mind and soul4 ,thus these three primitive moods of the soul are distinguished by nine perfectly adequate terms4 ,the soul being the form of the body1 the body is made in the image of the soul4 ,the human body contains three organisms to translate the triple form of the soul4 ,the phonetic machinery1 the voice1 sound1 inflections1 are living language4 ,the child1 as yet devoid of intelligence and sentiment1 conveys his emotions through cries and moans4 ,the myologic or muscular machinery1 or gesture1 is the language of sentiment and emotion4 ,when the child recognizes its mother1 it begins to smile4 ,the buccal machinery1 or articulate speech1 is the language of the mind4 ,man1 neither by voice nor gesture1 can express two opposite ideas on the same subject2 this necessarily involves a resort to speech4 ,human language is composed of gesture1 speech and singing4 ,the ancient melodrama owed its excellence to a union of these three languages4 ,each of these organisms takes the eccentric1 concentric1 or normal form1 according to the different moods of the soul which it is called to translate4 ,in the sensitive state1 the soul lives outside itself2 it has relations with the exterior world4 ,in the intellectual state1 the soul turns back upon itself1 and the organism obeys this movement4 ,then ensues a contraction in all the agents of the organism4 ,this is the concentric state4 ,in the moral or mystic state1 the soul1 enraptured with ,god1 enjoys perfect tranquility and blessedness4 ,all breathes peace1 quietude1 serenity4 ,this is the normal state1--the most perfect1 elevated and sublime expression of which the organism is capable4 ,let us not forget that by reason of a constant transition1 each state borrows the form of its kindred state4 ,thus the normal state can take the concentric and eccentric form1 and become at the same time1 doubly normal2 that is1 normal to the highest degree4 ,since each state can take the form of the two others1 the result is nine distinct gestures1 which form that marvelous accord of nine1 which we call the universal criterion4 ,in fine1 here is the grand law of organic gymnastics3 ,the triple movement1 the triple language of the organs is eccentric1 concentric1 or normal1 according as it is the expression of life1 soul or spirit4 ,under the influence1 the occult inspiration of this law1 the great masters have enriched the world with miracles of art4 ,aided by this law the course followed in this work1 may be easily understood4 ,since eloquence is composed of three languages1 we divide this work into three books in which voice1 gesture and speech are studied by turns4 ,then1 applying to them the great law of art1 our task is accomplished4 ,the advantages of this method are easily understood4 ,there is given a type of expression not taken from the individual1 but from human nature synthetized4 ,thus the student will not have the humiliation of being the slave or ape of any particular master4 ,he will be only himself4 ,those who assimilate their imperfect natures to the perfect type will become orators4 ,fiunt ,oratores4 ,success having attended the first efforts1 let the would-be orator assimilate these rules1 and his power will be doubled1 aye increased a hundredfold4 ,and thus having become an orator1 a man of principle1 who knows how to speak well1 he will aid in the triumph of religion1 justice and virtue4 ,part ,first4 ,voice ,chapter ,i4 ,preliminary ,ideas--criterion of the ,oratorical ,art4 ,let us note an incontestable fact4 ,the science of the ,art of ,oratory has not yet been taught4 ,hitherto genius alone1 and not science1 has made great orators4 ,horace1 ,quintilian and ,cicero among the ancients1 and numerous modern writers have treated of oratory as an art4 ,we admire their writings1 but this is not science2 here we seek in vain the fundamental laws whence their teachings proceed4 ,there is no science without principles which give a reason for its facts4 ,hence to teach and to learn the art of oratory1 it is necessary3 #a4 ,to understand the general law which controls the movements of the organs2 #b4 ,to apply this general law to the movements of each particular organ2 #c4 ,to understand the meaning of the form of each of these movements2 #d4 ,to adapt this meaning to each of the different states of the soul4 ,the fundamental law1 whose stamp every one of these organs bears1 must be kept carefully in mind4 ,here is the formula3 ,the sensitive1 mental and moral state of man are rendered by the eccentric1 concentric or normal form of the organism4#a ,such is the first and greatest law4 ,there is a second law1 which proceeds from the first and is similar to it3 ,each form of the organism becomes triple by borrowing the form of the two others4 ,it is in the application of these two laws that the entire practice of the art of oratory consists4 ,here1 then1 is a science1 for we possess a criterion with which all phenomena must agree1 and which none can gainsay4 ,this criterion1 composed of our double formula1 we represent in a chart1 whose explanation must be carefully studied4 ,the three primitive forms or genera which affect the organs are represented by the three transverse lines4 ,,genus4 ,,species4 #a #c #b ,,ii4 ,conc4 #a-;,,ii #c-;,,ii #b-;,,ii ,ecc4 ,conc4 ,norm4 ,conc4 ,conc4 ,conc4 ,,iii4 ,norm4 #a-;,,iii #c-;,,iii #b-;,,iii ,ecc4 ,norm4 ,norm4 ,norm4 ,conc4 ,norm4 ,i4 ,ecc4 #a-;,i #c-;,i #b-;,i ,ecc4 ,ecc4 ,norm4 ,ecc4 ,conc4 ,ecc4 ,the subdivision of the three genera into nine species is noted in the three perpendicular columns4 ,under the title ,genus we shall use the ,roman numerals ,i1 ,,iii1 ,,ii4 ,under the title ,species we employ the ,arabic figures #a1 #c1 #b4 ,i designates the eccentric form1 ,,ii the concentric form1 ,,iii the normal form4 ,the ,arabic figures have the same signification4 ,the normal form1 either in the genus or the species1 we place in the middle column1 because it serves as a bond of union between the two others1 as the moral state is the connecting link between the intellectual and vital states4 ,thus the first law relative to the primitive forms of the organs is applied in the three transverse columns1 and the second law relative to their compound forms is reproduced in the three vertical columns4 ,as may be easily proven1 the eccentric genus produces three species of eccentric forms1 marked in the three divisions of the lower transverse column4 ,since the figure #a represents the eccentric form1 #a-;,i will designate the form of the highest degree of eccentricity1 which we call eccentro-eccentric4 ,since the figure #c represents the normal form1 the numbers #c-;,i will indicate the normo-eccentric form4 ,since the figure #b designates the form which translates intelligence1 the figures #b-;,i indicate the concentro-eccentric form as a species4 ,as the species proceeds from the genus1 we begin by naming the species in order to bring it back to the genus4 ,thus1 in the column of the eccentric genus the figure #a is placed after the numbers #c and #b1 which belong to the species4 ,we must apply the same analysis to the transverse column of the normal genus1 as also to that of the concentric genus4 ,following a diagonal from the bottom to the top and from left to right1 we meet the most expressive form of the species1 whether eccentric1 normal or concentric1 marked by the figures #a-;,i1 #c-;,,iii1 #b-;,,ii1 and by the abbreviations ,ecc4-ecc4 7,eccentro-eccentric71 ,norm4-norm4 7,normo-normal71 ,conc4-conc4 7,concentro-concentric74 ,it is curious to remark how upon this diagonal the organic manifestations corresponding to the soul1 that is to love1 are found in the midst1 to link the expressive forms of life and mind4 ,this chart sums up all the essential forms which can affect the organism4 ,this is a universal algebraic formula1 by which we can solve all organic problems4 ,we apply it to the hand1 to the shoulder1 to the eyes1 to the voice--in a word1 to all the agents of oratorical language4 ,for example1 it suffices to know the eccentro-eccentric form of the hand1 of the eyes2 and we reserve it for the appropriate occasion4 ,all the figures accompanying the text of this work are only reproductions of this chart affected by such or such a particular organ4 ,a knowledge of this criterion gives to our studies not only simplicity1 clearness and facility1 but also mathematical precision4 ,in proposing the accord of nine formed by the figure #c multiplied into itself1 it must be understood that we give the most elementary1 most usual and least complicated terms4 ,through natural and successive subdivisions we can arrive at #ha terms4 ,thus multiply #i by #c2 the number #bg gives an accord of #bg terms1 which can again be multiplied by #c to reach #ha4 ,or rather let us multiply #i by #i1 and we in like manner obtain #ha terms1 which become the end of the series4 ,this is the alpha and omega of all human science4 ,huc usque venies1 et ibi confringes tumentes fluctus tuos4 7,thus far shalt thou come1 and here shall thy proud waves be stayed47 ,it is well to remark that this criterion is applied to all possible phenomena1 both in the arts and sciences4 ,this is reason1 universal synthesis4 ,all phenomena1 spiritual as well as material1 must be considered under three or nine aspects1 or not be understood4 ,three genera and nine species2 three and nine in everything and everywhere2 three and nine1 these are the notes echoed by all beings4 ,we do not fear to affirm that this criterion is divine1 since it conforms to the nature of beings4 ,then1 with this compass in hand1 let us explore the vast field of oratorical art1 and begin with the voice4 ,,note ,,to ,,the ,,student4--,do not go on without a perfect understanding of this explanation of the criterion1 as well as the exposition of our method which closes the preface4 ,chapter ,,ii4 ,of ,the ,voice4 ,the whole secret of captivating an audience by the charms of the voice1 consists in a practical knowledge of the laws of sound1 inflection1 respiration and silence4 ,the voice first manifests itself through sound2 inflection is an intentional modification of sound2 respiration and silence are a means of falling exactly upon the suitable tone and inflection4 ,sound being the first language of man in the cradle1 the least we can demand of the orator is1 that he speak intelligently a language whose author is instinct4 ,the orator must then listen to his own voice in order to understand it1 to estimate its value1 to cultivate it by correcting its faults1 to guide it--in a word1 to dispose of it at will1 according to the inclination of the moment4 ,we begin the study of the voice with ,sound2 and as sound may be viewed under several aspects1 we divide this heading into as many sections4 ,compass of the ,voice--,organic ,apparatus of the ,voice4 ,this apparatus is composed of the larynx1 the mouth and the lungs4 ,each of these agents derives its value from mutual action with the others4 ,the larynx of itself is nothing1 and can be considered only through its participation in the simultaneous action of the mouth and lungs4 ,sound1 then1 is formed by a triple agent--projective1 vibrative and reflective4 ,the lungs are the soliciting agent1 the larynx is the vibrative agent1 the mouth is the reflective agent4 ,these must act in unison1 or there is no result4 ,the larynx might be called the mouth of the instrument1 the inside of the mouth the pavilion1 the lungs the artist4 ,in a violin1 the larynx would be the string1 the lungs the bow1 the mouth the instrument itself4 ,the triple action of these agents produces phonation4 ,they engender sounds and inflections4 ,sound is the revelation of the sensitive life to the minutest degree2 inflections are the revelation of the same life in a higher degree1 and this is why they are the foundation and the charm of music4 ,such is the wonderful organism of the human voice1 such the powerful instrument ,providence has placed at the disposal of the orator4 ,but what avails the possession of an instrument if one does not know how to use it1 or how to tune it8 ,the orator1 ignorant of the laws of sound and inflection1 resembles the debutant who places the trumpet to his lips for the first time4 ,we know the ear-torturing tones he evolves4 ,the ear is the most delicate1 the most exacting of all our senses4 ,the eye is far more tolerant4 ,the eye resigns itself to behold a bad gesture1 but the ear does not forgive a false note or a false inflection4 ,it is through the voice we please an audience4 ,if we have the ear of an auditor1 we easily win his mind and heart4 ,the voice is a mysterious hand which touches1 envelops and caresses the heart4 ,of the ,voice in ,relation to ,compass4 ,all voices do not have the same compass1 or the same range4 ,by range we mean the number of tones the voice can produce below and above a given note on the staff1 say ,a1 second space of the treble clef4 ,there are four distinct kinds of voices3 ,soprano1 alto1 tenor and bass4 ,there are also intermediate voices1 possessing the peculiar quality of the kind to which it belongs1 for example3 ,mezzo-soprano1 with the quality of the soprano and only differing from the soprano in range1 the range of this voice being lower than the soprano and a little higher than the alto4 ,then comes the alto or contralto4 ,in the male voice we have the tenor robusto1 a little lower than the pure tenor and more powerful2 next the baritone1 a voice between the tenor and bass1 but possessing very much the quality of the bass4 ,the tones in the range of every voice can be divided into three parts--the lower1 medium and higher4 ,thus we would say of a performer1 he or she used the lower or higher tones1 or whatever the case may be4 ,this applies to every kind of voice4 ,the soprano voice ranges generally from the middle ,c1 first added line below on the treble clef1 upwards to ,a1 first added line above the staff4 ,contralto voices range generally from ,g1 below middle ,c in the treble clef1 up to ,f1 the upper line of the clef4 ,the tenor voice ranges from ,c1 second space of the ,f clef1 to ,d1 second space in the treble clef4 ,the bass voice ranges from lower ,f1 first space below of the ,f or bass clef1 to ,d1 second space above of this clef4#b ,the first perception of the human voice imperatively demands1 #a4 ,that the voice be tried and its compass measured in order to ascertain to what species it belongs4 ,its name must be known with absolute certainty4 ,it would be shameful in a musician not to know the name of the instrument he uses4 #b4 ,that the ear be trained in order to distinguish the pitch upon which one speaks4 ,we should be able to name a sound and to sound a name4 ,the ,orientals could sing eight degrees of tone between ,c and ,d4 ,there may be a whole scale1 a whole air between these two tones4 ,it would be unpardonable not to know how to distinguish or at least to sound a semitone4 ,there is a fact proved by experience1 which must not be forgotten4 ,the high voice1 with elevated brows1 serves to express intensity of passion1 as well as small1 trivial and also pleasant things4 ,the deep voice1 with the eyes open1 expresses worthy things4 ,the deep voice1 with the eyes closed1 expresses odious things4 ,the ,voice in ,relation to ,vowels4 ,as already stated1 the vocal apparatus is composed of the lungs1 the larynx and the mouth2 but its accessories are the teeth1 the lips1 the palate and the uvula4 ,the tip and root of the tongue1 the arch of the palate and the nasal cavities have also their share in perfecting the acoustic apparatus4 ,in classifying the different varieties of voice1 we have considered them only in their rudimentary state4 ,ability to name and distinguish the several tones of voice is the starting point4 ,we have an image more or less perfect1 leaving the mould2 we have a canvas containing the design1 but not the embroidery--the mere outline of an instrument1 a body without a soul4 ,the voice being the language of the sensitive life1 the passional state must pass entirely into the voice4 ,we must know then how to give it an expression1 a color answering to the sentiment it conveys4 ,but this expressive form of the voice depends upon the sound of its vowels4 ,there is a mother vowel1 a generative tone4 ,it is a 7,italian a74 ,in articulating a the mouth opens wide1 giving a sound similar to a in arm4 ,the primitive a takes three forms4 ,the unaccented1 ,italian a represents the normal state2 a with the acute accent 7'7 represents the eccentric state2 a with the grave accent 77 represents the concentric state4 ,these three a's derived from primitive a become each in turn the progenitor of a family with triple sounds1 as may be seen in the following genealogical tree3 ,a ,a ,a ,a --------------------------- e o e e au eu i ou u ,eccentric4 ,normal4 ,concentric4 ,this is the only simple sound1 but four other sounds are derived from it4 ,the three a's articulated by closing the uvula1 give the nasal an4 ,each family also gives its special nasal sound3 in for the eccentric voice1 on for the normal state1 un for the concentric4 ,all other sounds are derived from combinations of these4 ,the mouth cannot possibly produce more than three families of sounds1 and in each family it is a united with the others that forms the trinity4 ,the variety of sounds in these three families of vowels arises from the difference of the opening of the mouth and lips in articulating them4 ,these different modes of articulation may be rendered more intelligible by the subjoined diagrams3 a is pronounced with the mouth very wide open1 the uvula raised and the tongue much lowered4 --------------------- ,o ,o --------------------- e1 e1 i and in are articulated with the lips open and the back part of the mouth gradually closed4 _/ _/ _/ a1 au1 ou and on are articulated with the back of the mouth open and the lips gradually closed4 _/ _/ _/ e1 eu1 u and un are articulated with the back of the mouth and the lips uniformly closed4 --------------------- --------------------- ,the voice takes different names1 according to the different sounds in each family of vowels3 the chest-voice1 the medium voice and the head-voice4 ,these names imply no change in the sort of voice1 but a change in the manner of emission4 ,the head1 medium or chest-voice1 indicates only variety in the emission of vowels1 and may be applied to the high as well as the deep and medium voice4 ,thus the deep voice may produce sounds in the head-voice1 as well as in the medium and chest voices4 ,the head-voice is produced by lowering the larynx1 and at the same time raising the uvula4 ,in swallowing1 the larynx rises by the elevation of the uvula1 without which elevation there can be no head-tones4 ,practical ,conclusions4 #a4 ,it is highly important to know how to assume either of these voices at will4 ,the chest-voice is the expression of the sensitive or vital life1 and is the interpreter of all physical emotions4 ,the medium voice expresses sentiment and the moral emotions4 ,the head-voice interprets everything pertaining to scientific or mental phenomena4 ,by observing the laugh in the vital1 moral and intellectual states1 we shall see that the voice takes the sound of the vowel corresponding to each state4 ,we understand the laugh of an individual2 if upon the i 7e long71 he has made a sorry jest2 if upon e 7a in fate71 he has nothing in his heart and most likely nothing in his head2 if upon a 7a short71 the laugh is forced4 ,o1 a1 7a long7 and ou are the only normal expressions4 ,thus every one is measured1 numbered1 weighed4 ,there is reason in everything1 even when unknown to man4 ,in physical pain or joy1 the laugh or groan employs the vowels e1 e1 i4#c #b4 ,the chest-voice should be little used1 as it is a bestial and very fatiguing voice4 #c4 ,the head-voice or the medium voice is preferable1 it being more noble and more ample1 and not fatiguing4 ,in these voices there is far less danger of hoarseness4 ,the head and medium voices proceed more from the mouth1 while the chest-voice has its vibrating point in the larynx4 #d4 ,the articulation of the three syllables1 la1 mo and po1 is a very useful exercise in habituating one to the medium voice4 ,besides reproducing the tone of this voice1 these are the musical consonants par excellence4 ,they give charm and development to the voice4 ,we can repeat these tones without fatiguing the vocal chords1 since they are produced by the articulative apparatus4 #e4 ,it is well to remark that the chest1 medium and head voices are synonymous with the eccentric1 normal or concentric voice4 #f4 ,it is only a hap-hazard sort of orator who does not know how to attain1 at the outset1 what is called the white voice1 to be colored afterward at will4 ,the voice should resemble the painter's pallet1 where all the colors are arranged in an orderly manner1 according to the affinities of each4 ,a colorless tint may be attained in the same way as a pure tint4 ,it may be well to remark here1 although by anticipation1 that the expressions of the hand and brow belong to the voice4 ,the coloring of the larynx corresponds to the movements of the hand or brows4 ,sound is painting1 or it is nothing4 ,it should be in affinity with the subject4 ,chapter ,,iii4 ,the ,voice in ,relation to ,intensity of ,sound4 ,what is ,understood by ,intensity of ,sound4 ,the voice has three dimensions--height1 depth and breadth2 in other terms1 diapason1 intensity and duration2 or in yet other words1 tonality1 timbre and succession4 ,intensity may be applied alike to the voice and to sound4 ,the voice is strong or weak1 according to the mechanism of the acoustic apparatus4 ,the strength or weakness of sound depends upon the speaker1 who from the same apparatus evolves tones more or less strong4 ,it is the forte1 piano and pianissimo in music4 ,thus a loud voice can render weak tones1 and a weak voice loud tones4 ,hence the tones of both are capable of increase or diminution4 ,means of ,augmenting the ,timbre of the ,voice4 #a4 ,a stronger voice may be obtained by taking position not upon the heel or flat of the foot1 but upon the ball near the toes--that attitude which further on we shall designate as the third4 ,the chest is eccentric2 that is1 convex and dilated4 ,in this position all the muscles are tense and resemble the chords of an instrument whose resonance is proportional to their tension4 #b4 ,there are three modes of developing the voice4 ,a voice may be manufactured4 ,a natural voice is almost always more or less changed by a thousand deleterious influences4 #a4 ,in volume1 by lowering the larynx1 elevating the soft-palate and hollowing the tongue4 #b4 ,in intensity4--,a loud voice may be hollow4 ,it must be rendered deep1 forcible and brilliant by these three methods3 profound inspiration1 explosion and expulsion4 ,the intensity of an effect may depend upon expulsion or an elastic movement4 ,tenuity is elasticity4 ,it is the rarest and yet the most essential quality of diction4 #c4 ,in compass4--,there are three ways of increasing the compass of the voice3 #a4 ,by the determination of its pitch2 #b4 ,by practicing the vocal scale2 #c4 ,by the fusion of the registers upon the key-note4 ,the first of these methods is most effective4 ,the second consists in exercising upon those notes which are near the key-note4 ,upon this exercise depends in great measure the homogeneity of the voice4 ,taking la for the diapason1 the voice which extends from the lowest notes to upper re is the chest-voice1 since it suffers no acoustic modification4 ,from mi to la the voice is modified2 it is the medium voice1 or the second register1 which gives full and supple tones4 ,the head or throat-voice1 or the third register1 extends from si to the highest and sharpest notes4 ,its tones are weak1 and should be avoided as much as possible4 ,there are then only four good notes--those from mi to la1 upon which the voice should be exercised4 ,by uniting the registers1 an artificial1 homogeneous voice may be created1 whose tones are produced without compression and without difficulty4 ,this being done1 it is evident that every note of the voice must successively indicate the three registers--that is1 it must be rendered in the chest1 medium and head voices4 ,there is also a method of diminishing the voice4 ,as the tone is in proportion to the volume of air in the lungs1 it may be weakened by contracting the epiglottis or by suppressing the respiration4 ,rules for ,intensity of ,sound4 #a4 ,the strength of the voice is in an inverse ratio to the respiration4 ,the more we are moved1 the less loudly we speak2 the less the emotion1 the stronger the voice4 ,in emotion1 the heart seems to mount to the larynx1 and the voice is stifled4 ,a soft tone should always be an affecting tone1 and consist only of a breath4 ,force is always opposed to power4 ,it is an error to suppose that the voice must be increased as the heart is laid bare4 ,the lowest tones are the best understood4 ,if we would make a low voice audible1 let us speak as softly as we can4 ,go to the sea-shore when the tempest rages4 ,the roar of the waves as they break against the vessel's side1 the muttering thunders1 the furious wind-gusts render the strongest voice impotent4 ,go upon a battle-field when drums beat and trumpets sound4 ,in the midst of this uproar1 these discordant cries1 this tumult of opposing armies1 the leader's commands1 though uttered in the loudest tones1 can scarce be heard2 but a low whistle will be distinctly audible4 ,the voice is intense in serenity and calm1 but in passion it is weak4 ,let those who would bring forward subtle arguments against this law1 remember that logic is often in default when applied to artistic facts4 ,a concert is given in a contracted space1 with an orchestra and a double-bass4 ,the double-bass is very weak4 ,logic would suggest two double-basses in order to produce a stronger tone4 ,quite the contrary4 ,two double-basses give only a semitone1 which half a double-bass renders of itself4 ,so much for logic in this case4 ,the greatest joy is in sorrow1 for here there is the greatest love4 ,other joys are only on the surface4 ,we suffer and we weep because we love4 ,of what avail are tears8 ,the essential thing is to love4 ,tears are the accessories2 they will come in time1 they need not be sought4 ,nothing so wearies and disgusts us1 as the lachrymose tone4 ,a man who amounts to anything is never a whimperer4 ,take two instruments in discord and remote from each other4 ,logic forbids their approach lest their tones become more disagreeable4 ,the reverse is true4 ,in bringing them together1 the lowest becomes higher and the highest lower1 and there is an accord4 ,let us suppose a hall with tapestries1 a church draped in black4 ,logic says1 sing more loudly4 ,but this must be guarded against lest the voice become lost in the draperies4 ,the voice should scarce reach these too heavy or too sonorous partitions1 but leaving the lips softly1 it should pulsate through the audience1 and go no farther4 ,an audience is asleep4 ,logic demands more warmth1 more fire4 ,not at all4 ,keep silent and the sleepers will awaken4 #b4 ,sound1 notwithstanding its many shades1 should be homogeneous2 that is1 as full at the end as at the beginning4 ,the mucous membrane1 the lungs and the expiratory muscles have sole charge of its transmission4 ,the vocal tube must not vary any more for the loud tone than for the low tone4 ,the opening must be the same4 ,the low tone must have the power of the loud tone1 since it is to be equally understood4 ,the acoustic organs should have nothing to do with the transmission of sound4 ,they must be inert so that the tone may be homogeneous4 ,the speaker or singer should know how to diminish the tone without the contraction of the back part of the mouth4 ,to be homogeneous the voice must be ample4 ,to render it ample1 take high rather than low notes4 ,the dipthong eu 7like u in muff71 and the vowels u and o give amplitude to sound4 ,on the contrary1 the tone is meagre in articulating the vowels e1 i and a4 ,to render the voice ample1 we open the throat and roll forth the sound4 ,the more the sound is circumvoluted1 the more ample it is4 ,to render the voice resonant1 we draw the tongue from the teeth and give it a hollow form2 then we lower the larynx1 and in this way imitate the ,french horn4 #c4 ,the voice should always be sympathetic1 kindly1 calm1 and noble1 even when the most repulsive things are expressed4 ,a tearful voice is a grave defect1 and must be avoided4 ,the same may be said of the tremulous voice of the aged1 who emphasize and prolong their syllables4 ,tears are out of place in great situations2 we should weep only at home4 ,to weep is a sure way of making people laugh4 ,chapter ,,iv4 ,the ,voice in ,relation to ,measure4 ,of ,slowness and ,rapidity in ,oratorical ,delivery4 ,the third and last relation in which we shall study voice1 is its breadth1 that is1 the measure or rhythm of its tones4 ,the object of measure in oratorical diction is to regulate the interval of sounds4 ,but the length of the interval between one sound and another is subject to the laws of slowness and rapidity1 respiration1 silence and inflection4 ,let us first consider slowness and rapidity1 and the rules which govern them4 #a4 ,a hasty delivery is by no means a proof of animation1 warmth1 fire1 passion or emotion in the orator2 hence in delivery1 as in tone1 haste is in an inverse ratio to emotion4 ,we do not glide lightly over a beloved subject2 a prolongation of tones is the complaisance of love4 ,precipitation awakens suspicions of heartlessness2 it also injures the effect of the discourse4 ,a teacher with too much facility or volubility puts his pupils to sleep1 because he leaves them nothing to do1 and they do not understand his meaning4 ,but let the teacher choose his words carefully1 and every pupil will want to suggest some idea2 all will work4 ,in applauding an orator we usually applaud ourselves4 ,he says what we were just ready to say2 we seem to have suggested the idea4 ,it is superfluous to remark that slowness without gesture1 and especially without facial expression1 would be intolerable4 ,a tone must always be reproduced with an expression of the face4 #b4 ,the voice must not be jerky4 ,here we must keep jealous watch over ourselves4 ,the entire interest of diction arises from a fusion of tones4 ,the tones of the voice are sentient beings1 who love1 hold converse1 follow each other and blend in a harmonious union4 #c4 ,it is never necessary to dwell upon the sound we have just left2 this would be to fall into that jerky tone we wish to avoid4 ,of ,respiration and ,silence4 ,we place respiration and silence under the same head because of their affinity1 for respiration may often be accounted silence4 ,of silence4--,silence is the father of speech1 and must justify it4 ,every word which does not proceed from silence and find its vindication in silence1 is a spurious word without claim or title to our regard4 ,origin is the stamp1 in virtue of which we recognize the intrinsic value of things4 ,let us1 then1 seek in silence the sufficient reason of speech1 and remember that the more enlightened the mind is1 the more concise is the speech that proceeds from it4 ,let us assume1 then1 that this conciseness keeps pace with the elevation of the mind1 and that when the mind arrives at the perception of the true light1 finding no words that can portray the glories open to its view1 it keeps silent and admires4 ,it is through silence that the mind rises to perfection1 for silence is the speech of ,god4 ,apart from this consideration1 silence recommends itself as a powerful agent in oratorical effects4 ,by silence the orator arouses the attention of his audience1 and often deeply moves their hearts4 ,when ,peter ,chrysologue1 in his famous homily upon the gospel miracle of the healing of the issue of blood1 overcome by emotion1 paused suddenly and remained silent1 all present immediately burst into sobs4 ,furthermore1 silence gives the orator time and liberty to judge of his position4 ,an orator should never speak without having thought1 reflected and arranged his ideas4 ,before speaking he should decide upon his stand-point1 and see clearly what he proposes to do4 ,even a fable may be related from many points of view2 from that of expression as well as gesture1 from that of inflection as well as articulate speech4 ,all must be brought back to a scene in real life1 to one stand-point1 and the orator must create for himself1 in some sort1 the role of spectator4 ,silence gives gesture time to concentrate1 and do good execution4 ,one single rule applies to silence3 ,wherever there is ellipsis1 there is silence4 ,hence the interjection and conjunction1 which are essentially elliptic1 must always be followed by a silence4 ,respiration4--,for the act of respiration1 three movements are necessary3 inspiration1 suspension and expiration4 ,its importance4--,respiration is a faithful rendering of emotion4 ,for example3 ,he who reigns in the skies4 ,here is a proposition which the composed orator will state in a breath4 ,but should he wish to prove his emotion1 he inspires after every word4 ,he--who--reigns--in--the--skies4 ,multiplied inspirations can be tolerated on the strength of emotion1 but they should be made as effective as possible4 ,inspiration is allowable3-- #a4 ,after all words preceded or followed by an ellipse2 #b4 ,after words used in apostrophe1 as ,monsieur1 ,madame2 #c4 ,after conjunctions and interjections when there is silence2 #d4 ,after all transpositions2 for example3 ,to live1 one must work4 ,here the preposition to takes the value of its natural antecedent1 work2 that is to say1 six degrees1 since by inversion it precedes it1 and the gesture of the sentence bears wholly on the preposition2 #e4 ,before and after incidental phrases2 #f4 ,wherever we wish to indicate an emotion4 ,to facilitate respiration1 stand on tip-toe and expand the chest4 ,inspiration is a sign of grief2 expiration is a sign of tenderness4 ,sorrow is inspiratory2 happiness1 expiratory4 ,the inspiratory act expresses sorrow1 dissimulation4 ,the expiratory act expresses love1 expansion1 sympathy4 ,the suspensory act expresses reticence and disquietude4 ,a child who has just been corrected deservedly1 and who recognizes his fault1 expires4 ,another corrected unjustly1 and who feels more grief than love1 inspires4 ,inspiration is usually regulated by the signs of punctuation1 which have been invented solely to give more exactness to the variety of sounds4 ,inflections4 ,their importance4--,sound1 we have said1 is the language of man in the sensitive state4 ,we call inflections the modifications which affect the voice in rendering the emotions of the senses4 ,the tones of the voice must vary with the sensations1 each of which should have its note4 ,of what use to man would be a phonetic apparatus always rendering the same sound8 ,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 express4 ,beautiful but uniform voices resemble fine bells whose tone is sweet and clear1 full and agreeable1 but which are1 after all1 bells1 signifying nothing1 devoid of harmony and consequently without variety4 ,to employ always the same action and the same tone of voice1 is like giving the same remedy for all diseases4 ,ennui was born one day from monotony1 says the fable4 ,man has received from ,god the privilege of revealing the inmost affections of his being through the thousand inflections of his voice4 ,man's least impressions are conveyed by signs which reveal harmony1 and which are not the products of chance4 ,a sovereign wisdom governs these signs4 ,with the infant in its cradle the signs of sensibility are broken cries4 ,their acuteness1 their ascending form1 indicate the weakness1 and physical sorrow of man4 ,when the child recognizes the tender cares of its mother1 its voice becomes less shrill and broken2 its tones have a less acute range1 and are more poised and even4 ,the larynx1 which is very impressionable and the thermometer of the sensitive life1 becomes modified1 and produces sounds and inflections in perfect unison with the sentiments they convey4 ,all this1 which man expresses in an imitative fashion1 is numbered1 weighed and measured1 and forms an admirable harmony4 ,this language through the larynx is universal1 and common to all sensitive beings4 ,it is universal with animals as with man4 ,animals give the identical sounds in similar positions4 ,the infant1 delighted at being mounted on a table1 and calling his mother to admire him1 rises to the fourth note of the scale4 ,if his delight becomes more lively1 to the sixth2 if the mother is less pleased than he would have her1 he ascends to the third minor to express his displeasure4 ,quietude is expressed by the fourth note4 ,every situation has its interval1 its corresponding inflection1 its corresponding note3 this is a mathematical language4 ,why this magnificent concert ,god has arranged in our midst if it has no auditors8 ,if ,god had made us only intelligent beings1 he would have given us speech alone and without inflections4 ,let us further illustrate the role of inflection4 ,a father receives a picture from his daughter4 ,he expresses his gratitude by a falling inflection3 ,ah well6 the dear child4 ,the picture comes from a stranger whom he does not know as a painter2 he will say1 ,well now6 why does he send me this8 raising his voice4 ,if he does not know from whom the picture comes1 his voice will neither rise nor fall2 he will say1 ,well6 well6 well6 ,let us suppose that his daughter is the painter4 ,she has executed a masterpiece4 ,astonished at the charm of this work and at the same time grateful1 his voice will have both inflections4 ,if surprise predominates over love the rising inflection will predominate4 ,if love and surprise are equal1 he will simply say1 ,well now6 ,kan in ,chinese signifies at the same time the roof of a house1 a cellar1 well1 chamber1 bed--the inflection alone determines the meaning4 ,roof is expressed by the falling1 cellar by the rising inflection4 ,the ,chinese note accurately the depth and acuteness of sound1 its intervals and its intensity4 ,we can say3 ,it is pretty1 this little dog6 in #fge different ways4 ,some one would do it harm4 ,we say3 ,this little dog is pretty1 do not harm it6 ,it is pretty because it is so little4 ,if it is a mischievous or vicious dog1 we use pretty in an ironical sense4 ,this dog has bitten my hand4 ,it is a pretty dog indeed6 etc4 ,rules of ,inflection4 #a4 ,inflections are formed by an upward or downward slide of the voice1 or the voice remains in monotone4 ,inflections are1 then1 eccentric1 concentric and normal4 #b4 ,the voice rises in exaltation1 astonishment1 and conflict4 #c4 ,the voice falls in affirmation1 affection and dejection4 #d4 ,it neither rises nor falls in hesitation4 #e4 ,interrogation is expressed by the rising inflection when we do not know what we ask2 by the falling1 when we do not quite know what we ask4 ,for instance1 a person asks tidings of his friend's health1 aware or unaware that he is no better4 #f4 ,musical tones should be given to things that are pleasing4 ,courtiers give musical inflections to the words they address to royalty4 #g4 ,every manifestation of life is a song2 every sound is a song4 ,but inflections must not be multiplied1 lest delivery degenerate into a perpetual sing-song4 ,the effect lies entirely in reproducing the same inflection4 ,a drop of water falling constantly1 hollows a rock4 ,a mediocre man will employ twenty or thirty tones4 ,mediocrity is not the too little1 but the too much4 ,the art of making a profound impression is to condense2 the highest art would be to condense a whole scene into one inflection4 ,mediocre speakers are always seeking to enrich their inflections2 they touch at every range1 and lose themselves in a multitude of intangible effects4 #h4 ,in real art it is not always necessary to fall back upon logic4 ,the reason needs illumination from nature1 as the eye1 in order to see1 needs light4 ,reason may be in contradiction to nature4 ,for instance1 a half-famished hunter1 in sight of a good dinner1 would say3 ,i am hungry emphasizing hungry1 while reason would say that am must be emphasized4 ,a hungry pauper would say3 ,i am hungry1 dwelling upon am and gliding over hungry4 ,if he were not hungry1 or wished to deceive1 he would dwell upon hungry4 ,special ,inflections4 ,among the special inflections we may reckon3-- #a4 ,exclamations4--,abrupt1 loud1 impassioned sounds1 and improvisations4 #b4 ,cries4--,these are prolonged exclamations called forth by a lively sentiment of some duration1 as acute suffering1 joy or terror4 ,they are formed by the sound a4 ,in violent pain arising from a physical cause1 the cries assume three different tones3 one grave1 another acute1 the last being the lowest1 and we pass from one to the other in a chromatic order4 ,there are appealing cries which ask aid in peril4 ,these cries are formed by the sounds e and o4 ,they are slower than the preceding1 but more acute and of greater intensity4 #c4 ,groans4--,here the voice is plaintive1 pitiful1 and formed by two successive tones1 the one sharp1 the final one deep4 ,its monotony1 the constant recurrence of the same inflection1 give it a remarkable expression4 #d4 ,lamentation is produced by a voice loud1 plaintive1 despairing and obstinate1 indicating a heart which can neither contain nor restrain itself4 #e4 ,the sob is an uninterrupted succession of sounds produced by slight1 continuous inspirations1 in some sort convulsive1 and ending in a long1 violent inspiration4 #f4 ,the sigh is a weak low tone produced by a quick expiration followed by a slow and deep inspiration4 #g4 ,the laugh is composed of a succession of loud1 quick1 monotonous sounds formed by an uninterrupted series of slight expirations1 rapid and somewhat convulsive1 of a tone more or less acute and prolonged1 and produced by a deep inspiration4 #h4 ,singing is the voice modulated or composed of a series of appreciable tones4 ,part ,second4 ,gesture4 ,chapter ,i4 ,of ,gesture in ,general4 ,human word is composed of three languages4 ,man says what he feels by inflections of the voice1 what he loves by gesture1 what he thinks by articulate speech4 ,the child begins with feeling2 then he loves1 and later1 he reasons4 ,while the child only feels1 cries suffice him2 when he loves1 he needs gestures2 when he reasons1 he must have articulate language4 ,the inflections of the voice are for sensations1 gesture is for sentiments2 the buccal apparatus is for the expression of ideas4 ,gesture1 then1 is the bond of union between inflection and thought4 ,since gesture1 in genealogical order1 holds the second rank in human languages1 we shall reserve for it that place in the series of our oratorical studies4 ,we are entering upon a subject full of importance and interest4 ,we purpose to render familiar the heart language1 the expression of love4 ,we learn dead languages and living languages3 ,greek1 ,latin1 ,german1 ,english4 ,is it well to know conventional idioms1 and to ignore the language of nature8 ,the body needs education as well as the mind4 ,this is no trivial work4 ,let it be judged by the steps of the ideal ladder we must scale before reaching the perfection of gesture4 ,observe the ways of laboring men4 ,their movements are awkward1 the joints do not play4 ,this is the first step4 ,at a more advanced stage1 the shoulders play without the head4 ,the individual turns around with a great impulse from the shoulders1 with the leg raised1 but the hand and the rest of the body remain inert4 ,then come the elbows1 but without the hand4 ,later come the wrist-joint and the torso4 ,with this movement of the wrist1 the face becomes mobilized1 for there is great affinity between these two agents4 ,the face and hand form a most interesting unity4 ,finally1 from the wrist1 the articulation passes to the fingers1 and here is imitative perfection4 ,if we would speak our language eloquently1 we must not be beguiled into any patois of gesture4 ,gesture must be studied in order to render it faultlessly elegant1 but in such a thorough way as not to seem studied4 ,it has still higher claims to our regard in view of the services it has rendered to humanity4 ,thanks to this language of the heart1 thousands of deaf-mutes are enabled to endure their affliction1 and to share our social pleasures4 ,blessed be the ,abbe de l',epee1 who1 by uniting the science of gesture to the conventional signs of dactyology1 has made the deaf hear and the dumb speak6 ,this beneficent invention has made gesture in a twofold manner1 the language of the heart4 ,gesture is an important as well as interesting study4 ,how beautiful it is to see the thousand pieces of the myological apparatus set in motion and propelled by this grand motor feeling6 ,there surely is a joy in knowing how to appreciate an image of ,christ on the cross1 in understanding the attitudes of ,faith1 ,hope and ,charity4 ,we can note a mother's affection by the way she holds her child in her arms4 ,we can judge of the sincerity of the friend who grasps our hand4 ,if he holds the thumb inward and pendant1 it is a fatal sign2 we no longer trust him4 ,to pray with the thumbs inward and swaying to and fro1 indicates a lack of sacred fervor4 ,it is a corpse who prays4 ,if you pray with the arms extended and the fingers bent1 there is reason to fear that you adore ,plutus4 ,if you embrace me without elevating the shoulders1 you are a ,judas4 ,what can you do in a museum1 if you have not acquired1 if you do not wish to acquire the science of gesture8 ,how can you rightly appreciate the beauty of the statue of ,antinous8 ,how can you note a fault in ,raphael's picture of ,moses making water gush from the rock8 ,how see that he has forgotten to have the ,israelites raise their shoulders1 as they stand rapt in admiration of the miracle8 ,one versed in the science of gesture1 as he passes before the ,saint ,michael ,fountain1 must confess that the statue of the archangel with its parallel lines1 is little better than the dragon at his feet4 ,in view of the importance and interest of the language of gesture1 we shall study it thoroughly in the second book of our course4 ,chapter ,,ii4 ,definition and ,division of ,gesture4 ,gesture is the direct agent of the heart1 the interpreter of speech4 ,it is elliptical discourse4 ,each part of this definition may be easily justified4 #a4 ,gesture is the ,direct ,agent of the ,heart4--,look at an infant4 ,for some time he manifests his joy or sorrow through cries2 but these are not gesture4 ,when he comes to know the cause of his joy or sorrow1 sentiment awakens1 his heart opens to love or hatred1 and he expresses his new emotion not by cries alone1 nor yet by speech2 he smiles upon his mother1 and his first gesture is a smile4 ,beings endowed only with the sensitive life1 have no smile2 animals do not laugh4 ,this marvelous correspondence of the organs with the sentiment arises from the close union of soul and body4 ,the brain ministers to the operations of the soul4 ,every sentiment must have its echo in the brain1 in order to be unerringly transmitted by the organic apparatus4 ,ex visu cognoscitur vir4 7,the man is known by his face47 ,the role of dissimulation is a very difficult one to sustain4 #b4 ,gesture is the ,interpreter of ,speech4--,gesture has been given to man to reveal what speech is powerless to express4 ,for example3 ,i love4 ,this phrase says nothing of the nature of the being loved1 nothing of the fashion in which one loves4 ,gesture1 by a simple movement1 reveals all this1 and says it far better than speech1 which would know how to render it only by many successive words and phrases4 ,a gesture1 then1 like a ray of light1 can reflect all that passes in the soul4 ,hence1 if we desire that a thing shall be always remembered1 we must not say it in words2 we must let it be divined1 revealed by gesture4 ,wherever an ellipse is supposable in a discourse1 gesture must intervene to explain this ellipse4 #c4 ,gesture is an ,elliptical ,language4--,we call ellipse a hidden meaning whose revelation belongs to gesture4 ,a gesture must correspond to every ellipse4 ,for example3 ,this medley of glory and gain vexes me4 ,if we attribute something ignominious or abject to the word medley1 there is an ellipse in the phrase1 because the ignominy is implied rather than expressed4 ,gesture is then necessary here to express the value of the implied adjective1 ignominious4 ,suppress this ellipse1 and the gesture must also be suppressed1 for gesture is not the accompaniment of speech4 ,it must express the idea better and in another way1 else it will be only a pleonasm1 an after conception of bad taste1 a hindrance rather than an aid to intelligible expression4 ,division of ,gesture4 ,every act1 gesture and movement has its rule1 its execution and its raison d'etre4 ,the imitative is also divided into three parts3 the static1 the dynamic and the semeiotic4 ,the static is the base1 the dynamic is the centre1 and the semeiotic the summit4 ,the static is the equiponderation of the powers or agents2 it corresponds to life4 ,the dynamic is the form of movements4 ,the dynamic is melodic1 harmonic and rhythmic4 ,gesture is melodic by its forms or its inflections4 ,to understand gesture one must study melody4 ,there is great affinity between the inflections of the voice and gesture4 ,all the inflections of the voice are common to gesture4 ,the inflections of gesture are oblique for the life1 direct for the soul and circular for the mind4 ,these three terms1 oblique1 direct and circular1 correspond to the eccentric1 normal and concentric states4 ,the movements of flection are direct1 those of rotation1 circular1 those of abduction1 oblique4 ,gesture is harmonic through the multiplicity of the agents which act in the same manner4 ,this harmony is founded upon the convergence or opposition of the movements4 ,thus the perfect accord is the consonance of the three agents1--head1 torso and limbs4 ,dissonance arises from the divergence of one of these agents4 ,finally1 gesture is rhythmic because its movements are subordinated to a given measure4 ,the dynamic corresponds to the soul4 ,the semeiotic gives the reason of movements1 and has for its object the careful examination of inflections1 attitudes and types4 ,under our first head1 we treat of the static and of gesture in general2 under our second1 of the dynamic1 and of gesture in particular2 and finally1 under our third head1 of the semeiotic1 with an exposition of the laws of gesture4 ,chapter ,,iii4 ,origin and ,oratorical ,value of ,gesture4 ,origin4 ,the infant in the cradle has neither speech nor gesture3--he cries4 ,as he gains sensibility his tones grow richer1 become inflections1 are multiplied and attain the number of three million special and distinct inflections4 ,the young infant manifests neither intelligence nor affection2 but he reveals his life by sounds4 ,when he discerns the source of his joys or sufferings1 he loves1 and gesticulates to repulse or to invite4 ,the gestures1 which are few at first1 become quite numerous4 ,it is ,god's art he follows2 he is an artist without knowing it4 ,oratorical ,value of ,gesture4 ,the true aim of art is to move1 to interest and to persuade4 ,emotion1 interest and persuasion are the first terms of art4 ,emotion is expressed by the voice1 by sounds2 interest1 by language2 persuasion is the office of gesture4 ,to inflection belongs emotion through the beautiful2 to logic1 interest through the truth2 to plastic art1 persuasion through the good4 ,gesture is more than speech4 ,it is not what we say that persuades1 but the manner of saying it4 ,the mind can be interested by speech1 it must be persuaded by gesture4 ,if the face bears no sign of persuasion1 we do not persuade4 ,why at first sight does a person awaken our sympathy or antipathy8 ,we do not understand why1 but it is by reason of his gestures4 ,speech is inferior to gesture1 because it corresponds to the phenomena of mind2 gesture is the agent of the heart1 it is the persuasive agent4 ,articulate language is weak because it is successive4 ,it must be enunciated phrase by phrase2 by words1 syllables1 letters1 consonants and vowels--and these do not end it4 ,that which demands a volume is uttered by a single gesture4 ,a hundred pages do not say what a simple movement may express1 because this simple movement expresses our whole being4 ,gesture is the direct agent of the soul1 while language is analytic and successive4 ,the leading quality of mind is number2 it is to speculate1 to reckon1 while gesture grasps everything by intuition1--sentiment as well as contemplation4 ,there is something marvelous in this language1 because it has relations with another sphere2 it is the world of grace4 ,an audience must not be supposed to resemble an individual4 ,a man of the greatest intelligence finding himself in an audience1 is no longer himself4 ,an audience is never intelligent2 it is a multiple being1 composed of sense and sentiment4 ,the greater the numbers1 the less intelligence has to do4 ,to seek to act upon an individual by gesture would be absurd4 ,the reverse is true with an audience2 it is persuaded not by reasoning1 but by gesture4 ,there is here a current none can control4 ,we applaud disagreeable things in spite of ourselves--things we should condemn1 were they said to us in private4 ,the audience is not composed of intellectual people1 but of people with senses and hearts4 ,as sentiment is the highest thing in art1 it should be applied to gesture4 ,if the gestures are good1 the most wretched speaking is tolerated4 ,so much the better if the speaking is good1 but gesture is the all-important thing4 ,gesture is superior to each of the other languages1 because it embraces the constituent parts of our being4 ,gesture includes everything within us4 ,sound is the gesture of the vocal apparatus4 ,the consonants and vowels are the gesture of the buccal apparatus1 and gesture1 properly so called1 is the product of the myological apparatus4 ,it is not ideas that move the masses2 it is gestures4 ,we easily reach the heart and soul through the senses4 ,music acts especially on the senses4 ,it purifies them1 it gives intelligence to the hand1 it disposes the heart to prayer4 ,the three languages may each move1 interest and persuade4 ,language is a sort of music which moves us through vocal expression2 it is besides normal through the gesture of articulation4 ,no language is exclusive4 ,all interpenetrate and communicate their action4 ,the action of music is general4 ,the mind and the life are active only for the satisfaction of the heart2 then1 since the heart controls all our actions1 gesture must control all other languages4 ,gesture is magnetic1 speech is not so4 ,through gesture we subdue the most ferocious animals4 ,the ancients were not ignorant of this all-powerful empire of gesture over an audience4 ,therefore1 sometimes to paralyze1 sometimes to augment this magic power1 orators were obliged to cover their faces with a mask1 when about to speak in public4 ,the judges of the ,areopagus well knew the power of gesture1 and to avoid its seductions1 they adopted the resource of hearing pleas only in the darkness4 ,the sign of the cross made at the opening of a sermon often has great effect upon good ,catholics4 ,let a priest with his eyes concentric and introspective make deliberately the sign of the cross while solemnly uttering these words3 ,in-the-name-of-the-,father2 then let his glance sweep the audience4 ,what do they think of him8 ,this is no longer an ordinary man2 he seems clothed with the majesty of ,god1 whose orders he has just received1 and in whose name he brings them4 ,this idea gives him strength and assurance1 and his audience respect and docility4 ,chapter ,,iv4 ,the ,laws of ,gesture4 ,the static treats of the laws of gesture which are six in number1 viz43 ,priority1 retroaction1 the opposition of agents1 unity1 stability and rhythm4 ,the ,priority of ,gesture to ,speech4 ,gesture must always precede speech4 ,in fact1 speech is reflected expression4 ,it must come after gesture1 which is parallel with the impression received4 ,nature incites a movement1 speech names this movement4 ,speech is only the title1 the label of what gesture has anticipated4 ,speech comes only to confirm what the audience already comprehend4 ,speech is given for naming things4 ,gesture asks the question1 ,what8 and speech answers4 ,gesture after the answer would be absurd4 ,let the word come after the gesture and there will be no pleonasm4 ,priority of gesture may be thus explained3 ,first a movement responds to the sensation2 then a gesture1 which depicts the emotion1 responds to the imagination which colors the sensation4 ,then comes the judgment which approves4 ,finally1 we consider the audience1 and this view of the audience suggests the appropriate expression for that which has already been expressed by gesture4 ,the basis of this art is to make the auditors divine what we would have them feel4 ,every speaker may choose his own stand-point1 but the essential law is to anticipate1 to justify speech by gesture4 ,speech is the verifier of the fact expressed4 ,the thing may be expressed before announcing its name4 ,sometimes we let the auditors divine rather than anticipate1 gazing at them in order to rivet their attention4 ,eloquence is composed of many things which are not named1 but must be named by slight gestures4 ,in this eloquence consists4 ,thus a smack of the tongue1 a blow upon the hand1 an utterance of the vowel u as if one would remove a stain from his coat4 ,the writer cannot do all this4 ,the mere rendition of the written discourse is nothing for the orator2 his talent consists in taking advantage of a great number of little nameless sounds4 ,a written discourse must contain forced epithets and adjectives to illustrate the subject4 ,in a spoken discourse a great number of adjectives are worse than useless4 ,gesture and inflection of the voice supply their place4 ,the sense is not in the words2 it is in inflection and gesture4 ,retroaction4 ,we have formulated this general law3 ,the eccentric1 normal and concentric expression must correspond to the sensitive1 moral and intellectual state of man4 ,when gesture is concerned1 the law is thus modified3 ,in the sensitive state1 the gesture1 which is naturally eccentric1 may become concentric1 as the orator is passive or active4 ,he is passive when subject to any action whatever1 when he depicts an emotion4 ,he is agent when he communicates to the audience the expression of his own will or power2 in a word1 at all times when he controls his audience4 ,when the orator assumes the passive role1 that is1 when he reflects1 he gazes upon his audience2 he makes a backward 7or concentric7 movement2 when he assumes the active role1 he makes a forward 7or eccentric7 movement4 ,when one speaks to others1 he advances2 when one speaks to himself1 he recoils a step1 his thought centres upon himself4 ,in the passive state1 one loves4 ,but when he loves1 he does not move forward4 ,a being who feels1 draws back1 and contemplates the object toward which the hand extends4 ,contemplation makes the body retroact4 ,hence in the passive state1 the orator must step backward4 ,in the opposite state he moves forward4 ,let us apply this law3 ,a spendthrift officer meets his landlord1 whom he has not yet paid1 and greets him with an--,ah1 good day1 sir6 ,what will be his movement8 ,it must be retroactive4 ,in the joy of seeing a friend again1 as also in fright1 we start back from the object loved or hated4 ,such is the law of nature1 and it cannot be ignored4 ,whence comes this law8 ,to behold a loved object fully1 we must step back1 remove to some little distance from it4 ,look at a painter admiring his work4 ,it is retroaction at sight of a beloved person1 which has led to the discovery of the phenomena of life1 to this triple state of man which is found in like manner1 everywhere3 ,concentric1 eccentric1 and normal4 ,the concentric is the passive state1 for when one experiences a deep emotion1 he must retroact4 ,hence a demonstration of affection is not made with a forward movement4 ,if so1 there is no love4 ,expiration is the sign of him who gives his heart4 ,hence there is joy and love4 ,in inspiration there is retroaction1 and1 in some sort1 distrust4 ,the hand extends toward the beloved object2 if the hand tend toward itself1 a love of self is indicated4 ,love is expressed by a retroactive1 never by a forward movement4 ,in portraying this sentiment the hand must not be carried to the heart4 ,this is nonsense2 it is an oratorical crime4 ,the hand must tend toward the loved being to caress1 to grasp1 to reassure or to defend4 ,the hand is carried to the heart only in case of suffering there4 ,take this passage from ,racine's ,phedre3 ,dieu--que ne puis-je a l'ombre des forets1 ,suivre de l'oeil un char fuyant dans la carriere-- 7,god--may ,i not1 through the dim forest shades1 ,with my glance follow a fleet chariot's course47 ,here the actor does not follow affectionately1 but with the eye1 and then by recoiling and concentrating his thought upon himself4 ,in the role of ,emilie3 ,he may in falling crush thee 'neath his fall at sight of her crushed lover ,emilie must recoil in terror1 and not seem to add the weight of her body to that which crushes the victim4 ,augustus1 on the contrary1 may say3 ,i might in falling crush thee 'neath my fall1 pausing upon a forward movement1 because he is here the agent4 ,let us note in passing that the passive attitude is the type of energetic natures4 ,they have something in themselves which suffices them4 ,this is a sort of repose2 it is elasticity4 ,opposition of ,agents4 ,the opposition of the agents is the harmony of gesture4 ,harmony is born of contrasts4 ,from opposition1 equilibrium is born in turn4 ,equilibrium is the great law of gesture1 and condemns parallelism2 and these are the laws of equilibrium3 #a4 ,the forward inclination of the torso corresponds to the movement of the leg in the opposite direction4 #b4 ,when one arm is added to the weight of the already inclined torso1 the other arm must rise to form a counterpoise4 #c4 ,in gazing into a well1 the two arms must be drawn backward if the body is equally supported by the two legs2 in like manner the two arms may be carried in front if the torso bends backward4 ,this is allowable only in the first attitude of the base1 or in a similar attitude4 ,the harmonic law of gesture is the static law par excellence4 ,it is of childlike simplicity4 ,we employ it in walking2 also when we carry a weight in one hand1 the other rises4 ,the law consists in placing the acting levers in opposition1 and thus realizing equilibrium4 ,all that is in equilibrium is harmonized4 ,all ancient art is based upon this opposition of levers4 ,modern art1 with but few exceptions1 is quite the contrary4 ,here is an example of the observance of this rule3 ,if the head and arms are in action1 the head must move in opposition to the arms and the hand4 ,if both move in the same direction1 there is a defect in equilibrium1 and awkwardness results4 ,when the arm rises to the head1 the head bends forward and meets it half-way4 ,the reverse is true4 ,every movement in the hand has its responsive movement in the head4 ,if the head advances1 the hand withdraws4 ,the movements must balance1 so that the body may be in equilibrium and remain balanced4 ,here is the difference between ancient and modern art4 ,let us suppose a statue of ,corneille reading his works4 ,to-day we should pose it with one leg and arm advanced4 ,this is parallelism4 ,formerly the leg would have been opposed to this movement of the arm1 because there should be here the expansion of the author toward his work1 and this expansion results precisely from an opposition of levers4 ,we know the ancient gladiator2 we do exactly the opposite from him in fencing4 ,modern art makes the man walk with leg and arm parallel4 ,ancient art would have the leg opposed to the arm4 ,it is through opposition that the smile expresses moral sadness4 ,this law of opposition must be observed in the same member4 ,for example1 the hand should be opposed to the arm4 ,thus we have magnificent spheroidal movements which are graceful and also have considerable force4 ,thus all the harmonies occur in one same whole1 in one same truth4 ,in a word1 all truths interpenetrate1 and when a thing is true from one point of view1 it is so from all4 ,number of ,gestures4 ,many reasons go to prove that gestures need not be multiplied3 ,a4--,we are moved by only one sentiment at a time2 hence it is useless to multiply gestures4 ,b4--,but one gesture is needed for the expression of an entire thought2 since it is not the word but the thought that the gesture must announce2 if it expressed only the word1 it would be trivial and mean1 and also prejudicial to the effect of the phrase4 ,in these phrases3 ,what do you seek in the world1 happiness8 ,it is not there1 that which first strikes us is the absence of happiness4 ,gesture must indicate it in advance1 and this should be the dominating movement4 ,the intelligent man makes few gestures4 ,to multiply gestures indicates a lack of intelligence4 ,the face is the thermometer of intelligence4 ,let as much expression as possible be given to the face4 ,a gesture made by the hand is wrong when not justified in advance by the face4 ,intelligence is manifested by the face4 ,when the intelligent man speaks1 he employs great movements only when they are justified by great exaltation of sentiment2 and1 furthermore1 these sentiments should be stamped upon his face4 ,without expression of the face1 all gestures resemble telegraphic movements4 ,c4--,the repeated extension of the arms denotes but little intelligence1 little suppleness in the wrist and fingers4 ,the movement of a single finger indicates great finesse4 ,it is easy to distinguish the man of head1 heart and actions4 ,the first makes many gestures of the head2 the second many of the shoulders2 the last moves the arms often and inappropriately4 ,d4--,gesture is allowable only when an ellipse of the word or phrase admits of an additional value4 ,e4--,effects must not be multiplied2 this is an essential precaution4 ,multiplied movements are detrimental when a graver movement is awaited4 ,f4--,the orator is free to choose between the role of actor or that of mere spectator or narrator4 ,neither the one nor the other can be forced upon him4 ,the actor's role arises not from intelligence but simply from instinct4 ,the actor identifies himself with the personages he represents4 ,he renders all their sentiments4 ,this role is the most powerful1 but1 before making it the object of his choice1 there must be severe study2 he must not run the risk of frivolity4 ,we can dictate to the preacher and mark out his path4 ,he must not be an actor1 but a doctor4 ,hence his gestures must never represent the impressions of those of whom he speaks1 but his own4 ,hence he should proportion the number of his gestures to the number of his sentiments4 ,g4--,if the orator would speak to any purpose1 he must bring back his discourse to some picture from nature1 some scene from real life4 ,there must be unity in everything2 but a role may be condensed in two or three traits2 therefore a great number of gestures is not necessary4 ,let it be carefully noted3 the expression of the face should make the gesture of the arms forgotten4 ,here the talent of the orator shines forth4 ,he must captivate his public in such a way that his arm gestures will be ignored4 ,he must so fascinate his auditors that they cannot ask the reason of this fascination1 nor remark that he gesticulates at all4 ,h4--,where there are two gestures in the same idea1 one of them must come before the proposition1 the other in its midst4 ,if there is but one gesture and it precedes the proposition1 the term to which it is applied must be precisely indicated4 ,for example3 ,would he be sensible to friendship8 ,although friendship may in some degree be qualified as the indirect regimen1 gesture should portray it in all its attributes4 ,duration of ,gesture4 ,the suspension or prolongation of a movement is one of the great sources of effect4 ,it is in suspension that force and interest consist4 ,a good thing is worth being kept in sight long enough to allow an enjoyment of the view4 ,the orator should rest upon the preceding gesture until a change is absolutely required4 ,a preoccupied man greets you with a smile1 and after you have left1 he smiles on1 until something else occurs to divert his mind4 ,the orator's abstraction should change the face1 but not the gesture4 ,if the double change takes place simultaneously1 there will be no unity4 ,the gesture should be retained and the expression of the face changed4 ,a variety of effects and inflections should be avoided4 ,while the speaker is under the influence of the same sentiment1 the same inflection and gesture must be retained1 so that there may be unity of style4 ,art proposes three things3 to move1 to interest1 to persuade by unity of inflection and gesture4 ,one effect must not destroy another4 ,divergence confuses the audience1 and leaves no time for sentiment4 ,it is well to remember that the stone becomes hollowed by the incessant fall of the drop of water in the same place4 ,the ,rhythm of ,gesture4 ,gesture is at the same time melodic1 or rather inflective1 harmonic and rhythmic4 ,it must embrace the elements of music1 since it corresponds to the soul2 it is the language of the soul1 and the soul necessarily includes the life with its diverse methods of expression1 and the mind4 ,gesture is melodic or inflective through the richness of its forms1 harmonic through the multiplicity of parts that unite simultaneously to produce it4 ,gesture is rhythmic through its movement1 more or less slow1 or more or less rapid4 ,gesture is1 then1 inevitably synthetic1 and consequently harmonic2 for harmony is but another name for synthesis4 ,each of the inflective1 harmonic and rhythmic modes has its peculiar law4 ,the rhythmic law of gesture is thus formulated3 ,the rhythm of gesture is proportional to the mass to be moved4 ,the more an organ is restrained1 the more vehement is its impulse4 ,this law is based upon the vibration of the pendulum4 ,great levers have slow movements1 small agents more rapid ones4 ,the head moves more rapidly when the torso and the eye have great facility of motion4 ,thus the titillations of the eye are rapid as lightning4 ,this titillation always announces an emotion4 ,surprise is feigned if there is no titillation4 ,for example1 at the unexpected visit of a friend there is a lighting up of the eye4 ,wherefore8 ,because the image is active in the imagination4 ,this is an image which passes within ourselves1 which lies in inward phenomena4 ,so in relation to material phenomena3 there is a convergence1 a direction of the eyes toward the object2 if the object changes place1 the eyes cannot modify their manner of convergence2 they must close to find a new direction1 a convergence suited to the distance of the object4 ,there is never sympathetic vision4 ,the phenomena of the imagination are in the imagination at a fixed distance4 ,when an image changes place in the idea1 it produces a titillation equal to that which would be produced in the order of material things4 ,for example1 let us quote these lines3 ,at last ,i have him in my power1 ,this fatal foe1 this haughty conqueror6 ,through him my captives leave their slavery4 ,here the body must be calm2 there is a sort of vehemence in the eyes2 it will be less in the head than in the arms4 ,all these movements are made1 but the body remains firm4 ,generally the reverse takes place2 the whole body is moved2 but this is wrong4 ,in these words3 ,where are they1 these wretches8 there must be great violence in the upper part of the body1 but the step is very calm4 ,to affect a violent gait is an awkward habit4 ,a modified slowness in the small agents creates emphasis2 if we give them too great facility of movement1 the gestures become mean and wretched4 ,rhythm is in marvelous accord with nature under the impulse of ,god4 ,importance of the ,laws of ,gesture4 ,we never really understand an author's meaning4 ,every one is free to interpret him according to his individual instinct4 ,but we must know how to justify his interpretation by gesture4 ,principles must aid us in choosing a point of view in accordance with his individual nature2 otherwise incoherence is inevitable4 ,hence rules are indispensable4 ,but when the law is known1 each applies it in accordance with his own idea4 ,the author himself cannot read without rules1 in such a manner as to convey the ideas he intended to express4 ,only through rules can we become free in our interpretation2 we are not free without law1 for in this case we are subject to the caprice of some master4 ,the student of oratory should not be a servile copyist4 ,in the arrangement of his effects1 he must copy1 imitate and compose4 ,let him first reproduce a fixed model1 the lesson of the master4 ,this is to copy4 ,let him then reproduce the lesson in the absence of the master4 ,this is to imitate4 ,finally1 let him reproduce a fugitive model4 ,this is to compose4 ,thus to reproduce a lesson1 to give its analysis and synthesis1 is to disjoint1 to unite and to reunite2 this is the progressive order of work4 ,the copying and imitative exercises should be followed by compositions1 applying the principles already known4 ,the orator may be allowed play for his peculiar genius2 he may be sublime even in employing some foolish trick of his art4 ,but whatever he does1 he must be guided by fixed rules4 ,chapter ,v4 ,of ,gesture in ,particular4 ,the ,head4 ,the dynamic apparatus is composed of the head1 the torso and the limbs4 ,as in the vocal apparatus1 we have the lever1 the impelling force1 and the fulcrum4 ,the dynamic apparatus produces gesture1 which renders the moral or normal state2 as the voice expresses inflection and reveals the sensitive state4 ,the head must be studied under two relations3 as the agent of expression through its movements1 and as the centre of attraction2 that is1 the point of departure or arrival for the different gestures of the arm4 ,let us now apply ourselves to the signification of the movements of the head and eyes1 the face and lips4 ,the ,movements of the ,head4 ,there are two sorts of movements of the head3 movements of attitude and fugitive movements4 ,movements of ,attitude4--,the head has nine primary attitudes1 from which many others proceed4 ,in the normal attitude1 the head is neither high nor low4 ,in the concentric attitude the head is lowered2 this is the reflective state4 ,in the eccentric attitude the head is elevated2 this is the vital state4 ,soldiers and men of robust physique carry the head high4 ,here are three genera1 each of which gives three species4 ,the ,normal ,state4 ,when the head is erect1 it is passive and neutral4 ,the head inclining laterally toward the interlocutor indicates affection4 ,if in the inverse direction1 opposite the interlocutor1 sensualism is indicated4 ,this is in fact retroaction2 in the first case we love the soul1 in the latter the form4 ,the ,eccentric ,state4 ,if the head bends backward it is the passional or vehement state4 ,the head inclined toward the interlocutor1 denotes abandon1 confidence4 ,the head turned away from the interlocutor1 denotes pride1 noble or base4 ,this is a neutral expression which says something1 but not the whole4 ,the ,concentric ,state4 ,the head lowered1 that is1 inclined forward1 denotes the reflective state4 ,if the head inclines toward the interlocutor1 it is veneration1 an act of faith in the object we love4 ,if the head inclines away from the interlocutor1 it is stratagem or suspicion4 ,all other attitudes of the head are modifications of these4 ,these nine attitudes characterize states1 that is1 sentiments1 but sentiments which are fugitive4 ,either of these attitudes may be affected until it becomes habitual4 ,but there are movements which cannot be habitually affected1 which can only modify types and attitudes of the inflections of the head4 ,these are fugitive movements4 ,there are nine inflections or fugitive movements of the head3-- #a4 ,if a forward movement1 it ends in an upright one1 with elevated chin1 and indicates interrogation1 hope1 appellation1 desire4 #b4 ,the same movement with the chin lowered1 indicates doubt1 resignation4 #c4 ,a nod of the head1 a forward movement1 means confirmation1 yes1 or well4 #d4 ,if the movement is brusque forward1 it is the menace of a resolute man4 #e4 ,the head thrown back means exaltation4 #f4 ,if the movement is brusque backward1 it is the menace of a weak man4 #g4 ,there are rotative inflections from one shoulder to the other2 this is impatience1 regret4 #h4 ,the rotary movement of the head alone signifies negation1 that is no4 ,if the movement ends toward the interlocutor1 it is simple negation4 ,if the movement ends opposite to him1 it is negation with distrust4 #i4 ,the rotative and forward inflection would denote exaltation4 ,the sense of this response1--,i do not know1 when tidings of a friend are asked1 may be divined by an inflection of the head4 ,it is well to note how these movements are transmitted from agent to agent4 ,all movements which severally affect the head1 the hand1 the body and the leg1 may affect the whole4 ,thus the movement of negation is made by the hand4 ,this movement is double4 ,there is negation with direct resolution1 and negation with inverse resolution1 which is elliptical4 ,the hand recoils as the head recoils1 and when the head makes the movement of impatience1 the hand rises with the head and says3--,leave me alone1 ,i do not wish to hear you4 ,it is curious to see an inflection pass successively from the head to the hand1 from the hand to the eye1 from the eye to the shoulders1 from the shoulders to the arms1 from the arms to the legs1 from the legs to the feet4 ,for example3 ,above we have indicated a double menace made by the head4 ,one might transfer this menace to the hand and say3 ,you will have a quarrel to settle with me6 ,each agent has its role1 and this is why they transmit their movements4 ,when the head has a serious part to play1 it communicates an inflective movement to the hand1 which renders it terrible4 ,a man who menaces with the head is not sure of his aim1 but he who menaces with the hand is sure of striking right4 ,in order to do this1 the eye must be firmly fixed1 as the eye necessarily loses its power and accuracy by a movement of the head4 ,there is great power in the menace communicated to the hand1 a power not found in the other movement4 ,the head-menace is more physical1 and the hand-menace more intellectual2 in the one the eye says a great deal1 while in the other it says nothing4 ,the orator cannot always make these gestures with facility4 ,the menace may be elliptical4 ,then it must be made by the head1 and expressed through the eyes4 ,this is why the speaker gazes downward as he makes it4 ,it is the same downward or upward movement which is reproduced when the menace is concentric or elliptical4 ,the menace may be made in yet another way4 ,the speaker does not wish to express his opinion1 and for fear of compromising himself with his eyes1 he does not gaze at his interlocutor2 he turns aside his glance1 and the menace is communicated to the shoulder4 ,this has less strength1 because it is rendered by one of the sensitive agents4 ,the man who threatens with the shoulder is more passionate2 but he is not the agent1 he is passive4 ,a simple menace may be made by the knee4 ,the foot is susceptible of great mobility4 ,a slight movement quickly changes its significance2 in passing from one agent to another1 it is modified by many ellipses4 ,criterion of the ,head ,attitudes4 ,,genus4 ,,species4 #a #c #b #a-;,,ii #c-;,,ii #b-;,,ii ,,ii ,ecc4 ,conc4 ,norm4 ,conc4 ,conc4 ,conc4 ,stratagem or ,reflection4 ,veneration4 cunning4 #a-;,,iii #c-;,,iii #b-;,,iii ,,iii ,ecc4 ,norm4 ,norm4 ,norm4 ,conc4 ,norm4 ,sensualism4 ,passive state4 ,affection4 #a-;,i #c-;,i #b-;,i ,i ,ecc4 ,ecc4 ,norm4 ,ecc4 ,conc4 ,ecc4 ,pride4 ,vehemence4 ,confidence4 ,these attitudes1 being wholly characteristic1 cannot be transmitted4 ,they characterize the special role of the agent set in motion1 while inflection is universal4 ,the head alone expresses trouble1 dejection4 ,dejection is in the head1 as firmness is in the reins and exaltation in the shoulders4 ,all the movements of the head are communicated to all the active organs4 ,the head is always in opposition to the arms4 ,the head must be turned away from the leg which is advanced4 ,men of small brain habitually carry their heads high4 ,the head is lowered in proportion to the quantity of intelligence4 ,examine the criterion for the fixed attitudes of the head4 ,of the ,eyes4 ,the eye1 in common with all the other agents1 has nine primary expressions1 three genera and nine species4 ,the eye contains three agents3 ,the optic or visual1 the palpebral or pupil1 and the eyebrow agent4 ,each of these has its peculiar sense1 and we shall show how they are united4 ,the optic agent has three direct or convergent glances4 ,the eyes converge toward the object they examine1 at such a point that if the object were there they would squint4 ,a skilled observer can determine the distance of the object1 upon seeing the two eyes4 ,there is a revolving or divergent glance4 ,if both eyes project in parallel lines1 they see double4 ,a drunken man sees double because the eyes do not converge4 ,between these two glances there is the ecstatic or parallel vision2 but the object is not so far away that its distance may not be determined4 ,the convergence is not appreciable4 ,this is the dreamy expression4 ,we shall here treat of one only1 to which we refer the three others4 ,let us take the direct glance1 passing by the optic agent1 since it is direct in all the phenomena we have to consider4 ,there are three phenomena in the eyebrow3 eccentric1 concentric and normal4 ,from these we derive nine terms4 ,if the eye is normal1 it is a passive expression which determines nothing4 ,if1 with the same eye1 the eyebrow is eccentric1 there is a difference2 one part of us tends vehemently toward something1 and the other says3 ,it is not worth the trouble4 ,the sensitive part aspires1 while the intellect says1 ,this amounts to nothing4 ,the concentric eyebrow indicates a mind disconcerted by fatigue or ennui1 a contention of one part of the nature with the other1 which resists1 and says3 ,i do not wish to be troubled about this2 it wearies me4 ,the normal brow and the eccentric eye indicate stupor4 ,here there is again contrariety4 ,one part of the being ardently aspires toward some object1 while the other is powerless to aid it4 ,the eye is purely an intellectual agent1 denoting the various states of the mind4 ,the eccentric eye and the elevated eyebrow denote vehemence4 ,this is an active state that will become astonishment4 ,many phenomena will arise and be subordinate to this movement2 but it is vehemence par excellence2 it is aspiration4 ,if the brow lowers vehemently with the eyes open1 it is not rage1 but a state of mind independent of everything the senses or the heart can say4 ,this is firmness of mind1 a state of the will independent of every outside influence4 ,it may be attention1 or anger1 or many other things4 ,if the eye is concentric and the eyebrow in the normal state1 it is slumber1 fatigue4 ,if the eyebrow is eccentric and the eye concentric1 it will represent not indifference only1 but scorn1 and after saying1 ,this thing is worthless1 will add1 ,i protest against it1 ,i close my eyes4 ,if both the eye and eyebrow are concentric1 there is contention of mind4 ,this is a mind which seeks but does not possess4 ,this explanation may be rendered more clear and easier to retain in mind by the following resume3 ,e ,concentric4 ,contention of mind4 ,concentric eyebrow ,y ,normal4 ,bad humor4 ,e ,eccentric4 ,firmness ,e ,concentric4 ,grief4 ,normal eyebrow4 ,y ,normal4 ,passiveness4 ,e ,eccentric4 ,stupor4 ,e ,concentric4 ,scorn4 ,eccentric eyebrow4 ,y ,normal4 ,disdain4 ,e ,eccentric4 ,astonishment4 ,illustration3 ,criterion of the ,eyes4 ,the nine expressions of the eye correspond to each of the nine movements of the head4 ,thus the eye may give nine types of affection1 nine of pride1 nine of sensualism1 etc4 ,this gives eighty-one expressions of the eye4 ,hence1 knowing eighteen elements1 we inevitably possess eighty-one4 ,the nine expressions of the eye may be verified by the criterion4 ,as a model1 we give the nine expressions of the eye in the subjoined chart4 ,,genus4 ,,species4 #a #c #b ,eye eccentric4 ,eye normal4 ,eye concentric4 ,eyebrow ,firmness4 ,bad humor4 ,contention of conc4 mind4 ,,ii ,eyebrow ,stupor4 ,passive state4 ,grief4 ,,iii ,eyebrow ,inspiration4 ,disdain4 ,scorn4 ,i ,for ordinary purposes it is sufficient to understand the nine primary expressions4 ,there are many others which we merely indicate4 ,in sleep there may be an inclination either way4 ,the top of the eyebrow may be lifted4 ,thus in the concentric state1 three types may be noted1 and these go to make twenty-seven primary movements4 ,the lower eyelid may be contracted2 the twenty-seven first movements may be examined with this1 which makes #bx#bg4 ,a movement of the cheek may contract the eye in an opposite direction1 and this contraction may be total1 which makes eighty-one expressions belonging to the normal glance alone4 ,this direct glance may also be direct on the inferior plane1 which makes #bx#ha2 for these are distinct expressions which cannot be confounded4 ,this movement could again be an upward one1 which would make #cx#ha4 ,the movement may be outward and superior1 or it may be simply outward2 it may also be outward and inferior4 ,a special sense is attached to each of these movements1--a sense which cannot be confounded with any of the preceding movements4 ,by making the same computation for the three glances above noted1 we shall have from eight to nine hundred movements4 ,all this may appear complicated1 but with the key of the primary movements1 nothing can be more simple than this deduction4 ,the above chart with its exposition of the phases of the eye explains everything4 ,a small eye is a sign of strength2 a large eye is a sign of languor4 ,a small oblique eye 7the ,chinese eye71 when associated with lateral development of the cranium1 and ears drawn back1 indicates a predisposition to murder4 ,the eye opens only in the first emotion2 then it becomes calm1 closing gradually2 an eye wide open in emotion1 denotes stupidity4 ,of the ,eyebrows4 ,there are three thermometers3 the eyebrow is the thermometer of the mind2 the shoulder is the thermometer of the life2 the thumb is the thermometer of the will4 ,there is parallelism between the eye and the voice4 ,the voice lowered and the brow lifted1 indicate a desire to create surprise1 and a lack of mental depth4 ,it is very important to establish this parallelism between the movements of the brow and voice4 ,the lowered brow signifies retention1 repulsion3 ,it is the signification of a closed door4 ,the elevated brow means the open door4 ,the mind opens to let in the light or to allow it to escape4 ,the eyebrow is nothing less than the door of intelligence4 ,in falling1 the voice repels4 ,the efforts in repulsion and retention are equal4 ,the inflections are in accord with the eyebrows4 ,when the brows are raised1 the voice is raised4 ,this is the normal movement of the voice in relation to the eyebrow4 ,sometimes the eyebrow is in contradiction to the movement of the voice4 ,then there is always ellipse2 it is a thought unexpressed4 ,the contradiction between these two agents always proves that we must seek in the words which these phenomena modify1 something other than they seem to say4 ,for instance1 when we reply to a story just told us1 with this exclamation3 ,indeed6 ,if the brow and voice are lowered1 the case is grave and demands much consideration4 ,if brow and voice are elevated1 the expression is usually mild1 amiable and affectionate4 ,if the voice is raised and the brow lowered1 the form is doubtful and suspicious4 ,with the brow concentric1 the hand is repellent4 ,both brow and hand concentric denote repulsion or retention2 this is always the case with a door4 ,both brow and hand eccentric mean inspiration1 or allowing departure without concern4 ,there is homogeneity between the face1 the eyebrow and the hand4 ,the degree and nature of the emotion must be shown in the face1 otherwise there will be only grimace4 ,the hand is simply another expression of the face4 ,the face gives the hand its significance4 ,hand movements without facial expression would be purely automatic4 ,the face has the first word1 the hand completes the sense4 ,there are eighty-one movements of the hand impossible to the face2 hence1 without the hand1 the face cannot express everything4 ,the hand is the detailed explanation of what the face has sought to say4 ,there are expressions of the hand consonant with the facial traits1 and others dissonant3 this is the beautiful4 ,the weak hand and the strong face are the sign of impotence4 ,the weak hand and the strong face are the sign of perfidy4 ,the tones of the voice vary according to the expression of the face4 ,the face must speak1 it must have charm4 ,in laughing1 the face is eccentric2 a sombre face is concentric4 ,the face is the mirror of the soul because it is the most impressionable agent1 and consequently the most faithful in rendering the impressions of the soul4 ,not only may momentary emotions be read in the expression of the features1 but by an inspection of the conformation of the face1 the aptitude1 thoughts1 character and individual temperament may be determined4 ,the difference in faces comes from difference in the configuration of profiles4 ,there are three primitive and characteristic profiles1 of which all others are only derivations or shades4 ,there is the upright1 the concave and the convex profile4 ,each of these genera must produce three species1 and this gives again the accord of nine4 ,these different species arise from the direction of the angles1 as also from the position of the lips and nose4 ,uprightness responds to the perpendicular profile2 chastity1 to the concave2 sensualism1 to the convex4 ,let it be understood that we derogate in no way from the liberty of the man who remains always master of his will1 his emotions and his inclinations4 ,a criterion of the face is indispensable to the intelligent physiognomist1 and as the lips and nose have much to do with the expression of the face1 we offer an unerring diagnosis in the three following charts3 ,criterion of the ,profile of the ,lips4 ,,species4 #a #c #b ,,ii #a-;,,ii #c-;,,ii #b-;,,ii ,ecc4-conc4 ,norm4-conc4 ,conc4-conc4 ,,iii #a-;,,iii #c-;,,iii #b-;,,iii ,ecc4-norm4 ,norm4-norm4 ,conc4-norm4 ,i #a-;,i #c-;,i #b-;,i ,ecc4-ecc4 ,norm4-ecc4 ,conc4-ecc4 ,here the profile of the lower lip indicates the genus1 and the profile of the upper lip belongs to the species4 ,criterion of the ,profile of the ,nose4 ,,species4 #a #c #b ,,ii #a-;,,ii #c-;,,ii #b-;,,ii ,ecc4-conc4 ,norm4-conc4 ,conc4-conc4 ,,iii #a-;,,iii4 #c-;,,iii4 #b-;,,iii4 ,ecc4-norm4 ,norm4-norm4 ,conc4-norm4 ,i #a-;,i4 #c-;,i4 #b-;,i4 ,ecc4-ecc4 ,norm4-ecc4 ,conc4-ecc4 ,for surety of diagnosis the lips must be taken in unison with the nose and forehead1 as may be seen in the following chart4 ,chapter ,,vi4 ,of the ,torso4 ,the torso includes the chest1 and shares the shoulder movements with the arms4 ,the ,chest4--,there are three chest attitudes1 eccentric1 concentric and normal4 #a4 ,if the chest is greatly dilated1 this is the eccentric state--the military attitude1 the sign of energy4 #b4 ,the normal1 when the chest is in a state more homogeneous1 less contentious1 more sympathetic1 as in the statue of ,antinous4 #c4 ,the concentric1 when the chest is hollow1 with the shoulders elevated and inclining forward4 ,the convex eccentric chest is the sign of the agent1 or of him who gives4 ,the convex concentric chest or the pathetic1 is the sign of the sufferer1 or of him who receives4 ,the chest drawn in with the shoulders elevated1 is the expression of the sublime4 ,from these three positions1 the eccentric1 the concentric and the normal1 are derived nine degrees or species4 ,thus in each of these genera1 the torso is inclined toward the speaker1 or away from him1 hence we have three times three1 or nine1 or the triple accord4 ,illustration3 ,criterion of the ,face4 ,the chest need not be lowered2 it is here that all the energy concentrates4 ,the ,shoulders4--,every sensitive1 agreeable or painful form is expressed by an elevation of the shoulders4 ,the shoulders are the thermometer of the sensitive and passional life4 ,if a man's shoulders are raised very decidedly1 we may know that he is decidedly impressed4 ,the head tells us whether this impression is joyous or sorrowful4 ,then the species belongs to the head1 and the genus to the shoulder4 ,if the shoulder indicates thirty degrees1 the head must say whether it is warmth or coldness4 ,the face will specify the nature of the sorrow or joy whose value the shoulders have determined4 ,the shoulder is one of the great powers of the orator4 ,by a simple movement of the shoulder1 he can make infinitely more impression than with all the outward gestures which are almost always theatrical1 and not of a convincing sort4 ,the shoulder1 we have said1 is the thermometer of emotion and of love4 ,the movement is neutral and suited to joy as well as to sorrow2 the eyes and mouth are present to specify it4 ,the shoulder1 like all the agents1 has three and hence nine distinct phases4 ,the torso is divided into three parts3 the thoracic1 the epigastric and abdominal4 ,we shall state farther on1 the role of these three important centres4 ,liars do not elevate their shoulders to the required degree1 hence the truth or falsity of a sentiment may be known4 ,raphael has forgotten this principle in his ,moses ,smiting the ,rock4 ,none of his figures1 although joyous1 elevate the shoulder4 ,chapter ,,vii4 ,of ,the ,limbs4 ,the limbs hold an important place in oratorical action4 ,the study of the role of the arms and limbs therefore deserves serious attention4 ,the ,arms4 ,in the arms we distinguish the deltoid or shoulder movement1 the inflection of the fore-arm1 the elbow1 the wrist1 the hand and the fingers4 ,inflections of the ,fore-,arm4 ,we have treated of what concerns the shoulder in the chapter upon the torso4 ,the arm has three movements3 an upward and downward vertical movement1 and a horizontal one4 ,these movements derive their significance from the different angles formed by the fore-arm in relation to the arm4 ,let us first represent these different angles1 and then we will explain the chart4 ,illustration ,all these different angles have their meaning1 their absolute significance in affirmation4 ,the movement at the right angle signifies3 ,to be4 ,lower3 ,perhaps4 ,lower still3 ,i doubt if it is so4 ,lower3 ,it is improbable4 ,lower3 ,it is not4 ,lower3 ,it is not possible4 ,ascending3 ,this is proven1 ,i have the proof in my hand4 ,higher3 ,this is superlatively beautiful4 ,higher3 ,it is enchantingly beautiful4 ,the degree of certainty in the affirmation varies with1 the angle which the fore-arm forms with the arm4 ,all these modes of affirmation may be applied to negation4 ,for example3 ,it is impossible that this should not be4 ,this cannot be4 ,thus all states of being1 all forms of affirmation1 belong to the acuteness or opening of an angle4 ,the hanging arm signifies depression4 ,the two arms should never extend the same way4 ,if they follow each other1 one should be more advanced than the other4 ,never allow parallelism4 ,the elementary gestures of the arms are represented in the foregoing chart4 ,of the ,elbow4 ,the elbow has nine movements1 three primitive1 as genera1 and nine derivative1 as species4 ,there are the forward and backward movements of the normal state4 ,there are three degrees of height1 and finally the forward and backward movements of extension4 ,the elbow movements are relational4 ,the epicondyle is called the eye of the arm4 ,man slightly moves the torso1 then the shoulder1 and finally the elbow4 ,among persons who would fain crush others1 there is an elbow movement which seems to say1 ,i annihilate thee1 ,i am above thee4 ,the elbow turned outward signifies strength1 power1 audacity1 domination1 arrogance1 abruptness1 activity1 abundance4 ,the elbow drawn inward1 signifies impotence1 fear1 subordination1 humility1 passiveness1 poverty of spirit4 ,modest people have a slight outward movement of the elbow4 ,the humble make an inward movement4 ,the elbow thrust forward or backward1 indicates a yielding character4 ,these movements should not be taken alone2 they must be verified by the torso and the head4 ,the shoulder characterizes the expression of the elbow movements1 just as the elbow verifies marked exaltation1 by the elevation of the shoulder4 ,it is by these little things that we determine millions of movements and their meaning4 ,we finally determine and class precisely five million movements of the different agents of the arm4 ,this would seem enormous2 but it is nothing at all2 it is childlike simplicity4 ,the elements being known1 the process is always the same4 ,hence the advantage of possessing a criterion4 ,with this criterion1 we have everything4 ,if we possess nine1 we possess twenty millions1 which are no more than nine4 ,of the ,wrist4 ,the wrist is a directing instrument for the forearm and the hand4 ,the wrist has its three movements4 ,it is eccentric when the extensor muscles are in motion4 ,it is normal in the horizontal position4 ,it is concentric when the flexor muscles are in action4 ,in the concentric position the wrist is in pronation1 for the thumb is turned downward2 this is the sign of a powerful will1 because the pronator muscles have more power than the flexors4 ,in the eccentric position the wrist is in supination2 that is1 the back of the hand is downward2 this is the sign of impotence4 ,the wrist has also forward and backward movements1 either in pronation1 in supination1 or the normal state4 ,thus there are nine phases for the wrist4 ,it is through the aid of the wrist that the aspects of the hand1 placed upon the cube1 receive1 as we shall see1 their precise signification4 ,the orator needs great suppleness in wrist movements to give grace to the phases of the hand4 ,of the ,hand4 ,man is perforce painter1 poet1 inspired dreamer or mystic1 and scientist4 ,he is a painter1 to reveal the phenomena of the sensitive life2 a poet1 to admire the mysteries of grace2 a scientist1 to make known the conceptions of the mind4 ,thus the hand has three presentations1 neither more nor less1 to render that which passes in man in the sensitive1 moral or intellectual state4 ,let us now examine the three presentations of an open hand3 its palmar1 dorsal and digital aspect4 ,the same thing may be expressed by these three presentations1 but with shades of difference in the meaning4 ,if we say that a thing is admirable1 with the palms upward1 it is to describe it perfectly4 ,this is the demonstrative aspect4 ,if we say the same thing1 displaying the back of the hand1 it is with the sentiment of impotence4 ,we have an idea of the thing1 but it is so beautiful we cannot express it4 ,this is the mystic aspect4 ,if we present the digital extremity1 it is as if we said3 ,i have seen1 ,i have weighed1 ,i have numbered the thing1 ,i understand it from certain knowledge2 it is admirable1 and ,i declare it so4 ,these are the three aspects3 the palmar1 dorsal and digital4 ,each of these attitudes of the hand may be presented under three forms3 the eccentric1 normal and concentric4 ,each of these forms as genera1 produces three species2 this gives the hand nine intrinsic attitudes1 whose neutral signification will be specified and determined by the presentation of the hand upon the cube4 ,let us first take the normal state as genus1 and we shall have the normal hand as species in the normal genus4 ,this will then be the normo-normal attitude4 ,by presenting the hand in pronation or supination horizontally1 without spreading or folding the fingers1 we shall have that attitude which signifies abandon4 ,let us now take the eccentric species1 still in the normal genus4 ,raise the hand somewhat with a slight parting of the fingers1 and we have the eccentro-normal hand1 which signifies expansion4 ,finally1 let us consider the concentric species1 still in the normal state4 ,present the hand lifeless and you have the concentro-normal attitude1 which signifies prostration4 ,let us pass on to the concentric genus4 ,by closing the fingers with the thumb inward upon the middle one1 we shall have the normo-concentric hand1 which signifies the tonic or power4 ,to close the hand and place the thumb outside upon the index finger1 signifies conflict4 ,this is the concentro-concentric hand4 ,to bend the first joint with the fingers somewhat apart1 indicates the eccentro-concentric hand4 ,this is the convulsive state4 ,let us pass on to the eccentric genus4 ,the fingers somewhat spread1 denote the normo-eccentric hand4 ,this is exaltation4 ,to spread the fingers and fold them to the second joint1 indicates the concentro-concentric hand4 ,this is retraction4 ,to spread the fingers as much as possible1 gives the eccentro-eccentric hand4 ,this is exasperation4 ,in the subjoined charts we can see an illustration of the different attitudes of the hand4 ,illustration3 ,criterion of the ,hand4 ,recapitulation ,,ii -- #b -- ,concentro-concentric4 ,conflict4 #c -- ,normo-concentric4 ,tonic or power4 #a -- ,eccentro-concentric4 ,convulsive4 #b -- ,concentro-normal4 ,prostration4 ,,iii -- #c -- ,normo-normal4 ,abandon4 #a -- ,eccentro-normal4 ,expansion4 #b -- ,concentro-eccentric4 ,retraction4 #c -- ,normo-eccentric4 ,exaltation4 ,i -- #a -- ,eccentro-eccentric4 ,exasperation4 ,the nine primitive forms of the hand are1 as is seen1 undetermined4 ---------------------------------------- ----- _/ _/ _/ _/ _/ _/ _/ _/ _/ ,,upper ,,surface4 _/ _/ _/ _/ ,to hold4 _/ _/ _/ ---------------------------------------- ----- ,o ,i ,u ,n ,t ,w ,w ,a ,a ,r ,,front ,,surface4 ,r ,d ,t ,d o ,to retain4 ,t ,l ,l o ,a w ,limit4 -- ,a ,t i ,t b ,e t ,obtain4 ,e e ,r h ,r l ,a d ,,back ,,surface4 ,a o ,l r ,l n a ,to maintain4 g ,s w ,s 4 ,u 4 ,contain4 ,u ,r ,r ,f ,f ,a ,a ,c ,c ,e ,e 4 4 ---------------------------------------- ---- _/ _/ _/ ,,lower ,,surface4 _/ _/ _/ _/ ,to sustain4 _/ _/ _/ _/ _/ _/ _/ _/ _/ ---------------------------------------- ----- ,the hand is raised4 ,why8 ,for what purpose8 ,the presentation of the hand upon the surfaces of the cube will decide and specify4 ,by this presentation the nine movements of the hand correspond with the expressive movements of the arm4 ,take any cube whatever1--a book1 a snuff-box1 or rather cast your eyes upon the foregoing chart1 and examine it carefully4 ,there are three directions in the cube3 horizontal1 vertical and transverse4 ,hence there are six faces1 anterior1 superior1 inferior1 interno-lateral and externo-lateral4 ,of what use are angles and faces8 ,all this is necessary for those who would know the reason of the sentiments expressed by the hand4 ,there are twenty-seven sorts of affirmation4 ,we give nine of them with the six faces of the cube4 ,the ,digital ,face4 ,to place the hand1 whether eccentric1 concentric or normal1 upon the upper face of the cube1 is to hold1 to protect1 to control2 it is to say3 ,i hold this under my protection4 ,to place the hand upon the external side-face of the cube1 signifies to belong2 it says3 ,all this belongs to me4 ,it is the affirmation of the man who knows1 who has had the thing in dispute under his own eyes1 who has measured it1 examined it in all its aspects4 ,it is the affirmation of the connoisseur4 ,to apply the hand to the inner side of the face is to let go4 ,here is the sense of this affirmation3 ,you may say whatever you will1 but ,i affirm in spite of every observation1 in spite of all objection2 ,i affirm whether or no4 ,the ,back ,face4 ,there are three ways of touching the front face of the cube with the hand4 ,a4--,to touch it with the end of the fingers upward and the thumb inward1 is to obtain3 ,i have obtained great benefits1 ,i do not know how to express my gratitude4 ,or rather3 ,i keep the object for myself2 ,i do not care to let it be seen4 ,this is the mystic face4 ,or yet again3 ,i contemplate4 ,b4--,to place the hand horizontally on the same face of the cube1 is to restrain1 or bound4 ,go no farther1 if you please2 all this belongs to me4 ,c4--,to place the hand upon the same anterior face of the cube1 but with the extremities of the fingers vertically downward1 means to retain4 ,it says3 ,i reserve this for myself4 ,here1 then1 are three aspects for the anterior face of the cube4 ,the ,palmar ,face4 ,a4--,to place the lower face of the cube in the hand1 is to sustain4 ,it is to say3 ,i will sustain you in misfortune4 ,b4--,to apply as much as possible the palm upon the same posterior face of the cube1 with the fingers downward1 is to maintain3 ,i maintain what ,i have said4 ,c4--,to apply the hand upon the same face with the extremities of the fingers upward1 is to contain1 is to show the object--it is to disclose3 ,i affirm2 you cannot doubt me2 ,i open my heart2 behold me6 ,there are1 then1 nine affirmations1 which are explained by a mere view of the cube and its faces4 ,the twelve edges of the cube give a double affirmation2 the angles1 a triple affirmation4 ,example for the edges3 ,to place the hand on the back edge1 means3 ,i protect and ,i demonstrate4 ,there are three movements or inflections of the hand which must be pointed out3 to hover1 to insinuate1 to envelop4 ,the three rhythmic actions of the hand must not be passed over in silence3 to incline1 to fall1 to be precipitated4 ,the aspects of the hands would be simply telegraphic movements1 were it not for the inflections of the voice1 and1 above all1 the expression of the eyes4 ,the expressions of the hand correspond to the voice4 ,the hands are the last thing demanded in a gesture2 but they must not remain motionless1 as 7if they were stiff1 for instance7 they might say more than was necessary4 ,the hands are clasped in adoration1 for it seems as if we held the thing we love1 that we desire4 ,the rubbing of the hands denotes joy1 or an eager thirst for action2 in the absence of anything else to caress1 we take the hand1 we communicate our joy to it4 ,there is a difference between the caress and the rubbing of the hands4 ,in the caress1 the hand extends eagerly1 and passes lightly1 undulatingly1 for fear of harming4 ,there is an elevation of the shoulders4 ,the hand is an additional expression of the face4 ,the movement must begin with the face1 the hand only completes and interprets the facial expression4 ,the head and hand cannot act simultaneously to express the same sentiment4 ,one could not say no with head and hands at the same time4 ,the head commands and precedes the movement of the hand4 ,the eyes1 and not the head1 may be parallel with the hand and the other agents4 ,the hand with its palm upward may be caressing1 if there is an elevation of the eyebrow2 repellent with the eyebrow concentric4 ,the waving hand may have much sense1 according to the expression of the face4 ,the eye is the essential agent1 the hand is only the reverberatory agent2 hence it must show less energy than the eye4 ,of the ,fingers4 ,each finger has its separate function1 but it is exclusive of the great expressions which constitute the accords of nine4 ,these are interesting facts1 but they do not spring naturally from the fountain of gesture4 ,they are more intellectual than moral4 ,in a synthetic action all the fingers converge4 ,a very energetic will is expressed by the clenched fist4 ,in dealing with a fact in detail1 as we say3 ,remark this well1 all the fingers open to bid us concern ourselves only with the part in dispute4 ,this is analysis2 it is not moral1 it is intellectual4 ,if we speak of condensation we close the hand4 ,if we have to do with a granulated object1 we test it with the thumb and index finger4 ,if it is carneous1 we touch it with the thumb and middle finger4 ,if the object is fluid1 delicate1 impressionable1 we express it by the third finger4 ,if it is pulverized1 we touch it with the little finger4 ,we change the finger as the body is solid1 humid1 delicate1 or powdery4 ,the orator who uses the fingers in gesticulation1 gives proof of great delicacy of mind4 ,of the ,legs4 ,the legs have nine positions which we call base attitudes4 ,we shall give a detailed description1 summing up in a chart of the criterion of the legs at the end of this section4 ,first ,attitude4--,this consists in the equal balance of the body upon its two legs4 ,it is that of a child posed upon its feet1 neither of which extends farther than the other4 ,this attitude is normal1 and is the sign of weakness1 of respect2 for respect is a sort of weakness for the person we address4 ,it also characterizes infancy1 decay4 ,illustration ,second ,attitude4--,in this attitude the strong leg is backward1 the free one forward4 ,this is the attitude of reflection1 of concentration1 of the strong man4 ,it indicates the absence of passions1 or of concentred passions4 ,it has something of intelligence2 ,illustration it is neither the position of the child nor of the uncultured man4 ,it indicates calmness1 strength1 independence1 which are signs of intelligence4 ,it is the concentric state4 ,third ,attitude4--,here the strong leg is forward1 the free leg backward4 ,this is the type of vehemence4 ,it is the eccentric attitude4 ,illustration ,the orator who would appear passive1 that is1 as experiencing some emotion1 or submitting to some action1 must have a backward pose as in figure #b4 ,if1 on the contrary1 he would communicate to his audience the expression of his will or of his own thought1 he must have a forward poise as in figure #c4 ,fourth ,attitude4--,here the strong leg is behind1 as in the second attitude1 but far more apart from the other and more inflected4 ,this is very nearly the attitude of the fencing master1 except the position of the foot1 which is straight instead of being turned outward4 ,illustration ,this is a sign of the weakness which follows vehemence4 ,natural weakness is portrayed in figure #a2 sudden weakness in figure #d4 ,fifth ,attitude4--,this is necessitated by the inclination of the torso to one side or the other4 ,it is ,illustration a third to one side4 ,it is a passive attitude1 preparatory to all oblique steps4 ,it is passing or transitive1 and ends all the angles formed by walking4 ,it is in frequent use combined with the second4 ,sixth ,attitude4--,this is one-third crossed4 ,it is an attitude of great respect and ceremony1 and is effective only in the presence of princes4 ,illustration ,seventh ,attitude4--,this is the first position1 but the legs are farther apart4 ,the free limb is turned ,illustration to one side2 both limbs are strong4 ,this denotes intoxication1 the man overwhelmed with astonishment1 familiarity1 repose4 ,it is a double fifth4 ,eighth ,attitude4--,this is the second1 with limbs farther apart4 ,it is the alternative attitude4 ,the body faces one of the two legs4 ,it is alternative from the fact that it ends in the expression of two extreme and opposite sentiments2 that is1 in the third or the fourth4 ,it serves for eccentricity with reticence1 for menace and jealousy4 ,it is the type of hesitation4 ,it is a parade attitude4 ,at the same time offensive and defensive1 its aspect easily impresses and leaves the auditor in doubt4 ,what is going to happen8 ,what sentiment is going to arise from this attitude which must have its solution either in the third or fourth8 ,illustration ,ninth ,attitude1--,this is a stiff second attitude1 in which the strong leg and also the free one are equally rigid4 ,the body in this attitude bends backward2 it is the sign of distrust and scorn4 ,illustration ,the legs have one aspect4 ,if1 in the second1 the strong leg advances slowly to find the other1 it is the tiger about to leap upon his prey2 if1 on the contrary1 the free leg advances softly1 the vengeance is retarded4 ,the menace made in figure #c1 with inclination of the head and agitation of the index finger1 is that of a valet who wishes to play some ill turn upon his master2 for with the body bent and the arm advanced1 there is no intelligence4 ,but it is ill-suited to vengeance1 because that attitude should be strong and solid1 with the eye making the indication better than the finger4 ,illustration3 ,criterion of the ,legs ,illustration4 ,criterion of the ,legs ,chapter ,,viii4 ,of the ,semeiotic1 or the ,reason of ,gesture4 ,the ,types which ,characterize ,gesture4 ,the semeiotic is the science of signs1 and hence the science of the form of gesture4 ,its object is to give the reason for the forms of gesture according to the types that characterize it1 the apparatus that modifies it1 and the figures that represent it4 ,there are three sorts of types in man3 constitutional or formal1 fugitive or passional1 and habitual4 ,the constitutional type is that which we have at birth4 ,the passional type is that which is reproduced under the sway of passion4 ,the habitual types are those which1 frequently reproduced1 come to modify even the bones of the man1 and give him a particular constitution4 ,habit is a second nature1 in fact1 a habitual movement fashions the material and physical being in such a manner as to create a type not inborn1 and which is named habitual4 ,to recognize constitutional types1 we study the movements of the body1 and the profound action which the habit of these movements exercises upon the body2 and1 as the type produced by these movements is in perfect analogy with the formal1 constitutional types1 we come through this analogy to infer constant phenomena from the passional form4 ,thus all the formal types are brought back to the passional types4 ,passional types explain habitual types1 and these last explain constitutional types4 ,thus1 when we know the sum of movements possible to an organ1 when we know the sense of it1 we arrive at that semeiotic through which the reason of a form is perfectly given4 ,of ,gesture ,relative to its ,modifying ,apparatus4 ,every gesture places itself in relation with the subject and the object4 ,it is rare that a movement tending toward an object does not touch the double form4 ,thus1 in saying that a thing is admirable1 we start from a multitude of physical centres whose sense we are to determine4 ,when this sense is known1 understanding the point of departure1 we understand still better that of arrival4 ,this division1 which is not made at random1 is reproduced in the subjoined diagram4 #a represents the vital expression2 #b1 the intellectual2 #c1 the moral4 ,we divide the face into three zones3 the genal1#d buccal1 and frontal4 ,the expression is physical1 moral and intellectual4 ,in the posterior section of the head we have the occipital1 parietal and temporal zones4 ,the life is in the occiput1 the soul in the parietal zone1 and the mind holds the temporal region near the forehead as its inalienable domicile4 ,illustration ,the chest is divided into the thoracic centre for the mind1 into the epigastric for the soul1 and into the abdominal for the life4 ,the arm is divided into three sections3 the deltoid1 brachial and carpal4 ,this division is a rational one4 ,let us suppose this exclamation3 ,it is admirable6 ,some say it starting from the shoulder1 others from the chest1 others from the abdominal focus4 ,these are three very distinct modes4 ,there is more intelligence when the movement is from the thoracic centre4 ,this concerns the honor1 the dignity4 ,when the movement is from the epigastrium1 it is moral in a high degree4 ,for example3 ,this is beautiful6 ,it is admirable6 ,i know not why1 but this gives me pleasure6 ,the movement from the abdomen indicates sensuality1 good nature1 and stupidity4 ,the movement is the same with the head4 ,in emotion it proceeds from the chin2 it is the life movement1 it is instinct4 ,that from the cheeks1 indicates sentiments1 the most noble affections4 ,carrying the hand to the forehead indicates intelligence4 ,here we seek relief from embarrassment1 in the other head movements we do not seek it4 ,the one is a mental1 the others are purely physical efforts4 ,in the latter case one becomes violent and would fain give blows with his fist4 ,an infinite number of movements proceed from these various seats4 ,we have now reached the semeiotic standpoint1 that of these very clear plans1 the very starting point of gesture4 ,the articular centres of the arms are called thermometers3 the wrist1 that of the organic physical life2 the shoulder1 that of the sensitive life2 and the elbow1 that of the relative life4 ,the thumb has much expression2 drawn backward it is a symbol of death1 drawn forward it is the sign of life4 ,where there is abundance of life1 the thumb stands out from the hand4 ,if a friend promises me a service with the thumb drawn inward1 he deceives4 ,if with the thumb in the normal state1 he is a submissive but not a devoted friend4 ,he cannot be very much counted upon4 ,if the thumb stands outward1 we may rely upon his promise4 ,we still find life1 soul and mind in each division of the body4 ,there are also a buccal1 an occipital and an abdominal life4 ,the body of man1 with all its active and attractive foci1 with all its manifestations1 may be considered an ellipse4 ,these well-indicated divisions may be stated in an analytic formula3 -- ,,life3 ,occipital4 - -- ,,mind3 ,temporal4 - -- ,,soul3 ,parietal4 - -- ,,mind3 ,frontal4 - -- -- ,,soul3 ,buccal4 - -- ,,life3 ,genal4 - _/ -- ,,mind3 ,thoracic4 - ,attractive centres4- -- ,,soul3 ,epigastric4 - -- ,,life3 ,abdominal4 - -- ,,life3 ,shoulders4 - - ,expressive centres4 -- ,,soul3 ,elbows4 - _/ -- ,,mind3 ,wrists4 - -- ,,life3 ,thigh4 - -- ,,soul3 ,knee4 - -- ,,mind3 ,foot4 - -- ,this is the proper place to fix the definition of each division by some familiar illustration4 ,let us take an individual in a somewhat embarrassed situation4 ,he is a gentleman who has been overcome by wine4 ,we see him touching the temporal bone1 or the ear1 as if to seek some expedient3 the strategic mind is there4 ,let us begin with the descending gamut1 and let the hand pass over all the divisions of the attractive centres4 ,at the occiput3 ,here is an adventure6 ,i have really had too strong a dose of them6 ,at the parietal bone3 ,what a shame6 ,at the temporal bone3 ,what will the people say of me8 ,at the forehead3 ,reason however tells me to pause4 ,at the buccal zone3 ,how shall ,i dare reappear before those who have seen me in this state6 ,at the genal zone3 ,but they did serve such good wine6 ,at the breast3 ,reason long ago advised temperance to me4 ,at the epigastrium3 ,i have so many regrets every time ,i transgress6 ,at the abdomen3 ,the devil6 ,gourmandism6 ,i am a wretched creature6 ,the same illustrations may be reproduced in the rising scale4 ,when the parietals are touched1 the idea and the sentiment are very elevated4 ,as the foci rise1 they become more exalted4 ,let this be considered from another point of view4 ,we shall reproduce gratitude by touching all the centres4 ,they have been centres of attraction1 we shall render them points of departure4 ,i thank you6 ,the more elevated the movements1 the more nobility there is in the expression of the sentiment4 ,the exaltation is proportional to the section indicated4 ,the posterior region is very interesting4 ,there are three sorts of vertebrae3 cervical1 dorsal and lumbar4 ,this apparatus may first be considered as a lever4 ,but taking the vertical column alone1 we shall have twenty-four special and distinct keys whose action and tonality will be entirely specific4 ,from these twenty-four vertebrae proceed the nervous plexi1 all aiding a particular expression2 so that the vertebral column forms the keys of the sympathetic human instrument4 ,if the finger is cut1 there is a special emotion in one place of the vertebral column4 ,if the finger is crushed by the blow of a hammer1 the emotion will affect a special vertebra4 ,the nose is one of the most complex and important agents4 ,there are here nine divisions to be studied4 7,see page #hb47 ,chapter ,,ix4 ,of ,gesture in ,relation to the ,figures which ,represent ,it4 ,gesture through its inflections may reproduce all the figures of geometry4 ,we shall confine ourselves to a description of the primary and most usual imitative inflections4 ,these inflections comprise three sorts of movements affected by each gesture1 which usually unite and constitute a synthetic form4 ,these three movements agree with the three primary actions which characterize the manifestations of the soul1 the mind and the life4 ,these are direct1 circular and oblique inflections4 ,the flexor movements are direct1 the rotary movements circular1 the abductory movements oblique4 ,the sum of these movements constitutes nine co-essential terms1 whose union forms the accord of nine4 ,there are rising1 falling and medium inflections4 ,gesture does everything that the voice does in rising4 ,hence there is great affinity between the voice and the arms4 ,vocal inflection is like the gestures of the blind2 in fact1 with acquaintance1 one may know the nature of the gesture from the sound of the voice4 ,we exalt people by a circle4 ,we say that a thing is beautiful1 noble1 grand--making circles which grew higher and broader as the object is more elevated4 ,we choose the circle for exalting and caressing1 because the circle is the most agreeable form to touch and to caress4 ,for example1 an ivory ball4 ,this form applies to all that is great4 ,for ,god there is no circle1 there can be none4 ,but we outline a portion of an immense circle1 of which we can touch but one point4 ,we indicate only the inner periphery of a circle it is impossible to finish1 and then retrace our steps4 ,when the circle is made small1 we make it with one1 two1 three or four fingers1 with the hand1 with the arm4 ,if the circle is vast as can be made with the arms1 it is homogeneous4 ,but a small circle made with the arm will express stupidity4 ,thus we say of a witty man3 ,this is a witty man1 employing the fingers4 ,stupidity wishing to simulate this1 would make a broad movement4 ,let us take the fable of ,captain ,renard as an example of this view of the circle4 ,i depict the cunning nature of this captain with my fingers4 ,without this he would not be a captain2 but at most a corporal4 --,he went in company ,with his friend ,he-,goat of the branching horns4 ,the one could see no farther than his nose2 ,the other was past master in deceit4 ,as they go along1 the fox relates all his exploits to the goat1 and the goat surprised1 and wishing an end of the recital1 sees fit to make a gesture1 as he says3 ,i admire people full of sense like you4 ,in making the small circle1 he employs not only the fingers1 but the arm1 the shoulder1 the whole body4 ,he is an imbecile4 ,he wastes too much effort in making a small circle4 ,let us take a situation from an opera4 ,when ,robert enters and sees ,isabella1 he says of her3 ,this peaceful sleep1 this lull of every sense1 ,lends a yet sweeter charm to this young face4 ,the gesture is in the form of a geometrical figure4 ,in another place1 ,robert says3 ,thy voice1 proud beauty1 few can understand4 ,here a spheroidal and then a rectangular movement must be made4 ,we close the door4 ,her voice will be understood by me1 alone4 ,he might say3 ,thy voice1 proud beauty1 will not be understood4 ,it will be elevated for me1 and not for others4 ,every sentiment has its form1 its plastic expression1 and as its form is more or less elaborated1 we may judge of the elevation of the speaker's thought4 ,if we could stereotype gesture1 we might say3 ,this one has the more elevated heart1 that one the least elevated2 this one in the matter1 that one in the spirit of his discourse4 ,all gestures may be very well delineated4 ,an orator gesticulating before the public1 resembles a painter who pencils outlines and designs upon a wall4 ,this reproduction of the figures of gesture is called ,chorography4 ,we give in the subjoined chart some types of gesture4 ,these are a few flowers culled from a rich garden4 ,to express sensual grace the gesture takes the downward spheroidal form4 ,the virtuous form would be upward4 ,if we wish to express many attractive things1 we make many spheroidal gestures4 ,what is called the culminating point of the gesture1 must not be forgotten4 ,this is a ring in the form of the last stroke of the ,german letter ,d1 which is made by a quick1 electric movement of the wrist4 ,we refer the student to the close of the volume1 for a model of exercises comprising a series of gestures which express the most eloquent sentiments of the human heart4 ,this exercise in gesture has two advantages3 it presents all the interest of the most fascinating drama1 and is the best means of gaining suppleness by accustoming ourselves to the laws of gesture4 ,illustration3 ,criterion of ,chorography4 ,illustration3 ,inflective ,medallion4 ,the vertical line #a expresses affirmation4 ,the horizontal line #b expresses negation4 ,the oblique line #c rejects despicable things4 ,the oblique line #d rejects things which oppress us1 of which we would be freed4 #e4 ,the quarter-circle1 whose form recalls that of the hammock1 expresses well-being1 happiness1 confidence4 #f4 ,the curvilinear eccentric quarter-circle expresses secrecy1 silence1 possession1 domination1 stability1 imposition1 inclusion4 #g4 ,the curvilinear outside quarter-circle expresses things slender1 delicate 7in two ways72 the downward movement expresses moral and intellectual delicacy4 #h4 ,the outside quarter-circle expresses exuberance1 plenitude1 amplitude1 generosity4 #i4 ,the circle which surrounds and embraces1 characterizes glorification and exaltation4 ,part ,third4 ,articulate ,language4 ,chapter ,i4 ,origin and ,organic ,apparatus of ,language4 ,man reveals his life through more than four millions of inflections ere he can speak or gesticulate4 ,when he begins to reason1 to make abstractions1 the vocal apparatus and gesture are insufficient2 he must speak1 he must give his thought an outside form so that it may be appreciated and transmitted through the senses4 ,there are things which can be expressed neither by sound nor gesture4 ,for instance1 how shall we say at the same time of a plant3 ,it is beautiful1 but it has no smell4 ,thought must then be revealed by conventional signs1 which are articulation4 ,therefore1 ,god has endowed man with the rich gift of speech4 ,speech is the sense of the intelligence2 sound the sense of the life1 and gesture that of the heart4 ,soul communicates with soul only through the senses4 ,the senses are the condition of man as a pilgrim on this earth4 ,man is obliged to materialize all3 the sensations through the voice1 the sentiments through gesture1 the ideas through speech4 ,the means of transmission are always material4 ,this is why the church has sacraments1 an exterior worship1 chants1 ceremonies4 ,all its institutions arise from a principle eminently philosophical4 ,speech is formed by three agents3 the lips1 the tongue and the soft-palate4 ,it is delightful to study the special role of these agents1 the reason of their movements4 ,they have a series of gestures that may be perfectly understood4 ,thus language resembles the hand1 having also its gesture4 ,chapter ,,ii4 ,elements of ,articulate ,language4 ,every language is composed of consonants and vowels4 ,these consonants and vowels are gestures4 ,the value of the consonant is the gesture of the thing expressed4 ,but as gesture is always the expression of a moral fact1 each consonant has the intrinsic character of a movement of the heart4 ,it is easy to prove that the consonant is a gesture4 ,for example1 in articulating it1 the tongue rises to the palate and makes the same movement as the arm when it would repel something4 ,the elements of all languages have the same meaning4 ,the vowels correspond directly to the moral state4 ,there is diversity of language because the things we wish to express vary from difference in usage and difference of manner and climate4 ,what we call a shoe1 bears among northern people a name indicating that it protects the feet from the cold2 among southern people it protects the feet from the heat4 ,elsewhere the shoe protects the feet against the roughness of the soil2 and in yet other places1 it exists only as a defensive object--a weapon4 ,these diverse interpretations require diverse signs4 ,this does not prove the diversity of language1 but the diversity of the senses affected by the same object4 ,things are perceived only after the fashion of the perceiver1 and this is why the syllables vary among different peoples4 ,nevertheless1 there is but one language4 ,we find everywhere these words3 ,i an active personality1 me a passive personality1 and mine an awarding personality4 ,in every language we find the subject1 the verb and the adjective4 ,every articulate language is composed of substantive1 adjective and copulative ideas4 ,all arts are found in articulation4 ,sound is the articulation of the vocal apparatus2 gesture the articulation of the dynamic apparatus2 language the articulation of the buccal apparatus4 ,therefore1 music1 the plastic arts and speech have their origin and their perfection in articulation4 ,it is1 then1 of the utmost importance to understand thoroughly the elements of speech1 which is at the same time a vocalization and a dynamic4 ,without this knowledge no oratorical art is possible4 ,let us now hasten to take possession of the riches of speech4 ,chapter ,,iii4 ,the ,oratorical ,value of ,speech4 ,the privilege of speech may be considered under a double aspect1 in itself and in its relations to the art of oratory4 #a4 ,in ,itself4--,speech is the most wonderful gift of the ,creator4 ,through speech man occupies the first rank in the scale of being4 ,it is the language of the reason1 and reason lifts man above every creature4 ,man through speech incarnates his mind to unite himself with his fellow-men1 as the ,son of ,god was incarnated to unite with human nature2 like the ,son of ,god who nourishes humanity with his body in the eucharist1 so man makes his speech understood by multitudes who receive it entire1 without division or diminution4 ,eternal thanks to ,god for this ineffable gift1 so great in itself1 of such value in the art of oratory6 #b4 ,what is the oratorical value of speech8 ,in oratorical art1 speech plays a subordinate but indispensable role4 ,let us examine separately the two members of this proposition4 ,a4--,in the hierarchy of oratorical powers1 speech comes only in the third order4 ,in fact1 the child begins to utter cries and to gesticulate before he speaks4 ,the text is only a label4 ,the sense lies not in speech1 but in inflection and gesture4 ,nature institutes a movement1 speech names the movement4 ,writing is a dead letter4 ,speech is only the title of that which gesture has announced2 speech comes only to confirm what is already understood by the auditors4 ,we are moved in reading1 not so much by what is said1 as by the manner of reading4 ,it is not what we hear that affects us1 but that which we ourselves imagine4 ,an author cannot fully express his ideas in writing2 hence the interpretation of the hearer is often false1 because he does not know the writer4 ,it is remarkable1 the way in which we refer everything to ourselves4 ,we must needs create a semblance of it4 ,we are affected by a discourse because we place the personage in a situation our fancy has created4 ,hence it happens that we may be wrong in our interpretation1 and that the author might say3 ,this is not my meaning4 ,in hearing a symphony we at once imagine a scene1 we give it an aspect2 this is why it affects us4 ,a written discourse requires many illustrative epithets2 in a spoken discourse1 the adjectives may be replaced by gesture and inflection4 ,imitation is the melody of the eye1 inflection is the melody of the ear4 ,all that strikes the eye has a sound2 this is why the sight of the stars produces an enchanting melody in our souls4 ,hence in a discourse1 speech is the letter1 and it is inflection and gesture which give it life4 ,nevertheless3-- ,b4--,the role of speech1 although subordinate1 is not only important1 but necessary4 ,in fact1 human language1 as we have said1 is composed of inflection1 gesture and speech4 ,language would not be complete without speech4 ,speech has nothing to do with sentiment1 it is true1 but a discourse is not all sentiment2 there is a place for reason1 for demonstration1 and upon this ground gesture has nothing to do2 the entire work here falls back upon speech4 ,speech is the crown of oratorical action2 it is this which gives the final elucidation1 which justifies gesture4 ,gesture has depicted the object1 the ,being1 and speech responds3 ,god4 ,chapter ,,iv4 ,the ,value of ,words in ,phrases4 ,expression is very difficult4 ,one may possess great knowledge and lack power to express it4 ,eloquence does not always accompany intellect4 ,as a rule1 poets do not know how to read what they have written4 ,hence we may estimate the importance of understanding the value of the different portions of a discourse4 ,let us now examine intellectual language in relation to intensity of ideas4 ,there are nine species of words1 or nine species of ideas4 ,the article need not be counted1 since it is lacking in several languages4 ,it is the accord of nine which composes the language1 and which corresponds to the numbers4 ,every word has a determinate1 mathematical value4 ,as many unities must be reckoned on the initial consonant as there are values in the word4 ,thus the subject has less value than the attribute4 ,the attribute has a value of six degrees and represents six times the intensity of the subject4 ,why8 ,because ,god has willed that we should formulate our idea with mathematical intensities4 ,the value rests only upon the initial consonant of the word4 ,words have only one expressive portion1 that is1 the initial consonant4 ,it receives the whole value1 and is the invariable part of the word4 ,it is the root4 ,words are transformed in passing from language to language1 and nevertheless retain their radical4 ,how shall we say that a flower is charming8 ,do not demand of intensity of sound a value it does not possess4 ,it suffices to await the articulation of the consonant4 ,the most normal phenomena remain true to mechanical laws4 ,the mere articulation of the word expresses more than all the vocal and imitative effects that can be introduced4 ,most speakers dwell upon the final word2 this habit is absolutely opposed to the nature of heart movements4 ,this school habit is hard to correct1 and if ,rachel became a great artiste1 it was because she did not have this precedent4 ,the subject represents one degree2 it is the weakest expression4 ,the verb represents two degrees2 the attribute six4 ,let us illustrate the manner of passing from one to six as follows3 ,a rustic comes to visit you upon some sort of business4 ,this man has a purpose4 ,as you are a musician he is surprised by his first sight of a piano4 ,he says to himself3 ,what is this8 ,it is a singular object4 ,it is neither a table nor a cupboard4 ,he now perceives the ivory keys and other keys of ebony4 ,what can this mean8 ,he stands confounded before an instrument entirely new to him4 ,if it were given to him1 he would not know what to do with it2 he might burn it4 ,the piano interests him so much that he forgets the object of his visit4 ,he sees you arrive4 ,you occupy for him the place of the verb in relation to the object which interests him4 ,he passes from this object to you4 ,although you are not the object which engrosses him1 there is a progression in the interest1 because he knows that through you he will learn what this piece of furniture is4 ,tell me what this is6 he cries4 ,you strike the piano2 it gives forth an accord4 ,o heavens1 how beautiful6 ,he is greatly moved1 he utters many expressions of delight1 and now he would not burn the instrument4 ,here is a progression4 ,at first the piece of furniture interests him2 then its owner still more2 at last the attributes of the piano give it its entire value4 ,but why six degrees upon the last term8 ,the value of a fact comes from its limitation2 the knowledge of an idea also proceeds from its limitation4 ,a fact in its general and vague expression1 awakens but little interest4 ,but as it descends from the genus to the species1 from the species to the individual1 it grows more interesting4 ,it comes more within our capacity4 ,we do not embrace the vast circle of a generic fact4 ,let us take another proposition3 ,a flower is pleasing4 #a #b #cdef --------- ,flower is pleasing ------ #c #g -- of the forest very --- #d --------- this ---------------- #e #h --- ----------- little -- but ---- #a #b #f #i it- is faded ,oh6 ,the word flower alone says nothing to the imagination4 ,is it a rose or a lily of the valley8 ,the expression is too vague4 ,when the idea of genus is modified by that of species1 we are better satisfied4 ,let us say3 ,the flower of the forest4 ,this word forest conveys an idea to the mind4 ,we can make our bouquet4 ,we think of the lily of the valley1 of the violet1 the anemone1 the periwinkle4 ,this restriction gives value to the subject4 ,forest is more important than the verb which does not complete the idea1 and less important than pleasing4 ,therefore we place #c upon forest1 and shall rank pleasing from #c to #d1 since it closes the assertion4 ,if we individualize by the word this1 we augment the value by giving actuality to the word flower4 ,this has more value than the forest1 because it designates the subject4 ,hence this has four degrees4 ,as pleasing forms the very essence of our proposition1 we are obliged to give it five degrees4 ,the idea is still somewhat vague4 ,if ,i specify it still further by saying this little flower1 little has a higher value than all the other words4 ,what value shall we give this adjective8 ,we have reached five1 but have not yet fully expressed the idea which impresses us4 ,little must therefore have six degrees4 ,this is the sole law for all the languages of the world4 ,there are no two ways of articulating the words of a discourse4 ,when we learn a discourse by heart in order to deliver it1 and take no account of the value of the terms1 the divine law is reversed4 ,now1 if we could introduce an expression here1 which would at once enhance the value of the word pleasing1 it would evidently be stronger than all the others4 ,in fact1 if the way in which a thing is pleasing can be expressed1 it is evident that this manner of being pleasing will rise above the word itself4 ,we do not know the proportion in which the flower is pleasing4 ,we will say that it is very pleasing4 ,this adverb gives the word pleasing a new value4 ,it is in turn modified4 ,if we should say immensely1 or use any other adverb of quantity1 the value would remain the same4 ,it would still be a modification4 ,thus1 when we say of ,god that he is good1 immense1 infinite1 there is always a limitation attached to the idea of ,god1--a limitation necessary to our nature4 ,for ,god is not good in the way we understand goodness or greatness2 but our finite minds need some expression for our idea4 ,we see the word pleasing modified in turn1 and the term which modifies it1 is higher than itself4 ,very pleasing1--what value shall we give it8 ,we can give it no more than seven here4 ,a single word may obliterate the effect produced by all these expressions4 ,a simple conjunction may be introduced which will entirely modify all we have taken pains to say4 ,it is a but4 ,but is an entire discourse4 ,we no longer believe what has been said hitherto1 but what follows this word4 ,this conjunction has a value of eight degrees1 a value possible to all conjunctions without exception4 ,it sums up the changes indicated by subsequent expressions1 and embraces them synthetically4 ,it has1 then1 a very great oratorical value4 ,the ,conjunction4 #a4 ,we refer here only to conjunctions in the elliptical sense4 ,the conjunction is an ellipse1 because it is the middle term between two members of the sentence which are the extremes2 it recalls what has just been said1 and indicates what is to come4 ,considered in itself1 the word and1 when elliptical1 embraces what has just been said1 and what is about to be said4 ,all this is founded upon the principle that the means are equal to the extremes4 #b4 ,the copulative or enumerative conjunctions1 have only two degrees4 ,we see that a conjunction is not elliptical when1 instead of uniting propositions1 it unites only ideas of the same character4 #c4 ,determinative conjunctions have only three degrees4 ,for example3 ,it is necessary that ,i should work4 ,that has only three degrees4 #d4 ,the values indicated can be changed only by additional values justified by gesture4 ,thus in the phrase3 ,this medley of glory and honor1--the value of the word medley can and must be changed2 but a gesture is necessary1 for speech is only a feeble echo of gesture4 ,only gesture can justify a value other than that indicated in this demonstration4 ,this value is purely grammatical1 but the gesture may give it a superlative idea1 which we call additional value4 ,the value of consonants may vary in the pronunciation according to their valuation by the speakers4 ,more or less value is given to the degrees noted and to be noted1 as there is more or less emotion in the speaker4 ,this explains why a gesture1 which expresses an emotion of the soul1 justifies changing the grammatical value in the pronunciation of consonants4 #e4 ,even aside from additional values1 the gesture must always precede the articulation of the initial consonant4 ,otherwise to observe the degree would be supremely ridiculous4 ,the speaker would resemble a skeleton1 a statue4 ,the law of values becomes vital only through gesture and inflection4 ,stripped of the poetry of gesture and inflection1 the application of the law is monstrous4 ,to place six degrees upon pleasing without gesture1 is abominable4 ,we now understand the spirit of gesture1 which is given to man to justify values4 ,it is for him to decide whether the proposition is true or not4 ,if we deprive our discourse of gestures1 no way is left to prove the truth of values4 ,thus gesture is prescribed by certain figures1 and we shall now see from a proposition1 how many gestures are needed1 and to what word the gesture should be given4 ,the ,conjunction ,continued--,various ,examples4 ,the degree of value given to the conjunction1 may be represented by the figure #h4 ,let us justify this valuation by citing these two lines of ,racine3 ,the wave comes on1 it breaks1 and vomits 'neath our eyes1 ,amid the floods of foam1 a monster grim and dire4 ,the ordinary reader would allow the conjunction and to pass unperceived1 because the word is not sonorous1 and we accord oratorical effects only to sonorous words4 ,but the man who sees the meaning fully1 and who adds and1 has said the whole4 ,the other words are important1 but everything is implied in this conjunction4 ,racine has not placed and here to disjoin1 but to unite4 ,we give another example of the conjunction3 ,augustus says to ,cinna3 ,take a chair ,cinna1 and in all things heed ,strictly the law that ,i lay down for thee4 ,let us suppress the isolation and silence of the conjunction1 and there is no more color4 ,augustus adds3 ,hold thy tongue captive1 and if silence deep ,to thy emotion do some violence-- ,suppress the silence and isolation of the conjunction and1 and how poor is the expression6 ,in the fable of ,the ,wolf and the ,dog3 ,sire wolf would gladly have attacked and slain him1 but it would have been necessary to give battle1 and it was now almost morning4 ,the entire significance lies in the silence which follows the conjunctions4 ,we speak of a sympathetic conjunction1 and also of one denoting surprise or admiration2 but this conjunction differs from the interjection1 only in this respect3 it rests upon the propositions and unites its terms4 ,like the interjection1 it is of a synthetic and elliptic nature2 it groups all the expressions it unites as interjectives4 ,it is1 then1 from this point of view1 exclamative4 ,in the fable of ,the ,wolf and the ,lamb1 the wolf says3 ,this must be some one of your own race1 for you would not think of sparing me1 you shepherds and you dogs4 ,here is an interjective conjunction4 ,suppress the complaint after for1 and there is no more effect4 ,the conjunction is the soul of the discourse4 ,in the exclamation in ,joseph ,sold by his ,brethren1 we again find an interjective conjunction4 ,alas4444444444 and ,the ingrates who would sell me6 ,here the conjunction and yields little to the interjection alas4 ,it has fully as much value4 ,the ,interjection in ,relation to its ,degree of ,value4 ,the interjection has #i degrees2 this is admirably suited to the interjection1 an elliptical term which comprises the three terms of a proposition4 ,in summing up the value of a simple proposition1 we have 7a noteworthy thing7 the figure #i4 ,this gives the accord of #i4 ,the subject #a1 the verb #b1 and #f upon the attribute1 equal #i4 ,thus the equation is perfect4 ,gesture is the rendering of the ellipse4 ,gesture is the elliptical language given to man to express what speech is powerless to say4 ,we have spoken of additional figures4 ,each of these figures supposes a gesture4 ,there is a gesture1 an imitative expression wherever there is an additional figure4 ,an ellipse in a word1 such as is met with in the conjunction and the interjection1 demands a gesture4 #i is a neutral term which must be sustained by gesture and inflection4 ,gesture would be the inflection of the deaf1 inflection the gesture of the blind4 ,the orator should1 in fact1 address himself to the deaf as well as to the blind4 ,gesture and inflection should supplement physical and mental infirmities1 and ,god in truth has given man this double means of expression4 ,there is also a triple expression1 which is double in view of this same modification of speech4 ,let us suppose this proposition3 ,how much pain ,i suffer in hearing6 ,according to the rules laid down1 we have #c upon pain1 #f upon suffer1 and #f again upon hearing4 ,it is said that ,talma brought out the intensity of his suffering by resting on the word pain4 ,this was wrong4 ,we should always seek the expression equivalent to that employed1 to attain a certain value4 ,if1 instead of the determinate conjunction that1 we should have how much 7combien71 this would evidently be the important word4 ,this word has an elliptical form4 ,it evidently belongs to a preceding proposition4 ,it means3 ,i could not express all that ,i suffer4 ,then #f must be placed upon how much and not upon pain4 ,but the figure #f here is a thermometer which indicates a degree of vitality2 it does not express the degree of vitality2 that is reserved for gesture4 ,we need not ask what degree this can give2 its office is to express--and this is a good deal--a value mechanical and material1 but very significant4 ,a reversion of values may constitute a falsehood4 ,stage actors are sometimes indefinably comic in this way4 ,a ,resume of the ,degrees of ,value4 ,to crown this unprecedented study upon language1 we give in a table1 a resume of the different degrees of value in the various parts of a discourse1 relative to the initial consonant4 ,the object of the preposition #a ,the verb to be and the prepositions #b ,the direct or indirect regimen #c ,the limiting 7possessive and demonstrative7 adjectives #d ,the qualifying adjectives #e ,the participles or substantives taken adjectively or attributively2 that is to say1 every word coming immediately after the verb1 in fine1 the attribute #f ,the adverbs #g ,conjunctions1 superlative ideas or additional figures #h ,the interjection #i ,the pronoun is either subject or complement1 and therefore included in the rest4 ,as for the article1 it is not essential to a language2 there is no article in ,latin4 ,thus the value of our ideas is expressed by figures4 ,we have only to reckon on our fingers4 ,we might beat time for the pronunciation of the consonants as for the notes of music4 ,let the pupil exercise his fingers1 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 figure4 ,if difficulties present themselves at first1 so much the better2 he will only the more accurately distinguish the value of the words4 ,chapter ,v4 ,french and ,latin ,prosody4 ,french ,prosody4 ,prosody is the rhythmic pronunciation of syllables according to accent1 respiration1 and1 above all1 quantity4 ,in the ,italian there are no two equal sounds2 the quantity is never uniform4 ,italian is1 therefore1 the most musical of languages4 ,where we place one accent upon a vowel1 the ,italians place ten4 ,there is a euphonic law for every language2 all idioms must have an accent4 ,in every language there are intense sounds and subdued sounds2 the ,italians hold to this variety of alternate short and long sounds4 ,continuous beauty should be avoided4 ,a beautiful tone must be introduced to relieve the others4 ,monotony in sounds as well as in pronunciation1 must be guarded against4 ,harmony lies in opposition4 ,there is but one rule of quantity in ,french pronunciation4 ,here is the text of this law3 ,there are and can be only long initial or final vowels--whence we conclude3 #a4 ,every final is long and every penultimate is final1 since e mute is not pronounced4 #b4 ,the length of initial vowels depends upon the value of the initial consonants which they precede4 ,a word cannot contain two long vowels unless it begins with a vowel4 ,in this case1 the vowel of the preceding word is long1 and prepares for the enunciation of the consonant according to its degree4 ,every first consonant in a word is strong1 as it constitutes the radical or invariable part of the word4 ,the force of this consonant is subordinate to the ruling degree of the idea it is called to decide4 ,but every vowel which precedes this first consonant is long1 since it serves as a preparation for it4 ,but to what degree of length may this initial vowel be carried8 ,the representative figure of the consonant will indicate it4 ,usually1 the first consonant of every word is radical4 ,still there might be other radical consonants in the same word4 ,but the first would rise above the others4 ,the radical designates the substance of being1 and the last consonant the manner4 ,the whole secret of expression lies in the time we delay the articulation of the initial consonant4 ,this space arrests the attention and prevents our catching the sound at a disadvantage4 ,latin ,prosody4 #a4 ,the final of a word of several syllables is usually short4 #b4 ,in words of two syllables1 the first is long4 ,in ,latin words of two syllables1 the first almost always contains the radical4 #c4 ,in words of three and more syllables1 there is one long syllable3 sometimes the first1 sometimes another4 ,we rest only upon this1 all the others being counted more or less short4 ,in compound words no account need be made of prefixes2 ,there are many compound words2 and1 consequently1 it is often the last or next to the last consonant which is the radical4 ,the last consonant represents always1 in variable words1 quality1 person1 mode or time4 ,the radical1 on the contrary1 represents the sum and substance4 #d4 ,monosyllables are long1 but they have1 especially when they follow each other1 particular rules1 which result from the sense of the phrases1 and from the mutual dependence of words4 ,chapter ,,vi4 ,method4 ,dictation ,exercises4 ,a subject and text being given1 notes may be written under the nine following heads3 #a4 ,oratorical value of ideas4 #b4 ,the ellipse4 #c4 ,vocal inflections4 #d4 ,inflective affinities1 or relation to the preceding inflections4 #e4 ,gestures4 #f4 ,imitative affinities4 #g4 ,the special rule for each gesture4 #h4 ,the law whence this rule proceeds4 #i4 ,reflections upon the portrayal of personal character4 ,chapter ,,vii4 ,a ,series of ,gestures for ,exercises4 ,preliminary ,reflections4 ,we know the words of ,garrick3 ,i do not confide in myself1 not ,i1 in that inspiration for which idle mediocrity waits4 ,art1 then1 presents a solid basis to the artist1 upon which he can rest and reproduce at will the history of the human heart as revealed by gesture4 ,this is true1 and it is as an application of this truth that we are about to consider the series1 which is an exposition of the passions that agitate man1 an initiation into imitative language4 ,it is a poem1 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 heart4 ,it is a grammar which must be studied incessantly1 in order to understand the origin and value of imitative expressions4 ,the development of the series is based upon the static1 the semeiotic and the dynamic4 ,the static is the life of gesture2 it is the science of the equipoise of levers1 it teaches the weight of the limbs and the extent of their development1 in order to maintain the equilibrium of the body4 ,its criterion should be a sort of balance4 ,the semeiotic is the spirit and rationale of gesture4 ,it is the science of signs4 ,the dynamic is the action of equiponderant forces through the static2 it regulates the proportion of movements the soul would impress upon the body4 ,the foundation and criterion of the dynamic1 is the law of the pendulum4 ,the series proceeds1 resting upon these three powers4 ,the semeiotic has given the signs1 it becomes aesthetic in applying them4 ,the semeiotic says3 ,such a gesture reveals such a passion2 and gesture replies3 ,to such a passion ,i will apply such a sign4 ,and without awaiting the aid of an inspiration often hazardous1 deceitful and uncertain1 it moulds the body to its will1 and forces it to reproduce the passion the soul has conceived4 ,the semeiotic is a science1 the aesthetic an act of genius4 ,the series divides its movements into periods of time1 in accordance with the principle that the more time a movement has1 the more its vitality and power2 and so every articulation becomes the object of a time4 ,the articulations unfold successively and harmoniously4 ,every articulation which has no action1 must remain absolutely pendent1 or become stiff4 ,grace is closely united to gesture2 the manifold play of the articulations which constitutes strength1 also constitutes grace4 ,grace subdues only because sustained by strength1 and because strength naturally subdues4 ,grace without strength is affectation4 ,every vehement movement must affect the vertical position1 because obliquity deprives the movement of force1 by taking from it the possibility of showing the play of the articulations4 ,the demonstration of movement is in the head4 ,the head is the primary agent of movement2 the body is the medium agent1 the arm the final agent4 ,three agents in gesture are especially affected in characterizing the life1 mind and soul4 ,the thumb is the index-sign of life2 the shoulder is the sign of passion and sentiment2 the elbow is the sign of humility1 pride1 power1 intelligence and sacrifice4 ,the first gesture of the series is the interpellation1 the entrance upon the scene4 ,the soul is scarce moved as yet1 and still this is the most difficult of gestures1 because the most complex4 ,it must indicate the nature of the interpellation1 its degree and the situation of the giver and receiver of the summons in regard to each other4 ,a study of the signs which distinguish these different shades will teach us the analysis of gesture4 ,aside from simple interpellation1 the series passes successively from gratitude1 devotion1 etc41 to anger1 menace and conflict1 leaving the soul at the point where it is subdued and asks forgiveness4 ,the passional or fugitive type forms the constant subject of the study of this series4 ,the ,series of ,gestures ,applied to the ,sentiments ,oftenest ,expressed by the ,orator4 ,first ,gesture4 ,interpellation4 ,interpellation embraces five steps3 ,the first consists in elevating the shoulder in token of affection4 ,if the right shoulder1 as in figure #b with the right leg weak4 ,the second step consists in a rotary movement of the arm1 its object being to present the epicondyle 7elbow-joint7 to the interlocutor4 ,for this reason the epicondyle is called the eye of the arm4 ,the third stage consists in substituting the articulation of the wrist for the epicondyle4 ,in making the forward movement of the body1 the epicondyle must resume its natural place4 ,the fourth step consists in extending the hand toward the speaker in such a way as to present to him the extremities of the fingers4 ,the fifth step is formed by a rapid rotation of the hand4 ,second ,gesture4 ,thanks--,affectionate and ,ceremonious4 ,this gesture consists of six steps3 #a4 ,consists in lifting the hand and lowering the head4 #b4 ,consists in raising the hand to the hip4 #c4 ,the head inclines to one side1 and the elbow at the same time rises to aid the hand in reaching the lips4 #d4 ,in this1 the head resumes its normal position1 while the elbow is lowered to bring back the hand to the same position4 #e4 ,in this1 the hand passes from the horizontal to the vertical position1 rounding toward the arm4 #f4 ,in this1 the arm is developed1 and then the hand4 ,third ,gesture4 ,attraction4 ,in this gesture there are three steps3 #a4 ,the hand turns toward the interlocutor with an appealing aspect4 #b4 ,the hand opens like a fan with the little finger tending toward the chest4 #c4 ,the elbow is turned outward1 and the hand passes toward the breast4 ,fourth ,gesture4 ,surprise and ,assurance4 #a4 ,this consists in elevating the shoulders1 opening the eyes and mouth and raising the eyebrow2 the whole in token of surprise4 #b4 ,raise the passive hand above the chin1 making it turn around the wrist4 #c4 ,the hand still passive1 is directed toward the person addressed1 the elbow being pressed against the body4 #d4 ,the arm is gradually extended toward the person addressed1 while the hand is given an opposite direction2 that is1 the palm of the hand is toward him4 ,fifth ,gesture4 ,devotion4 ,this gesture embraces seven movements3 #a4 ,this consists in raising the passive hand to the level of the other hand1 but in an inverse direction4 #b4 ,this consists in turning back the hand toward one's self4 #c4 ,this consists in drawing the elbows to the body1 and placing the hands on the chest4 #d4 ,this is produced by taking a step backward1 and turning a third to one side2 during the execution of this step1 the elbows are raised1 and the head is lowered4 #e4 ,this consists in drawing the elbows near the body1 and placing the hands above the shoulders4 #f4 ,this consists in developing the arms4 #g4 ,this consists in developing the hands4 ,sixth ,gesture4 ,interrogative ,surprise4 ,this surprise is expressed in two movements3 #a4 ,this is wholly facial4 #b4 ,this is made by advancing the hand and drawing the head backward4 ,seventh ,gesture4 ,reiterated ,interrogation4 ,this gesture signifies3 ,i do not understand1 ,i cannot explain your conduct to me4 ,it embraces five steps3 #a4 ,this consists in placing both hands beneath the chin1 and violently elevating the shoulders4 #b4 ,this consists in bringing the hands to the level of the chest1 as if in search of something there4 #c4 ,this consists in extending both hands toward the interlocutor1 as if to show him that they contain nothing4 #d4 ,this consists in extending one hand in the opposite direction1 and letting the head and body follow the hand4 #e4 ,this consists in turning the head vehemently toward the interlocutor1 and suddenly lowering the shoulders4 ,eighth ,gesture4 ,anger4 ,this gesture is made in three movements3 #a4 ,this consists in raising the arm4 #b4 ,this consists in catching hold of the sleeve4 #c4 ,this consists in carrying the clenched hand to the breast1 and drawing back the other arm4 ,ninth ,gesture4 ,menace4 ,this gesture consists of a preparatory movement1 which is made by lowering the hand while the arm is outstretched toward the interlocutor1 then the finger is extended1 and the hand is outstretched in menace4 ,the eye follows the finger as it would follow a pistol2 this occasions a reversal of the head proportional to that of the hand4 ,tenth ,gesture4 ,an ,order for ,leaving4 ,this is executed3 #a4 ,by turning around on the free limb4 #b4 ,by carrying the body with it4 #c4 ,by executing a one-fifth sideward movement--the right leg very weak4 ,all these movements are made by retaining the gesture of the preceding menace4 ,then only the menacing hand is turned inward at the height of the eye1 at the moment when it is about to pass the line occupied by the head2 the elbow is raised to allow the hand a downward movement1 which ends in an indication of departure4 ,in this indication the hand is absolutely reversed1 that is1 it is in pronation4 ,then only does the head1 which has hitherto been lowered1 rise through the opposition of the extended arm4 ,eleventh ,gesture4 ,reiteration4 #a4 ,the whole body tends toward the hand which is posed above the head4 ,the right leg passes from weak to strong4 #b4 ,the head is turned backward toward the interlocutor4 #c4 ,it rises4 #d4 ,the arm extends4 #e4 ,the hand in supination gives intimation of the order4 ,twelfth ,gesture4 ,fright4 ,the right hand pendent4 ,the left hand rises4 ,tremor4 ,the first movement is executed in one-third2 the body gently passes into the fourth1 and as the fifth is being accomplished1 the arm is thrust forward as if to repel the new object of terror4 ,at this moment a metamorphose seems to take place1 and the object which had occasioned the fright1 seems to be transfigured and to become the subject of an affectionate impulse4 ,the hands extend toward this object not to repel it1 but to implore it to remain2 it seems to become more and more ennobled1 and to assume in the astonished eyes of the actor1 a celestial form--it is an angel4 ,therefore the body recoils anew one-fourth2 the hands fall back in token of acquiescence2 then1 while drawing near the body1 they extend anew toward the angel 7here a third in token of affection and veneration74 ,then a prayer is addressed to it1 and again the arms extend toward it in entreaty4 7,here the orator falls upon his knees47 ,the series can be executed beginning with the right arm or the left1 being careful to observe the initial and principal movement1 with the arms at the side where the scene opened4 ,this gives the same play of organs only in an inverse sense4 ,important ,remarks4 ,should any student despair of becoming familiar with our method1 we give him three pieces of advice1 all easy of application3 #a4 ,never speak without having first expressed what you would say by gesture4 ,gesture must always precede speech4 #b4 ,avoid parallelism of gesture4 ,the opposition of the agents is necessary to equilibrium1 to harmony4 #c4 ,retain the same gesture for the same sentiment4 ,in saying the same thing the gesture should not be changed4 ,should the student limit himself to the application of these three rules1 he will not regret this study of the ,practice of the ,art of ,oratory4 ,appendix4 ,the ,symbolism of ,colors ,applied to the ,art of ,oratory4 ,we close this book with an appendix which will serve for ornament4 ,before delivering up a suite of rooms1 we are wont to embellish them with rich decorations4 ,architects usually color their plans4 ,we also wish to give color to our criterion1 by explaining the symbolism of colors4 ,,species4 ,,genus4 #a #c #b #a-;,,ii #c-;,,ii #b-;,,ii ,,ii ,ecc4-,conc4 ,norm4-,conc4 ,conc4-,conc4 ,concentric4 ,violet-blue4 ,green-blue4 ,indigo4 #a-;,,iii #c-;,,iii #b-;,,iii ,normal4 ,ecc4-,norm4 ,norm4-,norm4 ,cone4-,norm4 ,,iii ,red-yellow4 ,yellow4 ,green-yellow4 #a-;,i #c-;,i #b-;,i ,eccentric4 ,ecc4-,ecc4 ,norm4-,ecc4 ,conc4-,ecc4 ,i ,red4 ,yellow-red4 ,violet-red4 ,in the literary world1 color gives forms of speech consecrated by frequent usage4 ,thus we very often say3 a florid style1 a brilliant orator4 ,this figurative language signifies that in order to shine1 the orator must be adorned with the lustre of flowers4 ,and as one flower excels others and pleases us by the beauty of its colors1 so the orator must excel1 and please by the brilliant shades of his diction4 ,it is as impossible to give renown to a monotonous and colorless orator as to a faded1 discolored flower4 ,would you give to the phenomena of your organism this beautiful corolla of the flower of your garden1 throw your glance upon nature4 ,nature speaks to the eye through an enchanting variety of colors1 and these colors in turn teach man how he may himself speak to the eyes4 ,the whole man might recognize himself under the smiling emblem of colors4 ,imagine him in whatever state you will1 a color will give you the secret of his aspirations4 ,and so it has been easy for us to show you the orator imaged in this colored chart1 and we shall have no trouble in justifying our choice of colors4 ,since man1 as to his soul1 presents himself in three states3 the sensitive1 intellectual and moral2 and in his organism in the eccentric1 concentric and normal states2 a priori1 you may conclude that nature has three colors to symbolize the three states1 and experience will not contradict you4 ,in fact1 red1 yellow and blue are the primitive colors4 ,all others are derived from these three rudimentary colors4 ,why have we painted the column that corresponds to the life red8 ,because red is the color of blood1 and the life is in the blood4 ,but life is the fountain of strength and power4 ,hence red is the proper symbol of strength and power in ,god1 in man and in the demon4 ,why blue in the column of the concentric state1 the mind8 ,because blue1 from its transparency1 is most soothing to our eyes4 ,why yellow in the column of the soul8 ,because yellow has the color of flame2 it is the true symbol of a soul set on fire by love4 ,yellow is1 then1 the emblem of pure love and of impure flames4 ,why not use white in our chart8 ,because white is incandescence in the highest degree4 ,we say of iron that it is at a red or a white heat4 ,but in this world it is rare to see a heart at a white heat4 ,earthly thermometers do not mark this degree of heat4 ,it cannot be denied that red1 yellow and blue are the three elementary colors1 whose union gives birth to all the varieties that delight our eyes4 ,we have proof of this in one of nature's most beautiful phenomena--the rainbow4 ,the rainbow is composed of seven colors4 ,here we distinguish the red1 yellow and blue in all their purity2 then from the fusion of these three primary colors1 we have violet1 orange1 green and indigo4 ,this is the order in which the seven colors of the rainbow appear to us3 ,violet 7red1 orange 7yellow71 green 7blue71 indigo4 ,orange is composed of yellow and red4 ,yellow mixed with blue1 produces green4 ,blue when saturated1 becomes indigo4 ,upon closer investigation1 we may easily find the nine shades which correspond perfectly to the nine operations of our faculties1 and to the nine functions of angelic minds4 ,by complicating and blending the mixture of these colors1 we shall have all the tints that make nature so delightful a paradise4 ,the seven notes of music sound in accord with the seven colors of the rainbow4 ,there is a brotherhood between the seven notes and the seven colors4 ,the voice-apparatus1 with that of speech and gesture1 is for the orator a pallet like that upon which the painter prepares and blends those colors which1 under the brush of a ,raphael1 would at once glow forth in a masterpiece4 ,delsarte's criterion is true2 still more1 it is beautiful1 especially so with its brilliant adornment of the colors of the rainbow4 ,we verify our judgment by an explanation of the colored chart4 ,as may be seen1 this chart is an exact reproduction of the criterion explained at the beginning of this book1 only we have adorned it with colors analogous to the different states of the soul that art is called upon to reproduce4 ,beginning with the three transverse columns corresponding to the genus1 we have painted the lower column red1 the middle column yellow1 and the upper one blue4 ,these are the three colors that symbolize the life1 soul and mind1 as well as the genera4 ,passing to the vertical columns which correspond to species1 we have painted the first column red1 the second yellow1 and the third blue1 passing from left to right4 ,the blending of these colors produces the variety of shades we might have in this representation4 ,blue added to blue gives indigo2 blue with yellow gives a deep green2 with red1 violet4 ,yellow passed over to the middle column1 gives bright green upon blue2 pure yellow1 when passed upon yellow1 and orange upon red4 ,thus pure red will be the expression of the sensitive state or the life4 ,orange will render soul from life1 and violet will be the symbol of mind from life4 ,applying this process of examination to the two other columns1 we shall know by one symbolic color1 what the soul wishes at the present hour1 and these same colors will1 besides1 serve to regulate the attitude of our organs4 ,honor and thanks to the genius which gives us this criterion1 where is reflected the harmony of all worlds6 ,epilogue4 ,in this rational grammar of the art of oratory1 ,i have given the rules of all the fine arts4 ,all arts have the same principle1 the same means and the same end4 ,they are akin1 they interpenetrate1 they mutually aid and complete each other4 ,they have a common scope and aim4 ,thus1 music needs speech and gesture4 ,painting and sculpture derive their merit from the beauty of attitudes4 ,there is no masterpiece outside the rules here laid down4 ,it is not enough to know the rules of the art of oratory4 ,he who would become an orator1 must make them his own4 ,even this is not enough for the free movement of the agents which reveal the mind1 the soul and the life4 ,the method must be so familiar as to seem a second nature4 ,woe to the orator if calculation and artifice be divined in his speech6 ,how shun this quicksand8 ,by labor and exercise4 ,the instruments and the manner of using them are in your hands1 student of oratory4 ,set about your work4 ,practice gymnastics1 but let them be gymnastics in the service of the soul1 in the service of noble thoughts and generous sentiments--divine gymnastics for the service of ,god4 ,renew your nature4 ,lay aside the swaddling-bands of your imperfections1 conform your lives to the highest ideals of uprightness and truth4 ,exercise your voice1 your articulation and your gestures4 ,if need be1 like ,demosthenes1 place pebbles in your mouth2 repair like that great orator to the sea-shore1 brave the fury of the billows1 accustom yourself to the tumult and roar of assemblies4 ,do not fear the fracture or dislocation of your limbs as you seek to render them supple1 to fashion them after the model1 the type you have before your eyes4 ,labor omnia vincit4 ,in any event1 be persevering4 ,novitiate and apprenticeship in any profession1 are difficult4 ,in every state the bitterness of trial is to be expected4 ,to arrive at initiation has its joys1 to arrive at perfection is a joy supreme4 ,beneath the rind of this mechanism1 this play of organs1 dwells a vivifying spirit4 ,beneath these tangible forms of art1 the ,divine lies hidden1 and will be revealed4 ,and the soul that has once known the ,divine1 feels pain no longer1 but is overwhelmed with joy4 ,art is the richest gift of heaven to earth4 ,the true artist does not grow old2 he is never too old to feel the charm of divine beauty4 ,the more a soul has been deceived1 the more it has been chastened by suffering1 the more susceptible it is to the benefits of art4 ,this is why music soothes our sorrows and doubles our joys4 ,song is the treasure of the poor4 ,return1 then1 with renewed enthusiasm to your work6 ,the end is worth the pains4 ,the human organism is a marvelous instrument which ,god has given for our use4 ,it is a harmonious lyre1 with nine chords1 each rendering various sounds4 ,these three chords for the voice1 and three for both gesture and speech1 have their thousand resonances at the service of the life1 the soul and the mind4 ,as these chords vibrate beneath your fingers1 they will give voice to the emotions of the life1 to the jubilations of the heart and the raptures of the mind4 ,this delightful concert will lend enchantment to your passing years1 throwing around them all the attractions of the ,good1 the ,true1 and the ,beautiful4 ,we may well salute the three ,graces and the nine ,muses as gracious emblems1 but it is far better to discern in art1 the reflected image of the triple celestial hierarchy with its nine angel choruses4 ,honor1 then1 to the fine arts6 ,glory to eloquence6 ,praise to the good man who knows how to speak well6 ,blessed be the great orator6 ,like our tutelary angel1 he will show us the path that conducts or leads back to ,god4 ,part ,fourth4 ,arnaud on ,delsarte4 ,the ,delsarte ,system4 ,by ,angelique ,arnaud1 7,pupil of ,delsarte74 ,translated by ,abby ,l4 ,alger4 ,chapter ,i4 ,the ,bases of the ,science4 ,delsarte published no book upon art4 ,the bases of the science which he created are contained in a synthetical table4 ,other tables develop each branch of it considered separately4 ,starting from an undeniable law--that which regulates the constitution of man1--,delsarte applies it to aesthetics2 he designates man as the object of art1 and groups in series the organic agents that co-operate in the manifestation of human thought1 sentiment and passion2 declaring the purpose of these manifestations1 now become artistic1 to be the amelioration of our being by throwing into relief and light the splendors of moral beauty and the horrors of vice4 ,delsarte defines art in several ways4 ,he has been reproached for his over-amplitude of definition1 and his development of it in a sense too metaphysical for a science which he himself calls positive4 ,i give here only such definitions as seem to me most clear and important4 ,art is at once the knowledge1 the possession and the free direction of the agents by virtue of which are revealed the life1 soul and mind4 ,it is the appropriation of the sign to the thing4 ,it is the relation of the beauties scattered through nature to a superior type4 ,it is not1 therefore1 the mere imitation of nature4 ,the word life1 in the sense employed above1 is the equivalent of sensation1 of physical manifestations4 ,man being the object of art1 it is from the working of the various faculties of the human organism that ,delsarte deduces the task of the artist2 as from the knowledge of the essential modalities of the ego1 he deduces his law of general aesthetics4 ,delsarte teaches1 therefore1 that man is a triplicity of persons2 that is1 he contains in his indestructible unity1 three principles or aspects1 which he calls life1 soul and mind2 in other words1 physical1 moral and intellectual persons4 ,in this statement this master agrees with the philosophers who give a triplicity of essential principles as the base of ontology4 ,pierre ,leroux names them as follows3 sensation1 sentiment1 consciousness4 ,that which is personal to ,delsarte is the derivation of the law of aesthetics from this conception of being4 ,the primal faculties once ascertained1 he devotes himself to an analysis of the organism2 he describes the harmony of each of these faculties with the apparatus which serves it as agent for manifesting itself1 and demonstrates the fitness of each organ for the task assigned it4 ,the master establishes that the inflections of the voice betray more especially the sensitive nature2 that gesture is the interpreter of emotion2 that articulation--a special element of speech--is in the direct service of intelligence and thought4 ,he gave the name of vocal to the active apparatus of sensation2 dynamic to that of sentiment2 buccal to that of articulation4 ,from the union of the faculties and their agents arise three modes of expression3 the language of affection1 the language of ellipsis 7or gesture7 and the language of philosophy4 ,they respond to the three states which ,delsarte recognizes in man1 and which the artist is to translate3 the sensitive state1 corresponding to the life2 the moral state1 to the soul2 the intellectual state1 to the mind4 ,but this division into three modalities or into three states is far from giving the number of the manifestations of being4 ,nature is not reduced to this indigence4 ,from the fusion of these three states1 in varying and incessant combination1 and from the predominance of one of the primitive modalities1 whether accidental or permanent1 countless individualities are formed1 each with its personal constitution1 its shades of difference of education1 habits1 age1 character1 etc4 ,it seems at the first glance as if the mind must be confused by these varieties1 whose possible number fades into infinity2 but the teacher does not open this labyrinth to his disciples without providing them with a clue4 ,independently of these modalities1 of these states1 which form the basis of the system1 ,delsarte traces triune subdivisions1 which serve as a point of convergence2 thus the intermediary rays of the compass or mariner's card are multiplied1 and receive special names1 without ceasing to belong to one of the four cardinal points4 ,whatever1 for instance1 may be the tendency of the individual whom we desire to portray1 or to represent by any art whatsoever1 we can think of him in his normal state1 as well as in a concentric or eccentric state3 this is a first distinction4 ,each of these states is itself subject to shades of difference1 to modifications4 ,the normal state of a diplomat and that of an artist could not be the same4 ,the one1 by the very effect of his profession1 will incline to concentration2 the other will tend to expansion1 if not to eccentration4 ,hence a simple normal state which is the most common2 a normal-concentric state1 a normal-eccentric state3 here we have a second distinction4 ,delsarte1 in order to avoid confusion between the word state applied to primordial modalities--which he defines as sensitive1 moral and intellectual states1--often uses the word element in place of that of state in speaking of concentration1 eccentration and normality1 which1 in this case1 he also calls calm2 but1 in teaching1 he was always accustomed to use these more exact terms3 normal state1 concentric state1 eccentric state4 ,these differences may occur in regard to each of the other terms4 ,thus we may have the simple concentric state1 the concentro-concentric state1 etc4 ,it is upon this mutual interpenetration of the various states in the triple unity1 that the master founds the idea which dominates and pervades his whole system2 the three isolated and independent terms do not1 to his thinking1 constitute the integrality of the human ego4 ,to constitute1 according to ,delsarte's theory1 three1 the vital number1 it must1 by its very essence1 and by inherent force1 raise itself to its multiple nine4 ,this is what the master calls the ninefold accord4 ,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 components2 for example1 nervous and sanguine temperaments which are blended in the sanguo-nervous1 etc4 ,if we refer to our own faculties1 does it not strike us indeed1 that neither life--nor sensation--nor sentiment1 nor intellect can manifest itself without the aid of its congeners or co-associates8 ,is intelligence evident elsewhere than in a sensitive being 7life78 ,and even when considering the most abstract things1 does it not bear witness of its taste1 its power of choice 7sentiment78 ,can sentiment be absolutely disengaged from impression 7life78 ,and if it is not always under the sway of the idea1 is it not certain that it gives rise to it1 by provoking observation and reflection 7intellect78 ,finally1 can an adult--save in the case of absolute idiocy--exist by sensitive life alone outside of all sentiment and all thought 7soul1 intellect78 ,it is by the harmony of the modalities among themselves1 and the contribution of each to the unity1 that every individual type is formed4 ,delsarte thought that he could fix their numerical scale2 but he was not permitted to carry his scientific studies thus far2 still1 it is not indispensable to art1 which demands above all things very marked types1 that verification should be carried to its farthest limits4 ,it will not be difficult1 guided by the knowledge which ,delsarte has left us1 to classify artistic personages as physical1 intellectual and moral or sentimental types2 and1 in the same category1 to differentiate those belonging to the concentric state from those falling more particularly into the eccentric or normal states3 the ,don ,juans1 ,othellos1 ,counts ,ory1 etc4 ,delsarte1 in practice1 excelled in characterizing these shades of difference4 ,these prolegomena would not perhaps alone suffice to give this teacher a claim to the title of creator of a science4 ,although they give the theory of the system1 they are far from containing all its developments4 ,but ,delsarte did not stop here4 ,in appropriate language--wherein new words are not lacking for the new science--he takes apart each of the agents of the organism1 enumerated above2 he examines them in their details1 and assigns them their part in the sensitive1 moral1 or intellectual transmission with which they are charged4 ,thus gesture--the interpreter of sentiment--is produced by means of the head1 torso and limbs2 and in the functions of the head are comprised the physiognomic movements1 also classified and described1 with their proper significance1 such as anger1 hate1 contemplation1 etc41--and the same with the other agents4 ,each part observed gives rise to a special chart1 where we see1 for instance1 what should be the position of the eye in exaltation1 aversion1 intense application of the mind1 astonishment1 etc4 ,the same labor is given to the arms1 the hands and the attitudes of the body1 with the mark1 borrowed from nature1 of the slightest movement1 partial or total1 corresponding to the sensation1 the sentiment1 the thought that the artist wishes to express4 ,i hope that these works may yet be recovered entire1 for the master was lavish of them1 and that they may be given to the public4#e ,an exact science at first sight appears contradictory to art4 ,will it not diminish its limits1 99 99 99 trammel its transports8 ,will it not prove hostile to its liberty at every point8 99 99 99 ,will it not check the flights of its graceful fancy1 its adorable caprice8 ,no1 indeed6 as ,i said in regard to the ideal1 the theories of ,delsarte1 far from hampering the free expansion of art1 do but enlarge its horizons1 and prepare a broader field for its harmonies4 ,they leave freedom to the opinions most difficult of seizure1 the most unforeseen creations2 because1 responding to every faculty of being1 this science1 while it corrects imagination1 respects its legitimate power4 ,finally1 what is this science which analyzes every spring and every part brought to play in the manifestation of life8 ,a compass to guide us to the desired goal2 a measure of proportion to fix each variety in the immensity of types2 a touchstone by which to judge of each man's vocation4 ,but do not let us forget that if this science holds back1 restrains and preserves us from parasites1 99 99 99 if it prepares proper soil1 and assists feebly dowered natures to acquire real value1 it cannot supply the place of those marvelous talents1 that personality1 which showed us1 in ,delsarte himself1 the heights to which a dramatic singer may attain4 ,what surprises and subjugates us in these privileged persons is the secret of nature2 it is not to be written down1 not to be demonstrated2 this unknown quantity1 this mystery1 reveals itself at its own time by flashes1 and with different degrees of intensity during the career of the same artist4 ,some have thought to explain the prodigy by that superior instinct known as intuition2 but the discovery of the word does not open the arcanum4 ,i have said enough1 ,i hope1 in regard to the science created by ,delsarte1 to put upon the track such minds as are apt for the subject1 and endowed with sufficient penetration to assimilate it2 but it must not be disguised that even should the whole work be collected together1 the science must still await its examination1 its verification and its complements2 for a science at its birth is like a program given out for the study of present and future generations4 ,delsarte was still working on his to the last years of his life4 ,every day he gained fresh insight2 he added branches and accessories4 ,yet the criticisms of details which will come later--even when they are justified1--will not rob the inventor of the glory of his scientific discovery4 ,let genius invent1 scholars pursue its discoveries6 99 99 99 ,if genius works alone1 scientists work hand in hand1 ,chapter ,,ii4 ,the ,method4 ,i have shown ,delsarte as a composer1 as pre-eminently an artist1 who1 as a certain critic says1 was never surpassed2 ,i have insisted upon the two titles which form his special glory3 that of revealer of the laws of aesthetics1 and that of creator of a science to support his discoveries2 a science whose application relates particularly to the dramatic and lyric arts1 although at its base1 and especially when considered as law1 it embraces all the liberal arts4 ,it remains for me to speak of his method1 properly so called2 of his precepts1 his maxims1 his opinions and his judgments2 of that1 in a word1 which constitutes the personal manner of each master1 and his mode of instruction2 for if the law is single in its essential and constitutive ideas1 it radiates into diversity in its individual manifestations2 it has infinite possibilities4 ,delsarte considered art as the surest1 purest and most constant good in life4 ,he required much time to complete the education of a pupil1 because he knew how long it had taken him to master the methods of translating1 through that noble interpreter1 art1 the best and most sublime possibilities of the human soul2 and because he knew as well all that is inherent in our nature of vice and imperfection4 ,he held that the truth1 be it good or bad1 is always instructive4 ,in regard to truth he says3 ,a man may possess remarkable qualities1 may have grace1 expression1 charm and elegance1 but they are all as nothing if he does not interpret the truth4 ,he desired the artist to study beauty in every form1 to seek and discover its secrets4 ,he tells us that he himself studied the poses of the statues of antiquity for fifteen years4 ,it was in consequence of this period of study1 assuredly1 that the master condemned the parallel movement of the limbs in gesture1 and recommended attitudes which he called inverse2 if1 for instance1 the actor leans on his left leg1 the corresponding gesture must necessarily be entrusted to the right arm4 ,the master taught that the gesture--the true interpreter of the sentiment--should precede the word4 ,he added3 ,the word is but an echo1 the thought made external and visible1 the ambassador of intelligence4 ,every energetic passion1 every deep sentiment1 is accordingly announced by a sign of the head1 the hand or the eye1 before the word expresses it4 ,thus1 the actor and the orator1 if they do not conform to this precept1 have failed to attain to art4 ,delsarte proves his assertion by giving examples1 somewhat overdrawn1 in a sense the inverse of this theory4 ,nothing was more amusing than to see him execute one of these dilatory gestures2 for instance1 this phrase1 uttered by the lackey of some comedy1 delivering a message3 ,sir1 here is a letter which ,i was told to deliver to you at once4 ,the hand extending the note unseasonably1 produced so ridiculous an effect that the heartiest laughter never failed to follow4 ,on ,ellipsis4 ,the preceding steps lead us to ellipsis1 which plays an important part in the method of ,delsarte4 ,all the thoughts and sentiments contained in literature1 in one comprehensive word1 are entrusted to the mimic art of the actor1 whose essential agent is gesture4 ,the conjunction and interjection are alike elliptical2 thus in the phrase3 ,ah6 99 99 how unhappy ,i am6 99 99 ,ah6 should imply a painful situation before the explanatory phrase begins4 ,in his course of applied aesthetics1 ,delsarte gives us the striking effects of the elliptic conjunction4 ,on ,shades and ,inflections4 ,the shade1 that exquisite portion of art1 which is rather felt than expressed1 is the characteristic sign of the perfection of talent2 it forms a part of the personality of the artist4 ,you may have heard a play twenty times with indifference1 or a melody as often1 only to be bored by it2 some fine day a great actor relieves the drama of its chill1 its apparent nullity2 the commonplace melody takes to itself wings beneath the magic of a well-trained1 expressive and sympathetic voice4 ,delsarte possessed this artistic talent to a supreme degree1 and it was one of the remarkable parts of his instruction2 he had established typical phrases1 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 words4 ,one of these phrases was this3 ,that is a pretty dog6 ,a very talented young girl succeeded in giving to these words a great number of different modulations1 expressing endearment1 coaxing1 admiration1 ironical praise1 pity and affection4 ,delsarte1 with his far-reaching comprehension1 conceived of more than #fjj ways of differentiating these examples2 but he stopped midway in the execution of them1 and certainly no one else will ever pursue this outline to its farthest limits4 ,the second phrase was3 ,i did not tell you that ,i would not6 ,this time the words were given as a study for adults2 they lent themselves to other sentiments2 they revealed1 as the case might be1 indifference1 reproach1 encouragement1 the hesitation of a troubled soul1 etc4 ,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 vice4 ,to his mind1 all misers were not the same miser1 nor all seducers the same seducer4 ,in singing particularly1 with what art ,delsarte used the inflection6 ,on ,vocal ,music4 ,in regard to lyric art especially1 ,delsarte had his peculiar and personal theories4 ,singing was not to him merely a means of displaying the singer's voice or person2 it was a superior language1 charged with the rendition1 in its individual charm1 of all the greatest creations of literature and poetry2 all the sweet1 tender1 or cruel sentiments possible to humanity4 ,this exceptional singer attained his effects partly by means of certain modifications of the rhythm1 which caused inattentive critics to say3 ,delsarte does not observe the measure4 ,what they themselves failed to note1 was that the first beat was always given firmly2 and that it was in the divisions of one measure1 and by subtle compensations1 that he made the difference4 ,far from having cause for complaint1 the composer gained thereby1 a more clear expression of his thought1 a more persuasive expansion of his sentiment1 and the respiration appeared more easy4 ,it was something similar--with a greater value--to that personal punctuation with which skilful readers often divide the text which they translate4 ,it was particularly in recitative1 the style1 moreover1 least subject to precise laws1 that ,delsarte used this license2 and it was in this style that he especially excelled4 ,and is it not in what remains unwritten that the singer's true greatness is revealed8 ,what dilettante has not felt the power of a more incisive attack of the note2 of that prolongation of the note1 held imperceptibly1 which1 having captured it1 holds the attention of the listener8 ,but1 to hear these things1 it is not necessary1 as the saying is1 to bestride technique4 ,in so far as the training of the voice is concerned1 ,delsarte gave himself a scientific basis4 ,he was the first to think that it would be well to know the mechanism of the organ1 that it might be used to the best advantage1 both by avoiding injurious methods of exercising it1 and by aiding the development of the tone by appropriate work4 ,in his rooms were to be seen imitations of the larynx--in pasteboard--of various sizes4 ,his pupils1 it seems to me1 could profit but little by these far from pleasing sights4 ,at the utmost it increased their confidence in the man who desired an intimate acquaintance with everything relating to the art which he taught4 ,it is to teachers particularly that the introduction of this auxiliary into the study of the vocal mechanism may have been of some value4 ,i have lately learned that several singing teachers use these artificial larynxes4 ,can priority be claimed for ,delsarte8 ,i can only affirm that he refers to them in a treatise signed by himself1 and dated in the year #ahca4 ,i shall not enter into the details of this contingent side of the method2 the statement of the facts is enough to lead all those who are interested1 to devote thought and study to the matter4 ,i prefer to dwell upon the things which ,delsarte carried with him into the grave1 having written them only on the memories of certain adepts destined to disappear soon after him4 ,on ,respiration4 ,delsarte established his theory of diaphragmatic breathing in accordance with his anatomical knowledge4 ,it consists in restoring the breath1 without effort1 from the commencing lift of the diaphragm to the production of the tone4 ,he opposed it to the costal breathing1 which brings the lungs suddenly into action by movements of the chest and shoulders1 and causes extreme fatigue4 ,the chest1 he says1 should be a passive agent2 the larynx and mouth1 aiding the diaphragm1 alone have a right to act in breathing2 the action of the larynx consists of a depression1 that of the mouth should produce the canalization 7concavity7 of the tongue and the elevation of the veil of the palate4 ,to this first idea is attached what the master taught in regard to the distinction between vital breath and artificial breath4 ,it is certain that one may sing with the natural respiration2 but it is rapidly exhausted if not augmented by additional inhalation2 for it results in dryness and breathlessness1 which cause suffering alike to singer and listener4 ,the artificial breath1 on the contrary1 preserves the ease and freshness of the voice4 ,on the ,position of the ,tone4 ,the placing of the tone was one of ,delsarte's great anxieties4 ,according to his theory1 the attack should be produced by explosion4 ,he rejected that stress which induces the squeezing out of the tone after it is produced4 ,the way to avoid it is to prepare rapidly and in anticipation of the emission of the note4 ,these ideas demand oral elucidation2 but it is enough to declare them1 for teachers and singers to recognize their meaning4 ,on the ,preparation of the ,initial ,consonant4 ,the preceding lines refer to vocalization2 but ,delsarte applied the same process to pronunciation4 ,he directed that the initial consonant should be prepared in the same way as the attack on the tone2 it was thus produced distinctly and powerfully1 that is1 in less appreciable extent of time4 ,such is the concentration of the archer preparing to launch an arrow2 of the runner about to leap a ditch4 ,the master1 in no case permitted that annoying compass of the voice before a consonant1 so frequently employed by ordinary singers4 ,the ,italians justly translate this disagreeable performance by the word strascinato 7dragged out or prolonged74 ,exercises4 ,delsarte has been severely blamed for the way in which he trained the voice4 ,i have nothing to say in regard to those who imputed to him physical and barbarous methods of developing it2 but it may be true that he endangered it by certain exercises or by failure to cultivate the mechanism4 ,i do not feel myself competent to pronounce upon this technical point1 but ,i can give an exact account of what was done in his school4 ,delsarte directed that the tones should be swelled on a single note1 ,e flat 7of the medium72 he claimed that by strengthening this intermediary note the ascending and descending scales were sympathetically strengthened4 ,he thus avoided1 as he said1 breaking the high treble notes by exercises which would render the cords too severely tense1 convinced morever1 that at a given moment a burst of enthusiasm and will-power would take the place of assiduous practice4 ,he also taught that this special exercise of the medium would prevent the separation of the registers1 that phylloxera of the vocal organ1 which wrecks so many singers1 and causes them so many sorrows4 ,this was the way to gain that mixed voice1 the ideal held up to the scholars as being the most impressive and the most exquisite2 that which at the same time ravished the ear and charmed the heart4 ,this master considered the chest-voice as more particularly physical2 and the head-voice1 it must be confessed1 is too much like the voice of a bird1 to awaken sentiment and sympathy4 ,delsarte himself possessed this mixed voice2 in him1 it seemed to start from the heart1 and brought tears to eyes which had never known them4 ,the power of that tone--allied to the perfection of shading1 diction and lyric declamation--caused every listening soul to vibrate with latent emotion which might never have been waked to life save by that appeal4 ,i return to the practice of swelled tones upon the note ,e flat4 ,this note certainly acquired broad and powerful tones about which there was nothing forced1 and which were most agreeable4 ,this development was communicated to the neighboring notes4 ,but did not these advantages take from the compass of the scale8 ,if so1 were they a counterbalance to the injury8 ,i repeat that ,i dare not affirm anything in this respect4 ,delsarte1 assuredly1 did not give as much space to vocalization as other teachers1 especially those of the ,italian school4 ,it is also undeniable1 that dramatic singing--the style which he preferred--is dangerous to the vocal organism2 particularly when one practices the shriek or scream1 which produces a fine effect when skilfully employed1 but is most pernicious in excess4 ,delsarte was too conscientious an artist not to sacrifice his voice1 at certain moments1 to his pathetic effects2 but he was very careful to warn his scholars against the abuse of this method2 he directed them to use it but very rarely1 and with the greatest precaution4 ,i should also say1 in his favor1 that light voices were very differently trained from heavy ones4 ,madame ,carvalho1 who began her studies in his school1 did not alter the flexible but feeble organ she brought there4 ,mlle4 ,chaudesaigues and ,mlle4 ,jacob1 under ,delsarte's tuition1 attained to marvels of flexibility1 without losing any of their natural gifts4 ,appoggiatura4 ,delsarte brought about a revolution in ,french music in everything relating to appoggiatura1 or rather1 he restored its primitive meaning4 ,the way in which he interpreted it has created a school4 ,he taught that the root of the word--appoggiatura--being appuyer 7to sustain71 the chief importance should be given in the phrase1 to appoggiatura1 by extent and expression2 the more so that this note is generally placed on a dissonance2 and1 according to this master's system1 it is on the dissonance--and not at random and very frequently1 as is the habit of many singers--that the powerful effect of the vibration of sound should be produced4 ,contrary to this opinion1 the appoggiatura was for a long time used in ,france as a short and rapid passing note2 it thus gave the music a vivacious character1 wholly discordant with the style of serious compositions2 the music of ,gluck was particularly unsuited to it4 ,roulade and ,martellato4 ,in every school of singing the roulade is effected by means of the staccato and legato4 ,delsarte had a marked prejudice in favor of the martellato1 which partakes of both4 ,he compared it1 in his picturesque way of expressing his ideas1 to pearls united by an invisible thread4 ,pronunciation4 ,the master's pronunciation was irreproachable2 not the slightest trace of a provincial accent2 never the least error of intonation1 the smallest mistake in regard to a long or short syllable4 ,what is perhaps rarer than may be thought1 he possessed1 in its absolute purity1 the prosody of his native language1 alike in lyric declamation and in the cantabile4 ,his penetrating tones added another charm to the many merits which he had acquired by study4 ,pronunciation1 therefore1 was skilfully and carefully taught in ,delsarte's school4 ,the professor's first care was to correct any tendency to lisp1 which he did by temporarily substituting the syllables te1 de1 over and over again1 for the faulty ,r4 ,this substitution brought the organ back to the requisite position for the vibration of the ,r4 ,this process is now in common use2 but ,i cannot say whether it was employed before ,delsarte's day4 ,he obtained very happy results from it4 ,e mute before a ,consonant4 ,delsarte did not allow that absolute suppression of the ,e mute before a consonant1 which seems to prevail at present1 and which produces so bad an effect in delivery4 ,as the evil1 at the time of which ,i speak1 was yet comparatively unknown1 he did not make it a case of conscience2 but if he never lent himself to this ellipsis1 he1 the lyric ,talma1 the exquisite singer1 as he has frequently been called1 should we not regard his abstinence as a condemnation from which there is no appeal8 ,i do not believe1 moreover1 that either ,nourrit or ,dupre authorized by their example a habit so contrary to the rules of ,french versification1 so disagreeable to the well-trained ear and so opposed to good taste4 ,such young singers as have yielded to it1 have only to listen to themselves for one moment to abandon it forever4 ,it is certain that ,e mute can in no instance be assimilated to the accented ,e2 but to suppress it entirely1 is to break the symmetry of the verse1 to put the measure out of time4 ,it is unmistakable that the weakness of the vowel1 or mute syllable1 concerns the sound1 not the duration4 ,let it die away gently2 but for ,heaven's sake1 do not murder it6 ,voltaire wrote3 ,you reproach us with our ,e mute1 as a sad1 dull sound that dies on our lips1 but in this very ,e mute lies the great harmony of our prose and verse4 ,littre recognizes two forms of the ,e mute3 the ,e mute1 faintly articulated as in ame2 and the ,e mute sounded as in me1 ce1 le2 but he does not allude to an ,e which is entirely null4 ,once more1 then1 that there may be no misunderstanding1 let me say that the word mute added to the ,e1 has but a relative sense1 in view of the two vowels of the same name and marked with an acute or a grave accent4 ,one fact throws light on the question3 did any author ever make a character above the rank of a peasant or a lackey1 say3 _/ ,j'aime' ben ,lisett' ,j'crois qu'ell' m'en veut6 ,p_/ ,take an example from ,voltaire 7tragedy of the ,death of ,caesar73 ,voila vos successeurs1 ,horace1 ,decius4 ,evidently1 if the ,e mute had not been counted1 the second hemistich of the ,alexandrine verse would have had but five syllables instead of six4 ,would any one like to know how the heresiarchs of the ,e mute would manage8 ,in this instance they would repeat the ,a of the penultimate1 aspirating it and pronouncing thus3 ,voila vos successeurs1 ,hora 444 as'1 ,decius4 ,in this way they would have the requisite number of syllables2 but they would be wholly at odds with the dictionary of the good actors of the ,theatre ,francais4 ,this falsification is especially common in singing1 though it is no less revolting in that field of art4 ,how often at concerts--the force of tradition saves us at the theatre--do we hear even artists of great reputation pronounce3 ,quel jour prosp'44er' plus de myste44er1 instead of3 ,quel jour prospere plus de mystere4 ,and1 in one of the choruses of the opera ,la ,reine de ,chypre3 ,jamais1 jamais en ,fran 444 anc' ,jamais l',anglais ne regnera6 ,instead of3 ,jamais1 jamais en ,france1 ,jamais l',anglais ne regnera6 ,this anomaly is most offensive in the final syllable of a verse1 because there the measure is more impaired than ever1 and in this way that alternation of male and female rhymes is suppressed1 which produces so flowing and graceful a cadence in ,french verse4 ,e mute before a ,vowel4 ,the encounter of ,e mute in a final syllable1 with the initial vowel of the word which follows it1 makes the defect more apparent and accordingly easier to fight against4 ,delsarte's process was as follows3 ,when a silent syllable is immediately followed by a word beginning with another vowel1 the ,e mute 7by a prolongation of the sound of the penultimate7 is suppressed with the next letter4 ,thus in the aria of ,joseph 7opera by ,mehu73 ,loin de vous a langui ma jeune44 sexilee2 and in ,count ,ory3 ,salut1 o venera 444 blermite4 ,in these cases1 by an unfortunate spirit of compensation1 the abettors of the innovation1 suppressing the grammatical elision1 sing thus3 ,loin de vous a langui ma jeune 444 ess'exilee4 ,salut1 o venrera 444 abl'erm 444 it6 ,littre's ,dictionary gives us the same pronunciation as ,delsarte2 and his written demonstration is even more positive4 ,we find favorables auspices1 arbres abattus1 written in this way3 fa-vo-ra-ble-z-auspices1 arbre-z-abattus4 ,it is1 however1 very difficult to express these differences exactly1 in type3 what ,littre expresses radically by typographic characters1 is blended with most natural delicacy by the voice of a singer4 ,thus1 according to ,delsarte1 the ,e mute of a final syllable should be suppressed before a vowel1 on condition of a prolongation of the sound1 in harmony with the penultimate syllable4 ,according to ,delsarte again1 according to ,voltaire1 according to ,littre1 the ,e mute is weakened1 more or less1 but never completely suppressed1 before a consonant4 ,finally ,legouve1 whose voice is preponderant in these matters1 whose books are in the hands of the whole world1 has never entered into this lettricidal conspiracy4 ,i hope to be pardoned this long digression1 thinking it my duty to protest against such a ludicrous method of treating ,french prosody2 ,i do so both in the name of aesthetics and as a part of my task as biographer of ,delsarte4#f ,chapter ,,iii4 ,was ,delsarte a ,philosopher8 ,if we consider philosophy in the light of all the questions upon which it touches1 the subjects which it embraces1 we must answer ,no2 but if we concentrate the word within the limits of aesthetics1 we may reply in the affirmative4 ,did not ,delsarte point out the origin of art1 its object and its aim8 ,not that this master never exceeded the limits of his science and his method4 ,he had sketched out a ,treatise on ,reason1 and had begun to classify the faculties of being1 entering into the subject more profoundly than the categories of ,kant2 but all this only exists in mere outline1 in a technology whose terms have not been weighed and connected together by a solid chain of reasoning3 logic has not uttered its final word therein4 ,a separate volume would be required to give an idea of these gigantic sketches1 which must remain in their rudimentary state4 ,if ,delsarte had finished his work1 it would seem that he must have leaned toward the scholastic method1 now so much out of favor2 but certainly he would put his own personality into this1 as into everything that he undertook to investigate2 for he was held back on the steeps of mysticism by the science which he had created1 and which could only afford a shelter to the supernatural as an extension of those psychical faculties which have been called intuition1 imagination1 etc4 ,then the influence of ,raymond ,brucker1 who died shortly after ,delsarte1 being lessened1 and conscientious and patient study having fed the flame in that vast brain1 we might have obtained affirmations of a new order4 ,and ,delsarte might have met with thinkers like ,leibnitz1 ,descartes and ,jean ,reynaud1 on that height where religion is purged of superstition and fanaticism1 philosophy set free from atheism and materialism6 ,if ,delsarte had a fault1 it was that he regarded all modern philosophy as sensuous naturalism2 and if reason sometimes seemed to him suspicious1 it was because he often confounded it with sophistry1 which reasons indeed1 but is far from being reason4 ,let us regret that ,delsarte never finished his complete philosophy2 but let us be grateful to him for having raised his art and all arts to the level of philosophy1 by giving them truth as a basis and morality as a final aim2 which fairly justifies1 it seems to me1 the title of artist-philosopher1 which ,i have sometimes applied to him4 ,i should not neglect1 in this connection1 to set down the explanation1 given by ,delsarte1 of what he meant by the word trinity1 as used in his scientific system4 ,the reader cannot fail to see the elements of a system of philosophy in this succinct statement1 this outline to be filled up3 ,the principle of the system lies in the statement that there is in the world a universal formula which may be applied to all sciences1 to all things possible3 --this formula is the trinity4 ,what is requisite for the formation of a trinity8 ,three expressions are requisite1 each presupposing and implying the other two4 ,each of three terms must imply the other two4 ,there must also be an absolute co-necessity between them2 thus1 the three principles of our being--life1 mind and soul--form a trinity4 ,why8 ,because life and mind are one and the same soul2 soul and mind are one and the same life2 life and soul are one and the same mind4 ,chapter ,,iv4 ,course of ,applied ,a,esthetics4 ,meeting of the ,circle of ,learned ,societies4 ,independently of its method1 which was especially applicable to dramatic and lyric arts1 ,delsarte's doctrine1 as we have seen1 drew from the primordial sources1 which are the law of things1 the principles of all poetry1 all art and all science4 ,the intense light which he brought thence was too dazzling for young scholars1 whose minds were rarely prepared by previous education4 ,it1 nevertheless1 overflowed into the daily lessons1 and gave them that peculiar and somewhat singular aspect1 which acted even upon those whose intelligence could not cope with it4 ,such is the mysterious magic of things which penetrate before they convince4 ,but these lofty problems demanded an audience in harmony with their elevation4 ,delsarte soon attracted such4 ,under the title ,course of ,applied ,a,esthetics1 he collected in various places1 notably at the ,circle of ,learned ,societies1 profane and sacred orators1 and learned men of all sorts4 ,there he could develop points of view as new as they seemed to be strikingly true4 ,it was on leaving one of these meetings1 that a distinguished painter thus expressed his enthusiasm3 ,i have learned so much to-day1 and it is all so simple and so true1 that ,i am amazed that ,i never thought of it before4 ,the ,course of ,applied ,a,esthetics was addressed to painters1 sculptors1 orators1 as well as to musicians1 both performers and composers2 and was finally extended to literary men4 ,this audience of scholars was no less astonished and enchanted than others had been4 ,theory of the ,degrees4 ,the theory of degrees was largely developed at these meetings1 and ,i have purposely delayed it till this chapter4 ,to understand this theory--one of the most striking points in ,delsarte's method1 and original with him1--one should have some idea of the grammar which he composed for the use of his pupils4 ,i will not say that this treatise was complete in the sense usually attached to the word grammar4 ,there is no mention of orthography or of lexicology2 but all that is the very essence of language1 that from which no language1 no idiom can escape--the constituent parts of speech--are examined and investigated from a philosophic and psychologic point of view4 ,just as the author examined the constituent modalities of our being in the light of aesthetics1 he seized the affinities between the laws of speech1 as far as regards the voice--logos--and the moral manifestations of art4 ,this production of ,delsarte has undergone the fate of almost all his works--it has not been printed4 ,indeed1 ,i greatly fear that1 all his notes on the subject can never be collected2 nevertheless that which has been gathered together presents a certain development4 ,i will not enter into the purely metaphysical part1 limiting myself1 as ,i have done from the beginning of this study1 to making known the conceptions of ,delsarte only in so far as they refer to the special field of aesthetics4 ,in this category1 we find the following definitions which serve to classify the quantitative values or degrees3 that is the extent assigned to each articulation or vocal emission to enable it to express the thoughts1 sentiments and sensations of our being in their truth and proportionate intensity3 #a4 ,substantive is the name given to a group of appearances1 to a totality of attributes4 #b4 ,adjective expresses ideas1 simple1 abstract1 general and medicative2 it is an abstraction in the substantive4 #c4 ,verb is the word that affirms the existence and the co-existence between the being existing and its manner of existing3 that is to say it connects the subject with the attribute4 ,the verb is not a sign of action1 but of affirmation1 and existence4 #d4 ,the participle alone is a sign of action4 #e1 #f1 #g4 ,the article1 pronoun and preposition fit into the common definitions4 #h4 ,the adverb is the adjective of the adjective and of the participle 7in so far as it is an attribute of the verb72 it modifies them both1 and is not modifiable by either of them2 it is a sign of proportion1 an intellectual compass4 #i4 ,the conjunction has the same function as the preposition3 it unites one object to another object2 but it differs from it1 inasmuch as the preposition has but a single word for its antecedent1 and a single word for its objective case1 while the conjunction has an entire phrase for antecedent1 and the same for complement4 ,it characterizes the point of view under the sway of which the relations should be regarded3 restrictive1 as but2 hypothetical or conditional1 as if8 conclusive1 as then1 etc41 etc4 ,the conjunction presents a general view to our thought1 it is the reunion of scattered facts2 it is essentially elliptical4 #aj4 ,the interjection responds to those circumstances where the soul1 moved and shaken by a crowd of emotions at once1 feels that by uttering a phrase it would be far from expressing what it experiences4 ,it then exhales a sound1 and confides to gesture the transmission of its emotion4 ,the interjection is essentially elliptical1 because1 expressing nothing in itself1 it expresses at the time all that the gesture desires it to express1 for ellipsis is a hidden sense1 the revelation of which belongs exclusively to gesture4 ,it must first be noted that these degrees are numbered from one to nine1 and that1 of all the grammatical values defined1 the conjunction1 interjection and adverb are classed highest4 ,delsarte made the following experiment one day in the ,circle of ,learned ,societies1 during a lecture3 ,which word1 he asked his audience1 requires most emphasis in the lines-- ,the wave draws near1 it breaks1 and vomits up before our eyes1 ,amid the surging foam1 a monster huge of size8 ,the absence of any rule applicable to the subject caused the most complete anarchy among the listeners4 ,one thought that the word to be emphasized must be monster--as indicating an object of terror2 another gave the preference to the adjective huge4 ,still another thought that vomits demanded the most expressive accent1 from the ugliness of that which it expresses4 ,delsarte repeated the lines3 ,the wave draws near1 it breaks1 and 444 vomits up before our eyes4 ,it was on the word and that he concentrated all the force of his accent2 but giving it1 by gesture1 voice and facial expression1 all the significance lacking to that particle1 colorless in itself1 as he pronounced the word1 the fixity of his gaze1 his trembling hands1 his body shrinking back into itself1 while his feet seemed riveted to the earth1 all presaged something terrible and frightful4 ,he saw what he was about to relate1 he made you see it2 the conjunction1 aided by the actor's pantomime1 opened infinite perspectives to the imagination2 his words had only to specify the fact1 and to justify the emotion which had accumulated in the interval4 ,but this particle1 which here allows of eight degrees1 is much diminished when it fills the office of a simple copulative4 ,the extent of the word or the syllable is always subordinate to the sense of the phrase2 in the latter case it does not require more than the figure #b4 ,chapter ,v4 ,the ,recitation of ,fables4 ,some years before his death ,delsarte substituted for his concerts1 lectures in which he explained his scientific doctrines and his philosophy of art4 ,he also supplied the place of song by the recitation of certain fables selected from ,la ,fontaine4 ,he was not less perfect in this style than in the interpretation of the great roles of tragedy and grand lyric poems2 but it must be acknowledged1 that under this new guise1 his talent could not display itself in all its amplitude2 save for the facial expression which gave the lessons of the apologue a variety of outline of which ,la ,fontaine himself perhaps never dreamed 444 and in spite of the fine and scholarly accent which he could give to all those clever beasts1 he was1 on many points1 deprived of his power and his prestige3 how endow a lion with the proud poses of ,achilles2 and lend the foolish grasshopper the satanic charm of ,armida8 ,instead of noble or terrific attitudes1 his gesture was confined to a few movements of forearm or hand2 of his fingers1 when the intentions were more subtle1 more refined 444 ,still it was always most pleasant to hear him4 ,it was ,delsarte restrained1 but not diminished4 ,if you did not recover in his speaking voice that sort of enchantment with which his slightly-veiled tone pierced the soul1 his accent remained so pure1 so intelligent1 that you were none the less ravished4 ,when1 in the fable of ,the ,two ,pigeons1 he said3 ,absence is the greatest of ills1 444 ,not so for you1 cruel one6 ,he discovered shades1 hitherto unknown1 with which to paint reproach mingled with grief4 ,and when he said3 ,the ant 444 is not a lender6444 ,a more affirmative and striking sense of the character attributed to our thrifty friend1 was detached from this delay1 filled up by a negative movement of the narrator's head4 ,if ,delsarte had limited himself in his lectures1 to teaching men by means of the menagerie1 which was a sly burlesque of the courtiers of ,louis ,,xiv41 perhaps he might have made idolatrous partisans there as elsewhere2 but it seems as if in the exposition of his theory1 he posed rather as a censor than a teacher2 he delighted in baffling the mind by paradoxes4 ,by annexes superimposed and ill-blended with his system1 he sometimes compromised those scientific truths whose splendor bursts forth when they are freed from heterogeneous accessories4 ,we cannot otherwise explain the resistance of certain minds1 distinguished otherwise1 to the recognition in him of the artist who excited the enthusiasm of all the most competent critics and brilliant amateurs4 ,chapter ,,vi4 ,the ,law of ,a,esthetics4 ,however striking and superior the system of ,francois ,delsarte has been shown to be1 however admirable and attractive the manifestation of art in his person1--herein lie not his first rights to the grateful sympathy which we owe to his memory4 ,his works and discoveries in aesthetics are a benefit of general interest1 while they disclose to us the fruitful resources of his genius4 ,in the first place1 what is a law8 ,we have here to deal1 not with the legislation decreed by man for the regulation of social and political relations1 but with those laws deduced from a natural order1 as the principle of life itself1 which govern the relations of beings and of things4 ,in religion these laws are its dogmas and mysteries2 philosophically speaking1 the laws of things are the essentials of their nature1 their specific relations4 ,voltaire has written3 ,law is the instinct by which we feel justice4 ,in ,littre's ,dictionary we find stated that laws are conditions imposed by circumstances4 ,another has said3 ,the constant1 uneludable succession in which phenomena occur1 takes the name of law4 ,i would here state1 that in no one of the last three citations does the word law seem to me to be precisely defined4 ,from the different explanations of the natural laws which ,i have been able to compare1 ,i conclude that laws are forces containing in themselves the reasons1 to us unknown1 of a power and permanence which are unchangeable4 ,plato named them ideas4 ,we must now conclude that the nature of a law1 in the present acceptation of the term1 can be but imperfectly interpreted by exact formulae4 ,laws are still much involved in the secrets of creation4 ,here must we seek their origin or origins4 ,but courage still6 ,although these formulae but imperfectly define law1 the facts suffice to establish them4 ,they 7facts7 show the certain action and1 as stated heretofore1 the uneludable nature of these formulae4 ,but the discovery of ,delsarte is the application to aesthetics of a natural law1 proven and established by science4 ,this law is that which governs the system of man's organism4 ,its present application is justified by a series of scientifically cooerdinated facts4 ,delsarte rests upon the principle that man is the object of art4 ,thus the artist should aim to manifest human nature in its three modalities1 in its three phases which the master named life1 soul and mind4 ,in other words1 the beings physical1 moral and mental4 ,these three expressions figure in the work of ,pierre ,leroux 7,de l',humanite7 in the following equivalent terms3 sensation1 sentiment1 knowledge4 ,but ,leroux applied to ethics this law of human organism1 whereas ,delsarte derived from it the law of aesthetics4 ,when two minds of this stamp are thus led1 each in his own way1 to the same source of analogous principles differently applied1 is it not a proof that they have stated truth8 ,and in this case it is more than presumable that the two men of whom ,i speak had never worked together4 ,delsarte was a philosopher in spite of himself4 ,with ,pierre ,leroux art was only an element contingent upon a system which he elaborated4 ,was ,delsarte led to his classification of man's nature by the doctrine of the three persons in the ,trinity combined in unity8 ,was he1 by his observations upon the human triplicity1 led on to consider their infinite development in the divine personalities8 ,i know not1 nor is it of importance in considering the system4 ,leroux affirmed a relation between the unity of man and the universality of his pantheism2 both relying at the outset upon an idea at once religious and philosophical4 ,but the research of ,leroux was philosophically inclined1 while that of ,delsarte was of a character more especially religious4 ,is it necessary to urge that you accept this obviously primitive classification of the human faculties8 ,who1 that shall have considered a moment to convince himself1 can doubt this truth1--that our sensations1 our sentiments1 our understanding1 are the principal elements of our life1 and that all that we are able to know of ourselves is made known to us by them directly1 or by the result of their combinations8 ,this consideration will soon lead us to the rational development of the theory of ,delsarte4 ,for the present1 it suffices to receive these principles as they have been presented to us1 and to admit that art could not go far astray while following a clue leading from a law invincible1 and guiding to a science as positive as that of the astronomer1 derived from the law of attraction1 or that of the chemist1 depending upon the law of affinities4 ,here need be no confusion4 ,the science is positive4 ,the mystery of the natural law implies a hypothesis1--even were the proposition negative4 ,delsarte insisted upon the influence of a religious sentiment in art1 as a part of the constitutive animating faculties of the human being4 ,in the light of this proposition his enemies maintain that he teaches this heresy3 that success in aesthetics depends upon a definite faith--even upon the observance of the ,catholic religion6 ,this distinction between religion and creed1 between sentiment and assertion1 ,i have followed carefully since the beginning of my study4 ,delsarte was able to so address his pupils at the beginning of a lecture1 as to arouse the apathetic1 and electrify the passionate2 but his teaching was far from dogmatic4 ,i do not say that at times1 in his aspirations and dreams1 which he regarded perhaps as intuitions1 this religious philosophy did not make some incursions into the region of mysticism4 ,i have seen at his home charts named from the circumincession1#g and classifying celestial spirits2 but these trans-mundane personifications found no place in his practical lectures4 ,they are not found in the great synthetical chart which ,i possess1 and which recapitulates the system as the master arranged it in the strength of his youth and genius1 free from all mystical element4 ,when1 in #ahei1 ,i submitted to ,delsarte my treatise containing a succinct statement of his method1 he said to me3 ,you have not followed me so far as the angels4 ,i replied3 ,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 faculties1 because ,i have observed and verified it among people and upon myself4 ,but ,i speak not of things which you have never shown me1 and whose existence you have never demonstrated4 ,the angels are of this number4 ,yet he received with no less approval my profane work4 ,and it is the judgment which he placed upon that essay which authorizes my resuming the subject1 augmented by further developments and evidence4 ,i should not state with so great confidence this great truth--the application of a natural law to a succession of discoveries constituting a science1 an incontestable innovation--were ,i not able to refer to competent opinions supporting my statement4 ,a few of these opinions ,i would here quote from some of the journals ,i have examined1 many of which thoroughly appreciated ,delsarte throughout the long period of his teaching4 ,it was said by ,adolphe ,gueroult 7,presse1 ,may #ae1 #aheh73 ,to discover and produce wonderful effects1 is preeminently the characteristic of great artists1 but never1 so far as ,i can learn1 has it occurred to any one1 before ,delsarte1 to attach these strokes of genius to positive laws4 ,and further3 ,the eloquent secrets of pantomime1 the imperceptible movements which1 in great actors1 so forcibly impress us1 coming under the observation of this discoverer1 were by him analyzed and synthetized in accordance with laws whose clearness and simplicity render them doubly admirable4 ,i give also some statements from the ,journal des ,debats 7,may #aj1 #ahei74 ,though in the following the word law does not appear1 it bears interestingly upon the relations of the ideas and expressions under consideration4 ,the quotation is3-- ,the audience was charmed and instructed4 ,it applauded the new definitions4 ,it divined the essence of each art1 and comprehended that the various manifestations of art are classified according to the classifications of the human faculties4 ,it knows why each passion produces each accent3 'because the accent is the modulation of the soul1' and why a given emotion produces a given expression of the face1 gesture and attitude of the body4 ,when we allow that the classifications of the manifestations of art are made according to those of the human faculties1 do we not also allow that they are derived from one law8 ,thus the fiat lux 7let there be light7 is pronounced4 ,art departs from chaos1 escapes from anarchy2 it acts no longer only for the so-called artist1 but also for the actor and singer1 whom we are now to consider4 ,art has to do with the pose of the body1 a graceful carriage1 distinct pronunciation and an unconscious command of dramatic effects4 ,for a tenor to phrase agreeably1 vocalize skilfully1 giving us resonant chest-tones1 no longer suffices to gain for him the title of great singer4 ,the followers of art should be able1 before and above all1 to portray humanity in its essential truth1 and according to the original tendency of each type4 ,mannerism and affectation should forever be proscribed--unless they are imitated as an exercise--but all the excellence that chance has produced up to the present time should be incorporated in the new science4 ,moreover1 by referring to a law the occasional successes which come to one1 it becomes possible to reproduce them at will4 ,the essential point is to get back to the truth1 to express the passions and emotions as nature manifests them1 and not to repeat mechanically a series of conventional proceedings which are violations of the natural law4 ,effects should be the echoes of a situation clearly comprehended and completely felt1--such was the import of this teaching4 ,one of the great benefits arising from the discoveries of ,delsarte is the reconciliation of freedom and restraint4 ,if it bind the artist by determinate rules1 it is in order to free him from routine1 to recall him to the general law of being and of his own individuality4 ,it is in order that he may study himself1 in the place of submitting to arbitrary prescriptions4 ,in such study every marked personality will find itself in its native element4 ,as for those who have no vocation1 and in whom the ego distinguishes itself so little from the multitude that it remains lost in it1 it is best that they should withdraw1 since they are not called4 ,they have in view only vanity or speculation1 and must always be intruders in the sacred temple of art4 ,my glass is not large1 but ,i drink from my glass1 said ,alfred de ,musset4 ,very well6 let each one drink from his glass1 but observe6 it is not necessary that in the true artist all should be individual and peculiar4 ,it is necessary only that there should exist a degree of individuality1 something novel1 a distinguishing tone and an artistic physiognomy peculiarly his own4 ,servile imitations1 plagiarism1 stupid adaptations1 put to death all art and all poetry4 ,in literature particularly is such decline most easy4 ,hoping that1 from what has been said1 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 routine1 away from plagiarism and from disorder and anarchy1 one word upon the most distasteful and effectual blight to which art is subject--the loss of naturalness1 viz41 affectation4 ,can anything be more irritating than an affected actor or singer1 caterers to perverted tastes8 ,in sculpture what is more displeasing than a distorted figure1 which aimed at grace and is become a caricature8 ,affectation is in the arts the equivalant of sophistry in logic1 of the false in morals1 of hypocrisy in religion4 ,it is not extravagant to assume that affectation1 being a falsity1 an active lie1 is a torture to the spirit which perceives it1 and a wrong to the honest souls who endure it4 ,it should be1 therefore1 for twofold cause1 banished without pity from the realm of aesthetics4 ,why should the natural1 which is the expression of truth1 have so great an attraction if affectation--its enemy and incumbrance--aroused not our impatience or disdain8 ,how is it that in children of all classes we find grace1 ravishing and inimitable8 ,it is because in them the accord is perfect between the look1 the smile1 the gesture and the impression within1 of which they are the interpreters--the adequate signs1 as ,delsarte would say--the perfidious flexibility of words never interposing to alter the harmony4 ,true grace in adults is not that which is studied1 nor that which is artistically copied from a badly-chosen type4 ,grace is born of itself1 the natural fruit of the culture of the mind1 of elevated thoughts and noble sentiments4 ,it is a combination of excellences which come unconsciously to some privileged beings4 ,to imitate beautiful effects in nature1 to surprise their expressions1 after having observed and established the relation of cause to effect1--this is the end to which the discovery of ,delsarte would lead us4 ,as it is difficult for each to find ready at his command the elements for such research1 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 aesthetics8 ,the time of greatest necessity is the immediate present1 since the voice of the people cries loudly through the press1 ,art is decaying and will surely die6 ,barriers are also supports1 said ,madame de ,stael2 and what more sure support in the decadence which threatens us1 than a positive science deduced from irrefragable law6 ,i say irrefragable with conviction4 ,though human laws be subject to change1 the laws of nature are shown to be immutable1 at least so far as the observations of learned men of all ages have been able to establish them4 ,to such assertions one objection arises3 ,why1 admitting that the human organism furnishes exact and complete means of manifesting art in all the departments of aesthetics1 should not others before ,delsarte have discovered that correlation8 ,i have conscientiously considered and sought light in this direction1 and the result of my research furnishes me only a negation4 ,although ,i do not here attempt a complete study of the philosophy of art1 nor a general history of the arts1 ,i have sought to discover all that could warrant one in presuming the discovery of a law of aesthetics in antiquity1 particularly among the ,greeks4 ,i find that in the writings of ,socrates1 ,plato and ,aristotle--who are the best authorities--art was a dependence upon philosophy2 that is to say1 one with it1 having no law outside of it4 7,whereas1 in the work of ,delsarte1 aesthetics occupies the first place1 and philosophy becomes accessory47 ,i will here enter into some details of the ancient teachings4 ,socrates gave to his teachings a practical character founded upon the knowledge of man4 ,he took for his point of departure man himself1 and established 7according to this idea7 a morality with the motto of the temple of ,delphi1--,know thyself4 ,this doctrine related more especially to ethics than to aesthetics--as later did that of ,pierre ,leroux--and it was far from being able to direct artists in their work4 ,plato often discoursed upon the ,true1 the ,beautiful1 the ,good4 ,he strove to disengage them from the concrete that he might derive some general formulae4 ,to do this he employed the method of elimination1 a form of dialectics which ,i recommend to no one1 notwithstanding its great value and the services it may render1 after all1 to those minds endowed with patience4 ,what does he conclude in regard to art8 ,the ,socratic and dogmatic dialogues--the ,phaedo1 the ,gorgias1 the ,symposium1 ,protagoras1 ,ion1 ,phaedrus--abound in allegories1 aphorisms1 and in aspirations toward an ideal1 more or less clearly defined1 which end1 however1 not by any means in a discussion of art1 but in such affirmations as that which closes the first ,hippias3--,beautiful things are difficult4 ,in the ,symposium we have a philosophical discussion interposed between two orgies4 ,socrates there maintains his title of sage1 but it is surely not wisdom which presides at the feast4 ,what light upon my subject8 ,do we here find any conclusive decision regarding art8 ,no6 ,we have instead such statements as this3 ,it is possible for the same man to be both a tragic and a comic poet4 ,then are made some reflections upon time in music4 ,we can as yet discover nothing like a law of aesthetics4 ,in this company1 where are assembled the most cultivated of the ,athenian citizens1 they discuss love and jealousy of a kind that the moral instinct of modern society can with difficulty comprehend4 ,but these dissertations are of no aid in the solution which ,i seek4 ,and yet the spirit of ,socrates at times attained to great heights4 ,he puts into the mouth of a woman of ,mantinea the theory which saps the old doctrine and presents monotheism4 ,it is but one step thence to ,christianity1 and it was ,apollonius of ,tyana1 disciple of ,pythagoras1 who established a connection between the idealism of the later ,greek philosophy and the spirituality of the new religion taught by ,jesus of ,nazareth4 ,socrates1 after a discussion upon those intermediate deities1 whom he called daimons1 and among whom he places love1 assigns to love an origin and strange attributes which1 to a certain extent1 explain the remarkable workings of this passion at that time4 ,he at once exalts and seeks to make comprehended the new god--,beauty eternal1 uncreated and imperishable1 a beauty having nothing sensuous1 nothing corporeal1--which exists absolutely and eternally4 ,this is all4 ,perhaps this ideal of love1 as that of philosophy1 may have been expressed in the foundation of the religious ideal of ,delsarte1 but this encounter in the ethereal regions of theology and psychology--where the human consciousness perceives nothing tangible1 and whence it derives only vague aspirations--implies no knowledge1 of anything like a law1 a science or a method1 such as our artist-innovator of the nineteenth century conceived and taught4 ,aristotle1 disciple of the founder of the ,academy of ,athens1 divided the sciences into three classes--logic1 philosophy and morals4 ,within this classification art is closely bound1 but this philosopher made no scientific demonstration of it4 ,his workings are not those of application and execution4 ,more than his predecessors1 it is true1 he considered the human organism and1 in this1 his conception bears a certain analogy to the system of ,delsarte4 ,aristotle1 as well as ,plato1 advised the study of nature1 and seeking there the elements of the ,beautiful2 but they had specially in view literature and eloquence4 ,further than this1 their precepts are counsels and have reference to no definite law4 ,they have not shown the links of connection between the human faculties and the mechanism which manifests them2 they have not taught man the manner of using his organs to express artistically his sensations1 emotions and thoughts4 ,the ,greeks had every advantage of models and philosophical schools1 in which art was taught4 ,but they had no school of aesthetics4 ,artists of genius taught the schools more than they learned of them2 and these artists1 so far as ,i can learn1 have left no trace of theoretical works1 but1 as before written1 genius precedes and exemplifies law4 ,while ,plato and ,aristotle placed a beacon light upon the road leading to a law1 they never touched the goal4 ,delsarte proceeded otherwise4 ,he starts with a principle clearly defined and everything harmonizes with it4 ,have the historians and critics of the ,greek philosophy discovered that which ,i vainly sought in its initiators1--a law of aesthetics8 ,this is a question to be answered4 ,winkelmann1 in his ,history of ,art1 says3 ,the fine arts1 in their rise and decadence1 may be likened unto great rivers which1 at the point of fullest greatness1 break up into innumerable tiny streams and are lost in the sands4 ,still following this imagery1 he compares ,egyptian art to a fine tree whose growth is stopped by a sting2 ,etruscan art to a torrent2 ,greek art to a limpid stream4 ,now1 the law of life of trees1 streams or torrents1 is not identical with that which governs the unity of a human life4 ,like ,aristotle1 ,winkelmann states clearly the principle that man is the measure of all things1 but he does not follow up the consequences2 he reaches no scientific demonstration upon any point4 ,far from establishing the existence of a law of aesthetics among the ,greeks1 he simply remarks upon the extreme simplicity of their beginnings1 and shows by what gropings they came from ,hermes to the most perfect works of ,phidias and ,praxiteles4 ,mengs states that the first designs were of forms approaching human semblance2 and that the sciences and philosophy must of necessity have preceded the ,beautiful in the arts4 ,he thinks that the ,greeks established the proportions of their figures by imitation of beautiful nature4 ,from these two commentators we have a history of the progression of the arts toward the ,ideal4 ,mengs states that the ,greeks and the ,etruscans have given rules of proportion and style4 ,but progression1 proportion1 style1--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 concept1 that which contains all conditions and means of a true execution1--individual even to the perfection of each type1 general and varied as the infinite shades of nature4 ,in response to the allegation of ,mengs1 that the sciences and philosophy must necessarily have preceded the ,beautiful in the arts1 ,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 ,socrates1 ,protagoras1 ,hippias and others1 upon the ,true1 the ,good and the ,beautiful4 ,the great painter and the great sculptor could only have proceeded by the intuition of their genius1 knowing nothing of a law of aesthetics4 ,in that which remains to us of antiquity1 ,i find nothing which implies such an application of the human organism to the arts as that whose discovery1 promulgation1 exemplification and teaching we owe to ,delsarte4 ,m4 ,eugene ,veron1 writer of our day1 and author of remarkable works on art1 far from recognizing among the ,greeks a law of aesthetics1 writes of ,plato3 ,he considered ideas as species of divine beings1 intermediate between the ,supreme ,deity and the world4 ,theirs is the power of creation and formation4444 ,matter unintelligent and self-formed is nothing1 and realizes existence only through the operation of the idea which gives it its form4 ,aristotle begins by rejecting all this phantasmagory of eternal and creative ideas4 ,he fills the abyss between matter and spirit4 ,god1 pure thought and being preeminent1 brings all into existence by his power of attraction which gives to all activity and life4 ,we wander farther and farther from a law of aesthetics and its means of application as established by ,delsarte4 ,of all the writers who have thoroughly examined antique art1 ,victor ,cousin would seem the one with whom ,delsarte had most in common1 if this eminent philosopher were not a contemporary of the master and had not attended his lectures1 his artistic sessions and his concerts4 ,in his manner of treating art1 this is often shown bywords and forms and flashes of instinctive reminiscence which recall the great school4 ,in his book1 ,the ,true1 the ,beautiful and the ,good 7edition of #aheh71 the learned professor writes3 ,the true method gives us a law to start from man to arrive at things4 ,all the arts1 without exception1 address the soul through the body4 ,he is on the way1 but his position embraces neither the starting-point1 which is the law1 nor any practical means toward an end4 ,for the rest1 the nearer his propositions approach the law of ,delsarte1 the easier it becomes to establish the radical differences which separate them4 ,delsarte does not say that the law is to start from man to arrive at things1 but that man uses his corporeal organs to manifest himself in his three constituent modalities1--physical1 mental and moral4 ,it is very certain that works of art1 like all concrete forms1 can only be perceived by the senses4 ,who does not know this8 ,but that which is most difficult to comprehend1 is the just relation of cause to effect--as to the faculty and its manifestation1--and it is this which ,delsarte discovered and made clear4 ,the one stated the action of art when perceived2 the other1 the necessities of the artist in order that art respond to the law4 ,i shall have more than once to render justice to ,victor ,cousin4 ,inheritor of the ,greek philosophers1 he allows dialectics too great margin4 ,he wanders in his premises and arrives at his conclusions--when he can4 7,here1 of course1 ,i speak only of art47 ,in philosophy1 ,cousin1 beginning with effects1 from induction to induction1 often arrives at causes and states some principles4 ,delsarte1 perhaps1 proceeded thus while seeking to combine his discoveries1 but this accomplished1 he placed in the first line1 synthesis1 whence all emanates1 and this focus of light radiating in all directions1 illumines even to its farthest limit1 the vast field of aesthetics4 ,cousin1 after all1 claims neither for the ,greeks nor for himself the discovery of a law4 ,proudhon1 who represented the ,protagorean school among us1 humoring his whim1 produced a work on art4 ,in this he declares that he has very little gift in aesthetics1 and asserts himself a dialectician1 and we cannot deny his power in logic while he regards things from a proper stand-point4 ,very well6 ,proudhon challenged the ,academy to indicate a method--with even more reason might he have said law of aesthetics4 ,shall we1 at last1 find among the true critics of ,french literature any synthetic basis which may guide us in all branches of art8 ,what do ,i find in ,the ,poetic ,art1 by ,boileau1 the great authority of the ,augustan age1--rhetoric1 beautiful verses1 full of excellent counsel8 ,i find there wisely arbitrated rules1 a sieve through which it would be well to pass the works of our own times1 including the verdicts which distribute the glory4 ,but the means of putting into practice these valuable precepts--the criterion to establish their truth1 the touchstone which may distinguish the pure gold--does not appear6 ,in default of these means of certitude1 each may1 according to his instinct or his pride1 insist that he has fulfilled the conditions prescribed by the author of the ,lutrin1 and judge his rivals by the sole authority of his prejudices4 ,la ,harpe and his followers have distributed praise and blame1 and at the same time said what should be done1 but they have given no how4 ,more grievous still are the meanderings of the critics of our public journals4 ,they wander without compass and without rudder1 approving or condemning according to their friendships and antipathies2 save those connoisseurs emerites1 whose fine1 sure taste and exceptional erudition are rarely able to supply a law and state a reason for their judgment4 ,among us1 as among the ,greeks1 may be found artists who have given proofs of the existence of the supreme theory of which ,i now write4 ,talma and ,malibran--in another order1 ,dejazet1 and ,frederick ,lemaitre1 even ,theresa herself1 have1 in a greater or less degree1 exemplified this law imprescriptable4 ,these artists1 marked by nature with the seal of their vocation1 possessed that force of truth which produces sudden bursts of eloquence1 great dramatic effects2 in a word1 as before expressed1 the happy strokes of genius4 ,yes1 before and after ,delsarte1 there were and shall be beings conforming by instinct to his law4 ,but with him alone shall rest the honor of its discovery and first teaching1 and of the establishment of the science upon strong foundations4 ,it remains for me to examine the relations between the workings of ,delsarte and those who have treated the same questions concerning the terms 7according to him1 accessory71 the ,true1 the ,good and the ,beautiful2 and also to consider the value of each branch of aesthetics in the entirety of the system4 ,chapter ,,vii4 ,the ,elements ,of ,art4 ,the ,true1 the ,good1 the ,beautiful4 ,though ,delsarte be acknowledged the discoverer of the law of aesthetics1 he may have held points in common with many who before him had had presentiments of its coming and had instinctively experienced its force4 ,premonitions precede the discovery as complements should follow4 ,the ,true1 the ,good1 the ,beautiful1 constituent elements of aesthetics1 have been diversely interpreted4 ,from his intellectual observatory1 a zenith whence the artist-philosopher viewed clearly the whole and the details1 he may be supposed to have gained light beyond any which could have come to his predecessors4 ,i will1 then1 resume my parallel from this point of view4 ,the ,true1 the ,good and the ,beautiful were not made1 in the school of ,delsarte1 objects of special teaching4 ,by definitions1 reflections and illustrations of the master1 they were shown to enter fully into the science and method--a part of it distinguishable and inseparable4 ,the master1 in his demonstrations1 commonly employed various well-known maxims which were always accredited to their authors4 ,thus1 from ,plato3 ,the ,beautiful is the splendor of the ,true4 ,from ,st4 ,thomas ,aquinas1 in regard to science3 ,in creation all is done by number1 weight and measure4 ,from ,st4 ,augustine 7for he often quoted from sacred works73 ,moral beauty is the brilliancy of the ,good4 ,but ,i must proceed in order4 ,i owe it to the sincerity of my endeavor to explain first the aesthetic work of ,delsarte as shown me by his own teachings4 ,the ,true4 ,the ,true ,illuminates the ,thought4 ,to determine the signification of the ,true1 we must first ask what is truth8 ,it has been defined as3 ,a fixed principle1 an axiom4 ,the term truth has been applied to such or such maxims2 but there are few assertions not subject to discussion or which would be accepted as decisive without comment4 ,they have not that piercing clearness which determines conviction by simple apprehension or at first sight4 ,the dictionary of the ,academy is more explicit in its statement3 ,truth is the conformity of the idea to its object4 ,but a preferable definition is that of ,madame ,clemence ,royer3 ,truth is the concept of the spirit in regard to the reality of things and the laws which govern them4 ,this philosophical statement is readily adapted to the ,true in the arts1 which is acquired by the observation of nature and adaptation of the lawful ideal4 ,how1 then1 may we recognize the ,true in aesthetics according to this definition8 ,the artist1 first and above all1 should disregard no law of nature1 but when he aspires to great works1 the concept of his spirit in regard to the reality of things and their laws should lead him to idealize what he sees1 translating his personal conception of the ,beautiful and the ,sublime1 if his flight carry him so far4 ,the word ,art is more comprehensive in that which it expresses1 than the word ,true4 ,art completes itself by its other elements1 the ,beautiful and the ,good4 ,plato1 and the philosophers in general1 treated of truth from the stand-point of philosophy rather than of art4 ,still the great ,athenian seemed to believe in a sort of celestial museum1 where the artist1 penetrating by intuition1 was inspired by a vision1 more or less clear1 of the masterpieces of divine conception4 ,delsarte approached in a certain sense this very idea1 but his doctrine of the ,true in art1 although depending upon the mystic basis of a holy ,trinity1 brought forth developments both rational and scientific which leave far behind the ,platonic hypothesis4 ,in the system of ,delsarte it is no longer a vague ideal dimly perceptible1 which must guide the artist in the execution of his work1 for the innovator says expressly that the divine thought is written in man himself4 ,it is therefore at the command of every one who seeks truth to make it manifest in art4 ,in the new system1 man being at once the artist and object of art1 literary men1 sculptors and painters proceed from a basis ever to be observed and studied1 to rise from the ,true to the ,ideal4 ,here the flight must be more rapid and1 above all1 less deceptive than the purely mystic fancy of ,plato4 ,we shall see in considering the ,beautiful in the arts1 that far from giving rise to arbitrary and fantastic conceptions1 the great ideal must become1 according to the science and method of the master1--the aggrandizement and the harmony of the faculties of the human being4 ,the ,good4 ,the ,good ,sanctifies the ,soul4 ,what is the ,good in art8 ,here again the philosophical standard bars the way and demands priority4 ,what1 then1 is ,good 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 people8 ,the ,good1 after this elimination1 is reduced or rather elevated to one simple idea1 so general and requisite is it4 ,the ,good seems to be that which can give to the greatest number of beings1 existing in the universe 7conformably to their hierarchy71 the greatest sum of happiness and perfection1 considering1 for humanity1 the importance of the mutual relations of the faculties4 ,if this be true of the ,good in life1 is not a way clearly traced for art1 whose mission is to embellish existence8 ,and1 further1 if it be incontestable1 that man cannot transgress the laws of his nature without wronging his intelligence and his happiness1 even his strength and beauty1 how shall art merit our love and homage if its power be exerted to excite inferior faculties and subversive passions8 ,are not poise and harmony the best conditions of existence for the human organism8 ,that which ,plato demanded for the ,beautiful in favor of the ,true--namely1 splendor--,delsarte demanded also of art in favor of the ,good4 ,his thought is summed up in this formula1 ,man is the object of art4 ,man1 being artist1 becomes the agent of aesthetics4 ,man1 in his humanity1 is the goal toward which should tend all the efforts and experiments of the art-moralizer4 ,the master maintained the possibility of reaching this end by two opposing ways1 not contradictory2 i4e41 the production of the ,beautiful under its physical1 mental and moral forms2 and by the manifestation of the ,ugly under the same forms1 exhibiting what he called the hideousness of vice4 ,immorality may be rendered poetical and artistic1 because of its being a corruption of the moral1 often preserving the imprint of its origin1 even throughout its greatest errors4 ,its agitation1 its combats and its defeats interest the judgment and the heart4 ,the ,ugly or unseemly1 morally speaking1 is the synonym of vice4 ,the ,ugly in the language of the arts has many diverse significations4 ,it is in these shades and variable proportions that it affects our subject1 but the depicting of repulsive things1 foreign to morality1 to sentiment and to passion1 has no right to exist in aesthetics4 ,it may be possible to cure a vice by showing its hideousness4 ,but does this warrant such exciting of the disgust of the senses8 ,it is an outrage to the worship of the ,beautiful1 without compensation of any kind4 ,there can be no advantage to humanity in exhibiting the hideousness of disease or the monstrosities of certain natural phenomena6 ,open to them the museums of comparative anatomy1 but close the galleries consecrated to the fine arts6 ,there exist also monstrosities which are not included in these categories2 they present no moral danger1 but are disagreeable and repulsive to good taste4 ,they consist of fantastic forms1 in accordance with the spirit of an inferior civilization1 reminding one of the misshapen and gigantic prehistoric animals1 whose bones astound us1 and which disappeared from our globe that man might appear4 ,among cultivated contemporaries these eccentricities spring from an inclination toward originality1 caprice1 grotesque taste2 from a similar impulse to that which directs literature toward burlesque and parodies1 and the plastic arts toward caricature4 ,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 wit4 ,in a word1 the art indulging in this class of manifestations acts according to the mode simpliste4 ,i borrow this term from ,charles ,fourier1 and ,i say once for all1 that by it ,i mean not the entire1 but the almost exclusive predominance of one or the other of the modalities of the human being4 ,here the simplisme being altogether intellectual1 while it is inferior to manifestations in which the being expands harmoniously1 it wounds no essential in the synthesis of the me2 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 existence4 ,existing among the elements of aesthetics1 as the faculties of man1 are certain dependencies1 connections1 affinities1 penetrations1 which render an abstraction of one of them almost impossible4 ,thus ,i have anticipated allusions to the ,beautiful in considering the ,good4 ,by thus connecting them1 the better to distinguish them1 ,i have reached the conclusion that moral evil should never be manifested in the arts unless with the view of redressing it4 ,in this case the better its real characteristics are studied1 the more strongly they are accentuated throughout1 the more successful the work will be from the plastic point of view1 and the more power it will have to repel those inward wrongs which it denounces1 and this even though the intention of the artist should not touch this result4 ,the ,beautiful4 ,the ,beautiful ,purifies the ,emotions4 ,at first glance1 it might seem the privilege of each one to say1 ,the ,beautiful is that which appears to me as such4 ,i believe in this regard1 that the most capable artist1 should he be also the most perfect logician1 would never be able to persuade sainted and simple ignorance that it should not remain firmly grounded upon faith in its own impressions4 ,place ,hugo1 ,mercie1 ,bonnat1 ,saint-,saens1 ,massenet1 ,joncieres in the presence of simple countrymen--or1 what is worse still1 of inferior artists and critics1 of pretentious amateurs--and you will see by what supercilious1 incredulous gestures1 being incapable of argument1 this satisfied ignorance will repel all assertions of the great authorities4 ,should we1 therefore1 disregard this reluctance to recognize the features of the ,beautiful in great works8 ,we must at least deduce from it the fact that the effect of art depends upon some relation between the observer and the thing observed4 ,notwithstanding the reality of the beauties of such or such a work1 in the eyes of many appreciators1 the subjectivity of each observer should remain decisive1 vis-a-vis to himself1 as long as he cannot be convinced by the authority of a law2 and1 finally1 it is imperative that his comprehension of that law should be rendered possible by preliminary studies4 ,on the contrary1 shall that which has been recognized as beautiful by the initiated ever since artists created1 and enlightened criticism discussed and judged it1 appear now before uncultivated criticism as without authority8 ,in default of law and science1 there is a sort of universal consent among competent thinkers2 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 appreciation4 ,the question of subjectivity in the declared judgments in aesthetics has given rise to incessant controversies which began1 perhaps1 among the ,greeks and are going on among us4 ,though no absolute decision has been reached1 some excellent maxims have resulted4 ,in default of an irrefutable definition of the ,beautiful1 there have been given us images1 analogies and thoughts upon the subject which approach and prepare for such definitions3 ,victor ,cousin has said3 ,it is reason which decides as to the ,beautiful and reduces it to the sensation of the agreeable1 and taste has no further law4 ,aversion accompanies the ,ugly 7unseemly7 as love walks hand in hand with the ,beautiful4 ,the ,beautiful inspires love profound but not passionate4 ,the artist perceives only the ,beautiful where the sensual man sees only the attractive or frightful4 ,and1 again1 ,that is sublime which presents the idea of the ,infinite4 ,this last thought brings us to ,delsarte1 who1 perhaps1 was its inspiration4 ,the following valuable thoughts of the master1 while not related scientifically to his system1 are still allied to its physical and philosophical aspects3 ,form1 says the innovator in aesthetics1 is the vestment of substance2 it is the expressive symbol of a mysterious truth2 it is the stamp of a hidden virtue1 the actuality of being2 in a word1 form is the plastic of the ,ideal4 ,the ,beautiful is the transparency of the aptitudes of the agent1 and it radiates from the faculties which govern it4 ,it is order which results from the dynamical disposition of forms4 ,beauty is the reason which presides at the creation of things2 it is the invisible power which draws us and subjugates us in them4 ,the ,beautiful comprises three characters1 which we distinguish under the following titles3 ,ideal1 moral and plastic beauty4 ,by the enunciation of these three categories1 ,delsarte enters upon the positive aspect of his system4 ,as the result of the careful examination of the aptitudes or faculties of the ,ego1 approachable by analysis and applied to aesthetics1 he has established this first class of manifestations 7ideal beauty7 as requisite to art4 ,this must result from a combination of the faculties2 the possibilities of combination being infinite1 but always in subjection to the human being4 ,the artist1 according to this personal power of inspiration1 should be able to portray a totality of superior and harmonious qualities1 such as will oblige any competent observer to recognize it as beautiful4 ,we have taken a step into the realm of the ,ideal2 that is to say1 we have touched that which1 without departing from the law1 surpasses conventional rule and the natural types accepted for the ,beautiful4 ,before following the ,ideal into its ethereal region1 we will further consider the nature of its foundation1 which is a combination of the three mother faculties which ,delsarte declares to be1 in aesthetics1 the criterion of the law and the foundation of the science4 ,we already recognize these as the physical1 mental and moral aspects of the human being4 ,the plastic art allies itself particularly to the physical constitution1 but the physique cannot be perfectly beautiful unless it manifests intellectual and moral faculties4 ,moral and intellectual beauty reveal themselves in the human being under the empire of passion and of sentiment1 and the physique is momentarily transformed4 ,the artist should seize beauty at this moment of fullest perfection1 above the normal conditions of human existence and perhaps beyond possible plastic beauty4 ,behold what glorious possibility for the direction of the artist's aspirations toward the ,beautiful6 ,but even this happy chance by no means includes all of the possible conceptions of the ,ideal1 and neither does it furnish us any absolute idea or definition4 ,this vision of beauty1 made ideal by exaltation of the intelligence and the emotion1 can only be perceived by the artist of practiced observation and of that intuitive perception which is the gift of nature4 ,again considered1 the ,ideal1 being relative as well as the ,beautiful1 of which it is the exuberance1 we must remember that the word is far from corresponding to an idea of absolute beauty4 ,thus the ,ideal of an ordinary taste is not so high as that of a person whose standard of beauty is superior1 and the two will be very distant from the image conceived by the pen1 the chisel or the brush of a great artist4 ,in many cases the ,ideal is nothing but a searching for the intention of nature1 obliterated by the circumstances and accidents of life4 ,then the task of the artist should be to reestablish the type in his logic--a vulgar face may be portrayed by a skilful brush--and1 while preserving its features1 there may be put into it the culture of intellect and noble sentiments4 ,an artist1 for instance1 will see in a woman1 whom time has tried1 certain elements of beauty which enable him to portray her nearly as she was at the age of twenty years4 ,he should be able to divine in the young girl1 according to the normal development of her features1 her appearance at the complete unfolding of her beauty4 ,yes2 in these different cases the artist shall have idealized1 since he shall have comprehended1 penetrated1 interpreted and rectified nature4 ,still1 he may not yet have attained to the comprehension of perfect beauty1 such1 at least1 as human emotion and intellect can conceive1 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 reason1 namely1 that they are inhabited by beings more or less like ourselves4 ,when these sublime effects appear in art1 it is as though a veil were torn1 revealing glimpses of a world of ideas1 emotions and impressions1 surpassing our comprehension1 approachable only by our aspirations4 ,thus1 ,delsarte1 superior to his science1 has shown us the artist in full possession of all that he has acquired1 and the inmost charm of that which is revealed to him4 ,in execution he proved this truth3 ,if talent may be born of science1 it is genius which distinguishes the highest personalities1 and to merit the title of high artistic personality one must contain in himself an essence indescribable1 unutterable1 which constitutes the aureole of grand brows1 and the sign luminous of great works of art4 ,thus1 as virtue1 art has its degrees4 ,art1 in its most simple expression1 is the faithful representation of nature4 ,if the conception of a work or of a type is elevated to a degree of perfection which satisfies at once the plastic sense1 the emotion and the intellect1 we will call it ,grand ,art4 ,finally1 if1 in the presence of a creation1 we recognize perfect harmony 7which goes beyond perfect proportion72 if the work call forth in us that contemplative ecstasy which gives us the impression and1 as it were1 the vision of pure beauty1 shall we not recognize ,supreme ,art8 ,the system of ,delsarte responds to all these desiderata of aesthetics4 ,in his law he gives us the necessary bases2 by his science he indicates the practical means1 by his method and illustrations he completes the science and demonstrates the law4 ,where is place left for doubt or contradiction8 ,he stated what he knew and how he had learned it4 ,in his recitals occurred innumerable beautiful proofs of his greatness and simplicity1 oftentimes more convincing than lengthy1 involved argument could ever be4 ,some may ask3 ,how can a positive science lead toward an ideal which cannot be touched1 heard not seen8 ,would not this science be the antipode 7some would say antidote7 of the mystic dreams of ,plato and of ,delsarte himself8 ,reply is easy4 ,delsarte recognized in our mental consciousness that desire for research into the unknown which would sound the mysteries of nature4 ,he did not disregard that intuitive force of imagination which can often form from simple known elements the concept of conditions superior to the tangible4 ,between this nature1 which we hear and see and touch1 and that nature which the artist feels1 imagines1 and to which he aspires1 ,delsarte has placed a ladder whose base is among us1 and whose summit is lost in the infinite spaces of fiction and poesy4 ,by this ascent into the realm of liberty1 of personality and of genius1 the elect of aesthetics shall mount and gain1 and1 still maintaining their relations with the ,real1 shall bring down to us the glorious trophies of their art4 ,delsarte1 foremost among men1 had climbed the magic ladder4 ,his exquisite harmonies in the dramatic art and lyric declamation were beautiful indeed1 but the aesthetic beauties which he brought forth in the roles that he interpreted1 must1 alas6 disappear with him4 ,he has left us the bases of his science1 but who shall so beautifully tread the way--reigning by song amidst a thousand accents of devoted enthusiasm6 ,chapter ,,viii4 ,application of the ,law to the ,various ,arts4 ,we have now to consider each branch of aesthetics in the totality of the system1 to be assured whether or no this law discovered by ,delsarte covers all departures in the domain of art4 ,first1 then1 the starting-point around which all is centered and from which flow all developments4 ,man is the object of art4 ,this proposition applies as readily to the conception of literature1 poetry and the plastic art as to the more active manifestations of the dramatic1 oratorical or lyric art4 ,man being thus the object of art in all of its specialties1 the part of the artist is to manifest that which is revealed to him1 through his three essential modalities1--physical1 moral and intellectual 7in the words of ,delsarte1 life1 soul and spirit1 with the divisions and subdivisions that they allow71 as has been clearly stated in the chapter upon ,the ,law of ,a,esthetics1 and further confirmed in the one upon ,the ,bases of the ,science4 ,but though all of these primordial modalities appear in each concept and in all artistic manifestations1 the proportion in which each appears is indefinitely variable4 ,it is a predominance of one or another of these which classifies and specializes4 ,it is the harmony1 more or less perfect1 of the components of this triple unity which determines the value of artistic manifestations4 ,under this law1 then1 come all of the arts1 inasmuch as each1 differing in subjects treated and in means of execution1 still has a common mission1 namely1 the revelation of impressions1 the intelligible expression of the thoughts and feelings of man4 ,to be more clearly understood1 ,i will from this point consider separately the different branches of aesthetics4 ,art--,dramatic1 ,lyric and ,oratorical4 ,the proclivities necessary to an artist1 actor or orator 7intelligence being the first consideration and beauty of minor importance7 are3 expansion1 sensibility or at least impressionability2 a ready comprehension of the works to be interpreted1 if not the requisite capacity to execute them4 ,one's particular vocation 7or congenial line of work7 is the first condition in either of these departments of art1 and into the consideration of this must enter that of physical beauty such as the roles demand2 always considering what has been named the physique of the situation4 ,in a word1 these three aspects of art correspond to the predominance of that modality which ,delsarte calls life2 this with the complementary share of the other essentials to maintain a symmetry2 this for the average chosen4 ,as to the individuality necessary for the creation of a role1 general statements cannot apply4 ,it is one and entire for each4 ,should it reproduce itself identically1 it would no longer be individual4 ,the strength of a powerful individuality lies in the revelation of a type sui generis4 ,thus ,delsarte can never be reproduced4 ,if by an impossibility an artist having seen him1 and being penetrated by his method1 could assimilate the sum total of his acquired qualities and his inmost purposes1 still he could be but a copy1 however perfect1 since personality cannot be transmitted4 ,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 here4 ,some one says3 ,if the law of art is the same as that of the human constitution1 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 7to spectators1 audiences or readers7 the thoughts1 passions or emotions which he would reveal1 either by his pen1 his chisel1 his brush1 or by the fictitious personages which he incarnates8 ,i answer1 ,no6 ,the expression of nature by gesture1 face1 or voice will not come to the artist by inspiration nor by reflection1 especially in extreme situations4 ,he may chance upon agreeable effects1 and even moving expressions1 but rarely does a just and telling expression of that which he would express result from mere chance4 ,caustic truth or knack--more vulgarly1 cheek--comes of influence outside of one's self4 ,upon one occasion ,madame ,pasta was heard to say3 ,i would be as touching as that child in her tears4 ,i should1 indeed1 be a great artist if ,i could imitate her4 ,rare1 indeed1 are the artists who know how to weep4 ,the sublimity of art responds to nature's simplest impulses4 ,by the study and work of ,delsarte a science has been created1 every fleeting sign of emotion has been fixed1 and may be reproduced at will2 and this for the instruction of the artist who may never have observed them in another1 nor himself felt the impressions which give rise to them4 ,application of the ,law to ,literature4 ,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 interpret4 ,literary capability presupposes more or less of philosophical aptitude and a predominance of the intellectual faculties1 and this not to the exclusion of a certain amount of artistic and moral development in the truly great writers4 ,it is in the field of literature especially1 that man attains to a creation2 and whether his object be a fellow-creature or an extended and enlarged ideal1--in either and any case facts have furnished repeated and incontestable evidence1 in support of the statement of ,delsarte1 that art is always defective unless it be the product of the three essential modalities of being1 acting in their relative proportions4 ,this statement is not to be contested2 but here again these relations would vary among the writers upon science1 ethics and poetry4 ,the epic1 most synthetic of literary productions1 is no longer in fashion1 because1 perhaps1 of the growing rarity of heroes4 ,on the contrary1 simplisme is now deforming the greatest germs in the drama and romance4 ,the weakness often lies in the morality of the production1 or rather in its lack of morality1 often so lacking that the author sinks to the level of producing repulsive works and cynical pictures4 ,in view also of man's essential faculties1 but from another point of view1 ,st4-,simonianism classed men as scholars1 artists and artisans4 ,then were added the priests of a new order whose nature1 more perfectly balanced1 was to furnish the model type of future humanity4 ,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 faculties4 ,it was readily seen that thus sentiment would rush to folly2 sensibility without a corrective would soon become weakness2 unbalanced industry would lead to disregard of health and strength1 while the triviality of the sensual nature1 unrestrained by mental or moral activity1 would soon fall into hopeless degradation4 ,herein was simplisme most bitterly condemned4 ,delsarte1 ever studying relations between coincidences in art and the revelations of nature1 arranged a typical demonstration1 as ingenious as logical1 of the action and play of opposing faculties4 ,by most wonderful pantomime he showed a man tempted to sin2 then1 touched by pity for the victim of his desire1 at last transformed by the intervention of the moral sense1 he came by slow gradations to most elevated sentiments4 ,one saw clearly the courage of resistance and triumph in the sacrifice4 ,then1 taking an inverse progression1 he slid from this height to the opposite extreme of culpable resolutions4 ,delsarte was the author of this mute scene which contains the elements of a drama4 ,the contemplation of this wonderful effect leads to the conviction of the great value to literature of the fundamental law1 which may be applied to any and all literature1 as a permanent criterion by which productions may be classified and judged1 in their departure from the simpliste form and approach to a conception in which the constituent modalities of being act in harmonious accord4 ,here1 again1 we have a fresh distinction between scientific and ethical literature1 and that which may be termed the literature of art4 ,to this latter class belong romances1 dramatic productions and poems--works made up of shades of meaning and just proportions1 which should be based on clear and sound philosophy1 prudently disguised but indisputable and imperishable4 ,here is place for the grace of an agreeable wit and the elegant flexibility of a fruitful pen4 ,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 aesthetics1--the ,true1 the ,good1 and the ,beautiful4 ,thus1 through aesthetics1 it is elevated4 ,to this literature of art belong the sonnet of ,arvers1 and ,the ,soul1 by ,sully-,prudhomme4 ,musset1 in his grace or pathos1 is not inferior to ,victor ,hugo4 ,there are1 even in his faults1 certain effective boldnesses to which the author of ,notre ,dame de ,paris cannot aspire4 ,whence1 then1 comes the immense distance between these poets8 ,it lies in the fact that ,victor ,hugo1 while he is a finished artist1 shows himself also a thinker1 philosopher1 man of science and erudition4 ,endowed with a profound humanitarian feeling1 he is preoccupied with the evils of society1 with its rights1 its mistakes1 its tendencies and with their amelioration2 while the poet of ,jacques ,rolla--a refined sensualist--devotes his verse to the unbridling of the torments of imagination in delirium1 to the agitations of hearts which have place only for love4 ,if comparison be made between novelists and dramatists of diverse schools1 why has not ,m4 ,zola1 who in so many regards should be considered a master1 attained the heights of eminence upon which are enrolled the names of ,shakespeare1 ,moliere1 ,corneille1 ,schiller1 ,madame de ,stael1 and ,george ,sand8 ,it is because ,m4 ,zola1 profound analyst and charming narrator1 even more forcibly than ,musset breaks the aesthetic synthesis by the absence of morality in his writings4 ,his fatalism arrests the flight of that which would be great2 he corrupts in the germ wonderful creative powers6 ,m4 ,zola's great lack lies in his considering in man his physical nature only4 ,between mind and matter he holds a magnifying lantern full upon the lowest molecules1 and rejects disdainfully the initiating atom that ,leibnitz has signalized as the centre of life4 ,m4 ,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 arouses4 ,should we blame ,zola and his disciples for the danger and the impotence of this method8 ,should we not impute the wrong in greater measure to philosophical naturalism8 ,in considering materialism and naturalism let us not lose sight of the fact that while materialism is simpliste1 naturalism 7in so much as it represents nature7 is essentially comprehensive and necessarily synthetic2 harmony of force and matter being an invariable requisite of life4 ,realism1 another term strangely compromised1 seems to proclaim itself under the banner of materialism1 while the ,real1 implying the idea of the ,true1 cannot be contained in simplisme4 ,it is a most pernicious evil that writers1 calling themselves realistic1 still concentrate their talent upon the painting of vicious types and characters drawn in an infernal cycle of repulsive morals4 ,man is the object of art4 ,never could the words of the master more appropriately interpose than before the encroachments of literary simplisme4 ,the man of whom ,delsarte speaks is not confined to such or such a category of the species4 ,he proposes that aesthetics should interpret an all-comprehensive human nature1 which is not made up alone of baseness1 egotism and duplicity4 ,though it be subject to perversion1 it has its luminous aspects1 its radiant sides1 and we should not too long turn our eyes from them4 ,artistically1 evil or the ,hideous 7which is also evil7 should never be used except as a foil4 ,there is no immorality in exhibiting the prevailing vices of the epoch1 but this is the physician's duty4 ,the evil lies in presenting these evils under such forms as may lead many to enjoy or tolerate them1 giving them the additional power of a charming style and the specious arguments of fatality4 ,this is precisely the case of ,m4 ,zola4 ,the glamor of his disturbing theory1 which annihilates free will1 gives to his works a philosophical appearance4 ,he conceals its vacuity beneath forms of a highly-colored style1 an amiable negligence and a facility that is benumbing to thought4 ,as he asserts nothing1 no one dreams of contradicting1 and one finds himself entwined in a network of repulsive depravity without a ray of healthful protection or correction4 ,in comparison with the blight of this disastrous system of fatality1 the coarseness of the writer's language1 so loudly censured1 is relatively unimportant4 ,the simplisme of ,m4 ,zola is not absolute1 as but one of the three constituent modalities is omitted1 that one being morality4 ,the lack is1 however1 no less fatal1 inasmuch as the void produced by the absence of one of the noblest faculties of human activity must usually be filled by disturbing forces4 ,i have heard the theory1 art for art1 supported by men otherwise very enlightened4 ,an artistic production need not contain a moral treatise1 they say1 and this is quite true1 provided the artist be a quick observer1 possessing talent sufficient to handle his subject harmoniously4 ,vice carries its own stigma1 and pure beauty surrounds itself with light4 ,the author should be able readily to distinguish the one as well as the other1 and his precepts should come as the harmonious result of his experience4 ,but such a work1 at the mercy of an ill-balanced brain and unhealthful temperament1 must yield bad fruit4 ,talent without broad and true knowledge of reality1 or that which is1 instead of being invented1 is incomplete in its workings and results4 ,its creations resemble the light of the foot-lamp1 of fireworks1 of the prodigies of our modern pyrotechnists--pleasing for a time1 dazzling1 captivating1 intoxicating6 ,but lost in the life-giving beauty of a summer's night or a glorious sunset1 we are tempted to cry out with the poet1-- ,nothing is beautiful but the ,true4 ,what can be said of the other simplisme which1 in its search for the ,true1 ignores the ,beautiful while it disregards the ,good8 ,again1 its partisans seek artistic truth in its very worst conditions4 ,why paint in full sunshine1 if the intense light obliterates details and confuses the shadows8 ,does it seem a difficulty conquered8 ,it is far oftener a disguised insufficiency4 ,if my reference to painting seem premature1 it is because ,i wished to borrow an image to show how equally grievous was the faulty touch of many of our writers of renown4 ,many among them seem striving to propagate the culture of the ,mediocre and ,unseemly1 as a thousandfold easier practice than the religion of the ,beautiful4 ,my present aim is to show clearly the influence of even incomplete simplisme1 in certain pernicious effects upon literature4 ,edgar ,a4 ,poe entered the realm of the fanciful after ,hoffman1 and how is it that the initiator is less dangerous than his disciple8 ,it is because of these two simplistes1 who have put reason out of consideration1 the first addressed himself only to the imagination1 while the ,american poet sounded the emotions to depths where terror is awakened and madness begins to sting4 ,hoffman has perhaps upon his conscience some readers confined in asylums for the deranged1 but the far more perilous hallucinations of ,poe must account for greater harm4 ,the distance is great between imagination and sentiment1 and should be so regarded4 ,this extravagance should surely not be allowed to usurp the place of morality1 but this is what is done1 and greatness is not for them4 ,another illustration lies in the transition intermediate between the romances of ,balzac1 ,frederic ,soulie1 ,emile ,souvestre1 and ,eugene ,sue1 and the poetry of ,victor ,hugo1 ,lamartine1 ,beranger1 ,barbier and the impressionalist school whose decline is already at hand4 ,of many names1 which have acquired notoriety1 ,i select the two which afford the best contrast1--,charles ,baudelaire and ,jules de la ,madelene4 ,the first1 among other eccentric works1 has left us ,the ,blossoms of ,evil4 ,in the ideas which it embraces it is the successful production of an imagination misled and in distress2 a pathological experience probably prompted the conception4 ,in it one reads beautiful verse of scholarly construction1 and readily perceives an individuality and originality of thought and expression2 but no one would predict or desire that this production should pass to posterity4 ,le ,marquis des ,saffras1 by ,jules de la ,madelene1 on the contrary1 gratifies both judgment and feeling4 ,it is a spirited painting1 acute and profound1 as well as true1 of human life1 especially of provincial life4 ,the human being is revealed in all his aspects4 ,though the author disguises neither errors nor weaknesses1 he presents clearly the redeeming side--the simple manners and the humble devotion of sincere hearts4 ,this1 then1 is the reason why1 sustained by a style rich in grace and strength1 full of the breath of poetry which is felt rather than described1 ,le ,marquis des ,saffras holds its place as an incontestable masterpiece in the choice libraries that preserve the renown of great writers4 ,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 aesthetics--but forces the conviction that disregard of this requirement renders all sterile and incomplete1 if not monstrous4 ,is this equivalent to saying that the deductions from the law of ,delsarte tend to condemn in ,french literature its simple gaiety1 its graceful lightness1 and to efface this stamp of the race that our ancestors have surely imprinted8 ,in works of the imagination the omission of moral meaning is often more seeming than real1 and every good reader should be able to recognize this4 ,however1 this negligent seeming is far less hurtful than brilliant wit concealing crudities and modifying boldnesses4 ,writers of this class do not lose sight of the fact that1 while the ,french character has its audacities 7contrary to the modifications of aesthetics71 our language possesses a proverbial chastity1 which1 even in its farthest wanderings1 genius comprehends and respects4 ,tact and taste suffice to him who consults them to escape grossness of language4 ,the delicacy of the allusions leaves their images in a transparent mist2 the very elasticity of the equivocation furnishes a refuge for the thought which it disquiets4 ,by art some most delicate subjects1 very nearly approaching license1 have been pardoned4 ,we would surely exhibit a tyrannical and morose humor to condemn to be burned en place de ,greve1 by the hand of the executioner1 the romances of ,manon ,lescaut1 and ,daphnis and ,chloe by ,longus1 as they have been transmitted to us by ,paul ,louis ,courier4 ,but when literature1 realistic or materialistic 7or whatever they please to call it71 freeing itself from moral accompaniment1 shows itself negative or weak in its creations2 if it be simpliste to the point of appealing exclusively to the senses1 limiting its means of action to the development of the egotistic and instinctive side of the human passions1--its works have no longer right of consideration in aesthetics4 ,the consideration of the physical being should surely figure in all representations of life1 but it is not necessary that from a subordinate consideration it should ever be made all-governing4 ,the body1 the essential part of our personality1 is the companion of our higher faculties4 ,we should be mindful of it1 making it as beautiful as possible1 but giving it the reins would be even worse than giving power absolute to the imagination4 ,once more1 impressionalism1 without the control of science and of reason1 has nothing to claim in the spheres of the ,true1 the ,good1 the ,beautiful4 ,application of the ,law to ,architecture4 ,the productions of architecture1 like those of literature1 have their origin in the realm of thought4 ,architecture is not1 like the dramatic art1 in subjection to the person of the artist4 ,it is one of the plastic arts1 and of them the most synthetic by reason of the number of agents concurring in its harmony4 ,its dependence upon form is akin to that of sculpture1 while the value of color in its effects is only less than in the art of the painter4 ,this art1 essentially comprehensive1 demands of its masters varied knowledge and that power of cooerdination which1 according to the learned philosopher ,antoine ,cros1 is the highest function of the human intellect4 ,the relation of aesthetics to the totality of the faculties is here more evident than ever4 ,after the manifestation of mind in the composition of the plan1 the architect's next duty is to please the eye4 ,to this end he employs marble1 stone1 wood1 bronze or gold1 and the result is that element of the symphony which responds to sensation4 ,the third and only remaining element of the trinity is sentiment4 ,in order that1 rising above its utilitarian purpose1 appropriateness and mathematical rules of stability1 the architect may fulfil the requisition of aesthetics and arrive at the ,grand ,art1 the remaining element as well as the other two must be perfected in result4 ,the perfection of this element of sentiment is shown in the work by the impression of grandeur or elegance1 of grace1 severity or delicacy4 ,the triple necessity thus filled1 the result is truly a work of art4 ,application of the ,law to ,sculpture4 ,the relation of ,delsarte's system to sculpture has already been alluded to4 ,its application here lies principally in the realm of form4 ,the sculptor aims to reproduce finest proportions of face and figure4 ,he delights in a beautiful contour and1 as ,mengs has said1 in lines undulating and serpentine1 while he studiously avoids all simple straight lines4 ,the more limited range of outlook demands more studied beauties and more significant expressions4 ,the statue--unlike the monument1 which at once arouses spontaneous emotions in the spectator--should express the human being1 his sensations1 his affections1 his passions and struggles1 and should arouse an enthusiasm of admiration while it awakens sympathetic echoes in the heart of the observer4 ,here more strikingly than ever must we recognize ,man the object of art4 ,in the light of this truth we should demand of sculpture the manifestation of the human life with its constituent faculties1 not in a perfectly equal accord which is never met in nature1 but with such predominance as the subject presents4 ,in ,greek art the predominance is of the physical aspect4 ,they had before them exquisite models of plastic beauty2 not the sensual beauty which is fleshly1 but a plastic beauty consisting of harmony of line and form4 ,let us further consider this difference as shown in comparison of the ,apollo and the ,bacchus4 ,the ,apollo satisfies alike the intellect and the eye by its beautiful outlines4 ,we are not yet ready to discuss beauty of expression4 ,the ,bacchus less ideal and more humanly natural cannot so satisfy a highly aesthetic temperament4 ,in neither work is there much of sentiment expressed4 ,the distinctively moral side plays a secondary part1 unless we consider beauty itself a moral factor1--a theory that may be sustained4 ,in neither beautiful marble is there revealed any sensual dominance1 though the ,bacchus1 notwithstanding its plastic superiority1 rather inclines that way4 ,the ,apollo has been loudly extolled for the pride of its attitude and its divine calm in the encounter with the serpent ,python2 and still it is said that a god could not have cause for so great pride in the conquest of a reptile4 ,but the art-critics have exaggerated the import of the figure1 which is wonderfully beautiful without being accurately expressive4 ,the civilization of the new era has developed in man moral and physical qualities1 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 organism4 ,dating from this epoch we find in sculpture less of plastic beauty and more spiritual and touching expression4 ,who would compare the pathos of the ,laocoon to that of ,canova's ,magdalen8 ,the sculptor ,marcello 7,mme4 de ,castiglione71 too early removed from an artistic career1 exhibited certain creations which illustrate this difference4 ,among them is a bust1 in marble1 of an ,arab chief1 which is after the style of the antique1 beautiful lines1 without expression 7a predominance of the physical element74 ,in her ,weary ,bacchante she shows beauty tarnished by vice1 and here the predominant expression is sensual4 ,but in her ,marie ,antoinette in the ,temple ,prison1 as in ,mercie's ,david and the ,dying ,napoleon1 it is not the marvelous beauty which entrances us1 but first and above this reigns the power of expression4 ,sentiment is become predominant4 ,in the ,marie ,antoinette1 what bitter disappointment6 ,in the ,napoleon1 what disillusion with the toys of the world in which he had reigned6 ,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 body6 how original the conception of the figure1 and the whole a tribute to the high personality of the artist6 ,mercie shows not only the work accomplished1 but in this are glimpses of promise of greatness to come which serve as more valuable proof of greatness than the masterpiece completed4 ,this leads me to a reflection already often alluded to1 but which ,i would keep ever before you as the foundation of my argument3 ,man is the object of art4 ,he is also the art-producer1 and considering relatively the two terms of the proposition1 the manifestations of the faculties are not necessarily adequate between the producer and the production4 ,i will explain4 ,the best conditions under which an excellent work of art should be produced are undoubtedly the following3 ,the conceiver possesses in the highest possible degree of development the modalities of being essential to the kind of creation undertaken1 and these in their most perfect harmony2 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 morally1 intellectually and physically artistic4 ,this depends upon the truth of his subject4 ,that he embellish it1 whatever it may be1 by his artistic interpretation and execution1 is all that we should expect4 ,in the new manifestation which we now consider1 where expression of sentiment is given predominance1 the artist1 interpreter of the passions1 sentiments1 weaknesses and vices as well as of the virtues and sympathies of humanity1 must1 in order to interest or chasten1 show to it its own image1 which reflection will be most frequently not an ideal of perfection but a type of suffering and vice1 of weakness and depravity4 ,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 subject4 ,the greatest artist shall be he who renders most striking the characteristic predominance1 whatever it may be1 of the type created or interpreted4 ,to sum up3 ,art is proportional to the faculties of the artist1 and the work is the result of an application of these faculties to some special manifestation of the human ego4 ,impressionalism1 as in the other arts1 should be considered in two aspects3 the impression of the artist and that of the public or observer4 ,the question then arises1 what kind of a public should be impressed that the artist may merit a place in the higher ranks of aesthetics8 ,while we have recognized that judgments in questions of art are the result of a certain sympathy existing between artist and observer1 we have decided also that in considering such a question1 all observers cannot be considered equal4 ,in sculpture as in literature1 where appreciators are possibly more numerous1 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 contemporaries4 ,the ignorant multitude sanction the grossest works because these only come within their understanding4 ,encouraged by the applause of numbers and by the lack of restraint which wins applause1 artists descend the rounds of the ladder of progress which step by step has marked the ascent of the great schools and the great masters1 and the result inevitably must be the return to mere sketches in sculpture1 and painting will diminish to imagery4 ,this end is quickly and readily reached1 so easy and so fatal is the descent in these paths of decadence4 ,all styles are good except the tedious1 a well-known critic has said4 ,pursuing the import of this thought1 we are led to the speedy conclusion that the null should never enter into competition4 ,nothing better than that the condition of priority should exist between diverse styles and opposite schools2 but why strive to institute comparison between a synthetic idea and the absence of synthesis and idea1 between certain proportions and harmony and the absence of proportion and harmony1 between a style and the absence of style8 ,whatever the subject and whatever the mode of treating it1 the intelligence of the artist should always be visible in his work4 ,i am more and more thoroughly convinced that the theory of ,delsarte1 fatal to simplisme1 is the true theory of art4 ,what can be more simpliste than impressionalism when viewed as a school8 ,it considers no law or science1 disregards entirely analysis and logic1 the ,good and the ,beautiful2 it is given over to sensation2 vague impressions which are1 whatever may be said to the contrary1 only the inferior part of man's faculties1 indispensable surely1 but that which we have in common with the animals and little children2 very interesting to observe among animals1 a charming grace in children1 but a most unimportant factor in adult existence1 particularly in the artist's life1 unless it be governed by the intellect and subject to the sanction of feeling4 ,application of the ,law to ,painting4 ,if any art should be given over to impressionalism it seems as if it should be painting4 ,to see and to transmit what is seen1--is not this the true office of the painter1 his undoubted mission8 ,yes1 on condition that the artist has the requisites for seeing correctly6 ,and if he rises to composition1 he must also be endowed with a creative intellect1 with a portion of that mental power which will permit him to embrace a conception synthetically1 and to cooerdinate its parts4 ,among the impressionalists of our time1 there are assuredly painters of talent2 but what talent they possess is1 as it were1 against their will3 the influence of tradition1 the weight of the medium in which they live unconsciously restrain them4 ,then1 it must be confessed1 this impressionability of the artist has its intrinsic merits1 if it is kept to its place and degree2 but it must be regarded as certain1 that if the simpliste artist makes himself distinct in his work1 it is because he contains within himself more of the requisites for what he undertakes1 and because1 without his having summoned them1 the faculties of the understanding and the aesthetic sense have come to his aid4 ,if ,delsarte admitted the precept that everything is perceived in the manner of the perceiver1 he1 of course1 did not admit that every perceiver should make his own law3 his conception of the aesthetic trilogy would never have permitted him to open this ,babel for the vanity of ignorance4 ,to finish with simplisme or naturalism1 let us say that1 carried to its utmost extreme1 it becomes a fixed idea1 a monomania2 has not impressionalism attained to this even in the choice of colors8 ,it has been said of certain painters that they had only to upset their palette on the canvas to compose their pictures6 ,yet this varicolored chaos is not the characteristic of the school ,on the contrary1 certain favorite colors prevail2 do not green and violet rule almost exclusively in some of the most striking pictures from impressionalist brushes8 ,there are moments when we ask whether the impressionalists and their adherents are not obeying an impulse to contradict rather than a serious conviction4 ,in either case1 it is time for many of them to furnish proofs--that is to say1 works1--in lack of the reasons which they have not even offered4 ,after this digression1 forced upon me by recent scholastic quarrels1 let us return to ,delsarte4 ,i have given the reasons for his doctrine in other chapters2 this doctrine will gain strength when ,i show what ,i have gathered from his science1 since science and law mutually testify for each other2 since all art1 acquiring fresh vigor from its source1 law1 and enlightened by the aid of these same formulae1 must bear the impress of truth1 beauty and goodness4 ,even where color occupies in painting the place attributed to outline in sculpture1 there are in these two manifestations of mental images--and in spite of the synthetism peculiar to painting1--striking similitudes4 ,as regards physical manifestations1 both these arts should seek truth--which does not mean literal exactness1--and all that has been said of simplisme1 in regard to sculpture1 is perfectly applicable to that part of painting which treats of the human figure4 ,science and law lay down the same rules for both1--save for the differing modes of execution4 ,it is another matter when it is a question of representing nature as a whole1 and under less limited forms3 seas1 mountains1 the atmosphere and broad plains--landscapes of vast extent1--subjects forbidden to sculpture even more exclusively than simple compositions of several figures1 which are seldom successful in sculpture4 ,for if sculpture sometimes makes a group1 if it is used to decorate monuments and tombs1 it offers nothing analogous to those magnificent phases of nature which we find on the canvases of the great masters4 ,delsarte1 who from the laws of mimetics deduced for painters means of expressing correctly every impression and emotion which man can feel1 taught nothing in regard to this special field of the landscape artist1 who is not subject to the conditions of the actor1 sculptor or orator4 ,but1 if this aspect of art--save in cases where figures are introduced--does not come under the head of certain statements of our science1 not having to imitate attitude1 gesture or voice--in a word1 anything proceeding from the human organism1--it is1 perhaps more closely than elsewhere1 allied to the innovator's law3 to that law which prompts the artist to respond to the psychical aspirations of his fellowmen1 and demands that in satisfying the senses1 he should also arouse or inspire the thought and feeling of beauty4 ,thus the painter of nature1 as much of a reality as man1 but a reality in its own way1 if he desires to make nature understood and loved1 must give it the stamp of his own ideas1 his own feelings1 his own impressions4 ,why should ,i care to be shown trees and waters1 valleys and mountains1 if the tree does not tell me of the coolness of its shade1 if the water does not reveal the peace of the deep lake1 if ,i cannot divine the rippling of the brook1 if the valley does not make me long to plunge into its depths6 ,why recall to me the mountain1 if its curves do not rouse in my mind any ideas of grace1 elegance and majesty1--if its peaks do not make me dream of the ,infinite6 ,however skilful the artist may be in the reproduction of form and the handling of color1 he will always be far inferior to nature if his soul has never heard the inner murmur of all those mysteries of the sensitive1 and ,i will venture to say1 spiritual life1 contained in forests1 waterfalls and ravines4 ,lacking this initiation1 he will play the cold and flavorless part of one who tells a twice-told tale2 for it is in landscape especially1 that talent consists in revealing the painter's own feeling4 ,the charm of things felt is not produced merely by a grand way of looking at things3 the mind1 the soul1 occupy but little space2 but where they figure1 the canvas is well filled1 and the brush betrays their presence4 ,i remember1 in support of my thesis1 that at one of the annual expositions at the ,salon--which then represented the aristocracy of painting1--there was a tiny picture3 a hut half hidden in moss and flowers4 ,it was almost lost among the portraits of distinguished personages1 the historic incidents1 the scenes taken from fashionable life1 and almost drowned in the bloody reflections from the vast display of battle pictures1 which1 as was then the custom1 monopolized half the space4 ,well6 this canvas1 a yard wide and not so long1 held you captive1 took your thought prisoner1 and inevitably impressed itself on your memory4 ,you longed to ramble over its thick turf2 to enter that cottage whose open windows gave you the feeling that it was a peaceful shelter2 you loved that poor simplicity1 which seemed to hide happiness4 ,certainly the author of this graceful1 touching picture practiced ,delsarte's law1 at least from intuition4 ,profound emotions are not always due to objective beauty2 the beauty of the work is a thing apart from what it represents4 ,who does not recall1 in another order of talent1 this effect1 due to the brush of ,bonnat3 an ugly1 old ,spanish woman is praying in a dark chapel2 she prays with eyes1 lips and soul4 ,there was never seen more complete absorption1 more complete forgetfulness of self in humble fervor4 ,it was far more touching than all the types of sensual beauty1 with pink and white and perfumed skins--with delicate limbs1 in disagreeable attitudes6 ,this is1 yet once again1 due to the fact that sentiment is stronger than sensualism2 and because the artist's skill1 taking the place of beauty in his subject1 becomes genuine aesthetic beauty3 so much so that1 looking at old age and ugliness--as represented by ,bonnat1--the spectator is enchanted and applauds--the success of the work6 ,if1 however1 to perfect execution is allied beauty--not sensual1 but aesthetic1--if it is made manifest from the point of view of form1 feeling and thought1 the enthusiasm will be still greater1 because all the aims of art are realized at one and the same time4 ,chapter ,,ix4 ,delsarte's ,beginnings4 ,the artist1 a traveller on this earth1 leaves behind imperishable traces of his being4--,francois ,delsarte4 ,we would fain prolong the faintest rays of all that glitters and fades too soon1 and if intense light is generated in a human brain1 we strive to retain its every reflection4 ,nothing is indifferent which concerns the nature of the chosen few2 great men belong to the annals of their nation1 and history should be informed regarding them4 ,francois ,delsarte left this life at the moment when misfortune had crushed ,france beneath her iron heel for some ten years4 ,the date of his death--,july #bj1 #ahga--partially explains the silence of the press on the occasion of so vast a social loss4 ,the circumstance of an artistic education1 which was carried on in my presence1 gave me opportunity to collect a mass of incidents and observations in regard to the great artist who is the object of this sketch4 ,i collected ideas in regard to his instruction1 his method and his discovery of the laws of aesthetics1 which are the more precious that nothing1 or almost nothing1 was published by him touching upon subjects of such supreme importance4 ,it is my duty to tell what ,i know4 ,i have already established the bases of the work which ,i now undertake1 in a pamphlet containing several articles published in various newspapers4 ,these articles were written under the inspiration of the moment2 they won the master's approval4 ,i shall have frequent recourse to them to correct the errors of memory and give more vivid life to that now distant past4 ,delsarte was born at ,solesmes 7,department of the ,north71 ,november #i1 #ahaa4 ,his father was a practicing physician2 but tormented by a genius for invention1 he spent his time and money in studies and experiments4 ,then1 when he succeeded in producing some mechanical novelty1 some capitalist more used to trade and rich enough to start the affair1 usually reaped all the profits4 ,this condition of things1 of course1 produced great poverty in the family of the inventor1 and the children's education suffered in consequence1 and yet young ,francois even then showed signs of superior endowments4 ,a missionary1 passing through ,solesmes1 said to him3 ,as for you1 ,i don't know what you will turn out1 but you will never be an ordinary man6 ,in spite of this1 his parents intended him for trade1 being unable to direct his talents toward science and the liberal arts4 ,before proceeding farther1 ,i must consider a question often asked in regard to the great artist1 and concerning which his family have kindly informed me4 ,for a long time ,delsarte signed his name in a single word1 as ,i write it now2 why1 then1 should we ever see it written with the separate particle1 which seems to aim at nobility and which gives us the form1 del ,sarte8 ,i will give you the tradition as it is told in ,solesmes1 and as the artist heard it during a visit to his native place4 ,if it be fiction1 it is not without interest1 and ,i take pleasure in telling it4 ,the natives of ,solesmes say that at a very remote period a great painter1 coming from a distance1 spent some time in their town4 ,the good inhabitants of the place know nothing of the pictures which this master must have produced2 perhaps they are quite as wide from his name6 ,but ,delsarte1 struck by the probability of this poetic origin1 filled with brotherly sympathy for the pure and graceful talent of ,vannuchi del ,sarto1 doubted not that the latter was the artist whose memory is held sacred in ,solesmes4 ,out of respect and veneration for the ,italian master1 he divided the syllables1 but still retained the ,french termination of his name4 ,we can readily see that an imaginative spirit1 such as we now have to deal with1 would be carried away by the legendary side of this story1 and that he would put full faith in his own commentaries3--he believed so many things6 ,to return to prose and to reality1 ,i must add that ,delsarte based his sentiment upon partial proof4 ,before the ,revolution1 the family did indeed sign themselves del ,sarte2 but an ancestor--imbued with the principles of #aghi1 and anxious to efface all suspicion of noble origin--effected a fusion of the two parts of the word1 and left us the name as we have known it and as1 perhaps1 we regret it4 ,those who regard this change of family name as mere vanity seem to me wide of the truth4 ,a strange nobility1 moreover1 that of ,vannuchi1 surnamed del ,sarto6 ,sarto may be translated as tailor2 therefore ,vannuchi del ,sarto would mean3 ,vannuchi of the tailor1 short for ,vannuchi1 son of the tailor4 ,what need had he of empty honors1 he who was on equal terms with the great men of letters1 science and the arts1 who was surrounded by the incense of the most legitimate enthusiasm1 and who received the homage of kings as of less value than the praises of ,spontini and ,reber6 ,i return to my sketch which will1 ,i hope1 justify these last remarks4 ,at the time of which we speak1 the poor child was not treated as the predestined favorite of art1 ,he had been entrusted to people who ill fulfilled their mission4 ,he was scolded and abused2 he was left destitute of the most necessary things4 ,he felt this injustice1 and1 gifted with a precocious sensibility1 he suffered greatly from it4 ,francois had as a companion in misfortune1 one of his brothers1 who could not bear the hard life2 born feeble1 he soon succumbed4 ,this was a severe trial to the future artist6 ,when he saw his only friend buried in the common grave1 he could not contain his grief4 ,i rebelled1 he tells us1 at the idea of losing all trace of this tomb4 ,i shrieked aloud4 ,i would not leave the mournful place6 ,the grave-diggers took pity on his despair2 they promised to mark the spot4 ,the child resigned himself to fate and departed4 ,i will let him speak for himself3 ,i crossed the plain of ,st4 ,denis 7it was in ,december72 ,i had eaten little or nothing1 and ,i had wept much4 ,great weakness combined with the dazzling light of the snow1 made me dizzy4 ,the fatigue of walking being added to this1 ,i fell upon the damp earth and fainted dead away4 ,what followed may be explained by the ecstatic state often experienced on coming out of a fainting-fit4 ,everything seemed to smile into my half-open eyes2 the vault of heaven and the iridescent snow made magical visions about me2 the slight roaring in my ears lulled me like a confused melody2 the wind1 as it blew over the deserted plain1 brought me distant1 vague harmonies4 ,delsarte interpreted what he saw in the light of ,christian ideas3 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 lot4 ,rising up1 the child felt himself a musician4 ,he soon evinced an utter contempt for the china painting to which he had been bound apprentice4 ,that too was an art2 but of that art1 the angels had said nothing4 ,how was he to learn music8 ,he knew that by a knowledge of a very small number of signs1 one could sing and play on instruments4 ,he talked of this to all who would listen2 he questioned and inquired3-- ,do you know music1 you fellows8 he asked some school boys of his own age4 ,a little1 said some4 ,well6 what do they teach you8 ,they teach us to know our notes4 ,what notes8 ,do1 re1 mi1 fa1 sol1 la1 si4 ,what else8 ,that is all4 ,are there no more notes8 ,not one6 ,how happy ,i am6 ,i know music6 cried the delighted ,delsarte4 ,cries of joy have their sorrows1 said a poet4 ,the child had uttered his cry of joy1 and his torments were about to begin4 ,seven notes6 ,it was a whole world2 but what was he to do with them8 ,he scarcely knew1 although he was enchanted to possess the treasure4 ,could he foresee the revelations which art had in store for him8 ,still less could he predict those conquests in the realm of the ideal which cost him so many sleepless nights4 ,it must be confessed1 superior talents bring suffering to their fortunate possessor4 ,they console him on his journey1 along the rough road down which they drag him2 they sometimes reward one of the elect1 but it is their nature to cause suffering4 ,and so ,francois ,delsarte was tempest-tossed while yet a child4 ,he soon saw that his scientific baggage was but small2 he felt that something unknown1 something infinite1 barred his passage1 so soon as he strove to approach the goal which1 in an outburst of joy1 he fancied within his grasp4 ,what hand would guide him to enter on the dazzling career which he had dimly foreseen8 ,where should he get books8 ,who would advise him8 ,well6 these impossible things were all found--in scanty measure1 no doubt1 and somewhat capriciously2 but still the means for learning were provided for his greed of knowledge4 ,at first1 his stubborn will had only the seven notes of the scale to contend with4 ,he combined them in every possible way4 ,he derived musical phrases from them2 at the same time1 he listened with all his ears to church music1 to street musicians1 to church organs and hand-organs4 ,in these first struggles with knowledge--we cannot call it science yet1--instead of bowing to the method of some master1 ,delsarte made a method for himself4 ,had it any resemblance to that which--with the progress of time1--his genius revealed to him8 ,i cannot say1 and probably the thought never occurred to him4 ,however it may be1 ,delsarte said that he learned a great deal by this autonomic process3 in fact1 one who is restrained by nothing1 who satisfies a passion instead of accomplishing a mere act of obedience1 may enlarge his horizon and dig to whatever depth he sees fit4 ,in this case1 study is called research2 if1 by this method1 one loses the benefit of the experience of others1 he becomes more quick at discovery4 ,is not the puzzle which we work out for ourselves more readily remembered than the ideas which are merely learned by heart8 ,a wise man1 a disciple of ,socrates--who has been greatly ridiculed1 but by whose lessons the science of pedagogy has greatly profited1--,jacotot1 gave similar advice to teachers3 ,put your questions1 but let the scholar think and work out his answers instead of putting them into his mouth4 ,the talent of young ,francois once established1 he left the inhospitable house where he had been so misunderstood1 and was taken into the family of an old musician1 ,father ,bambini1 as ,delsarte loved to call him4 ,here1 finding it in the order of facts1 ,i must repeat almost literally a page from the little work quoted before4 ,father ,bambini was one of those old-fashioned masters1 who treat their art with love and veneration4 ,he gave concerts at which he was at once performer and audience1 judge and client4 ,delsarte was sometimes present4 ,he saw the good man take up a ,gluck score as one handles a sacred book2 he surprised him pressing it to his heart1 or to his head1 as if to win a blessing from the great soul which poured itself forth in these immortal compositions4 ,here we most assuredly have the foundation of the unlimited admiration which our great artist felt for the author of ,alcestis and of ,iphigenia4 ,everyone knows that it was ,delsarte who drew ,gluck from the oblivion in which he had languished since the beginning of the century4 ,delsarte alone could have revived him1 his assured and majestic talent being amply capable of correctly interpreting those colossal works4 ,delsarte is the equivalent of ,gluck1 and1 if we may say so1 the incarnation of his thought4 ,when the artist sang a part in those lyric tragedies of which ,gretry says3 ,they are the very expression of truth1 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 suffered4 ,delsarte received no very regular musical education from ,father ,bambini4 ,the lesson was often given while the teacher was shaving1 which did not distract the attention of either party4 ,the master1 having no hand at liberty to hold a book1 made his pupil explain all the exercises aloud1 sing every composition1 and read at sight the authors with whom he wished him to be familiar4 ,great progress can be made where there is such mutual good will4 ,they had faith in each other3 the child1 because he saw that his master really loved his art2 the old musician1 because he realized that his scholar had a genuine vocation and would be a great artist4 ,one evening they were walking together in the ,champs ,elysees4 ,carriages rolled by filled with fashionable people4 ,the humble pedestrians were surrounded by luxury4 ,suddenly ,father ,bambini turned toward his scholar3 ,you see1 said he1 all these people who have their carriages1 their liveried lackeys and their fine clothes2 well1 the day will come when they will be only too glad to hear you1 and they will envy you because you are so great a singer4 ,the child was deeply moved2 not by this promise of future glory2 not by the thought1 that by fame he should gain wealth2 but he seemed to see his dream realized in a remote future4 ,that dream was the complete mastery of his art2 it was his ideal attained1 or closely approached4 ,this mode of feeling already justified the prediction4 ,delsarte retained a grateful memory of another teacher4 ,m4 ,deshayes1 he said1 spurred him on to scientific discovery1 as ,bambini directed his attention and his taste to the works of the great masters4 ,one day1 as the young man was studying a certain role1 ,m4 ,deshayes1 busily talking with some one else and not even glancing toward his pupil1 exclaimed3 ,your gesture is incorrect6 ,when they were alone ,delsarte expressed his astonishment4 ,you said my gesture was incorrect1 he exclaimed1 and you could not see me4 ,i knew it by your mode of singing4 ,this explanation set the young disciple's brain in a whirl4 ,were there1 then1 affinities1 a necessary concordance between the gesture and the inflections of the voice8 ,and1 from this slight landmark1 he set to work1 searching1 comparing1 verifying the principle by the effects1 and vice versa4 ,he gave himself with such vigor to the task that1 from this hint1 he succeeded little by little in establishing the basis of his system of aesthetics and its complete development4 ,after these beginnings1 which ,delsarte considered as a favorable initiation1 ,father ,bambini--his faithful patron--thought that he required a more thorough musical education1 and chose the ,conservatory school4 ,there1 that broad and impulsive spirit in its independence ran counter to classic paths1 to rigid processes2 there1 that exceptional nature1 that potent personality1 which was already a marked one1 that vivid intuition--which already went beyond the limits of the traditional holy of holies--had little chance of appreciation4 ,moreover1 ,delsarte was timid2 his genius had not yet acquired the audacity which dares4 ,competition followed competition2 would he win a prize8 ,in answer to this question which he had asked himself throughout the year1 he saw mediocrity crowned2 his soul of light and fire was forced to bow before will-o'-the-wisps1 most of whom were soon extinguished in merited oblivion4 ,the artist's regret was the more acute because he did not yet know the course of human life4 ,he had not proved the strange fatality--which seeks to make itself a law--that1 in general1 success falls to the lot of those who servilely follow in the ruts of routine4 ,happy are the worshippers of art and poetry1 those who have devoted their lives to this sacred cult1 if ambition and intrigue--with their attendant train of flattery1 party rings1 and illegal speculation--do not invade the stage whence the palms and the crowns are awarded6 ,delsarte must also have learned in the course of his life1 that genius1 a rare exception1 is more rarely still judged by its peers2 and yet1 the genius of this student was already revealed by various tokens2 and for his consolation1 these premonitory symptoms were noted by other than the official judges4 ,after one of these scholastic contests1 ,delsarte withdrew confused and heavy-hearted3 he had received but one vote in the competition2 and even that exception roused a sort of cheer1 as if it were given to some contemptible competitor4 ,the defeated youth walked slowly away1 dragging at his heels all the sorrow of his discomfiture1 when two persons approached him2 one was the famous ,marie ,malibran1 the other the brilliant tenor1 ,adolph ,nourrit4 ,courage6 said the prima donna1 pressing his hand4 ,i enjoyed hearing you very much4 ,you will be a great artist6 ,my friend1 added ,nourrit1 it was ,i who cast my vote for you3 to my mind1 you are an incomparable singer4 ,when ,i have my children taught music1 you shall certainly be their teacher4 ,delsarte blessed the defeat which had brought him such precious compensations4 ,these voices which sounded so sweetly in his ear1 were soon extinguished by death2 but they vibrated long in the heart which they had comforted4 ,the artist associated their dear memory with every success which recalled to him their sympathetic accents and their clear-sighted prediction4 ,chapter ,x4 ,delsarte's ,theatre and ,school4 ,when ,delsarte had finished his studies1 he entered the world unaided and alone2 disarmed by the hostilities which could not fail to await him1 by his very superiority1 and by that honesty which refuses to lend itself to certain transactions4 ,at the ,opera ,comique1 where he was engaged1 he did not succeed4 ,exceptional talents require an exceptional public who can understand them and make them popular by applauding and explaining them4 ,and yet certain people1 gifted with penetration1 discovered under the artistic innovations peculiar to the beginner1 that indescribable fascination which hovers round the heads of the predestined favorites of art4 ,delsarte could not long confine himself to the stage1 when everything connected with it was so far from sympathetic to him1 and seemed so contrary to the true object of dramatic art4 ,the theatre1 to his mind1 should be a school of morality2 and what did he see8 ,authors--what would he say now-a-days8--absorbed in winning the applause of the masses1 rather than in feeding them upon wholesome food or in preparing an antidote for vice and evil inclinations4 ,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 actors4 ,with his wonderful perspicacity1 ,delsarte seemed to foresee all the excesses of naturalism in certain forerunners of ,adolphe ,belot and ,emile ,zola4 ,on the other hand1 his comrades1 who should have attracted him1 showed themselves to be envious and malicious4 ,to sum it all up1 it was very hard for him to live with them4 ,some of them might please him by their simple gaiety1 their childlike ease1 their lack of affectation1 and their amiability1 but they were far from satisfying his lofty aspirations6 ,an occupation of a higher order1 he thought1 the elaboration of his method1 demanded his thoughts4 ,he seemed haunted by a desire to produce what his spirit had conceived4 ,he longed fully to enjoy that happiness of creation that arises from useful discovery4 ,he aspired to say3 ,in accomplishing the task which ,i set myself1 ,i have also done much for art and artists4 ,swayed by such thoughts1 ,francois ,delsarte soon left the profession of actor to follow that of teacher of singing and elocution4 ,then he found himself in his element and1 as it were1 at the centre of all that attracted him4 ,his teaching enabled him to verify the value of his axioms hourly1 in the order of facts and to confirm the truth of his observations4 ,and yet he had not attained to the supreme beatitude4 ,if the elect of plastic and practical art have to contend with appraisers of every degree1 inventors have to deal with enemies who make up in stubborn resistance what they lack in numbers1 and oppose the iron will of a rival who will not see the limit of the ne plus ultra which he believes himself to have reached and even exceeded4 ,in every station of life1 the bearers of good news are a prey to the tyranny of interests and established prejudices4 ,in our time1 this persecution becomes mockery or indifference4 ,delsarte did not escape this debt of revelatory genius4 ,humble in regard to art and science1 as he was conscious of his strength when face to face with rivals and competitors1 he sometimes felt the doubt of himself1 the sudden weakness1 which overtakes great minds and great hearts in the accomplishment of their mission4 ,a special form of torture attacked our young innovator4 ,he had proved1 connected and classed a number of psychological facts relating to the theory of art1 and he did not know the special terms which would make them intelligible4 ,like those phenomenal children1 who see countless relations before they possess the words to express them1 he had discovered a law1 created a science1 and he was still ignorant of the language of scientists4 ,if he tried to demonstrate the bases of his system and its rational evolution in ordinary words1 the ignorant would not understand him and the learned would not deign to listen4 ,sometimes he did find some one who would hear him1 question him1 even criticize him1 and who would go away bearing a fragment of conversation or some few notes which he had copied to turn to his own profit4 ,at this time1 there came one day to ,delsarte1 a pupil who--by a rare exception--had been through a course of classical studies4 ,tell me1 you who have studied 7asked the teacher with the affability of a great man71 what is metaphysics8 ,why 444 just what you teach us6 said the astonished youth4 ,delsarte was enchanted to learn1 that he was only divided by words from a science which had seemed to him to dwell on inaccessible heights4 ,the study of technical words1 when intuition had provided him with important ideas and new perceptions1 was child's play to him2 in a short time he could teach his philosophy of art in the consecrated expressions4 ,his lectures grew rapidly in the ,rue ,montholon4 ,a choice public soon assembled to hear them1 drawn thither by the admiring cry of the first enthusiasts4 ,at this period1 the talent of the artist was enhanced by the lustre of youth4 ,nature had endowed him generously4 ,his figure1 which later assumed rather large proportions1 was tall and elegant2 his gestures were marked by grace and nobleness2 his hair1 of a very light chestnut1 gave his face a fair softness2 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 passion4 ,a full length portrait painted at this time and in the possession of ,madame ,delsarte1 gives us some idea of his grand face and form1 allowing for the disadvantages of every translation4 ,although1 in singing1 the organ was often impaired1 his speaking-voice was most agreeable in tone1 correct and persuasive in accent4 ,in acting various parts1 ,delsarte transformed himself to suit the character that he represented4 ,he was congratulated on bringing to life for our age ,achilles and ,agamemnon1 as ,homer painted their types4 ,yet1 ,i think he was sometimes told3 ,you paint that wretch of a ,don ,juan a little too faithfully4 ,certainly1 art would never make that complaint6 ,if ,delsarte was understood in that part of his method addressed especially to the ear and the eye1 it was not so with the theory which prepared these striking demonstrations4 ,he was surrounded1 it is true1 by an assembly of men of letters1 men of the world1 and amateur artists1 rather than by scientists and philosophers4 ,many in the audience and among the pupils did not pay an undivided attention to the scientific part of the instruction4 ,thus the first notes of the piano1 announcing that the time for action had come1 always caused a repressed murmur of satisfaction and pleasure4 ,sometimes1 after the lecture1 a discussion followed1 for ,delsarte often left room for a controversy which was essentially incorrect and caused many misunderstandings4 ,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 aesthetics4 ,it was one of the peculiarities of his character1 amiable and benevolent as it was1 to take delight in the conflict of ideas4 ,if he saw1 in the course of his lecture1 a man whom he took for a philosopher or anything like it1 he never failed to direct some piquant phrase1 some aggressive sentence or some irritating thought that way--it was the gauntlet which he flung for the final combat4 ,nor were women exempt from these humorous sallies4 ,although the master loved all grandeur--the artistic sense with which he was so largely endowed inclining him that way--he had democratic1 ,i might almost say plebeian1 instincts4 ,the poetry of simple1 humble1 small existences sometimes swayed him4 ,thus1 if among his hearers1 a bright violet or an audacious scarlet gown annoyed his taste2 if the reflection of a ruby or a diamond vexed his eye1 he would choose that instant to improvise a rustic idyl or to intone a hymn to poverty4 ,but everything ended well2 neither the philosopher whom he had provoked1 nor the fine lady whom he had reproved1 left him as an enemy4 ,his nature with its varied riches had quite enough feminine coquetry to regain betimes the sympathy which he was on the eve of losing4 ,a gracious word1 an affectionate clasp of the hand1 and all was pardoned4 ,the opposition manifested outside the lecture-room to his ideas and mode of instruction1 was less courteous4 ,there rival schools and jealousies1 ill-disguised under an affectation of disdain1 contended against him4 ,he was accused of the maddest eccentricities2 barbarous processes were imputed to him1 such as squeezing the chest of singers1 his pupils1 between two boards--the reason was hard to understand4 ,others claimed that before ,delsarte accepted a scholar1 he required a profession of the ,catholic faith and an examination in the catechism4 ,those were the days when the author of ,les ,orientales1 in his legend of the ,two ,archers1 spoke of ,that holy hermit who moved stones ,by the sign of the cross4 ,but if1 as an artist1 ,delsarte loved legends and was inspired by faith1 as a professor he could cut short this poetic part of his art1 at the point where science and the practical side of his teaching began4 ,the reproach1 therefore1 carried no weight4 ,delsarte was amused by these exaggerated accusations2 in another order of criticisms1 it was agreeable to him to hear that he sang without a voice1 as ,ingres painted without colors4 ,the comparison pleased him1 although inexact4 ,yes1 ,i say inexact1 ,delsarte was not without a voice2 he had one1 on the contrary1 of great strength and range2 of moving tone2 eminently sympathetic2 but it was an invalid organ and subject to caprice4 ,he was not always master of it1 and this caused him real suffering4 ,let me give you the history of his voice as ,madame ,delsarte herself lately told it to me4 ,i must go back to his early days of study and debuts4 ,delsarte entered the ,conservatory at the age of fourteen4 ,too young to endure the fatigue of the regular school-exercises1 his voice must have received an injury4 ,when the singer offered his services at the ,opera ,comique---then ,salle ,vantadour--he was told that his voice was hollow1 that it had no carrying power4 ,this was perhaps partly the fault of the building1 whose acoustic properties were afterward improved4 ,however1 thanks to the flexibility which his voice retained and his perfect vocalization1 the pretended insufficiency was overlooked1 and the young tenor was admitted4 ,his mode of singing pleased the skilled public1 and the special abilities of this strong artistic organism--as ,i have already observed--did not pass unnoted4 ,a dilettante1 to whom ,i mentioned ,delsarte long after this time1 said3 ,what you tell me does not surprise me1 ,i heard him at his first appearance1 and he has lingered in my memory as an artist of the greatest promise4 ,he was more than a singer2 he had that nameless quality1 which is not taught in any school and which marks a personality2 a tone of which nothing1 before or since1 has given me the least idea4 ,the tenor1 from the ,comic ,opera1 went to the ,ambigu ,theatre1 and thence to the ,varietes1 where an attempt was being made to introduce lyric works4 ,francois ,delsarte's dramatic career did not1 however1 last more than two years4 ,during these various changes--,i cannot give the exact dates--this artist1 on his way to glory1 was forced to gain a living by the least aristocratic of occupations4 ,if he did not go so far as ,shakespeare in humility of profession 7the ,english poet was a butcher's boy71 he strangely stooped from that native nobility--great capacity1--which must yet have claimed1 in his secret soul1 its imprescriptible rights4 ,if this was one more suffering1 added to all the rest1 it had its good side4 ,it was1 perhaps1 the source of the artist's never failing kindness1 of that gracious reception which he never hesitated to bestow on anyone--from the ,princess de ,chimay and many other titled lords and ladies1 down to ,mother ,chorre1 the neighboring milk-woman1 whom he held1 he said1 in great esteem and friendship4 ,i return to his teaching4 ,his lectures were given in ,rue ,lamartine and ,rue de la ,pepiniere4 ,there was always--aside from the school--an audience made up of certain never failing followers and of a floating population4 ,the birds of passage sometimes came with a very distinct intention to criticise2 but if they did not readily understand the learned deductions1 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 model4 ,enthusiasm soon triumphed over prejudice4 ,envy1 alone1 persisted in hostility4 ,these meetings were genuine artistic feasts4 ,they were held at night1 at the same hour as the theatres1 and no play was preferable to them in the eyes of the truly initiated4 ,they were a transcendent manifestation of all that is most elevated1 which art can produce4 ,here is an extract from a newspaper1 which ,i find among the notes sent me3 ,i heard him repeat1 one evening1 ',iphigenia's ,dream1' at the request of his audience4 ,all were held trembling1 breathless by that worn and yet sovereign voice4 ,we were amazed to find ourselves yielding to such a spell2 there was no splendor and no theatric illusion4 ,iphigenia was a teacher in a black frock coat2 the orchestra was a piano striking1 here and there1 an unexpected modulation2 this was all the illusion--and the hall was silent1 every heart throbbed1 tears flowed from every eye4 ,and then1 when the tale was told1 cries of enthusiasm arose1 as if ,iphigenia1 in person1 had told us her terrors4 ,these lines are signed ,laurentius4 ,i am very glad to come across them just as ,i am giving vent to my own feelings4 ,i also find that ,adolphe ,gueroult1 in his paper1 the ,press1 calls ,delsarte the matchless artist1 and recognizes a law in his aesthetic discoveries4 ,i shall have occasion to set down1 as opportunity offers1 a string of testimonies no less flattering and no less sincere2 but ,i hasten to produce these specimens1 lest the suspicion of infatuation follow me4 ,how was it that amidst such warm plaudits1 ,delsarte failed to win that popularity which1 after all1 is the supreme sanction8 ,it must be acknowledged that he took no great pains to gain the place which was his due4 ,if he loved glory like the true artist that he was1 he never tired himself in its pursuit4 ,perhaps he had an instinctive feeling that it would come to him some day unsought4 ,he might1 in this regard1 be reproached for the tardiness of his successes2 he himself made difficulties and obstacles which might be considered as the effects of extreme pride4 ,halevy once suggested his singing at the ,tuilleries before ,king ,louis ,philippe and his family4 ,i only sing to my friends1 replied the artist4 ,that is strange1 said the author of ,the ,jewess1 ,lablache and ,duprez go whenever they are asked4 ,delsarte does not4 ,but consider6 ,this is to be a party given by the ,crown ,prince to his father4 ,this last consideration touched the obstinate heart4 ,well6 ,i will go1 he said1 but it is only on three conditions3 ,i must be the only singer2 ,i am to have the chorus from the ,opera to accompany me2 and ,i am not to be paid4 ,you will establish a dangerous precedent4 ,those are my irrevocable terms4 ,all were granted4 ,from his youth up ,delsarte manifested this1 perhaps excessive1 contempt for money4 ,on one occasion it was quite justifiable4 ,father ,bambini had taken him to a party where he was to sing on very advantageous terms4 ,the scholar was treated with deference2 but the teacher who had neither a fine face nor the claims of youth to shield him against aristocratic prejudice1 was received much as a servant would have been who had made a mistake in the door4 ,the young singer felt the blood mantle his brow1 and his heart rebelled4 ,take your hat and let us go6 he said to his old master4 ,but why8 replied the good man4 ,he had heeded nothing but his pupil's success4 ,delsarte dragged him away in spite of his protests1 and lost by his abrupt departure the profits of the evening4 ,chapter ,,xi4 ,delsarte's ,family4 ,delsarte married1 in #ahcc1 ,miss ,rosina ,andrien4 ,the young husband felt a high esteem for his father-in-law 7primo basso cantante at the ,opera72 but we must not suppose that this consideration influenced his choice4 ,he made a love marriage such as one makes at the age of twenty-two1 with such a nature as his4 ,moreover1 reason was never in closer accord with love4 ,miss ,andrien was remarkably beautiful4 ,she was fifteen2 her talent as a pianist had already won her a first prize at the ,conservatory4 ,she was just the companion1 wise and devoted1 to counterbalance the flights of imagination and the momentary transports inherent in the temperament of many artists4 ,i pause1 fearing to wound a modesty which ,i know to be very sensitive3 the living cannot bear praise with the indifference of the dead2 but ,i must be allowed to insist upon the valuable assistance which the young wife lent her husband in his professional duties2 this is a special part of my subject4 ,mme4 ,delsarte started with a genuine talent4 ,the situation in which she was placed1 soon made her a perfect accompanist4 ,never was there more perfect harmony between singer and player4 ,amid the incessant interruptions necessary to a lesson1 the piano never lagged a second either in stopping or in going on again4 ,the note fell promptly1 identical with the first note of the piece under study4 ,to attain to this obedient precision1 one must possess indomitable patience1 must be willing to be utterly effaced4 ,delsarte appreciated this self-denial in proportion to the merit of her who practiced it4 ,in everything that concerned him1 he relied especially upon the opinion of his accompanist2 he felt her to be an abler and more serious judge than the most of those around him4 ,but--with the shy reserve of merit unacknowledged even to itself1--the young woman shrank from expressing her impressions4 ,if ,i may judge by the anecdote which follows1 the artist was at times distressed by this4 ,one day ,delsarte1 granting one of those favors of which he was never lavish1 consented to sing a composition of which he was particularly fond1 to a few friends4 ,it was the air from ,mehul's ,joseph3 ,vainly doth ,pharaoh 444 ,mme4 ,delsarte1 always ready at the first call1 took her seat at the piano4 ,the master was in the mood--that is1 in full possession of all his powers4 ,his pathos was heartrending4 ,you won a great triumph1 ,i said to him2 ,i saw tears in ,mme4 ,delsarte's eyes4 ,my wife's eyes1 he cried as if struck by surprise1 are you quite sure8 ,perfectly1 ,i replied4 ,he seemed greatly pleased4 ,putting aside all other feeling1 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 time4 ,a few years sufficed to form a family around this very young couple4 ,it was soon a charming accessory to see children fluttering about the house2 slipping in among the scholars2 showing a furtive head--dark or light--at one of the doors of the lecture-room4 ,let me recall their names3 ,the eldest were ,henri1 ,gustave1 ,adrien1 ,xavier1 ,marie2 then came after a long interval1 ,andre and ,madeleine4 ,delsarte loved them madly2 for their future he dreamed all the dreams of the ,arabian ,nights4 ,meantime1 he played with them so happily that he seemed to take a personal delight in it4 ,he gave them all the joys of this life that were within his reach1 and it was well that he did so6 ,alas6 of the dreams of glory cherished for these beloved beings1 some few were realized1 but many faded promptly with the existence of those who called them forth4 ,but we must not anticipate4 ,at the time of which ,i speak the children were growing and developing1 each according to its nature1 in full freedom4 ,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 school4 ,marie learned while very young to reproduce with marvelous skill what were called the attitudes and the physiognomic changes4 ,madeleine delighted in making caricatures which showed great talent4 ,the features of certain pupils and frequenters of the lectures were plainly recognizable in these sketches made by a childish hand4 ,gustave was a child of an open face and broad shoulders4 ,one incident will show his originality4 ,a strange lady came to the master's house one day either to ask a hearing or offer a pupil4 ,she met this charming boy4 ,m4 ,delsarte8 she asked4 ,i am he1 madam6 replied ,gustave without flinching4 ,very good1 said his questioner1 laughing1 but ,i wish to speak to your father4 ,this same ,gustave who1 to a certain degree1 followed in his father's footsteps1 was struck down a few years after him1 at the age of forty-two4 ,what a striking application of ,victor ,hugo's lines3 ,and both are dead4444 ,oh ,lord1 all powerful is thy right hand6 ,gustave's career seemed to open readily and smoothly4 ,not that he could approach his father from a dramatic point of view2 he had not his absolute synthesis of talents1 and his figure was not suited to the theatre2 as a singer1 his voice was weak1 but what a charm and what a style he had6 ,although his voice was not adapted to every part1 although he had not that range of the vocal scale which permits one to attack any and every composition1 still1 its sympathetic1 tender and penetrating quality did ample justice to all that is most exquisite in romance4 ,when you had once heard that voice1 guided by the force of his father's grand method1 you never forgot its sincerity and melancholy2 it haunted you and left you impatient to hear it again4 ,as a concert-singer and teacher1 ,gustave ,delsarte might have won high rank4 ,an ill-assorted marriage and his misanthropic character prevented4 ,as a composer1 he left some few songs1 masses and religious fragments which are not without merit4 ,when he was to produce any of his sacred works1 the composer-singer never took a part2 but he would lead the orchestra4 ,if he came to a rehearsal and the performers appeared weak1 a holy wrath would seize upon ,gustave4 ,then he flung a firm1 incisive1 accentuated note into the midst of the choir1 vivid as a spark bursting from a fire covered with ashes4 ,he would accompany it with a glance which seemed to flash from his father's eye2 at such moments1 he resembled him2 but this transformation never lasted more than a second2 the fictitious power disappeared as all which was ,gustave ,delsarte was doomed to disappear4 ,at least1 his father did not live to mourn his loss4 ,and yet he knew that worst of heart-suffering3 the loss of a beloved child4 ,alas6 ,in that radiant family1 whose mirth1 fresh faces and luxuriant health seemed to defy death1 the implacable foe had already twice swept his scythe4 ,the first to go was ,andre1 one of the latest born4 ,he was at the age when the child leaves no lasting memories behind2 but we know the grace of innocence1 the privilege of impeccability by which infancy atones for the lack of acquirements4 ,then these little creatures have the mysterious entrancing smiles1 which mothers understand and adore--and ,delsarte loved his children with a mother's heart4 ,time lessens such pangs2 but when a fresh sorrow re-opened the era of calamity1 it seems as if the sad events trod upon each other's heels and the interval between seems to have been but one unmitigated agony4 ,the loss undergone in #ahfc was even greater4 ,xavier ,delsarte was a tall1 handsome young man4 ,the master was content with the profit which his son had derived from his tuition4 ,he was successful as a singer and elocutionist4 ,he was attacked by cholera during an epidemic4 ,the night before he had taken several glasses of iced orgeat in the open air4 ,xavier lived in the ,rue des ,batailles with his family1 but not in the same apartment4 ,this fact was fatal4 ,instead of calling help in the first stages--unwilling to disturb his relatives--the invalid wandered down stairs during the night1 and into the court-yard4 ,there he drank water from the pump4 ,i can still recall the unhappy father's story of that cruel moment4 ,it was scarcely day4 ,i was waked by that unexpected1 fatal ringing of the bell1 which1 at such an hour1 always bodes misfortune4 ,the maid heard it also1 and opened the door4 ,she uttered a cry of alarm4 ,almost instantly1 my poor boy stood at my chamber door4 ,he leaned against the frame of the door1 his strength not allowing him to advance4 ,from the change in his features1 ,i understood all--he was hopelessly lost6 ,delsarte was sensitive and of a very loving nature2 but he was endowed with great strength4 ,much absorbed1 moreover1 in his profession1 his studies1 his innovations1 he often found in them a counterpoise to these rude blows of fate4 ,so when the thoughts of his friends recur to these disasters1 they feel that their greatest sympathy and commiseration are due to the mother who three times underwent this supreme martyrdom4 ,two names remain to be mentioned in this family where artistic callings seemed a matter of course4 ,the concerts of ,madame ,theresa ,wartel--sister of ,madame ,delsarte--brought together the elite of ,parisian virtuosi1 and the brilliant pianist took her part in the quatuors in which ,sauzay1 ,allard1 ,franchomme and other celebrities of the period figured4 ,george ,bizet--author of the opera of ,carmen--prematurely snatched from the arts1 was the nephew of ,francois ,delsarte4 ,this young man taught himself ,sanscrit unaided2 he inspired the greatest hopes4 ,wartel1 who gave ,christine ,nilsson her musical education1 was not of the same blood1 but we find certain points in his method which recall the processes of ,delsarte's school4 ,chapter ,,xii4 ,delsarte's ,religion4 ,i now confront an important and very interesting subject2 but one which is more difficult to handle than the most prickly briers4 ,there has been a confusion1 in regard to ,delsarte1 of two very distinct things3 his practical devotion and his philosophy of art1 which does indeed assume a religious character4 ,he himself helped on this confusion4 ,i am desirous of doing my best to put an end to it4 ,i hope that1 truth and sincerity aiding1 ,i shall not find the task too great for me4 ,i must first grapple with those ill-informed persons who have denied the master his high intellectual faculties1 and even his scientific discoveries1 for the sole reason of the mystical side of his beliefs4 ,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 scholar4 ,i was the better able to understand these two opposing elements--religiousness and strength of understanding--because1 if ,i gave in my entire adhesion to the innovator in the arts1 he did not find me equally docile in what concerned the theosophic part of his doctrine4 ,hence1 discussions which illustrated the subject4 ,i speak in presence of his memory as ,i did before him1 with perfect frankness and simplicity of heart2 taking care not to offend the objects of his veneration1 but examining without regard to his memory1 as without prejudice1 the influence which his convictions exerted upon his intellectual conceptions1 his ideas1 his character1 his talent--in a word1 his life1 in so far as it may concern a sketch which lays no claim to be a complete biography4 ,now1 it is from the point of view of art itself that ,i ask the following questions3 ,was ,delsarte a devout ,catholic8 ,was he orthodox8 ,devout8 ,he gloried in it1 he insisted on it2 ,i will not say that he affected minute daily acts of devotion1 for that word would not accord with the spontaneity of his nature2 but he accented his demonstrations1 he spoke constantly of his religion4 ,without any intention to wrong the serious side of his religious feelings1 it seemed to be a bravado put on for the incredulous1 a toy which he converted into a weapon4 ,orthodox8 ,he made it his boast1 and he certainly intended to be so2 he loved1 in many circumstances1 to show his humility of heart4 ,his faith1 he used to say1 was the charcoal-burner's faith4 ,and yet1 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-thinkers2 and1 perhaps1 no less frequently1 from his fellow-religionists1 and the priests themselves4 ,with the former1 it was a mere question of dogmatic forms or of the necessity for some form of religion2 with the latter1 he entered upon a more peculiarly theological order of ideas1 such as the attributes proper to each of the three divine persons1 and other mystical subjects4 ,here1 as elsewhere1 ,delsarte brought to bear his personality1 his stamp1 his breadth of comprehension4 ,i once asked him what some called ,dominations might represent1 in the celestial classification8 ,he replied3 ,if any one or anything forces itself upon our mind1 takes active possession of our soul1 do we not feel that we are under a certain domination8 ,he gave me several other explanations touching the angelic hierarchy4 ,i considered them very poetic1 very ingenious--but were they also orthodox8 ,i am not competent to judge4 ,it was impossible to say at the first glance1 how the influence of this theosophy made itself felt in this sensitive character1 full as it was of surprises4 ,delsarte was born good1 generous1 above the petty tendencies which deform and degrade the human type4 ,on these diverse points1 religious faith could scarcely show its effect2 but he also declared himself to be irritable and violent--he confessed to a dangerous fickleness--still1 he would readily have slandered himself in the interests of his faith4 ,whatever the cause of this acquired serenity1 ,delsarte did not always refuse to satisfy his native impulses4 ,i have already alluded to cases in which these returns to impetuous vivacity occurred1 and how he rose above these relapses4 ,whether his peaceful spirit arose from religious feeling1 or whether it was the result of moral strength1 it breathed the spirit of the gospel2 but it must also be confessed that our artist mingled with it much worldly grace4 ,what matters it8 ,uncertainty has no inconveniences in such a matter4 ,it was particularly on the occasion of those sudden fits of passion to which the human conscience does not always attach due weight1 that ,delsarte laid great stress upon supernatural intervention4 ,oh6 what would he have done without that powerful aid1 with his lively sensibilities--with his too loving heart8 ,i have no opinion to offer in regard to the shield which efficacious grace and the palladium of the faith may form for dangerous tendencies2 for ,catholics1 that is a matter for the casuist or the confessor to decide2 but1 as far as ,delsarte is concerned1 had he beaten down ,satan in a way to rouse the jealousy of ,st4 ,michael1 had he made the heathen ,socrates give precedence to him in patience1 wisdom and firmness1 ,i should regard that victory as the triumph of the sacred principles of the eternal morality1 of that which sums up1 in a single group1 all the supreme precepts of all religions and all philosophies1 rather than as a result of external practices4 ,it is by placing myself at this culminating point1 that ,i have succeeded in explaining to my own satisfaction the true stimulus of the artist-thinker1 in spite of all appearances and all contradictions2 and everything leads me to believe that the elevation of his mind and the inspiration of the art which he taught and practiced1 would have sufficed1 in equal proportion with his faith1 to deliver him from evil4 ,how could a man glide into the lower walks of life1 whose mission it was to set forth the types of moral beauty by opposing them1 to use his phrase1 to the hideousnesses of vice8 ,now1 talent and faith meet face to face4 ,we are to consider to what extent the one was dependent upon the other2 and whether1 in reality1 the artist whom so many voices proclaimed incomparable owed his vast superiority to acts of religious devotion1 to his adhesion to the dogmas of the church4 ,it is not arbitrarily that a transcendent intellect pointed out a difference between religion and religions3 every mind devoted to philosophy must needs reach this distinction4 ,i shall keep strictly within the limits of that which concerns art1 in a question so vast and of such great importance4 ,religion 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 proceeded4 ,to some it is an outburst of gratitude and homage2 to others1 an instinct of terror which makes them fall prostrate before an unknown being upon whom they feel themselves dependent1 although they cannot know him1 still less define him4 ,religions are all which men have established in answer to those aspirations of the conscience1 to satisfy that intuition which forces itself upon our mind so long as sophistry has not warped it4 ,it follows from this1 that religions vary1 are changed1 and may be falsified until the primitive meaning is lost4 ,but whatever may be the faith and the rites of religions--whether fanaticism disfigure them or fetichism make a caricature of them1 whether politicians use them as an ally1 or the traces of the apostolate fade beneath the materialism of speculation1--there will always remain at the bottom1 religion3 that is1 the thought which keeps such or such a society alive for a variable time1 and which1 in periods of transition1 seeks refuge in human consciences awaiting a fresh social upward flight4 ,well6 it was not the external part of his belief which inspired ,delsarte1 when--to use the expression of the poet ,reboul--he showed himself like unto a god6 ,it was not the long rosary with its large beads which often dangled at his side1 that gave him the secret of heart-tortures and soul-aspirations6 ,the charcoal-burner's faith would never have taught him that captivating grace1 that supreme elegance of gesture and attitude1 which made him matchless4 ,nor did theology and dogma teach him the moving effects which made people declare that he performed miracles1 and led several writers 7,henry de ,riancey1 ,hervet7 to say3 ,that man is not an artist1 he is art itself6 ,and ,fiorentino1 a critic usually severe and exacting1 wrote3 ,this master's sentiment is so true1 his style so lofty1 his passion so profound1 that there is nothing in art so beautiful or so perfect6 ,profound passion1 lofty style1 art itself1 these are not learned from any catechism4 ,that chosen organism bore within its own breast the fountains of beauty4 ,an artist1 he derived thence an inward illumination1 and1 as it were1 a clear vision of the ,ideal4 ,if religion was blended with it1 it was that which speaks directly to the heart of all beings endowed with poetry1 to those who are capable of vowing their love to the worship of sublime things4 ,what ,i have just said will become more comprehensible if ,i apply to ,delsarte those more especially ,christian words3 ,the spirit and the letter4 ,yes1 in him there was the spiritual man and the literal man2 and if either compromised the other1 it was not in the eyes of persons who attended1 regularly enough to understand them1 the lectures and lessons of the brilliant professor4 ,this ,i have already said1 and ,i shall dwell upon this point1 hoping to establish some harmony between those who taxed ,delsarte with madness on account of his positivism in the matter of faith1 and those who strove to connect with his devotional habits everything exceptional which that great figure realized in his passage through this world4 ,in fact1 it is only by separating the ,delsarte of the spirit from him of the letter1 that we can form any true idea of him4 ,and the letter1 once again--was it not art and poetry that made worship so dear to him8 ,the shadowy light of the churches1 the stern majesty of the vaulted roof1 contrasting with the radiant circle of light within which reposed the sacred wafer1--all this pomp1 of heathen origin1 warmed for him the severe simplicity and cold austerity of ,christian sentiment2 the chants and prayers uttered in common also stimulated the fervid impulses of his heart4 ,the spirit of proselytism took possession of him later in life4 ,it was controversy under a new form1 more attractive and more distracting4 ,there was always some soul within reach to be won to the faith2 some rebellious spirit to bend to the yoke of the official church1--proceeding1 under due observance of ostensible forms1 from the letter6 ,neophytes were very ready to listen4 ,after all1 it pledged them to nothing1 and they talked of other things often enough to prevent the conversation from becoming too much of a sermon4 ,then1 certain favors--all of a spiritual nature--were attached to this situation3 a place nearer the master during lectures1 a more affectionate greeting1 a sweeter smile4 ,these attempts more than once resulted in disappointment to ,delsarte4 ,i will not enumerate them all4 ,often he was heard with increasing interest1 it seemed as if resistance must yield1 and that he might speedily plant his flag in the salutary waters of grace1 but at that very moment his opponent would become more refractory and more stubborn than ever4 ,once1 he had great hopes4 ,several young people seemed decided to enter into the paths of virtue4 ,the master was radiant4 ,take heed1 said skeptic prudence1 perhaps it is only a means of stimulating your zeal1 of profiting better by your disinterestedness4 ,he soon acknowledged the truth of these predictions2 he confessed it in his moments of candor4 ,one of these feigned converts1 especially1 scandalized him4 ,the story deserves repetition3 ,the church of the ,petits-,peres had ordered the wax figure of a freshly canonized saint1 from ,rome4 ,delsarte mentioned it to the school1 and several pupils went to see it4 ,ah1 sir6 cried young ,d4 on his return1 now1 indeed1 ,i am a ,catholic6 ,how lovely she is1 how fresh and fair after lying underground so long6 ,unhappy fellow6 said the disappointed artist1 he takes the image for the reality1 and the beauty of a waxen ,st4 ,philomena has converted him4 ,the young man had heard that the preservation of the flesh1 after a hundred years' burial1 counted for much in canonization1 if it did not suffice to justify it2 and as the place where they had deposited the sacred image was dark1 ,d4 had taken for life itself the pink and white complexion common to such figures before time has yellowed them4 ,delsarte ended by being amused at his credulity2 he laughed readily and was not fond of sulking4 ,nor must we forget that this preeminent tragedian was a perfect comedian1 and that this fact entitled him to true enjoyment of the humorous side of life4 ,have ,i not somewhere read3 ,beware of those who never laugh6 ,delsarte's piety--,i speak of that of the letter--was seldom morose4 ,it did not forbid juvenile caprices2 it overlooked venial sins4 ,one ,sunday he took his scholars to ,nanterre1 some to perform1 others to hear1 a mass of his own composition4 ,a few friends joined the party4 ,the mass over1 they wandered into the country in groups4 ,some walked2 some sat upon the grassy turf4 ,the air was pleasant1 the conversation animated2 time passed quickly4 ,suddenly the vesper bell was heard4 ,some one drew ,delsarte's attention to it--not without a tiny grain of malice4 ,master1 what a pity--you must leave us4 ,he made no answer4 ,when the second summons sounded1 the same voice continued3 ,there's no help for it2 for us poor sinners1 it's no matter6 ,but you1 master1 you cannot miss the mass6 ,he put his hand to his head and considered4 ,bah6 he cried boldly1 ,i'll send my children4 ,let me give another trait in illustration of the nature which from time to time pierced through and rent the flimsy fabric of his opinions4 ,this anecdote is a political one4 ,despite the precedent of an ultra democratic grandfather1 and all his plebeian tendencies as a philanthropist and a ,christian1 his ,catholic friends had inclined him toward monarchical ideas--although he never actually sided with the militant portion of the party4 ,on one occasion1 it happened that the two wings of this politico-religious fusion disagreed4 ,as at ,nanterre1 ,delsarte acted independently1 and on this occasion politics were the victim4 ,it fell out as follows3 ,a claimant of the throne of ,france1 still young1 finding himself in the ,eternal ,city1 had not1 to all appearance1 fulfilled his duties to the ,vatican promptly4 ,the first time that ,delsarte encountered certain of those zealous legitimists1 who are said to be more royalist than the king1 he launched this apostrophe at their heads3 ,i hear that your young man was in no haste to pay his respects to ,his ,holiness4 ,thus1 always free--even when he seemed to have forged chains for himself--he obeyed his impulse without counting the cost4 ,never mind6 ,this childish outburst must have gladdened the manes of the ancestor who connected the syllables in the patronymic name of ,delsarte6 ,i hope ,i shall not forget1 as my pen moves along1 any of these memories1 insignificant to many minds1 no doubt1 but serving to distinguish this figure from the vast mass of creation4 ,if1 among my readers1 some may say pass on1 others will enjoy these trifles1 and will thank me for writing them4 ,thus1 ,delsarte was always pleased to think he bore the name of ,francois in memory of ,francis of ,assisi--not the ,spaniard whom we know1 but the great saint of the twelfth century2 he who appeased quarrels1 settled differences1 taught slaves and common men1--the poor man who was good to the poor4 ,the fish1 the rabbits and the hares1 the legend says1 placed themselves in this fortunate man's hands4 99 99 99 99 ,the birds were silent or sang at his command4 ,be silent1 said the saint to the swallows1 'tis my turn to talk now4 ,and again3 ,my brothers1 the birds1 you have great cause to praise your ,creator1 who covered you with such fine feathers and gave you wings to fly through the clear1 broad fields of air4 ,one need not be very devout to be attracted by such graceful simplicity4 ,delsarte went farther4 ,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 faith1--he considered the monk of ,assisi as a lover of nature1 whose heart was big enough to love everything that lives1 to suffer with all that suffers4 ,he strove to comprehend him by placing him upon a pinnacle1 well aware that the sublime often lurks between the trifling4 ,it was on such occasions that the man of intellect revived to ennoble and illumine everything4 ,if1 despite his magnificent rendering of them1 ,delsarte never called legendary fictions in question1 let us not refuse him that privilege4 ,in such cases the poetry became his accomplice1 and--,every poet is the toy of the gods1 as ,beranger says1 a simple song-writer1 as ,delsarte was a simple singer4 ,there was in him whom ,kreutzer called the apostle of the grand dramatic style1 a desire1 ,i will not say for realism1 but for realization1 for action4 ,thus he once had a fancy to join the semi-clerical society of the third order2 it was a way of keeping himself in practice1 since there were various prescriptions1 observances and interdictions attached to the office4 ,one must repeat certain prayers every day1 and submit to a certain severity of costume4 ,no precious metal1 not even a thread of gold or silver must be seen about one4 ,in the first moments of fervor1 a beautiful green velvet cap1 beautifully embroidered in gold--the loving gift of some pupil or admirer1--was interdicted1 that is to say1 was shut up in a closet or reduced to the condition of a mere piece of bric-a-brac4 ,luckily1 the association did not require eternal vows1 and ,i think ,i saw the pretty article restored to its proper use later on4 ,another attempt--and this was his own creation--tempted this inquiring mind2 he wished to pay especial homage1 under some novel form1 to the ,holy ,trinity4 ,the adepts were to be called the ,trinitarians4 ,in the founder's mind1 this starting-point was to be the seed for a sort of confraternity with the mark of true friendship and unity of faith4 ,this dream was never realized1 apparently1 for it seems that the association could never number more than three members at a time3 so that it was in number only that it justified its title4 ,delsarte was very fond of these few adherents4 ,the ,trinitarians--where are the ,trinitarians8 was sometimes the cry at a lecture4 ,it was the voice of the master who had reserved a seat of honor for each of them4 ,this is all ,i ever knew about this society1 and ,i have reason to think that it never got beyond a few talks among the members upon the subject which united them4 ,it is not without reluctance that ,i expose his weaknesses2 but timid as the steps must ever be which are taken upon historic ground1 we must walk in daylight4 ,no one1 moreover1 could regard this effervescence of a sentiment noble in its source1 as a want of intellectual liberty4 ,it was the affectionate side of his nature which at moments dimmed his reason1 but never went so far as to put out its light4 ,i need not attempt to defend on this point one1 of whom ,auguste ,luchet wrote3 ,it is by his soul and his science that he lifts you1 transports you1 strikes you1 shatters you with terror1 anguish and love6 ,and ,pierre ,zaccone says3 ,he is an artist1 apart1 exceptional1 perhaps unique6 with what finished art1 what talent1 what ,,genius1 he uses the resources of his voice6 ,that which best atoned in ,delsarte for the grain of fanaticism with which he was reproached1 was the tolerance which prevailed in every controversy1 in every dissension4 ,if he sometimes blamed free thought1 he never showed ill will to free-thinkers4 ,in the spirit of the gospel--so different from the spirit of the devout party--he was all things to all men4 ,he was on a very friendly footing with a priest whom1 by his logic and his sincerity1 he had prevailed upon to forsake the ecclesiastical calling4 ,in our discussions1 which dealt with secondary subjects of various forms of belief--for ,i never denied ,god1 or the soul and its immortality1 or the freedom of the will which is the honor of the human race1 or the power of charity1 provided it become social and fraternal1 instead of merely alms-giving as it has been1--in these debates1 sometimes rather lively1 ,i would end by saying to him3 ,you know that ,i love and seek truth2 very well6 if ,god wished me to join the ranks in which you serve1 he would certainly give me a sign2 but so long as ,i do not receive ,his summons1 what have ,i to do with it8 ,i spoke his own language1 and he yielded to my reasoning4 ,come1 he would say1 ,i prefer your frankness to the pretenses of feigned piety2 and he would add sorrowfully3 ,alas6 ,i often encounter them6 ,so we always ended by agreeing1 and this truce lasted--until our next meeting4 ,the words which ,i have just quoted prove that if ,delsarte clung to the ,catholic dogmas1 he was particularly touched by the sincere piety and active charity of simple1 evangelic hearts4 ,i may give yet another proof of this4 ,to satisfy his sympathies as much as to rescue his clan1 when attacked1 he would always quote a father confessor1 one ,father ,pricette--this name should be remembered in the present age--who1 during the icy nights of ,december1 slept in an arm-chair1 because he had given his last mattress to some one poorer than himself4 ,chapter ,,xiii4 ,delsarte's ,friends4 ,friendly relations--although disputes often arose--were established toward #ahdj between ,delsarte and ,raymond ,brucker 7known to literature as ,michel ,raymond74 ,fortunately in spite of the influence of the author of ,mensonge1 ,delsarte's superior rank always prevailed in this intimacy4 ,michel ,raymond published several novels in the first half of this century4 ,later on1 he took his place in the ranks of that militia of ,neo-,catholics1 the fruit of the ,restoration4 7,i do not know whether ,i am justified in giving the name of ,neo-,catholic to ,brucker2 perhaps1 on the contrary1 his dreams were all of the primitive church4 ,but1 in spite of his ,jewish crudities1 ,i suppose he would never have joined the followers of ,father ,loyson47 ,his keen1 sharp and caustic spirit did not forsake him when he changed his principles2 and never did the ,christ--whose symbol is a lamb without a stain--have a sterner or more warlike zealot4 ,in appearance1 ,brucker had somewhat the look of a ,mephistopheles--a demon then very much in vogue1--especially when he laughed1 his laughter being full of sardonic reserves4 ,if ,delsarte's mode of proselyting was almost always gentle1 affectionate1 adapted to the spirit he aspired to conquer1 that of ,raymond ,brucker had an aggressive fashion2 he became brutal and cynical when discussion waxed warm4 ,once1 in reply to one of his vehement attacks against the age1 in which he used very unparliamentary expressions1 he drew upon himself the following answer from a woman3 ,but1 sir1 ,i should think that in the ardor of your recent convictions1 your first act of faith should have been to make an auto-da-fe of all the books signed ,michel ,raymond4 ,i repeat1 this writer1 although of undoubted intellectual merit1 could not annul ,delsarte's native tendencies2 he could never have led ,delsarte into any camp which the latter had not already decided to join2 but when they met on common ground1 he influenced1 excited and sometimes threw a shadow over him4 ,when they had fought together against the nearest rebel1 long and lively discussions would often arise between them1 but they always agreed in the end3 the artist's good-nature so willed it4 ,if dissension continued1 if the fiery friend had given cause for reproach1 ,delsarte merely said3 ,poor ,brucker6 ,but how much that brief phrase could be made to mean in the mouth of a man who taught an actor to say1 ,i hate you6 by uttering the words1 ,i love you1 and who could ring as many changes on one sentence as the thought1 the feeling1 the occasion1 could possibly require4 ,do not suppose1 however1 that ,delsarte abused his power4 ,contrary to many actors who carry their theatrical habits into their private life1 he aimed at the most perfect simplicity outside of the roles which he interpreted4 ,i make myself as simple as possible1 he would say1 to avoid all suspicion of posing4 ,but still he could not entirely rid himself1 in conversation1 of those inflections which illuminate words and are the genuine manifestation of the inner meaning4 ,be this as it may1 the relation between our two converts assumed the proportions of friendship1 doubtless in virtue of the mysterious law which makes contrast attractive4 ,hegel says3 ,the identical and the non-identical are identical2 and this proposition passes for nonsense4 ,perhaps if he had said3 ,may become identical1 it would be understood that he meant to speak1 in general1 of that reconciliation of contraries which united the calm genius of ,delsarte and the bristling1 prickly spirit of ,raymond ,brucker4 ,one motive particularly contributed to the union2 ,brucker was unfortunate in a worldly sense4 ,delsarte1 improvident for the future and scorning money1 still had1 during the best years of his professorship1 a relatively comfortable home4 ,he loved to have his friend take advantage of it4 ,large rooms1 well warmed in winter1 a simple table1 but one which lacked no essential article1 were of no small importance to one whose scanty household had naught but sorrow and privation to offer4 ,how many evenings they spent together in dissertations which often ended in nothing--and how often the dawn surprised them before they were weary6 ,for ,brucker it was a refuge1 but for ,delsarte1 what a waste of time and strength taken from his real work6 ,that wasted time might have sufficed to fix and produce certain special points in his method4 ,then1 too1 his health demanded greater care4 ,take it for all in all1 this intimacy was perhaps more harmful than helpful to ,delsarte4 ,yet ,i have been told that ,raymond ,brucker urged the innovator to elaborate his discovery1 and often reproached him with his negligence in pecuniary matters4 ,it was he who said3 ,francois ,delsarte's system is an orthopedic machine to straighten crippled intellects4 ,i have also heard in favor of ,raymond ,brucker1 that that mind so full of bitterness1 that inquisitor in partibus1 was most tender toward a child in his family1 and that he bore his poverty bravely4 ,i desire to note these eulogies side by side with the less favorable reflections which ,i considered it my duty to write down here4 ,i recall a short anecdote which will serve to close the ,brucker story4 ,as we have said1 they were seldom parted4 ,one day ,delsarte had agreed to dine with the family of a pupil4 ,as he was on his way thither1 he met his inseparable friend4 ,from that moment his only thought was to excuse himself from the dinner2 but his hosts were reluctant to give up such a guest2 they insisted--they were offended4 ,pardon me1 said ,delsarte2 ,i really cannot stay6 ,i had forgotten that ,brucker was to dine with me4 ,but that can be arranged6 ,m4 ,brucker can join us4 ,suppose we send and ask him8 ,you need not1 replied the master2 if you are willing1 ,i will call him2 he is waiting for me below at the corner4 ,they had acted as children do1 when one says to the other on leaving school3 ,wait a minute for me1 ,i'll ask mamma if you can come and dine with us4 ,brucker1 who after all knew how to be agreeable when he chose1 took his place at the table1 and all went well4 ,this proves yet once again the extent to which ,delsarte possessed that charming simplicity so well suited to all distinction4 ,in the dissertations upon religious subjects incessantly renewed about ,delsarte1 it was sometimes declared that great sinners were surer of salvation than the most perfect unbelievers in the world4 ,a young man1 who doubtless felt himself to be in the first category1 once said to the master3 ,my friend1 the good ,god has been too kind to me6 ,i disobey him1 ,i offend against his laws4444 ,i repent1 and he accepts my prayer6 ,i relapse into sin--and he forgives me6 ,decidedly1 the good ,god is a very poltroon6 ,this seems to exceed the unrestrained ease and confidence usual toward an earthly father2 but we must not forget that the inflection modifies the meaning of a phrase1 and that poltroon may mean adorable4 ,this penitent1 now famous1 carried his provocation of the inexhaustible goodness very far4 ,at one time in his life he tried to blow out his brains6 ,by a mere chance--he probably said1 by a miracle1--the wound was not mortal2 but he always retained the accusing scar4 ,i never knew whether this unpleasant adventure preceded or followed ,mr4 ,l4's conversion1 or whether it was coincident with one of the relapses of which that repentant sinner accused himself4 ,another very religious friend was no less fragile in the observance of his firm vow4 ,becoming a widower1 he swore eternal fidelity to the departed angel4 ,soon after1 he was seen with another wife on his arm6 ,and your angel8 whispered a sceptic in his ear4 ,oh1 my friend6 was the reply1 this one is an archangel4 ,another figure haunted ,delsarte and afforded yet another proof of his tolerance4 ,the ,italian1 ,c----1 shared neither his political ideas nor his religious beliefs2 he was one of those refugees whom the defeats of the ,carbonari have cast upon our soil1 and whose necessities ,france--does our neighbor remember this8--for years supplied1 as if they were her own children4 ,however1 she could offer them but a precarious living4 ,signer ,c41 to give some charm to his wretched existence1 desired to add to his scanty budget a strong dose of hope and intellectual enjoyment3 hope in--what came later--the independence and unity of ,italy4 ,by way of diversion1 this stranger gratified himself by indulging in a whim2 he had dreams of a panacea1 a plant whose complex virtues should combat all the evils which fall to the lot of poor humanity2 but this marvel must be sought in ,america4 ,and how was he to get there1 when he could barely scrape together the necessary five cents to ride in an omnibus6 ,the ,isabellas of our day do not build ships for every new ,columbus who desires to endow the world with some wonderful treasure trove6 ,and yet this man was not mad2 he was one of those who prove how many insane ideas a brain may cherish1 without being entitled to a cell in ,bedlam or ,charenton4 ,while awaiting the realization of his golden dreams1 poor ,c4 spent his time in perpetual adoration of the ,talma of ,music--for so ,theophile ,gautier styled ,delsarte2 he never missed a lecture2 he took part in the talks which lengthened out the evening when the parlor was at last cleared of superfluous guests4 ,among his many manias--how many people have this one in common with him6--the ,italian cherished the idea that he was of exceptional ability1 and that in more than one direction4 ,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 himself1 ,c41 was he not from a land where art is hereditary1 where it is breathed in at every pore1 from birth8 ,and more than the mass of his countrymen1 did he not feel the volcanic heat of the sacred fire burning within him8 ,one evening1 he made a bold venture4 ,he had prepared a tirade written by some ,italian poet4 ,all that ,i remember of it is that it began with the words3 ,trema--,trema6 ,tremble--,tremble6 ,the impromptu tragedian recited several lines in a declamatory tone accompanied by gestures to match4 ,delsarte listened without a sign of praise or blame4 ,then he rose1 struck an attitude appropriate to the text1 but perfectly natural1 and1 in his quiet way1 said3 ,might not you as well give it in this key8 ,then1 in a voice of repressed harshness1 his gestures subdued but expressive of hatred1 he repeated the two words3 ,trema--,trema6 ,the listeners shuddered4 ,delsarte had produced one of those effects which can never be forgotten4 ,the smouldering ashes did not burn long2 four syllables were enough to extinguish the flame4 ,following1 not the chronological order1 but that of circumstances and incidents calculated to throw light on my subject1 ,i must once more retrace the course of years4 ,c4's persistency went on before and after #ahdh4 ,during the second period1 all minds were greatly agitated by the state of politics4 ,c41 in spite of his undoubted liberalism--he spent a great part of his leisure in making democratic constitutions--thought1 like every other claimant1 that he had duties to perform2 and that he might as well1 to facilitate his task1 make an ally of the ,emperor1 without scruple2 but access to royalty was no less impossible than landing on the ,american shore where his panacea grew4 ,he hit upon the following plan3 ,a number of ladies were to go in a body and implore ,napoleon ,,iii to pardon certain exiles3 for the same calamities always follow civil war1 and there are always women ready to beg for justice or mercy4 ,c41 who knew their purpose1 said to one of the petitioners3 ,how are you going to make the ,emperor understand that ,i am the only man capable of saving the situation8 ,the petition was not presented2 and the world remains to be saved6 ,our ,italian had another specialty3 he was perpetually in search of some notorious somnambulist4 ,it is a well-known fact that the mental agitation caused by governmental crises is very favorable to these pythonesses of modern times4 ,each wishes to outrun the future and to afford himself at least an illusion of the triumph of his party4 ,the oracles varied according to the opinion of the person who magnetized these ladies1 and1 often1 according to the presumed desire of the audience4 ,delsarte allowed himself to be drawn into these mysteries4 ,he had time for everything4 ,it afforded him relaxation1 and a means of observation4 ,on one occasion1 he followed the refugee to a garden where a person of perfect lucidity prophesied4 ,the sibyl was a believer as well as a seer and pretended to communicate with ,god in person4 ,i do not know exactly what supernal secrets the woman revealed1 while she slept1 but the result was ridiculous4 ,they had forgotten to fix the hour for the next sitting3 so1 to repair the omission--by means of a few passes--the somnambulist was restored to sleep and lucidity4 ,then in a corner of the garden1 in a familiar tone and--to use the popular expression--in which1 as may well be imagined1 the voice of ,jehovah was not heard3 ,my ,god1 what day shall we return8 ,he says ,wednesday1 announced the lady4 ,thank you1 ,god6 ,if the ,italian went into ecstasies over this irreverent trifling1 ,delsarte did not disdain to caricature it1 and gave us a most comical little performance4 ,here again we see how he could transform everything1 and make something out of nothing6 ,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 him4 ,i relate it in the hope of somewhat diverting my readers1 to whom ,i must so often discourse of serious things4 ,mr4 ,p4 painted a portrait of ,delsarte as a young man4 ,the features are exact1 the pose firm and dignified1 the eye proud4 ,the painter and the model were on very good terms and sympathized in religious matters4 ,it must have been the master who brought him over4 ,he still burned with the zeal peculiar to recent converts2 to such a point that even on a short excursion into the country1 he could not await his return to ,paris to approach the stool of repentance4 ,this desire seemed easily satisfied2 what village is without a father confessor6 ,so1 one fine day1 the artist rang at the first parsonage he could find4 ,the priest's sister opened the door--offered him a seat--and told him that her brother was away4 ,but1 after these preliminaries1 the lady seemed uneasy4 ,she inquired what the stranger wanted4 ,to speak with the priest4 ,what could this stranger have to say to him8 ,such was the question which floated in her eyes1 amidst the confused phrases in which she strove to gain an explanation4 ,mr4 ,p4 finally told her that he had come to confess4 ,my brother will not return till very late1 said the poor girl1 unable to disguise her distress4 ,i will wait6 replied the traveler4 ,oh1 sir1 ,i hope you will not6 ,he thought he heard her mutter3 ,we read such things in the papers6 ,the visitor at last perceived that she took him for a thief1 and he could not depart quickly enough4 ,one more anecdote3 ,francois ,delsarte called himself a bad citizen1 because he disliked to undertake the duties entailed by reason of the national guard--a dignity long demanded by the advanced party of the day1 but of which they soon wearied4 ,i think that the artist's infractions were often overlooked1 and his reasons for exemption were never too closely scanned4 ,and yet1 the soldier-citizen was one day arraigned before a council of discipline1 which1 without regard for this representative of the highest personages of fiction1 condemned him to three days' imprisonment4 ,it was as if they had imprisoned saltpetre in company with a bunch of matches--but he restrained his rebellious feelings2 he would not give his judges the satisfaction of knowing his torment4 ,he soon thought only of procuring consolation3 he summoned his friends1 who visited him in throngs4 ,then he made the acquaintance of his companions in misfortune4 ,there was one especially1 who1 alone1 would have made up to him for all the inconveniences of his forced arrest4 ,the first time that this prisoner entered the room where the other prisoners were assembled1 he looked at them with the most solemn air1 put his hand to his forehead1 made a military salute1 and in grave tones1 as if beginning a harangue1 he uttered these words3 ,captives--,i salute you6 ,it was strangely pertinent4 ,delsarte was not behindhand in comic gravity4 ,this little scene enlivened him4 ,another compensation fell to the lot of our captive4 ,one of the prisoners sang him a song1 one stanza of which lingered in his memory4 ,i transcribe it3 ,i was born in ,finisterre1 ,at ,quimperlay ,i saw the light4 ,the sweetest air is my native air1 ,my parish church is painted white6 ,oh6 so ,i sang1 ,i sighed1 ,i said1-- ,how ,i love my native air1 ,and parish church so bright6 ,these lines1 written by some ,breton minstrel1 inspired one of those sweet1 plaintive airs which the drawling voice of the drovers sing as they return at nightfall2 one of those airs which seem to follow the brook down the valleys1 and which repeat the echoes of the mountains1 in the far distance4 ,oh6 how ,delsarte used to murmur it2 it made one homesick for ,brittany6 ,chapter ,,xiv4 ,delsarte's ,scholars4 ,to get one's bearings in that floating population 7where persistency and fidelity are rare qualities7 which haunts a singing-school1 it is well to make classifications4 ,in ,delsarte's case1 the novelty of his processes1 his extraordinary reputation among the art-loving public1 the length of time which he insisted was necessary for complete education1 all combined to produce an incessant ebb and flow of pupils4 ,therefore1 ,i must distinguish4 ,first1 there were those1 brought by ,delsarte's generosity1 whose only resource was a vocation more or less favored by natural gifts4 ,he would say3 ,come one1 come all4 ,but1 of course1 many were called1 and few were chosen1 the majority only making a passing visit4 ,then there were the finished artists4 ,they took private lessons1 coming to beg the master to put the finishing touch to their work1 hoping to gain from him something of that spiritual flame which consecrates talent4 ,i shall not undertake to speak of all1 but ,i must quote a few names4 ,one winter day1 says ,la ,patrie for ,june #ah1 #aheg1 a woman1 beautiful and still young1 visited ,delsarte1 begging him to initiate her into the mysteries of ,gluck's style3 ,you are the greatest known singer1 she said2 no one can enter into the work of the great masters and seize their most secret thought as you do2 teach me6 ,who are you8 asked ,francois ,delsarte4 ,henrietta ,sontag1 replied the stranger4 ,madame ,barbot had a moment of great triumph1 and was summoned to ,russia at the period of her success in ,paris4 ,she was perhaps the master's best imitator2 she had somewhat of his tragic emotion1 his style1 his gesture2 then what did she lack to equal him8 ,she lacked that absolute sine qua non of art and poetry--personality4 ,she added little of her own4 ,even among those who could neither hear his lectures nor follow his lessons1 ,delsarte had disciples4 ,a great singing-teacher1 whom ,i knew at ,florence1 was eager to learn everything concerning the method4 ,i often heard him ask a certain young girl1 as he read a score3 ,you were ,delsarte's pupil2 tell me if he would have read this as ,i have done8 ,even the famous ,jenny ,lind made the journey from ,london to ,paris1 expressly to hear the great singer4 ,at his lectures were seen from time to time3 ,m4 and ,mme4 ,amand ,cheve1 ,mlle4 ,chaudesaigues1 ,m4 ,mario ,uchard--who1 after his marriage1 asked for elocution lessons for his wife 7,madeleine ,brohan71--,mlle4 ,rosalie ,jacob1 whose brilliant vocalization never won the renown which it deserved1 ,mme4 ,carvalho1 who was not one of the regular attendants1 but who trained her rare talent as a light singer1 there1 before the very eyes of her fellow pupils1--,geraldon1 who was very successful in ,italy1 under the name of ,geraldoni4 ,then1 there was ,mme4 de ,b----1 who appeared at the opera under the name of ,betty2 a beauty with a fine voice4 ,this artist did not perfect her talents1 being in haste to join the theatre in ,rue ,lepelletier1 under the shield of another master4 ,although well received by the public1 she soon gave up the profession4 ,a memory haunts me1 and ,i cannot deny it a few lines4 ,mme4 ,m4 may have been eighteen when she began to study singing with ,delsarte1 together with her husband1 who was destined for a similar career4 ,she had an agreeable voice1 but a particularly charming face1 the freshness of a child in its cradle1 a sweet expression of innocence4 ,in figure she was tall and slender4 ,the lovely creature always looked like a ,bengal rose tossing upon its graceful stalk4 ,these young students considered themselves finished and made an engagement with the manager of a theatre in ,brazil4 ,don't do it1 said ,delsarte to the husband1 knowing his suspicious nature1 that is a dangerous region2 you will never bring your wife back alive4 ,he prophesied but too truthfully4 ,soon after1 we heard that the fair songstress had been shot dead by the hand of the husband who adored her4 ,i like to think that she was innocent of more than imprudence4 ,the story which reached us from that distant land was1 that ,m4 ,m4 threatened to kill his wife if she continued to associate with a certain young man4 ,you would never do it6 she said4 ,she did not reckon on the aberrations of jealousy4 ,it was said1 in excuse for the murderer1 that she had defied him1 saying3 ,i love him1 and ,i do not love you6 ,after the catastrophe1 the unfortunate husband gave himself up to justice4 ,no case was found against him1 but how he must have suffered when he had forever cut himself off from the sight of that enchanting creature6 ,three figures stand preeminent in the crowd3 ,darcier1 ,giraudet1 ,madame ,pasca4 ,i will proceed in order of seniority4 ,the first named did not attend the lectures when ,i did1 but ,i often heard him mentioned in society where he attracted attention by his rendering of ,delsarte's ,stanzas to ,eternity1 ,pierre ,dupont's ,hundred ,louis d'or1 and many other impressive or dramatic pieces4 ,i know the master considered him possessed of much aptitude and feeling for art4 ,they met one evening at a large party given by a high official of the day4 ,darcier sang well1 in ,delsarte's opinion2 but it was perhaps too well for a public made up of fashionables1 not connoisseurs4 ,it takes something more than talent to move them1 thought the real judge1 annoyed2 and with that accent familiar to well-bred people1 which transfigures a triviality1 he said to the singer3 ,let them have the bread6 ,he referred to a political song ending with these lines3 ,ye cannot hush the moan ,of the people when they cry3 ',we hunger 444' ,for it is the cry of nature1 ,they want bread1 bread1 bread6 ,the guests were forced to give the attention which it demanded to this cry which aroused the idea of recent seditions1 and the performer came in for his share4 ,this artist may still be heard1 but his talents are displayed in so narrow a circle that his reputation is a limited one4 ,yet it is said that his compositions and his mode of singing them attest to great vigor4 ,darcier1 it seems1 always retained a strong feeling of devotion for his master4 ,he has been heard to say3 ,i fear but two things--,delsarte and thunder4 ,alfred ,giraudet joined the grand opera as primo basso cantante4 ,he was warmly received by the press1 and had already won a name at the ,opera ,comique and at concerts4 ,in this singer may be noted the firmness of accent and scholarly mode of phrasing1 always in harmony with the prosody of the language1 which are part of the tradition of the great school4 ,he always bears himself well on the stage1 and the sobriety of his gesture is a salutary example which some of his present colleagues would do well to imitate4 ,he1 too1 was a loyal soul2 he always regarded it as an honor to bear the title of pupil of ,delsarte1 the latter always writing to him as my dear and last disciple4 ,i owe many of the memories and documents used in this volume to his kindness4 ,alfred ,giraudet always took his audience captive when he sang ,malherbe's verses--music by ,reber--of which each strophe ends with the following lines3 ,leave these vanities1 put them far behind us1 ',tis ,god who gives us life1 ',tis ,god whom we should love4 ,the broad1 sustained style1 so appropriate to the words of the melody1 finds a sympathetic interpreter in the young artist4 ,delsarte gave this with great maestria4 ,the finale1 particularly1 always transports the listeners4 ,if any one can revive the tradition of the master's teachings1 it is certainly ,giraudet1 who understands the method and appreciates its high import4 ,madame ,pasca was one of the latest comers2 her advent was an event4 ,there were pupils in the school who were destined for the theatre1 and there were women of society2 the future artist of the ,gymnase partook of both phases4 ,she had the advantages of a vocation and of a careful education2 her fortune allowed her to dress elegantly1 with the picturesqueness imparted by artistic taste4 ,chance1 or a presentiment of speedy success1 led her to take her place1 on the first day1 very near the master1 in a peculiar seat--a sort of small1 low easy chair which inspired one with a sense of nonchalance4 ,she was in full sight4 ,her gaze1 profound and sombre at times1 roamed over the room with the natural air of a meditative queen4 ,she inspired all beholders with curiosity and interest4 ,the feeling which she aroused in her fellow-pupils was less distinct4 ,her rare advantages caused a vague fear in those who hitherto had securely held the foremost rank2 her beauty created a sense of rivalry1 unconscious for the most part1 and yet betrayed by countless signs4 ,there was a flutter of excitement throughout the school4 ,this increased when the young woman confirmed1 by her first efforts1 all that her agreeable appearance and fascinating voice had promised4 ,she declaimed a fragment from ,gluck's ,armida which other pupils sang2 a word sufficed to change interest to sympathy4 ,that accent touched all hearts4 ,what visible grief and what a sense of suppressed tears when in her grave1 slow tones she uttered the phrase3 ,you leave me1 ,rinaldo6 ,oh1 mortal pain6 ,the master soon obtained from this marvellous aptness1 what is rarely acquired1 even after long years of study3 dramatic effects free from all hint of charlatanism4 ,the distinguishing point between ,madame ,pasca and ,madame ,barbot is1 that the latter1 while observing all the rules of the method avoided servile imitation4 ,delsarte was all the more delighted at his success1 because he had revealed to his scholar her true calling4 ,madame ,pasca came to him for singing-lessons1 but her large1 strongly-marked voice had little range4 ,she was directed toward the art which she afterward practiced1 and began her studies with tragedy4 ,some idea of what she did in this field may be formed from the effect which she produced in pathetic scenes1 where the comedy allowed her serious voice to show its power and penetrating tone4 ,i need not speak of ,madame ,pasca's success at the ,gymnase and abroad4 ,it is known and undoubted4 ,still she lacks the consecration of the stage where ,mars and ,rachel shone4 ,when this artist left the school to enter upon her career1 ,delsarte said to her3 ,my dear child1 you will spend your life in atoning for the crime of being my pupil4 ,he was right1 for ,madame ,pasca has no place at the ,francais yet4 ,i can speak from hearsay merely1 of the lessons in elocution and declamation intended for preachers--particularly for the fathers of the ,oratory1--never having been present at them4 ,i only know that ,father ,monsabre and other famous ecclesiastics took lessons from ,francois ,delsarte4 ,chapter ,,xv4 ,delsarte's ,musical ,compositions4 ,delsarte paid but little attention to musical composition2 still his musical works prove that he would have succeeded here as elsewhere1 had he devoted himself particularly to the task4 ,to say nothing of six fine vocal exercises and a number of songs which had their day1 his ,stanzas to ,eternity were highly popular4 ,a mass by him was performed in several churches2 but his ,last ,judgment1 especially1 ranks him among serious composers4 ,this setting of the ,dies ,irae is touching and severe2 the melody is broad1 sombre1 threatening2 the accompaniment reminds one of the dull rattling of the skeletons reassuming their original shape4 ,one seems to hear the uneasy hum of voices roused from long sleep4 ,one incident showed the importance of this work4 ,various pieces of concerted music were being rehearsed one night at the church of ,st4 ,sulpice1 for performance during the solemnity of the work of ,st4 ,francis de ,xavier4 ,a close circle formed around the musicians2 private conversation added a discordant note to the harmony2 the church echoed back the footsteps of people walking to and fro4 ,the ,dies ,irae came6 ,the music at first imitates the angel trumpets which1 according to ,christian belief1 are to be heard when time shall end4 ,the summons sounded four times4 ,this mournful chant of reawakening generations instantly silenced every voice and every step2 all were motionless2 and the solemn melody alone soared to the vaulted roof4 ,a touching story is told of this work4 ,at a large and miscellaneous gathering1 ,m4 ,donoso-,cortes1 a well-known ,spanish publicist1 then ambassador to ,paris1 begged ,delsarte to sing his ,dies ,irae4 ,a space was cleared in the music-room4 ,the score of the symphony for voice and piano1 made by ,delsarte himself1 retains all his intentions and effects1 to which his striking voice added greatly4 ,delsarte began3 ,dies irae1 dies illa1 ,solvet saeclum in favilla1 ,teste ,david cum sybilla4 ,the whole assembly were taken captive4 ,m4 ,donoso-,cortes was particularly moved4 ,his eyes filled with tears4 ,he was not quite well that night4 ,a week later the newspapers invited the friends of the illustrious stranger to meet at ,st4 ,philippe-du-,roule1 to witness his funeral rites4 ,delsarte was present2 the church was so hung with black that the choristers were alarmed for the effect of their motets4 ,the artist recalled the request made him the previous week by the ,spanish ambassador4 ,he felt as if that same voice came from the bier and begged him for one more hymn to the dead4 ,in spite of his emotion1 he offered to sing the ,dies ,irae4 ,to obviate the lack of resonance1 ,delsarte sang--according to his theory in regard to the laws of acoustics1--without expenditure of sound1 almost mezza voce4 ,no one was prepared4 ,the listeners were all the more overcome by those tones in which the friend's regrets pervaded1 with their sweet unction1 the masterly diction of the singer4 ,when his oldest daughter grew up1 ,delsarte seemed to take a fancy to a different style of composition4 ,he would not give that young soul the regular repertory of his pupils1 all passion and profane love4 ,he wrote for ,marie words and music--couplets which were neither romance nor song2 nor were they quite canticles1 although religion always lay at the base of them4 ,i know none but ,madame ,sand who can be compared to ,delsarte in variety of feeling and simplicity even unto grandeur4 ,i have often observed a likeness and1 as it were1 a kinship between these great minds4 ,and yet these two great souls1 these two great spirits1 never exchanged ideas4 ,the artist never received the plaudits of the distinguished writer4 ,both regretted it4 ,delsarte said3 ,i lack that sanction1 and ,madame ,sand wrote1 when he had ceased to live3 ,i knew ,delsarte's worth2 ,i often intended to go and hear him1 and some circumstance1 beyond my control1 always prevented4 ,the world owes a debt to ,delsarte for collecting under the title ,archives of ,song1 the lyric gems of the ,,xvi1 ,,xvii1 and ,,xviii centuries4 ,and also the songs of the ,middle ,ages1 the prose hymns and anthems of the church1 arranged conformably to the harmonic type consecrated by the oldest traditions4 ,all these works1 he wrote in his announcement of the work1 faithfully copied1 arranged for the piano and transposed for concert performance1 will finally be arranged and classified in separate volumes1 to suit various voices1 ages1 styles1 schools1 etc41 thus affording subject matter for a complete course of vocal studies4 ,i do not think that death allowed ,delsarte to complete this vast plan1 but it was partly finished4 ,in the collection1 we find the scattered treasures of an eminently ,french muse3 old songs picked up in the provinces1 in which wit and naive sentimentality dispute for precedence4 ,all this still exists1 but who can sing as he did the song beginning3 ,i was but fifteen1 or ,lisette1 my love1 shall ,i forever languish8 and so many others6 ,to explain the inexpressible charm which distinguished ,delsarte from all other singers1 a songstress once said3 ,his singing contrives to give us the soul of the note4 ,the others are artists1 but he is the artist4 ,chapter ,,xvi4 ,delsarte's ,evening ,lectures4 ,in ,francois ,delsarte's school there were morning classes and evening classes4 ,the former were more especially devoted to the theory1 to lessons4 ,those of which ,i shall speak might be compared to lectures1 to dramatic and musical meetings4 ,a choice public was always present4 ,among them were3 ,the composers ,reber and ,gounod2 ,doctor ,dailly1 ,madame de ,meyendorf--a great ,russian lady1 the friend of art2 ,the ,princess de ,chimay and the ,princess ,czartoriska1 who glided modestly in and took the humblest place2 ,madame ,blanchecotte1 whose charming verses were crowned by the ,academy2 ,countess d',haussonville1 a familiar name2 ,m4 ,joly de ,bammeville1 one of the exhibitors at the ,exhibition of ,retrospective ,arts1 in #ahgh2 ,doriot1 the sculptor2 ,madame de ,lamartine1 ,madame ,laure de ,leomenil1 a well-known painter2 ,madame de ,blocqueville1 daughter of ,marshal ,davout1 and author of his biography2 a throng of artists1 men of letters and scientists2 certain original figures of the period4 ,on one occasion we were joined by a man of some celebrity--the chiromancist ,desbarolles4 ,delsarte had the courtesy to base his theory lesson upon the latter's system2 he pointed out its points of relation with the sum total of the constitution of the human being4 ,it was a lesson full of spirit and piquant allusions2 one of those charming impromptus in which ,delsarte never failed4 ,from time to time certain persons in clerical robes appeared in the audience2 the austerity of their habit contrasting somewhat strangely with the attire of the elegant women1 men of fashion and young actors in their apprenticeship around them2 but matters always settled themselves4 ,one evening one of these priests was in a neighboring room1 the doors of which were open into the drawing-room4 ,if the songs seemed too profane1 he kept out of sight2 but so soon as the word ,god was pronounced or a religious thought was mingled with a romance1 or operatic aria1 the servant of the altar appeared boldly1 rejoiced at these brief harvests which allowed him to enjoy the whole picture4 ,to give a correct idea of one of these evenings1 ,i will copy an account which ,i have just written under the heading of ,recent ,memories4 ,by half-past eight1 almost all the guests have assembled4 ,a stir is heard in the next room4 ,he is coming 444 it is he6 is whispered on every hand4 ,the master enters1 followed by his pupils4 ,almost at the same instant a young woman glides up to the piano4 ,she is to accompany the singers2 she enters furtively1 timidly1 as if she were not the mistress of the house4 ,she is beautiful1 but she does not wish this to be noticed2 she has much talent1 but she disguises it by her calm and severe style of playing1 which does not prevent critical ears from noting her exactitude and precision1 combined with that rare spirit of abnegation which is the accompanist's supreme virtue4 ,delsarte takes his place by the piano2 his attentive gaze traverses the assembly2 he exchanges a smile1 a friendly gesture with certain of the audience who are always much envied4 ,at this moment he is grave1 serious1 and as it were1 penetrated by his responsibility to an audience who hang devoutly on his lips4 ,the professor begins by developing some point in his system2 he gives the law of pose or of gesture2 the reasons for accent1 rhythm or some other detail connected with the synthesis which he has evolved4 ,he questions his scholars4 ,the first notes of the piano serve to mark the change to practical instruction4 ,the pupils sing in turn4 ,the master listens with the concentrated attention peculiar to him2 the expression of his face explains the nature of the remarks he is about to make1 even before he utters them4 ,he points out mistakes1 he illustrates them4 ,little by little1 however1 his dramatic genius is aroused4 ,achilles seems to seize his weapons or ,agamemnon his sceptre4 ,the scholar is pushed aside1 ,delsarte takes his place4 ,then the artist is seen to the utmost advantage4 ,there1 dressed in the vast1 shapeless coat which drapes itself about him as he gesticulates1 his neck free from the cravat which puts modern ,europeans in the pillory1 and allowing himself greater space than at his concerts--there1 and there alone1 is ,delsarte wholly himself4 ,the piano strikes the opening notes of the prelude1 and before the artist has uttered a word1 he is transfigured4 ,if he is singing serious opera1 the oval of his face lengthens1 the lines become more fixed1 his cheeks shrink1 his forehead is lighted up and his eye flashes with inspiration2 the pallor of profound emotion pervades his features1 the somewhat gross proportions of his figure are disguised by the firmness of his pose and the juvenile precision of his gesture4 ,the part of ,robert the ,devil is one of those in which ,delsarte best developed the resources and suppleness of his genius4 ,robert is the son of a demon1 but his mother was a saint4 ,he loves with sincere love2 but even this love is subject to the influence of the evil spirit2 hence1 these outbursts followed by such tender remorse1 that heart which melts into tears after a fit of rage4 ,robert is jealous1 less so than ,othello possibly1 but ,robert's jealousy is stimulated by infernal powers and must differ in its manifestation4 ,it was in these shades of distinction that ,delsarte's greatness was apparent to every eye4 ,then came those indescribable inflections--words which pierced your heart1 cold as a sword-blade3 ,come1 come6 says ,robert1 striving to drag ,isabella away1 444 and that simple word was made frantic1 breathless1 by the accent accompanying it4 ,no one who has not heard ,delsarte utter the word rival can conceive of all the mysteries of hate and pain contained in the word4 ,in the trio from ,william ,tell1 after the words1 has cut an old man's thread of life1 ,arnold feels that ,gessler has had his father murdered4 ,a first and vague suspicion dawned on the artist's face4 ,little by little1 the impression became more marked1 a clearer idea of this misfortune was shown by pantomime2 his eye was troubled1 it kindled1 every feature questioned both ,william and ,walter2 the actor's hand1 trembling and contracted1 was stretched toward them and implored them to speak more clearly4 ,he was horror-stricken at the news he was to hear1 but uncertainty was intolerable2 and when1 after these touching preparations1 ,arnold himself tore away the last shred of doubt1 when he uttered the cry3 ,my father6 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 despair4 ,the effects of rage1 hate1 irony1 the terrors of remorse1 the bitterness of disappointment1 were not the only dramatic means in the possession of that artist whom ,madame ,sontag proclaimed as the greatest known singer4 ,none could express as did ,delsarte1 contemplation1 serenity1 tenderness--the dreams of a sweet and simple soul1 and even the divine silliness of innocent beings4 ,wit and malice were equally easy for him to render4 ,in the duet from ,count ,ory3 ,once more ,i'll see the beauty whom ,i love1 he was quite as apt at interpreting the hypocritical good-nature of the false hermit as the sentimental playfulness of the love-lorn page4 ,in his school the comic style bore an impress of propriety and distinction1 because it resulted from intellectual perceptions rather than it expressed the vulgar sensations manifested by exaggerated caricature and grimace4 ,delsarte thus put his stamp upon every style which he attempted2 he renovated every part4 ,he restored ,gluck to life2 he revealed ,spontini to himself4 ,the latter--the illustrious author of ,fernando ,cortez--was at a musical entertainment where ,delsarte1 whom he had never known1 sang4 ,he had drunk deep of the composer's inspiration3 he showed this in the very first phrase of the great air3 ,whither do ye hasten8 ,oh1 traitorous race6 ,he sang with such vigorous accent1 such great maestria1 that--in the mouth of ,montezuma--the words must have sufficed to rally the ,mexican army from its rout4 ,he gave the cantabile3 ,oh country1 oh spot so full of charm6 with indescribable sadness2 desolation and despair seemed to fill his soul1 and when the conquered man invoked the spirits of his ancestors3 ,shall ,i say to the shadows of my fathers1 ,arise--and leave your gloomy tomb6 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 gaze4 ,such profound knowledge1 sublime talent1 terrifying effects and contrasts so skilfully managed1 and yet so natural in their transition1 strongly moved the composer4 ,do you know that you made me tremble8 ,delsarte said to him after he had sang4 ,do you know that you made me weep8 replied ,spontini1 charmed to see his work raised to such proportions4 ,delsarte was always master of himself1 however impassioned he appeared4 ,often1 in his lessons1 when every soul hung upon his accents1 he would stop abruptly and restore the part to his pupil4 ,then1 as if a magic wand had touched him1 all the attributes of the personage who had lived in him1 vanished4 ,his face1 his form1 his bearing resumed their usual appearance4 ,the artist disappeared1 and the professor quietly resumed his place1 without seeming to notice that the audience--still shaken by the emotions they had felt--blamed him for this too prompt metamorphosis4 ,yet ,delsarte was as agreeable a teacher as he was a marvelous artist4 ,his instruction was enlivened by countless unexpected flashes2 his sallies were as quick as gunpowder4 ,i die6 languidly sang a tenor4 ,you sleep6 said the master4 ,come1 lady fair6 exclaimed another singer4 ,if you call her in that voice1 you may believe that she will never come6 ,don't make a public-crier of your ,achilles1 said the master to some one with a rich organ1 given over to its own uncultivated power4 ,all three smiled4 ,the one tried to die more fitly2 the other to call his lady fair in more seductive accents4 ,the petulant outburst of the master taught them more than many a long dissertation4 ,delsarte made great use of his power of imitating a defect2 he even exaggerated it so that the scholar1 seeing it reflected as in a magnifying-glass1 more readily perceived his insufficiency or his exaggeration4 ,if this mode of procedure was somewhat trying to sensitive vanity1 it was easy to see its advantages4 ,the master's censure1 moreover1 was of that inoffensive and kindly character which is its own justification4 ,it was a criticism governed by gaiety4 ,delsarte laughed at himself quite as readily as at the ridiculous performances which he caricatured1 if opportunity offered4 ,and if by chance any pupil less hardened to these assaults was intimidated or distressed1 consolation was quick to follow4 ,i remember that a young girl gave rise to one of these striking imitations4 ,delsarte put such an irresistible comedy into it1 that the audience was seized with an uncontrolable fit of mirth4 ,the master's mimicry had far more to do with this than the poor girl's awkwardness4 ,but she did not understand this4 ,her heart sank at this harsh merriment and tears rushed to her eyes4 ,what is the matter1 asked ,delsarte2 why are you so disturbed8 ,among the persons whose laughter you hear1 ,i do not think there is one who sings as well as you do6 ,i exaggerated your mistake to make you aware of it2 but you did your work in a way that was very satisfactory to all but your teacher4 ,speaking of this irony tempered by mercy1 ,i recollect that ,delsarte1 after a great success1 was once complimented by the singer ,p41 whose popularity far exceeded that of the lyric ,talma4 ,and yet you have given me lessons1 said ,delsarte1 emphasizing the word yet4 ,well6 in such circumstances ,delsarte showed neither the pride nor the malicious spirit which might be imputed to him2 his mind seized a contrast which amused him1 and his face interpreted it1 but his voice remained soft and friendly2 for1 in spite of his biting wit and cutting phrases1 his feelings were easily touched and his heart was truly rich in sympathy4 ,delsarte sang a great deal during his lessons2 and perhaps he gained1 from the point of view of the voice1 by confining himself to fragments2 seizing the opportune moment1 and his voice not having had time to be tired1 he could give1 for a relatively long space1 the clear1 ringing tones necessary for brilliant pieces4 ,then his vocalization--which has only a mechanical value with most singers--became sobs1 satanic laughter1 delirium1 and terror4 ,then1 too1 thanks to proximity1 the most delicate tones could be heard to the extreme limits of the smorzando1 still preserving that slightly veiled timbre unique in its charm1 the mysterious interpreter of infinite sweetness and unspeakable tenderness4 ,one might perhaps have made a complete analysis of ,delsarte from hearing him sing some dramatic song1 but let him give ,eleazar's air from ,the ,jewess3 ,rachel1 when the ,lord1 or that of ,joseph3 ,paternal fields1 ,hebron1 sweet vale1-- let the artist give this in a quiet style1 as putting a mute upon his voice1 and the observer forgot his part2 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 exile4 ,let no one cry that this is hyperbole6 ,one of the most remarkable accompanists in ,paris1 an attache of the ,opera ,comique1 ,m4 ,bazile1 was once so overcome by emotion in accompanying ,delsarte that for some seconds the piano failed to do its duty4 ,i might recount numberless proofs of admiration equal to mine4 ,one evening1 at a lecture1 the lesson turned upon a song from ,william ,tell3 ,be motionless1 and to the ground ,incline a suppliant knee4 ,for stage effect1 ,delsarte called in one of his children1 about eight or nine years old4 ,the subject is well known3 ,william has been condemned to strike from a distance1 with the tip of his arrow1 an apple placed on the head of his child4 ,william bids the child pray to ,god1 and implores him not to stir4 ,reversing the action of all actors whom we usually see1 the artist recited the fragment in a wholly concentric fashion2 he did not declaim2 he made no gesture toward the audience2 but what emotion in his voice1 and how his gaze hovered over and around the dear creature who was perhaps to be forever lost to him6 ,he called the child to him1 he pressed him to his heart2 he laid his hands on that young head4 ,his caresses had the lingering slowness of supreme and final things1 the solemnity of a last benediction4 ,this point of steel may terrify thine eyes6 says the text1 and the tragedian1 enlarging the meaning of the words by inflection and accent1 showed that this precious life hung on a thread and depended on the firmness of his hand4 ,at the last phrase3 ,jemmy1 ,jemmy1 think of thy mother1 ,she who awaits us both at home6 his voice became pathetic to such a degree that it was difficult to endure it4 ,the child1 who had restrained himself during the tirade1 began to sob4 ,all eyes were full of tears4 ,one lady fainted4 ,at concerts his triumph was the same on a larger scale4 ,i will give but one anecdote4 ,a man of letters1 who was also a skilled physician1 said to ,delsarte3 ,do you know1 sir1 that ,i made your acquaintance in a very strange way8 ,i was at the ,herz ,hall1 at your concert4 ,your voice and singing so agitated me that ,i was forced to leave the room1 feeling oppressed and almost faint4 ,this impressionable listener referred to a day memorable in the annals of the master4 ,delsarte--he sang certain airs written for women in ,gluck's operas--had selected ,clytemnestra's song3 ,a priest1 encircled by a cruel throng1 ,shall on my daughter lay his guilty hand4 ,just as this maternal despair reached its paroxysm1 the artist raised both hands to his head and remained in the most striking attitude possible to overwhelming grief4 ,loud applause burst from every part of the hall2 there was a frenzy1 a delirium of enthusiasm4 ,at the same time1 a violent storm burst outside2 the roaring thunder1 the rain beating in floods upon the windows1 the flashing lightning which turned the gas-lights pale1 formed a tremendous orchestra for ,gluck's music1 and a fantastic frame for the sublime actor4 ,then1 as if crushed by his glory1 he prolonged that marvelous effect1 and stood a moment as if annihilated by the frantic and tumultuous shouts of the audience4 ,chapter ,,xvii4 ,delsarte's ,inventions4 ,delsarte always had his father's propensity to devote himself to mechanics that he might apply his knowledge of them to new things4 ,when he felt his artistic abilities1 not growing less1 but their plastic expression becoming more difficult1 owing to the cruel warnings of his departing youth1 this tendency toward occupations more especially intellectual1 became more marked4 ,it may be helpful here to note that a machine--that positive and most material of all things--is the thing whose creation requires force of understanding in the highest degree4 ,the brain1 that living machine1 lends its aid to the intellect2 it represents the physical side2 it is the spot where the work is carried on4 ,feeling has no part in the intellectual acts which work together in mechanical production1--mathematics playing the principal part1--it has no other share1 ,i say1 but to inspire certain persons with a passionate taste for abstract studies1 which leads them toward useful and glorious discoveries4 ,thus1 this thought of ,delsarte and ,pierre ,leroux seems to be justified3 that1 in no case1 can man break his essential triplicity4 ,delsarte1 moreover1 by changing the direction of his faculties1 or rather by displacing the dominant1 affirmed his freedom of will4 ,if he did not always class himself with the strong1 he still loved to reign over himself in the omnipotence of his will4 ,the artist became an inventor2 he took out letters-patent for various discoveries1 among others for an instrument of precision applicable to astronomical observations4 ,competent persons have recognized the great value of this invention1 conceived without previous study1 and which remains hidden among the papers of some official4 ,only one of his mechanical conceptions was ever really put to practical use1 that of the ,guide-accord2 it gained him a gold medal at the ,exhibition of #ahee2 ,dublin awarded it the same praise4 ,berlioz wrote of this invention1 in his book entitled1 ,a ,travers ,chants3 ,m4 ,delsarte has made piano tuning easier by means of an instrument which he calls the phonopticon4 ,any one who will take the trouble to use it will find that it produces such absolute correctness1 that the most practiced ear could not attain to similar perfection4 ,this ,guide-accord cannot fail to gain speedy popularity4 ,on reading these lines1 one is tempted to say3 ,here is an open-hearted writer2 one likes this outburst in regard to a man who was in some sense his brother-artist4 ,but what are we to think of this critic1 when we reflect that in this same book1 where he exalts the inventor1 he never seems to remember ,delsarte the revealer of a law1 the creator of a science1 the distinguished teacher1 the famous artist4 ,he has rendered all pianists a great service by inventing this instrument1 says the author of ,a ,travers ,chants1 and that is all4 ,and he calls him ,monsieur ,delsarte1 as if he were some unknown musical instrument maker or dealer6 ,had the author of ,william ,tell or ,aida vexed him1 he would have spoken of them as ,m4 ,rossini1 ,m4 ,verdi6 ,and yet he knew all about the man whom he seemed anxious to extinguish1 for it was he who1 in a musical criticism1 wrote1 among other praises3 ,it is impossible to imagine superior execution2 and elsewhere3 ,he renders the thoughts of the great masters with such brilliancy and strength1 that their masterpieces are made accessible to the most stubborn intellect and the most hardened sensibilities are roused by his tones4 ,what had happened to make the author of the ,pilgrims' ,march so oblivious of his own admiration8 ,i have heard that the two musicians quarreled as to the interpretation of a passage by ,gluck1 and that a correspondence much resembling a literary warfare1 followed4 ,could this justify defection8 ,perhaps a desire to stifle this glory1 thereby to lend more lustre to some meteor or star1 had some share in this supposed motive4 ,at any rate1 the affair is not to the honor of ,berlioz4 ,we should never deny1 whatever may happen1 the just judgment which we have uttered4 ,direct or indirect1 the rivalries of artists are to be regretted for the sake of art itself1 which lives on noble sentiments and high thoughts4 ,although we may laugh at the inconsequence of a critic who extinguishes with one hand that which the other hand brought to light1 we cannot repress a deep feeling of sadness when we see upon what reputation too often depends1 and when we ask ourselves how much we are to believe of the opinions of certain chroniclers4 ,the fact which ,i have just quoted is the more surprising1 inasmuch as ,berlioz often drew his inspiration from the method of1 and from certain modes of expression peculiar to ,delsarte4 ,chapter ,,xviii4 ,delsarte before the ,philotechnic ,association4#h ,it was in #ahfe that ,delsarte was heard in public for the last time4 ,the meeting took place at the ,sorbonne where the lectures of the ,philotechnic ,society were then given4 ,i see him before me now with his strong personality1 his captivating and persuasive speech1 his mind with its incisive flashes2 but a visible melancholy swayed him and was to follow him through the variety and contrasts of the subjects on his program4 ,and first1 he takes pleasure in proclaiming to all the tale of his mistakes4 ,still young in heart and in mind1 it seems as if in giving up hope on earth1 he tolled the knell of all the enchantments that were passed and gone2 that creative head fermenting with the ardor of discovery seems to doubt the future and bow beneath the burden of a sombre submission4 ,and yet he is surrounded by picked men who admire him1 by women1 young1 beautiful1 brilliant1 eager to hear him1 as of old2 but he is not deceived by all this4 ,a magic spell has vanished2 sympathy is not denied him1 but perhaps he feels it to be less tender1 less affectionate than in the radiant days of his youth4 ,this explains how1 in the course of that evening1 a recrudescence of ,christian feeling more than once tore him away from the undeniable assertions of science1 not to drag him down to the puerilities of the letter1 but to draw him up into the clouds of theology1 whence hope of a future life1 the consolation of farewell hours1 smiled upon him4 ,but if ,delsarte appeared depressed1 he was not to be conquered4 ,his restless spirit betrayed him to those whom his mystic fervor might have misled4 ,many persons1 he said1 feel confident that they are to hear me recite or sing4 ,nothing of the sort1 gentlemen2 ,i shall not recite1 and ,i shall not sing1 because ,i desire less to show you what ,i can do1 than to tell you what ,i know4 ,soon a wonderful change passed over him4 ,it seemed as if he had been covered with ashes for an instant1 only to come forth in a more dazzling light4 ,hardly had his audience felt a slight sense of revolt at the words3 ,i shall not sing1 than they found themselves in the presence of an orator not inferior to the greatest in the force of his images1 and who1 with all his serious and pathetic eloquence1 never forgot the studied touches of the poet1 or the dainty style of the artist4 ,but ,i will not delay my reader to listen to me6 ,it is ,delsarte himself who should be heard4 ,i will give a few extracts3 ,i count1 he said1 on the novelty1 the absolute novelty1 of the things which ,i shall teach you3 ,art is the subject of this conversation4 ,art is divine in its principle1 divine in its essence1 divine in its action1 divine in its aim4 ,ah6 gentlemen1 there are no pleasures at once more lasting1 more noble and more sacred than those of ,art4 ,let us glance around us3 not a pleasure which is not followed by disappointment or satiety2 not a joy which does not entail some trouble2 not an affection which does not conceal some bitterness1 some grief1 and often some remorse6 ,everything is disappointing to man4 ,everything about him changes and passes away4 ,everything betrays him2 even his senses1 so closely allied to his being and to which he sacrifices everything1 like faithless servants1 betray him in their turn2 and1 to use an expression now but too familiar1 they go on a strike1 and from that strike1 gentlemen1 they never return4 99 99 99 99 99 ,the constituent elements of the body sooner or later break into open rebellion1 and tend to fly from each other as if filled with mutual horror4 ,but under the ashes a youthful soul still lives1 and one whose perpetual youth is torture2 for that soul loves1 in spite of the disappointments of its hard experience2 it loves because it is young2 it loves just because it is a soul and it is its natural condition to love4 ,such is the soul1 gentlemen4 ,well6 for this poor1 solitary and desolate soul1 there are still unutterable joys2 joys not to be measured by all which this world can offer4 ,these joys are the gift of ,art4 ,no one grows old in the realms of ,art4 ,after a pungent criticism of the official teaching of art as hitherto practiced1 ,delsarte explained the chief elements of aesthetics4 ,he said3 ,a,esthetics1 henceforth freed from all conjecture1 will be truly established under the strict forms of a positive science4 ,but1 as in the course of his lecture he had more than once touched the giddy regions of supernaturalism1 this formula seemed a contradiction to certain minds1 yet enthusiastic applause greeted the orator from all parts of the hall4 ,one paper1 ,l',union1 said in this connection3 ,m4 ,delsarte is a spontaneous soul1 his mind is at once ,christian and free1 his only passion is the proselytism of the ,beautiful1 and this is the charm of his speech4444,i do not assert that everything in it should be of an absolute rigor of philosophy1 etc4 ,the same paper says elsewhere3 ,all these theories are new1 original1 ingenious1 in a word1 felicitous4 ,are they undeniably true8 ,what ,i can affirm is that none doubt it who hear the master make various applications of them by examples4 ,delsarte is an irresistible enchanter4 ,the opposition of principles with which he is reproached1 these doubts of the strength of his logic1 will be greatly diminished if this point of view be taken3 that ,delsarte traced back an assured science1 that he deduced from the faculties of man the hypothesis that these faculties are contained in essence and in the full power of their development1 in an archetype which1 to his mind1 is no other than the ,divine ,trinity4 ,plato's ideal in aesthetics and in philosophy was similar although less precise4 ,there is a saying that ,italians have two souls4 ,in ,delsarte there were two distinct types1 the theistic philosopher and the scientist4 ,now1 the philosopher could give himself up to the study of causes and their finality1 that faculty being allotted to the mental activity2 he could even1 without giving the scientist cause for complaint1 make1 or admit1 speculative theories regarding the end and aim of art1 provided that the scientific part of the system was neither denied nor diminished thereby4 ,and is there not a certain kinship between science and hypothesis which admits of their walking abreast without conflicting8 ,delsarte1 as we have seen1 rarely left his audience without winning the sympathy of every member of it4 ,at the meeting of which ,i speak1 he vastly amused his hearers by an anecdote4 ,he doubtless wished to clear away the clouds caused by that part of his discourse which1 by his own confession1 had a good deal of the sermon about it4 ,i will repeat the tale1 a little exaggerated perhaps1 but still very piquant1 which doubtless won his pardon for those parts of his speech which might have been for various reasons blamed1 misunderstood or but half understood6 ,the story was of four professors who1 having examined him1 had each1 in turn1 he said1 administered upon his ,delsarte's cheeks smart slaps to the colleagues by whose advice he had profited in previous lessons4 ,the following lines were the subject of the lesson3 ,nor gold nor greatness make us blest2 ,those two divinities to our prayers can grant ,but goods uncertain and a pleasure insecure4 ,the first teacher to whom ,i turned declared there was but one way to recite them properly1 and this single method1 you of course perceive1 gentlemen1 could be only his own4 ',those lines1' said he1 'must be recited with breadth1 with dignity1 with nobleness4 ,listen6' ,upon which my instructor began to declaim in his most sonorous1 most magisterial tones4 ,he raised his eyes to heaven1 rounded his gestures and struck a heroic attitude4 ',show yourself1' he resumed 7after this demonstration71 'by the elevation of your manners1 worthy of the lessons ,i have given you4' ',ah6' ,i exclaimed1 'at last ,i possess the noble manner of rendering these fine lines4' ,next day1 having practiced the noble manner to the utmost of my ability1 ,i went to my second professor1 fully persuaded that ,i should hear nothing but congratulations4 ,well6444 ,i had hardly ended the second line1 when a shrug of the shoulders accompanied by a terrible burst of laughter1 very mortifying to my noble manner1 closed my mouth abruptly4 ',what do you mean by that emphatic tone8 ,what is all this bombastic sermon about8 ,what manners are these8 ,my friend1 you are grotesque4 ,those lines should be repeated simply1 naturally and with the utmost artlessness4 ,remember that it is the good ,la ,fontaine who speaks6 accenting each syllable the-good-,la-,fon-taine--do you hear8 ,there is but one way possible to render the lines faithfully4 ,listen to me4' ,here the professor tapped his snuff-box1--compressed his lips1 dropped the corners of his mouth in an ironical fashion1 slightly contracting his eyes1 lifting his eyebrows1 moving his head five or six times from right to left1 and began the lines in a firm and somewhat nasal tone4 ,ah6 ,i cried1 amazed1 'there is no other way 444 what wonderful artlessness1 simplicity and truth to nature6' ,so ,i set to work upon a new basis1 saying to myself3 ',now1 at last1 ,i have got the natural style which fits the spirit of this charming work4 ,i am very curious to know the impression which ,i shall make to-morrow on my third teacher4' ,the moment came4 ,i struck an attitude into which ,i introduced the elliptic expressions shown to me the day before1 and with the confidence inspired in me by a sense of the naturalness with which ,i was pervaded1 ,i began3 ',nor gold nor great4444' ',wretch6' cried my third professor4 ',what do you mean by that senile manner1 that tart voice6 ,what a ,cassandra-like tone6 ,you disgrace those beautiful lines1 miserable fellow6' ',but1 sir4444' ',but1 but1 but4 ,i will drop you from the list of my pupils1 if you dare to utter a remark6 ,you can do very well when you wish6 ,but every now and then you are subject to certain eccentric flights4 ,you sometimes imitate ,x---- well enough to be mistaken for him2 then you are detestable1 for you change your nature1 and ,i will not permit it4 ,besides1 it is a vulgar type4 ,stay1 you looked like him just then1 and it was hideous4 ',now1 listen1 and bear my lesson well in mind3 there is but one proper way of reciting those lines1 do you hear8 ,there is but one way1 and this is it4' ,here1 my professor took a pensive attitude3 then1 as if crushed by the weight of some melancholy memory1 he cast slowly around him a look in which the bitterness of a deep disappointment was painted4 ,he heaved a sigh1 raised his eyes to heaven1 still keeping his head bent1 and began in a grave1 muffled and sustained voice3 ',nor gold nor greatness4444' ',see1' said my master1 'with what art ,i manage to create a pathetic situation out of those lines6 ,that is what you should imitate6' ',ah6 my dear master1 you are right2 that is the only reading worthy of that masterpiece4 ,heavens1 how beautiful6' ,i said to myself2 'decidedly1 my noble teacher and my natural teacher understood nothing about this work4 ,what an effect ,i shall make to-morrow at my fourth professor's class6' ,alas6 a fresh disappointment awaited me at the hands of my fourth master4 ,he was1 perhaps1 even more pitiless than the others to all the meanings that ,i strove to express4 ',why1 my poor boy1' said he1 'where the deuce did you hunt up such meanings8' ,what a sepulchral tone6 ,what is the meaning of that cavernous voice8 ,and why that mournful dumb show8 ,heaven forgive me6 it is melodrama that you offer us6 you have done no great thing4 ,you have completely crippled poor ,la ,fontaine4' ',alas6 alas6' said ,i to myself1 'is my dramatic teacher as absurd as the other two8' ,after the three preceding imitations1 just as the audience had reached the height of merriment1 the story-teller stopped4 ,i will excuse you1 gentlemen1 from the reasonings of my fourth professor1 for ,i do not wish to prolong my discourse indefinitely4 ,if this retreat was an orator's artifice--which may well be1--it was a complete success4 ,there was a shout3 ,the fourth6 the fourth6 ,well1 gentlemen1 the fourth1 like the other three1 claimed that his was the only correct style3 ,i made no distinction between verse and prose1 thus following the false method recently established by the ,theatre-,francais4 ,to his mind the cadence of the verse and the euphonic charm should outweigh every other interest4 ,the pauses which ,i made destroyed its measure4 ,i had no idea of caesura1 my gestures destroyed its harmony1 etc41 etc4 ,his pedagogic manner had nothing in common with that of his brethren4 ,this episode was not a mere witticism on ,delsarte's part2 he intended it to prove his constant assertion--and with persistent right1--that previous to his discovery1 art1 destitute of law and of science1 had had none but chance successes4 ,delsarte closed this session by a summary of the law and the science which ,i have set forth in this book2 but ,i must say it was at this moment especially that he seemed anxious that his religious convictions should profit by his artistic wealth2 all outside the sphere of rational demonstration is treated from a lofty standpoint1 it is true1 and is freed from the commonplaceness of the letter1 but we can recognize none but a poetic and literary merit in it4 ,it is to this latter period of his existence that many will doubtless try to fasten the synthesis of this great personality2 but if any one wishes to gain an idea of ,francois ,delsarte1 of his ability1 the extent of his views1 the power of his reason1 the graces of his mind1 his artistic perfection1 it is in his law1 in his science1 in the memories which his lectures and his concerts left in the press of the time1 that such an one must seek to understand him4 ,chapter ,,xix4 ,delsarte's ,last ,years4 ,before concluding these essays1 my homage to the innovating spirit1 the matchless art1 the sympathetic and generous nature of ,francois ,delsarte1 ,i make a final appeal to my memory1 and1 first1 ,i invoke afresh the testimony of others4 ,la ,patrie1 ,june #ah1 #aheg1 says in an enthusiastic and lengthy article3 ,his deep knowledge1 his incessant labors1 his long and fatiguing studies1 have not allowed his life to pass unnoted2 but although great renown1 attached in a short space to his name1 has sufficed for the legitimate demands of his pride1 it has done nothing1 it must be owned1 to provide for the wants which the negligences of genius do not always foresee4 ,then1 apropos of ,gluck and other unappreciated composers of genius1 the author of the article1 ,franck ,marie1 goes on3 ,with the confidence to which ,i recently referred1 ,delsarte has undertaken the reform4 ,sure of the success which shall crown his bold undertaking1 he began almost unaided1 a movement which was no less than a revolution4 ,between two snatches from ,romagnesi or ,blangini1 the majestic pages of ,gluck appeared to the surprise of the auditor4 ,the heroes of the great master took the place of ,thyrcis and ,colin1 the songs of ,pergolese and ,handel1 coming from the inspired mouth of the virtuoso1 at once aroused unknown sensations4 ,lully and ,rameau1 rejuvenated in their turn1 surprised by beauties hitherto unsuspected4 ,earlier still 7in the ,presse for ,december #f1 #ahdj7 in an article signed ,viscount ,charles ,delaunay are these lines3 ,we are1 to-night1 to hear an admirable singer 7,delsarte74 ,he is said to be the ,talma of music2 he makes the most of ,gluck's songs1 as ,talma made the most of ,racine's verses4 ,we must hasten1 for his enthusiastic admirers would never pardon us if we arrived in the middle of the air from ',alcestis2' and if all we hear be true1 we could never be consoled ourselves1 for having missed half of it4 ,march #ad1 #ahfj1 we read in the ,l',independance ,beige3 ,among the many concerts announced there is one which is privileged to attract the notice of the dilettanti4 ,we refer to that announced1 almost naively1 by the two lines3 ,concert by ,francois ,delsarte1 ,tuesday1 ,april #d4--,nothing more6 ,these two lines tell everything6 ,why give a program8 ,who is there in the enlightened world who would not be anxious to be present at a concert given by ,delsarte8 ,for1 at his concert1 he will sing--he who never sings anywhere1 at any price4 ,observe what ,i say3 never anywhere1 at any price1 and ,i do not exaggerate4 ,this assertion1 which shows the indifference of ,delsarte to the speculative side of art1 is not without a certain analogy to the fact which follows4 ,at one of his concerts he was to be aided by one of the great celebrities of the time2 ,rachel was to recite a scene from some play4 ,the actress failed to appear4 ,some few outcries were heard4 ,delsarte considered this a protest3 ,i beg those who are only here to hear ,mademoiselle ,rachel1 said he1 to step to the box-office4 ,the price of their tickets will be returned4 ,applause followed these words1 and the artist sang in a way to leave no room for regret4 ,i quote the following lines from an article published by the ,journal des ,villes et des ,campagnes in reference to a lecture given in the great amphitheatre of the ,medical ,school1 ,march #aa1 #ahfg3 ,should ,i say lecture8 ,it was rather a chat--simple1 and wholly free from academic forms4 ,in somewhat odd1 perhaps1 but picturesque and original form1 ,m4 ,delsarte told us healthy and strengthening truths3--',the misery of luxury devours us1 but the truth makes no display2 it is modestly bare4'4444 ',art may convince by deceit2 then it blinds4 ,when it carries conviction by contemplating truth1 it enlightens4 ,art may persuade by evil2 then it hardens4 ,when it persuades by goodness1 it perfects4' ,these are noble words4 ,orator1 poet1 metaphysician1 artist1 ,m4 ,delsarte offers new horizons to the soul4 ,the sources whence ,i draw are not exhausted1 but ,i must pause4 ,thus all have hailed him with applause6 ,save for some few interested critics1 without distinction of opinions1 political1 religious or philosophical1 all differences were silenced by this admirable harmony of the highest aesthetic faculties3 the spirit of justice conquered party spirit4 ,but whatever may have been said--and whatever may still be said1--those who never heard ,delsarte can never be made to comprehend him3 in him1 feeling1 intellect1 physical beauty and beauty of expression formed a magnificent assemblage of natural gifts and of acquired faculties4 ,in this distinguished personality nature became art1 to prove to us that outside her limits1 as outside the limits of science1 arbitrary agreement and the caprices of imagination can create nothing noble and great1 persuasive and touching4 ,with this artist there was never anything to betray the artificiality of a situation2 interpreted by him1 the creation1 the invention1 became real4 ',from his lips a cry never seemed a studied effect4 ,it was the rending of a bosom4 ,a tear seemed to come straight from the heart2 his gesture was conscious of what it had to teach us2 in all these applications of the sign to the thing1 there was never an error1 never a mistake4 ,it was truth adorned by beauty4 ,in his singing1 roulades became true bursts of laughter or true sobs4 ,yes1 all these things surpass description4 ,but what any and every mind may appreciate1 is the lovable1 loving and generous nature which invested these transcendant qualities with simplicity1 with charm and with life4 ,delsarte had a wealth of sentiment which overflowed upon the humble and the outcast1 as well as upon those favored by nature and by fortune4 ,without the riches which he knew not how to gain1 disdainful as he was of petty and sinuous ways1 he was benevolent in spite of his moderate means4 ,he gave1 perhaps1 oftener than he accepted payment for them1 his time1 his knowledge and his advice to all who needed them4 ,he admitted to his classes pupils whose beautiful voices were their only wealth1 and who could pay him only in hope4 ,we may say of ,francois ,delsarte1 that so sympathetic a nature is rarely seen in this world of ours1 where still prevail--tyrants to be destroyed--so much antagonism1 jealousy and rivalry4 ,if some few of the weaknesses natural to poor humanity may be laid to his charge1 no one had a greater right to redemption than he4 ,he once distressed a fashionable woman by speaking severely to her of one of her friends4 ,she was much troubled1 but out of respect1 dared not complain4 ,delsarte saw tears in her eyes4 ,he instantly confessed his fault1 and acknowledged1 with the utmost frankness1 that he spoke from hearsay1 and very lightly4 ,he added that this mistake should be a lesson to him1 and that he would think twice before becoming the echo of evil report4 ,if1 touching his science and his art1 this master often made assertions which might seem conceited1 aside from those convictions which1 to his mind1 had the character of orthodoxy1 he used forms of speech of which judges without authority would never have dreamed4 ,i have heard him say3 ,i cannot be much of a connoisseur in regard to pianists1 for ,i only like to hear ,chopin4 ,he was always ready to praise the amateurs who came to him for a hearing1 even if they were the pupils of other masters1 finding out among all their faults1 the little acquirements or talent which he could from their performance2 sure1 it is true1 to correct them if he afterward became their instructor4 ,honors and fortune seemed within his grasp when he neared his end4 ,america offered him immense advantages1 with a yearly salary of #bj1jjj1 to found a conservatory in one of her cities4 ,a street in ,solesmes was named for him4 ,the ,king of ,hanover sent him1 as an artist1 the ,guelph ,cross1 and1 as a friend1 a photograph of himself and family2 it was to this prince1 the patron of art1 that ,delsarte wrote regarding his ,episodes of a ,revelator3 ,i am at this moment meditating a book singular for more than one reason1 which will be no less novel in form than in idea4444 ,i know not what fate is in store for this work1 or if ,i shall succeed in seeing it in print during my lifetime4 ,he did not realize this dream4 ,it was at about this same time that ,jenny ,lind took a long journey to hear him and to consult him about her art4 ,at the period of the war of #ahgj-ahga1 ,delsarte took refuge at ,solesmes1 his native place4 ,he left ,paris1 with his family1 ,sept4 #aj1 #ahgj4 ,already ill1 he lived there sad1 and crushed by the misfortunes of his country4 ,nevertheless1 during this stay1 he developed various points in his method1 and there his two daughters wrote at his dictation the manuscript1 ,episodes of a ,revelator2 his intellect had lost none of its vigor1 but his nature was shadowed4 ,francois ,delsarte returned to ,paris ,march #aj1 #ahga1 after his voluntary exile4 ,he soon yielded to a painful disease1 doubtless regretting that he had not finished his work1 but courageous and submissive4 ,as far as it lay in my power1 my task is done4 ,i have furnished documents for the history of the arts2 ,i have aroused and tried to fix attention upon that luminous point which was threatened with oblivion4 ,now ,i call for the aid of all1 that the work of memory may be accomplished4 ,there are still among us many admirers of ,francois ,delsarte1 many hearts that loved him2 a sort of silent freemasonry has been established between them2 when they meet in society1 at the theatre1 at concerts1 they recognize each other by mutual signs of regret or disappointment4 ,his name is pronounced1 a few words are interchanged4 ,oh6 those were happy days4 ,will his like ever be seen again8 ,to these ,i say3 ,let us unite to assure him his place in the annals which assert the glories of the artist and the man of science6 ,why should we not combine soon to raise a statue on the modest grave where he lies8 ,why should we not do for the innovator in the arts what the country daily does for mechanical inventors and soldiers8 ,part ,fifth4 ,the ,literary ,remains of ,francois ,delsarte4 ,translated by ,abby ,l4 ,alger4 ,publisher's ,note4 ,part ,fifth contains ,francois ,delsarte's own words4 ,the manuscripts were purchased of ,mme4 ,delsarte with the understanding that they were all she had of the literary remains of her illustrious husband4 ,they are published by her authorisation4 ,the reader will probably notice that at times ,delsarte talks as if addressing an audience4 ,this he really did1 and some of the manuscripts are headings or draughts of his lectures before learned societies or of talks at his own private sessions4 ,these writings are given to the public in the same fragmentary condition that ,delsarte left them in4 ,they were written upon sheets of paper1 scraps of paper1 doors1 chairs1 window casements and other objects4 ,a literal translation has been made1 without a word of comment1 and without any attempt at editing them4 ,the aim has been to let ,delsarte speak for himself1 believing that the reader would rather have ,delsarte's own words even in this disjointed1 incomplete form--mere rough notes--than to have them supplemented1 annotated1 interpreted and very likely perverted by another person4 ,edgar ,s4 ,werner4 ,illustration3 ,francois ,delsarte4 ,extract from the ,last ,letter to the ,king of ,hanover ,i am at this moment meditating a book1 singular for more than one reason1 whose form will be no less novel than its contents4 ,your majesty will read it1 ,i hope1 with interest4 ,the title of this book is to be3 ,my ,revelatory ,episodes1 or the ,history of an ,idea ,pursued for ,forty ,years4 ,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 up1 discoveries which my daily occupations left me neither time nor ability to set forth as a whole4 ,i know not what fate is reserved for this book4 ,i know not whether ,i shall succeed in seeing it in print during my lifetime4 ,the minds of men are1 in these evil days1 so little disposed to serious ideas1 that it seems to me difficult to find a publisher disposed to publish things so far removed from the productions of the century4 ,but1 however it may be1 if ,i succeed in getting at least some part of my work printed1 ,i crave1 sire1 your majesty's permission to offer the dedication to you4 ,this favor ,i entreat not only as an honor1 but also as an opportunity to pay public homage to all the kindnesses which your majesty has never ceased to lavish upon me4 ,francois ,delsarte4 ,episode ,i4 ,the subject in question was a scene in the play of the ,maris-,garcons4 ,the young officer1 whose part ,i was studying1 met his former landlord after an absence of several years1 and as he owed him some money1 he desired to show himself cordial4 ,ah6 how are you1 papa ,dugrand8 he says1 on encountering him4 ,this apostrophe is1 therefore1 a mixture of surprise1 soldierly bluntness and joviality4 ,at the first words ,i was stopped short by an almost insurmountable difficulty4 ,this difficulty was all in my gesture4 ,do what ,i would1 my manner of accosting papa ,dugrand was grotesque2 and all the lessons that were given me on that scene1 all the pains ,i took to profit by those lessons1 effected no change4 ,i paced to and fro1 saying and resaying the words3 ,how are you1 papa ,dugrand8 ,another scholar in my place would have gone on2 but the greater the difficulty seemed to me1 the higher my ardor rose4 ,however1 ,i had my labor for my pains4 ,that's not it1 said my instructors4 ,good heavens6 ,i knew that as well as they did2 but what ,i did not know was why that was not it4 ,it seems that my professors were equally ignorant1 since they could not tell me exactly in what my way differed from theirs4 ,the specification of that difference would have enlightened me1 but all remained1 with them as with me1 subject to the uncertain views of a vague instinct4 ,do as ,i do1 they said to me1 one after the other4 ,zounds6 the thing was easier said than done4 ,put more enthusiasm into your greeting to papa ,dugrand6 ,the greater my enthusiasm1 the more laughable was my awkwardness4 ,see here2 watch my movements carefully6 ,i do watch1 but ,i don't know how to go to work to imitate you2 ,i don't seize the details of your gesture4 7,it varied with every repetition47 ,i don't understand why your examples1 with which ,i am satisfied1 lead to nothing in me4 ,you don't understand6 ,you don't understand6 ,it's very simple6 ,really1 your wits must have gone wool-gathering1 my poor boy1 if you are unable to do what ,i have shown you so many times4 ,watch closely now6 ,i am watching1 sir1 with all my eyes4 ,you certainly see that the first thing is to stretch out your arms to your papa ,dugrand1 since you are so pleased to see him again6 ,i stretched out my arms to their utmost extent2 but my body1 not following the movement1 still wanted poise1 and recoiled into a grotesque attitude4 ,my teacher1 for lack of basic principles to guide him1 was unable to correct my awkwardness2 and1 vexed at his inability which he wished to conceal1 fell back on blaming my unlucky intellect4 ,fool1 said he finally1 you are hopelessly stupid6 ,why are you so embarrassed8 ,are my examples1 then1 worthless8 ,indeed1 sir1 your examples are perfect4 ,well1 then1 imitate them1 imbecile6 ,i will try1 sir4 ,in this1 as in all preceding lessons1 ,i could give only a blind imitation1 which had not the small merit of being twice alike1 even in my own eyes1 for every time ,i reproduced them ,i observed marked variations which the master did not perceive4 ,i went to my room1 as ,i had done many times before1 with tears in my eyes and despair in my heart1 to renew my useless efforts1 vainly turning and returning in all lights my unfortunate papa ,dugrand4 ,this cruel ordeal lasted five months without the least progress to lessen its bitterness4 ,heaven knows with what ardor ,i cultivated my papa ,dugrand6 ,i thought of him by day1 and ,i dreamed of him by night4 ,i clung to him with all the frenzy of despair1 for ,i was determined not to be beaten4 ,i was bound to triumph at any cost1 for it was life or death to me4 ,i resolved not to give up papa ,dugrand1 even though he should resist me ten years6 ,my unceasing repetitions of 7to them abominable7 papa ,dugrand caused my comrades to call me a bore4 ,in short1 ,i became disagreeable to all around me4 ,alas6 all this study1 all these efforts1 could not overcome the stubborn resistance of papa ,dugrand4 ,my teachers were at their wits' end1 and finally refused to give me another lesson on the subject4 ,but nothing could daunt the ardor of my zeal4 ,one day ,i was measuring the court-yard of the ,conservatory1 as usual1 in company with papa ,dugrand1 and repeating my how are you8 in every variety of tone1 when1 all at once1 having got as far as3 ,how are you1 pa--1 ,i stopped short without finishing my phrase4 ,it was interrupted by the sight of a cousin of mine1 whose visit was most unexpected4 ,ah6 how are you8 ,i said2 how are you1 dear cou-- ,here my words were again interrupted by a surprise2 but this surprise was far greater than that caused by the appearance of my cousin4 ,struck by the analogy between this greeting and the unstudied attitude which ,i had assumed under the action of a genuine emotion1 ,i cried in a transport of joy which bewildered my innocent cousin3 ,leave me--don't disturb me--,i've got it--wait for me--stay where you are--,i've got it4 ,but what is it that you've got8 ,the dickens1 papa ,dugrand6 ,thereupon ,i vanished like a flash1 to run to my mirror and reproduce to my sight papa ,dugrand1 ,judge of my astonishment3 not only my gesture1 until now so persistently awkward1 seemed suddenly metamorphosed and became harmonious and natural2 but1 stranger yet1 it did not correspond in the least to what had been prescribed4 ,however1 it was nature herself that had revealed this to me4 ,then1 the movements of my body1 but a moment before so discordant in my eyes1 had acquired1 under the influence of this gesture inspired from above1 an ease and a grace that filled me with surprise4 ,without doubt1 ,i now possessed the truth4 ,an emotion1 spontaneously produced and so deeply felt1 could not result in an error4 ,this is what had happened under the action of a natural surprise3 ,my hands were not extended toward the object of my surprise--not the least in the world4 ,by an anterior extension of the arms1 they were raised high above my head1 which1 far from being uplifted with the exultation which ,i had hitherto simulated1 was lowered to my breast2 and my body1 stranger yet1 instead of bending toward the attractive object1 bent suddenly backward4 ,what a blow nature had given to my masters6 ,what an overthrowal of all conjectures6 ,my reason1 before this sovereign decision1 was humbled and dumbfounded4 ,what arguments could my instructors invoke in the face of truth itself8 ,what1 thought ,i1 are my masters absolutely ignorant of the laws of nature8 ,what1 does their reason1 as well as mine1 know nothing of all this8 ,how is it that this much-praised reason has inspired me with effects precisely opposite to those that were prescribed8 ,what is reason8 ,is it1 then1 a blind faculty8 ,let us first see what these strange phenomena1 whose importance ,i cannot deny without denying nature herself1 signify4 ,i was in the midst of these reflections when the recollection of my cousin came into my mind4 ,good heavens1 thought ,i2 ,i had forgotten all about my poor cousin2 what will he think8 ,i will hurry down1 and1 lest my precious ideas take flight1 send him away1 and return to my reflections4 ,wretch that ,i am2 ,i think only how to get rid of him1 when he has so enriched me6 ,this is a lesson to me4 ,poor boy6 ,what opinion will he have of me8 ,ah1 that is he whom ,i see stretched out on that stone bench4 ,he has been patient1 indeed4 ,i believe that he is asleep6 ,no1 ,i am not asleep1 said he1 rising2 ,i am furious6 ,explain1 if you are not too insane to be rational1 the extraordinary manner in which you received me4 ,do you know that ,i have been waiting here for you more than an hour8 ,ah1 my dear cousin1 said ,i1 embracing him warmly1 you do not know what a service you have rendered me4 ,i embrace you now1 my good friend1 for the wonderful lesson you have given me4 ,without you ,i should never have found it out1 and1 rest assured1 ,i shall never forget it4 ,what8 ,who8 ,what is it8 ,zounds1 papa ,dugrand6 ,i freely acknowledge that ,i have learned more from you in one second than from all my masters during four years4 ,are you in your right senses8 ,the matter was finally explained4 ,my cousin then told me about my home and my family2 but ,i must confess that ,i paid little attention to the good news that he brought me1 so excited and preoeccupied was my mind4 ,even then ,i could not help thinking of the fragility of the heart in its affections4 ,we soon separated1 and ,i hurried to my room1 which seemed to me on this day-paradise itself4 ,i gave myself up to my interrupted course of reflections4 ,i had proved the impotence of my own reason1 and also that of my masters4 ,now1 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 principles1 and that all her instructions would be powerless to guide me in my researches4 ,but1 from another side1 it was evident to me that without this reason ,i could not utilize a principle4 ,what is human reason1 that faculty at once of so little avail and yet so precious8 ,what role does it play in art8 ,i feel that this is most important for me to know4 ,the answer to this question must spring from the study of the phenomena of instinct4 ,let us examine1 then1 what nature offers us freely4 ,if these phenomena are directed by a physiological or a spiritual necessity1 a necessity on which instinct is based1 ,i am forced to admit1 here1 a reason that is not my reason2 a superior1 infallible reason in the disposition of things2 a reason that laughs at my reason1 which1 in spite of itself1 must submit under pain of falling into absurdity4 ,i feel that it is only by this absolute submission of my reason that it can rise to the reason of things1 since1 of itself1 it would know nothing4 ,see definition of reason4 ,let us seek1 then1 without prejudice1 the reason of the things that interested me1 in order that my own reason may be raised to a higher plane4 ,and when it shall be illumined with the light that must break upon it from the superior reason1 ,i feel that my reason can generalize instruction1 and will be all-powerful in arranging the conclusions that it may deduce4 ,i am aware1 from the utter impotence of my reason1 that all principles must be accepted humbly1 in order to understand the deductions4 ,my reason does not know how to lead me to principles of which it is ignorant2 but it knows how to guide me back4 ,in other words1 it is a blind person a priori1 it is a luminary a posteriori4 ,though it may not know at first1 once shown1 it readily recognizes2 though it may not divine1 it learns by study2 though it may not seize1 it retains1 masters and generalizes4 ,reason1 then1 is a reflex power1 and as such1 if1 in a matter of principle1 it recognizes itself as impotent and even absurd a priori1 it knows that once in possession of the principle1 it borrows from its light and becomes identified with it--an incomparable power of generalization4 ,let the reason of the attitudes that ,i had observed be once shown me1 and my individual reason would possess the ,archimedean lever with which ,i might open unknown worlds4 ,my reason6 ,ah6 ,i will identify it with the reason of things6 ,henceforward this shall be my method1 this shall be my law4 ,but the reason of things--who will give it to me8 ,is it not my reason itself8 ,oh1 mystery6 ,i will follow thee to the depths of thy abyss4 ,thou shalt have no more secrets from me1 for ,god has said that ,he hides only from the wise and prudent man1 but reveals ,himself to the simple and to children4 ,yes1 these things shall be given to me through my reason1 if it will bow itself and be attentive and humble2 if it will patiently await the teachings of a mute and persevering observation2 if it will subordinate itself to the intuitive lights that constitute genius2 and1 finally1 if it knows how to estimate things other than itself4 ,thus my reason1 established1 inflamed1 consumed by the charm of its contemplation1 will be transfigured in order to be more closely united to the sovereign reason toward which it ever reaches out4 ,the first fruit of my observation consists in making me recognize1 in the facts examined1 the proof of a superior and infallible reason1 and then to arm against my individual reason and all its errors4 ,another thing yet more strange1 but easily comprehended on reflection1 is that to this defiance1 this contempt of self1 ,i owe the boldness and the power of my investigations4 ,let us see1 now1 from which observations the preceding thoughts are the direct result4 ,in the phrase1 ,how are you1 etc41 my reason dictated this triple1 parallel movement3 ,advancing the head1 and the arms1 with the torso on the fore-leg4 ,now1 the similar phrase1 ,how are you1 dear cousin1 although uttered in a situation identical with that of papa ,dugrand1 produced phenomena diametrically opposed to those that my reason had said were the only ones admissible4 ,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 simulate8 ,does it not seem natural to extend the hand to a friend when1 with affectionate surprise1 we exclaim3 ,how are you1 dear friend8 ,and should we ever think of drawing the body away from the object that attracts us8 ,finally1 does it not seem that the head should be raised1 the better to see that which charms us8 ,ah1 no6 ,all these things1 apparently so true and so perfectly clear1 are radically false4 ,facts prove this beyond a doubt1 and with facts there can be on discussion1 no argument4 ,we must admit them a priori or renounce the truth4 ,here1 as in all questions of principle1 the greatest act of reason consists in an act of faith4 ,this is absolutely undeniable4 ,in the phrase1 ,how are you1 papa ,dugrand1 the arms should be raised1 the head lowered and the torso thrown back1 supporting itself on the back leg4 ,this was indeed a blow to the presumption of my poor reason1 but should it complain8 ,no1 for it has gained even from its confusion most fruitful instruction4 ,let us see4 ,in questioning the effects and the analogy1 we shall doubtless explain their reason of being4 ,why should the head become lowered8 ,i do not see all at first sight2 but let us generalize the question and probably it will specify itself4 ,when does a man bow his head before the object which strikes his eye8 ,when he considers or examines it4 ,does he never consider things with head raised8 ,yes1 when he considers them with a feeling of pride4 ,it is thus that he rules them or exalts them2 and also when he questions them with his glance2 in fine1 when what he sees astonishes or surprises him4 ,this last statement contradicts the example in question1 and seems to condemn it4 ,not the least in the world4 ,how is this8 ,thus3 when the astonishment or the surprise is not intense enough to shake the frame1 the head wherein all the surprise is concentrated1 is lifted and exalted4 ,but so soon as that surprise is great enough to raise the shoulders and the arms1 as by a galvanic shock1 the head takes an inverse direction1 it sinks and seems anxious to become solid to offer more resistance to that which might attack it1 for the first instinctive movement in such a case is to guard against any unpleasant event2 then if the head is lifted to look at that which surprises it1 it is because it has no great interest in the recognition of that which it considers2 but as soon as that interest commands it to examine1 to recognize1 it is instantly lowered and placed in the state of expectation4 ,o1 now it becomes clear4 ,now1 how does surprise cause us to lift our arms8 ,the shoulder1 in every man who is agitated or moved1 rises in exact proportion to the intensity of his emotion4 ,it thus becomes the thermometer of the emotions4 ,now1 the commotion that imprints a strong impression1 communicates to the arms an ascending motion which may lift them high above the head4 ,but why do not the arms1 in an agreeable surprise1 tend toward the object of that surprise8 ,the arm should move gently toward the object that it wishes to caress4 ,under the rapid action of surprise1 therefore1 it could only injure or repel that object4 ,this it does in affright4 ,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 extension1 and directs them toward heaven1 leads them to rise as if expressing thanks for an unexpected joy1 so true it is that everything is turned to use and is modified under the empire of our instinct4 ,certainly1 there is no similarity between this and the superfluous action1 the inconsequent movements determined by the working of a rule without a reason4 ,and this is so because in all that instinct suggests1 it is the ,supreme ,artist himself who disposes of us and acts in us1 while whatever is suggested by a reason insufficiently inspired by the contemplation of the divine handiwork is fatally incoherent1 for we thus pretend to substitute ourselves for ,god1 and ,god thenceforth leaving us to ourselves1 surrenders us to all the discordant effects of an inconsequential and vain conception4 ,it remains to find the justificatory reason for this retroactive movement of the body1 which seems illogical at first sight4 ,let us inquire in what case and under the action of what emotions a man may shrink from the object which he is considering4 ,in the first place1 he shrinks back whenever it inspires him with a feeling of repulsion4 ,he shrinks from it particularly when it inspires him with fright4 ,this is a matter of course and self-evident4 ,in what case does the body take an inverse direction to the object which attracts it8 ,this we must know before we can explain the phenomenon in question4 ,we move away from the thing which we contemplate to prove to it1 doubtless1 the respect and veneration that it inspires4 ,in fact1 it seems a lack of respect to that which we love to approach it too closely2 we move away that we may not profane it by a contact which it seems might injure its purity4 ,thus the retrograde movement may be the sign of reverence and salutation1 and moreover a token that the object before which it is produced is more eminent and more worthy of veneration4 ,a salutation without moving shows but little reverence1 and should only occur in the case of an equal or an inferior4 ,in justification of the actual fact1 let me give another observation of quite another importance4 ,when a painter examines his work1 he moves away from it perceptibly4 ,he moves away in proportion to the degree of his admiration of it1 so that the retroactive movement of his body is in equal ratio to the interest that he feels in contemplating his work1 whence it follows that the painter who examines his work in any other way1 reveals his indifference to it4 ,the picture-dealer usually proceeds in quite another manner4 ,he examines it closely and with a magnifying-glass in hand4 ,why is this8 ,because it is less the picture which he examines than the handiwork of the painter1 the actual work which is the chief object of his survey4 ,but why does the artist move away from the work which he contemplates8 ,the better to seize the total impression4 ,for instance3 if it be a full length portrait and the artist studies it too closely he sees1 ,i will suppose1 the nose of his portrait and nothing more4 ,if he moves a little farther off he sees a little more1 he sees the head2 still farther and he sees both the head and the torso which supports it4 ,finally1 moving still farther away1 he gets a view of the whole and thus seizes its harmonious relations4 ,this inspection may be called synthetic vision1 and in opposition to this1 direct vision1 which ,i assumed before instinct taught me better1 is but short and limited4 ,to sum up3 ,if instinct did not lead us to retroact1 to examine an object unexpectedly offered to our gaze1 each surprise would expose us to error4 ,now we must retroact to see an object as a whole and not expose ourselves to error1 and then1 too1 does not the love which a creature inspires within us naturally extend to the medium which surrounds him1 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 contemplation8 ,thus my mind1 tortured by one preoccupying thought1 had1 thanks to the fixed idea which swayed it1 found wondrous lessons in the simple incident of my cousin's return1 otherwise so devoid of interest2 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 years4 ,in short1 ,i had learned how vain is advice dictated by the caprice of a master without a system6 ,i had learned the inanity of individual reason in a matter of experience4 ,i knew that certain laws existed1 that those laws proceeded from a ,supreme ,reason1 an immense centre of light1 of which each man's reason is but a single ray4 ,i knew without a doubt how ignorant my masters were of those laws to the study of which ,i meant to devote my life4 ,i possessed facts which ,i saw could be applied in countless ways1 luminous doctrines radiating from the application4 ,thenceforth ,i had the nucleus of the science ,i had so vainly asked of my masters1 and ,i did not despair of formulating it4 ,judge of my joy6 ,the facts ,i then found myself the possessor of1 seemed to me more valuable than all the treasures of the world4 ,episode ,,ii4 ,some time later1 ,i again saw my worthy cousin1 the innocent cause of all my joys4 ,he was a medical student1 and came to propose a visit to the dissecting-room4 ,i did not hesitate to accept2 the proposal harmonized with my desire4 ,i did not go1 as so many go to the morgue1 merely to see dead bodies4 ,no2 the curiosity that impelled me1 and the avidity with which ,i pursued the object of my study1 was not to be so easily satisfied4 ,dead bodies only attracted me when they were--if not dissected--at least flayed4 ,children break their dolls to see what there is inside2 so ,i1 too1 wanted to see what there was in a corpse4 ,it seemed to me that under the mutilations which the scalpel had inflicted on the body1 ,i should find the answer to more than one enigma--might solve some of the secrets of life4 ,the prospect of this visit had the charm of a pleasure party to me4 ,i made it a holiday and awaited the hour with impatience4 ,but1 on arriving1 when ,i found myself in that place chill and gloomy as the tomb2 when ,i felt choked by the mephitic gases that arose from this seat of infection2 when ,i found myself in the presence of a heap of corpses mutilated by the scalpel1 disfigured by putrefaction and partially devoured by rats and worms2 when1 beneath tables laden with these horrible remains1 ,i saw mean tubs filled with human entrails mingled with limbs and heads severed from their trunks2 when ,i felt fragments of flesh reduced to the state of filthy mud1 clinging to my feet1 my heart throbbed violently1 and ,i was overcome by an indescribable sense of repulsion4 ,what1 ,i said to myself1 those shapeless and putrifying masses have lived6 ,they have thought1 they have loved6 ,and1 who would believe it from the horror and disgust that they inspire1 they have been loved1 cherished1 perhaps adored6 ,ah6 if1 as some think1 the soul is not immortal1 if so many aspirations1 so many schemes1 so many hopes are to end here--what is man8 ,but yet more lamentable food for thought was reserved for me3 the spectacle of a ruin yet more profound than those which my eyes could scarce endure1 was to appear before me in all its hideousness4 ,in fact1 there reigns in these gloomy halls where no tear has ever fallen1 no prayer has ever been heard and no ray of hope has ever pierced--there reigns something yet colder than death1 something more unwholesome1 more nauseous1 more deleterious than the putrid miasmas that infect the air1 something more sad to see than the nameless fragments of extinct life1 something more loathsome than those filthy and disgusting remnants1 something more repulsive than those noses eaten by worms and those empty eyeballs devoured by rats4 ,i mean the cynicism of the dwellers in that place2 ,i mean their insensibility1 their indifference and calm heedlessness in the presence of such grave subjects for thought4 ,i mean that lack of perception1 that spirit of negation and revolt of which those wretched men make a boast and which they obstinately oppose to all religious sentiment1 all principle of tradition or revealed authority4 ,i mean the atheism and ceaseless mockery with which they invariably meet any generous impulse aroused in an honest soul by a healthy faith4 ,this struck me even more sensibly than the spectacle of death and dissolution which ,i have striven to describe4 ,thus the apparently living men who haunt this spot are more truly dead than the corpses upon which they exercise their pretended science4 ,they seemed to me ruins far more terrible than those of the body1 ruins which repelled all hope1 being born of doubt and leading to negation4 ,if the mutilated and half-devoured bodies that lay before me1 filled me with horror and disgust1 they1 at least1 left within me a faint lingering hope surviving death2 but the state of blindness of those souls who have lost consciousness of their being and even the feeling of their existence1 the shadowy abyss into which they allow themselves complaisantly to glide1 the nullity which they adorn with the title of science1--all this filled me with fright1 for ,i felt the doubt and despair into which contact with it would inevitably have plunged me1 if1 by a special favor1 the tone and mimetics1 alike self-sufficient and mocking1 of these free-thinkers1 as they are now styled1 had not1 from the first1 inspired me with aversion for them and a salutary hatred of their doctrine4 ,and yet1 amidst so many repulsive objects1 the faculty of observation to which ,i already owed such fruitful remarks was not dormant in me3 ,i had already asked myself by what evident sign one could recognize a recent corpse4 ,from this point of view1 ,i made a rapid exploration1 and ,i questioned the various corpses left almost intact2 ,i sought in some portion of the body1 common to all1 a form or a sign invariably found in all4 ,the hand furnished me that sign and responded fully to my question4 ,i noticed1 in fact1 that in all these corpses the thumb exhibited a singular attitude--that of adduction or attraction inward1 which ,i had never noted either in persons waking or sleeping4 ,this was a flash of light to me4 ,to be yet more sure of my discovery1 ,i examined a number of arms severed from the trunk2 they showed the same tendency4 ,i even saw hands severed from the forearm2 and1 in spite of this severing of the flexor muscles1 the thumb still revealed this same sign4 ,such persistence in the same fact could not allow of the shadow of a doubt3 ,i possessed the sign-language of death1 the semeiotics of the dead4 ,i rejoiced1 foreseeing the service which this discovery would render upon a battle-field1 for instance1 where more than one man risks being buried alive4 ,i divined1 moreover1 something of its artistic importance4 ,i then questioned my cousin and the other students present in regard to the symptomatics of death1 and ,i saw with surprise that1 not only had the expression of this phenomenon escaped them hitherto1 but that they had no exact and precise knowledge concerning this grave and important question4 ,there remained1 in order to complete my discovery and to deduce useful results from it1 to verify the symptom on the dying man4 ,it was important for me to know in what degree it might become manifest on the approach of death4 ,my wishes were gratified as if by magic1 for ,i was led from the school of anatomy to that of clinical medicine4 ,there a house-student1 a friend of my cousin1 placed me beside a dying patient1 and ,i examined with the utmost attention the hands of the unhappy man struggling against the clutches of inevitable death4 ,at first ,i observed something strange in regard to myself1 namely that the emotion which such a sight would have caused me under any other circumstances1 was absolutely null at this moment2 close attention dulled all feeling in me4 ,i then understood the courage which may inspire the surgeon in the discharge of his duty2 and ,i drew from this observation deductions of great artistic interest4 ,now ,i proved that the thumbs of the dying man contracted at first in almost imperceptible degree2 but as the last struggle drew near1 and in the supreme efforts made by the patient to hold fast to the life which was slipping from him1 ,i saw all his fingers convulsively directed toward the palm of the hand1 thus hiding the thumbs which had previously approached that centre of convergence4 ,death speedily followed this crisis and soon restored to the fingers a more normal position2 but the contraction of the thumb persistently conformed to my previous observations4 ,the presence and progress of this phenomenon in the dying was invariably confirmed by numerous tests which ,i afterward tried4 ,thus1 ,i had acquired the proof that1 not only does the total adduction of the thumb characterize death1 but that this phenomenon indicates the approach of death in proportion to its intensity4 ,i1 therefore1 possessed the fundamental principle of a system of semeiotics hitherto unknown to physiologists2 but this principle1 already so full of interest1 must be made profitable to art4 ,a multitude of pictures1 which in former times ,i had admired at the museum1 passed before my mind's eye4 ,i recalled battle-scenes where the dying and the dead are represented2 descents from the cross where ,christ is necessarily represented as dead4 ,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 death4 ,it was on a ,sunday4 ,the ,louvre was on my way to the ,conservatory1 where1 as is well known1 ,i lived as pensioner4 ,i had often traversed the galleries of the ,louvre2 but now ,i was armed with a criterion that would give my criticisms indisputable authority4 ,the ignorance of the fact ,i sought1 even among artists of renown1 was not long in being made apparent3 all those hands1 where they thought they had depicted death1 afforded me nothing but the characteristics of a more or less peaceful sleep4 ,the correctness of my criticism may be verified anywhere4 ,thus1 the mere discovery of a law sufficed to elevate a poor boy of fifteen years1 destitute of all science and deploring the deep ignorance in which he had hitherto been left1 to the height of an infallible critic in whom the greatest artists found no mercy4 ,i then understood all the power1 all the fertility given by an acquaintance with the laws that regulate the nature of man1 and in how much even genius itself may be rendered sterile by ignorance of those laws which simple observation would make them acquainted with4 ,but1 ,i thought1 my discovery is not complete1 for if1 thanks to it1 ,i have succeeded in proving that all these pictures of death are false1 true only as representing sleep1 it is1 on the other hand1 impossible for me to prove in how far those figures live1 in which the painter aims to represent life4 ,i must1 therefore1 seek the sign of life to complete my standard of criticism4 ,suddenly1 struck with amazement by the dazzling rays of unexpected light1 ,i asked myself whether the criterion of death would not reveal to me1 by the law of contraries1 the thermometer of life4 ,it should a priori--it does6 ,still ,i felt that it was not here that ,i might be permitted to contemplate the vital phenomena attached to the thumb3 since death was so badly rendered here1 ,i had strong reasons for thinking that life was no better treated4 ,i left the museum1 then1 where ,i had nothing more to learn2 and1 to observe living mimetics of the thumb1 ,i went out on the promenade of the ,tuileries thronged by aristocratic people4 ,i carefully examined the hands of this crowd1 but ,i was not long in discovering that these elegant idlers had nothing good to offer4 ,this class1 ,i said to myself1 is false from head to foot4 ,they live an artificial1 unnatural life4 ,i see in them only artifice1 or an art dishonored by using it to mask their insincerity and artificiality4 ,the happy idea came to me to mingle with mothers1 children and nurses4 ,ah1 said ,i1 in the midst of this throng1 laughing and crying at the same time--singing1 shouting1 gesticulating1 jumping1 dancing--here is life6 ,if the contemplation of this turbulent and affectionate little world does not instruct me1 where shall ,i find the solution ,i seek8 ,i did not have to wait long for this solution4 ,i noticed nurses who were distracted and indifferent to the children under their charge2 in these the thumb was invariably drawn toward the fingers1 thus offering some resemblance to the adduction which it manifests in death4 ,with other nurses1 more affectionate1 the fingers of the hand that held the child were visibly parted1 displaying a thumb bent outward2 but this eccentration rose to still more startling proportion in those mothers whom ,i saw each carrying her own child2 there the thumb was bent violently outward1 as if to embrace and clasp a beloved being4 ,thus ,i was not slow to recognize that the contraction of the thumb is inversely proportionate1 its extension directly proportionate to the affectional exaltation of the life4 ,no doubt1 ,i said to myself1 the thumb is the thermometer of life in its extending progression as it is of death in its contracting progression4 ,countless examples have confirmed this4 ,i could even1 on the spot1 form an idea of the degree of affection felt for the children entrusted to their care1 by the women who passed before my eyes4 ,sometimes ,i would say3 ,there is a servile creature whose heart is dead to that poor child whom she carries like an inert mass2 the position of the thumb drawn toward the fingers renders that indifference evident1 ,again it was a woman in whom the sources of life swelled high at the contact with the dear treasure which she clasped2 that woman was surely the mother of the child she carried1 the excessive opening of her thumb left no room for doubt4 ,thus my diagnostics were invariably confirmed by exact information1 and ,i could see to what extent the remarks which ,i had recorded1 were justified4 ,i drew from them most interesting applications for my special course of study4 ,thus1 suppose ,i had asked the same service from three men1 and that each had answered me with the single word yes1 accompanied by a gesture of the hand4 ,if one of them had let his thumb approach the forefinger1 it is plain to me that he would deceive me1 for his thumb thus placed tells me that he is dead to my proposition4 ,if ,i observe in the second a slight abduction of the thumb1 ,i must believe that he1 although indisposed to oblige me1 will still do so from submission4 ,but if the third abducts his thumb forcibly from the other fingers1 oh6 ,i can count on him1 he will not deceive me6 ,the abduction of his thumb tells me more in regard to his loyalty than all the assurances which he might give me4 ,behold1 then1 an intuition whose correctness the experience of forty years has not contradicted4 ,it is hard to imagine the joy ,i felt at my discovery produced and verified in a single day by so many examples1 differing so greatly one from another and of such diverse interest4 ,all the emotions of this extraordinary and fertile day had so over-excited my imagination that ,i had great difficulty in calming my poor brain1 and far from being able to enjoy the rest which ,i so much needed1 ,i was a prey to wakefulness in which the turmoil of my ideas at one time made me fear that ,i was going mad4 ,i then felt for the first time the frailty of the instrument of thought in regard to the faculty which rules and governs it4 ,in brief1 ,i was--thanks to my double discovery--in possession of a law whose deductions ought to touch the loftiest questions of science and art1--and ,i was enabled thenceforth to affirm upon strong and irrefragable proof that the thumb1 in its double sphere of action1 is the thermometer of life as well as of death4 ,episode ,,iii4 ,the day after that which had been so fruitful both in emotions and discoveries1 a thousand recollections tumultuously besieged my mind and still disturbed me4 ,i saw that if ,i could not contrive to classify them in strict order of succession1 ,i should never be able to derive any practical value from them4 ,i therefore took up link by link the chain of events of the previous day1 but in inverse order4 ,that is1 ,i began my course where ,i left off the day before1 and thus proceeded toward the ,tuileries to end at the ,medical ,school4 ,at the retrospective sight of all that merry1 noisy little world1 of all those fat1 cheerful nurses1 careless and laughing as they were1 of those mothers each so tenderly expansive in contemplation of her child1 so happy in its health and strength1 so joyous and so proud of its small progress1 the recollection of a phenomenon which ,i had not at first observed struck me with all the force of a vivid actuality4 ,i should say1 by the way1 that it is much more to the strength of my memory than to the present observation of facts1 that ,i owe these remarks4 ,stability is the sine qua non of the things one proposes to examine1 and the memory must possess the singular power of communicating fixity to fugitive things1 permanence to instantaneousness1 and actuality to the past4 ,now1 the phenomena of life occurring with the rapidity of lightning can only be studied retrospectively2 that is to say1 in the domain of memory1 except to be verified if the attention1 free from all other preoeccupation1 allows us to seize them on the wing once more4 ,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 theory4 ,thus nature once more proved to me that the only point in which ,i had found them to agree1 rested upon a fundamental error4 ,i have since recognized that it is thus in the majority of cases1 so that one may almost certainly pronounce erroneous any statement in regard to which all the masters of art agree4 ,this proposition at first seems inexplicable1 but its reason is readily understood by those who know the sway of falsehood over a society perverted in its opinions as in its tastes2 to those who know the deplorable facility with which error is spread and the tenacity with which it clings to our poor mind4 ,error1 moreover1 owes to our abasement which it flatters and crushes1 the privilege of freedom from contradiction1 and it is only in regard to truth that the minds of men are divided and contend4 ,on retracing in my memory the walks ,i had taken in the ,tuileries1 ,i was struck by an important fact amidst the phenomena called up3 the voice of the nurse or mother1 when she caressed her child1 invariably assumed the double character of tenuity and acuteness4 ,it was in a voice equally sweet and high-pitched that she uttered such words as these3 ,how lovely he is6 444 ,smile a little bit for mamma6 ,now this caressing intonation1 impressed by nature upon the upper notes of all these voices1 forms a strange contrast to the direction which all singing-teachers agree in formulating2 a direction which consists in augmenting the intensity of the sound in direct ratio to its acuteness4 ,thus1 to them1 strange to say1 the entire law of vocal shades would consist in augmenting progressively the sound of the ascending phrase or scale1 and diminishing in the same proportion for a descending scale4 ,now1 nature1 by a thousand irrefutable examples1 directs us to do the contrary1 that is1 she prescribes a decrease of intensity 7in music1 decrescendo7 proportionate to the ascensional force of the sounds4 ,another blow1 ,i thought1 for my masters1 or rather ,i receive it for them1 for they1 poor fellows1 do not feel it4 ,but how can these phenomena of nature have escaped them1 and by what indescribable aberration can they direct1 under the name of law1 a process absolutely contrary to that so plainly followed by those same phenomena8 ,however1 ,i added1 every supreme error under penalty of being self-evident1 must1 to endure1 necessarily rest upon some truth or other4 ,now1 on what truth do so many masters claim to base so manifest an error8 ,this is what we must discover4 ,i was now convinced that caressing1 tender and gentle emotions find their normal expression in high notes4 ,this is beyond all doubt4 ,thus1 according to the foregoing examples1 if we propose to say to a child in a caressing tone that he is a darling1 it would clearly be very bad taste to bellow the words at him on the pretext that1 according to singing-teachers1 the intensity of the sound is augmented in direct ratio to its acuteness4 ,but my memory1 as if to confirm this principle1 and to show its contrast with the custom admitted by those gentlemen1 suggests to me other instances derived from the same source4 ,let a mother be angry with her child and threaten him with punishment2 she instantly assumes a grave tone which she strives to render powerful and intense4 ,here1 then1 on the one hand 7and nature proclaims it71 the voice decreases in intensity in proportion as it rises higher2 and1 on the other hand1 it increases in proportion as it sinks4 ,this double fact1 undeniably established1 constitutes an unanswerable argument against the system in question4 ,but it is not1 therefore1 necessarily its radical and absolute refutation4 ,no1 doubtless1 whatever may be the significance and the number of the facts opposed to the directions of those gentlemen1 these facts do not seem to exclude exceptions upon which they may be founded4 ,in fact1 ,i find in my memory many examples favorable to those masters4 ,thus1 ,i have seen many nurses lose their temper and still use the higher tones of their voice2 and1 on the other hand1 ,i also remark 7and the remark is important7 a certain form1 the appellative form1 where all the characters agree without exception in producing the greatest intensity possible upon the high notes4 ,the professors of singing triumph1 for they find in this appellative form1 always and necessarily sharp and boisterous at the same time1 a striking confirmation of their system4 ,here ,i seem to stray far from the solution which ,i thought ,i already grasped6 ,far from it2 the light is breaking4 ,hitherto the examples evoked had only increased my obscurity by their multiplicity1 and ,i saw nothing in all these remarks but a series of contradictions whence it seemed impossible to deduce anything but confusion1 into which ,i found myself plunged4 ,but was this confusion really in the facts which ,i examined1 or was it not rather the creation of my own mind8 ,now1 in the matter of principle1 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 ignorance4 ,i will not1 then1 here cry mea culpa for myself or for others to justify that ignorance or excuse its confession4 ,it must be acknowledged that ,god knows what ,he does1 and ,his omnipotence is assuredly guiltless of the divagations which an impotent mind finds it convenient to attribute to it4 ,now1 let others in the blindness of proud reason1 forget this truth1 which they contest even by opposing to it the quibbles for which free-thinkers are never at a loss1 and to escape the confusion which they inevitably derive from the ill-studied work of the ,supreme ,artist4 ,let them venture to attribute to it their own darkness4 ,for my part1 ,i shall not thereby lose my conviction that all which seems to me disordered or contradictory in the expression of the facts which ,i question1 is only apparent and only exist in my own brain4 ,the profound obscurity into which light plunges us does not prevent the light from being2 and the chaos of ideas which1 most generally1 results from our examination of things1 proves nothing against the harmonies of their constitution4 ,the pebble virtually contains the spark1 but we must know how to produce it4 ,thus the phenomena of nature contain luminous lessons1 but we must know how to make them speak2 and1 what is more1 understand their language4 ,now1 ,i would add1 the spirit of ,god is inherent in all things2 and this spirit should1 at a given moment1 flash its splendors in the eyes of an intellect alike submissive1 attentive1 patient and suppliant4 ,moreover1 does not the ,gospel show us the way to fertilize investigations such as those to which ,i have given my life8 ,does it not say3 ,knock and it shall be opened1 ask and it shall be given8 ,then what must ,i do to find my way out of the maze in which my reason wanders8 ,what must ,i do in presence of the contradictions which nevertheless must needs contain a fecund principle8 ,finally1 what must ,i do in order to see light break from the very heart of those obscurities wherein light is lost8 ,i will seek anew1 night and day1 if needful2 ,i will knock incessantly at the door of the facts which ,i desire to examine4 ,i will descend into the secret depths of their organism2 there ,i will patiently question every phenomenon1 every organ1 and ,i will entreat their ,author to divulge to me their purpose1 their relations and their very object4 ,well6 ,it is thus that those men1 proud of their vain knowledge1 were made dizzy by the splendor of that same light which they thought that they could subject to their investigations1 and the blindness which has fallen upon them is the punishment which ,god is content to inflict upon them in this world4 ,having said this1 where was ,i in my investigations8 ,ah6 it was here4 ,the memory of the high inflections invariably affected by the women whom ,i had seen on the previous day1 caressing their infants1 struck me with the more force that ,i had learned from my masters that law which had hitherto ruled uncontested1 and now underwent a refutation which demonstrated the falsity of its applications with a clearness and minuteness which left no room for doubt4 ,the examples in virtue of which ,i saw the errors of my masters1 unanimously proclaimed the tenuity of the voice to be in proportion to its acuteness4 ,now this formula is1 in letter as in spirit1 the reverse of the prescription upon which1 by a caprice whose cause ,i have just explained1 all the masters of art agree4 ,i then perceived that my first affirmations were no better founded than those of the masters1 whose theories ,i had attacked4 ,the truth of the matter is that ascending progressions may arise from opposite shades of meaning4 ,therefore1 said ,i to myself1 it is equally inadmissible to exclude either affirmation4 ,the law is necessarily complex3 let us bring together1 that we may seize them as a whole1 both the contrary expressions and the circumstances which produce them4 ,vulgar and uncultured people1 as well as children1 seem to act in regard to an ascensional vocal progression in an inverse sense to well-educated1 or1 at any rate1 affectionate persons1 such as mothers1 fond nurses1 etc4 ,no example has1 to my knowledge1 contradicted this remark4 ,but why this difference8 ,what are its motive causes8 ,ha6 ,i cried1 as if struck by lightning1 ,i've found the law6 ,as with the movements of the head1 sensuality and tenderness1 these shades of the voice may be traced back to two distinct sources3 sentiment and passion4 ,it is sentiment which ,i have seen revealed in mothers2 it is passion which we find in uncultured persons4 ,sentiment and passion1 then1 proceed in an inverse way4 ,passion strengthens the voice in proportion as it rises1 and sentiment1 on the contrary1 softens it in due ratio to its intensity4 ,it was the confusion of these different sources which caused a momentary obscurity in my understanding4 ,let us now formulate boldly the law of vocal proportions4 ,given a rising form1 such as the ascending scale1 there will be intensitive progression when this form should express passion 7whether impulse1 excitement or vehemence74 ,there will be1 on the other hand1 a diminution of intensity where this same form should express sentiment4 ,this law even seems regulated by a quantitative expression1 the form of which appeared to me like a flash of light4 ,this is the formula3 ,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 sounds1 which become softened in proportion as they rise4 ,under the influence of passion1 on the contrary1 the voice rises1 with a corresponding brilliancy1 in proportion to the magnitude of the thing it would express1 and becomes lowered to express smallness or meanness4 ,thus an ascending scale being given1 it must be considered as a double scale of proportion1 agreeing alternately with an increasing or decreasing intensitive progression1 increasing under the influence of passion and decreasing under the influence of sentiment4 ,thus we would not use the same tones for the words3 ,oh1 what a pretty little girl6 ,what a lovely little flower6 and3 ,see that nice1 fat peasant woman6 ,what a comfortable great house6 ,by such formulae as these ,i was able to sum up1 in clear and didactic form1 the multifarious examples suggested by my memory1 startled at first by their contradiction and then delighted at the light thrown upon them by these very formulae1 due1 not to my own merit1 but to the favor of ,him who holds in ,his hand the source of all truth4 ,thus1 ,i feel and readily acknowledge1 that the discovery upon which ,i am at work is not my own work2 and1 therefore1 ,i pray for it as for a signal favor4 ,nor can it be otherwise with any man4 ,it is1 therefore1 always an impertinence for any man to attribute to his personal genius1 vast as he may suppose it to be1 the discovery of any law4 ,god alone discloses ,his treasures1 and1 as ,i have experienced1 ,he only reveals them to the eye of reason raised by humility to contemplation4 ,man seeks that which he desires to know with attention and patience proportioned to the ardor of his desire4 ,the attention of which his mind is capable and the constancy of will brought to bear in pursuit of his research1 constitute his only mark of distinction4 ,herein lies all the merit to which he can lay just claim4 ,but at a moment absolutely unforeseen1 ,god reveals to him that which he seeks1 ,i should say that for which he does not seek1 and for his due edification it is generally the opposite of what he seeks which is revealed to him4 ,this is not to be contested4 ,thus the things discovered to him cause him such surprise that he never fails to beat his brow when he sees them1 as if to prove that he is not the author of their discovery1 and that he was far from foreseeing anything like what has been shown to him2 and that there may be no possible mistake in the interpretation of the gesture1 he invariably accompanies it by the phrase3 ,what a fool ,i am6 ,all will admit that if a man really believed himself the author of his discovery1 he takes a very inopportune time to declare his impotence and his stupidity so distinctly4 ,but taking none too kindly his avowal which1 moreover1 is but the proclamation of an indisputable truth1 let us rather say that this act of humility is forced from him by the greatness of his surprise4 ,happy1 very happy is the man whose pride does not instantly react against the humble and truthful confession of his folly4 ,ever since ,i made these remarks ,i have asked myself the cause of the sterility of the learned bodies1 and ,i do not hesitate to say to-day1 that it is because scientists refuse to declare themselves fools1 and it is to this lack of sincerity that they doubtless owe the punishment that paralyzes their genius4 ,how can these men fail to take seriously the little knowledge to which they cling and their fortune and renown2 how can these wise men1 to whom the world pays incessant homage1 consent meekly to confess the infirmity of their reason8 ,they feign1 on the contrary1 even when crushed beneath the ,divine splendor1 an air of great importance2 and when the ,omnipotent in ,his mercy deigns to bend to their low level1 to lay open to them the treasures of ,his sovereign thought1 do you think that in token of the sacred and respectful admiration which they owe in return for such goodness1 they will prostrate themselves like the ,seraphim whose knowledge assuredly equals the few notions which they adorn with that title8 ,ah6 far from it4 ,you little know these scientists1 when you impute to them an act which they would qualify as contemptible and would declare unworthy of a free-thinker6 ,they stand erect1 on the contrary1 with head held high1 insolently laying claim1 by virtue of ,i know not what conquest of the human mind1 to judge the eternal and immovable light of the ,divine ,reason4 ,episode ,,iv4 ,my retrospective journey from this point of departure seemed destined to be even more full of observations than that which preceded it4 ,my day had been so full of work1 so fruitful in unexpected discoveries1 that it was absolutely necessary for me to stop at this first station4 ,after a few days of rest ,i naturally resumed my walk1 toward the garden of the ,tuileries1 whither ,i was led by an instinct full of promise4 ,there1 in fact1 fresh re-appearances were not long in adding light to that with which ,i was still dazzled6 ,i remember that ,i had been vaguely struck by the contemplative attitude of a mother toward her child4 ,the reason why this attitude struck me even in the midst of my absorption in search of notes relative to the thumb1 was1 first1 because this attitude was a contrast to that assumed by most of the nurses under the action of the same feeling2 and1 in the next place1 it seemed to deny the contemplative forms which ,i had deduced from my first discovery1 and which rested upon such motives as the following3 ,that a painter admires his work by throwing back his head4 ,hitherto it had seemed to me clearly proven that admiring contemplation entailed this retroaction4 ,i considered this1 it will be remembered1 the characteristic feature of a law1 and that for the reasons which ,i had previously given4 ,well6 were all these reasons1 plausible as they appeared1 to be contradicted by a single fact still present to my memory1 in spite of the observations in the midst of which it arose1 and which1 moreover1 should have been more than enough to efface it8 ,strange to say1 this fact vaguely noted amidst preoeccupations to which it seemed absolutely foreign1 had remained persistently in my mind6 ,now this fact1 becoming by a reflex act the object of serious thought1 resulted from this observation3 ,that a woman1 as she contemplated her child1 bent her head toward it4 ,searching in my memory1 ,i found several similar instances completely confirming this principle1 opposed to my observations1 that contemplation tends to push the head toward the object contemplated4 ,and yet this example does not affect those to which ,i had at first paid exclusive heed4 ,here1 as in the preceding remarks1 the law is complex1 and it must first be recognized that contemplation or simple admiration is produced alike by the retreat or advance of the head4 ,this double action being admitted1 it remained to decide how far they might be mingled in a single situation2 that is to say1 to what point these two inverse inclinations might be produced indifferently2 and if1 as ,i must a priori suppose1 these inclinations recognized two distinct causes4 ,if so1 what were those reasons8 ,the question was not easy of solution1 and yet it must be decided definitely4 ,i could enjoy no peace until ,i had answered it4 ,the doubt instilled into my mind by this new contradiction was intolerable4 ,i set boldly to work1 determined not to pause until ,i had found a final solution4 ,i called to mind all my memories having any bearing on this double phenomenon4 ,these memories were far more numerous and far more striking than ,i had dared to hope4 ,what a magnificent thing are those mysterious reservoirs whence1 at a given moment1 flow thousands of pictures which until then we knew not that we possessed8 ,a whole world of prostrate believers adoringly turning their heads toward the object of their worship1 appeared before me to support the example afforded me by the mother lovingly bending her head toward the child at which she gazed4 ,among other instances1 ,i saw a venerable master affectionately bending his head toward the being to whom he thus seemed with touching predilection to give luminous instructions4 ,i saw lovers gazing at their loved one with this attractive pose of the head1 their tenderness seeming thus to be eloquently affirmed4 ,but1 side by side with these examples1 ,i saw others totally opposite2 thus1 other lovers presented themselves to my mind's eye with very different aspect1 and their number seemed far greater than that of the other4 ,these lovers delighted to gaze at their sweetheart as painters study their work1 with head thrown back4 ,i saw mothers and many nurses gazing at children with this same retroactive movement which stamped their gaze with a certain expression of satisfied pride1 generally to be noted in those who carried a nursling distinguished for its beauty or the elegance of its clothes4 ,two words1 as important as they are opposite in the sense that they determine1 are disengaged3 sensuality and tenderness4 ,such are the sources to which we must refer the attitudes assumed by the head on sight of the object considered4 ,between these inverse attitudes a third should naturally be placed4 ,it was easy for me to characterize this latter3 ,i called it colorless or indifferent4 ,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 it1 should simply look it in the face until that object had aroused the innermost movements of the soul or of the life4 ,whence it invariably follows that from the incitement of these movements1 the head is bent to the side of the soul or to the side of the senses4 ,which is1 then1 for the head1 the side of the soul1 you will ask me1 and which the side of the senses8 ,i will reply simply1 to cut short the useless description of the many drawbacks that preceded the clear demonstration that ,i finally established1 that the side of the heart is the objective side that occupies the interlocutor1 and that the side of the senses is the subjective1 personal side toward which the head retroacts2 that is to say1 the side opposed to the object under examination4 ,thus1 when the head moves in an inverse direction from the object that it examines1 it is from a selfish standpoint2 and when the examiner bends toward the object it is in contempt of self that the object is viewed4 ,these are the two related looks that ,i have named ,sensuality and ,tenderness1 for these reasons3 ,the former of these glances is addressed exclusively to the form of its object2 it caresses the periphery of it1 and1 the better to appreciate its totality1 moves away from it4 ,this is what occurs in the retroactive attitude of the head4 ,the other look1 on the contrary1 aims at the heart of things without pausing on the surface1 disdaining all that is external4 ,it strives to penetrate the object to its very essence1 as if to unite itself more closely within it2 it has the expression of confidence1 of faith--in a word1 the giving up of self4 ,thus1 when a man presses a woman's hand1 we may affirm one of three things from the attitude which his head assumes3 #a4 ,that he does not love her1 if his head remains straight or simply bent in facing her4 #b4 ,that he loves her tenderly1 if he bows his head obliquely toward her4 #c4 ,finally1 that he loves her sensually--that is to say1 solely for her physical qualities--if1 on looking at her1 he moves his head toward the shoulder which is opposite her4 ,such are1 in brief1 the three attitudes of the head and the eyes1 which ,i have named colorless1 affectional1 sensual4 ,henceforth ,i possessed completely the law of the inclinations of the head1 a law which derives from its very complexity the fertility of its applications4 ,episode ,v4 ,semeiotics of ,the ,shoulder4 ,when ,i found myself the possessor of this law whose triple formula is of a nature to defy every objection1 ,i sought to appropriate to myself1 before the mirror1 all its applications4 ,but there arose yet another difficulty that ,i had not foreseen4 ,i1 indeed1 reproduced1 and at the proper time1 the movements of the head already described1 but they remained awkward and lifeless4 ,what was the cause of this awkwardness and coldness of which ,i was well aware1 but which ,i could not help8 ,i strove unceasingly to reproduce the examples that lived so vividly in my memory1 but all these laborious reproductions1 these efforts from memory1 were futile4 ,the stubbornness of an indomitable will1 however1 led only to a negative result4 ,i was vexed at an awkwardness the reason of which ,i could not find4 ,one day1 almost discouraged by the lack of success in my researches1 ,i sorrowfully said to myself3 ,what shall ,i do8 ,alas6 the more ,i labor1 the less clearly ,i see2 am ,i incapable of reproducing nature--is the difficulty that holds me back invincible8 ,as ,i uttered the preceding words1 ,i noticed that1 under the sway of the grief which dictated them1 my shoulders were strangely lifted up1 and1 as then ,i found myself in the attitude which ,i had previously tried to render natural1 the unexpected movement of my shoulders1 joined to that attitude1 suddenly impressed it with an expression of life so just1 so true1 so surprising1 that ,i was overwhelmed4 ,thus ,i gained possession of an aesthetic fact of the first rank1 and ,i was as amazed at my discovery as ,i was surprised that ,i had not observed sooner a self-evident movement1 whose powerful and expressive character seems fundamentally connected with the actions of the head4 ,how stupid ,i am1 ,i thought1 not to have remarked so evident an action of an agent which leads the head itself4 ,how could ,i let this movement of the shoulder escape me6 ,and ,i revelled in the pleasurable triumph of reproducing and contemplating expressions which ,i could not have rendered previously without dishonoring them4 ,thenceforth ,i understood without a doubt all the importance of this latest discovery4 ,but this importance1 clearly proven as it was1 was not yet fully explained to me4 ,thus1 ,i knew henceforth the necessity for movements of the shoulder1 but ,i was still ignorant of their motive cause2 and ,i was reluctant to be longer ignorant4 ,i foresaw a concomitance of relations between this movement of the shoulder and the expression of the head4 ,the shoulder1 then1 became1 in its turn1 the chief object of my studies1 and ,i gained therefrom clear and indisputable principles4 ,in this way ,i managed to form the bases of my discovery4 ,the mothers whom ,i had seen bending their heads over the children on whom they gazed1 thus revealed something unreserved and touching2 and in my ignorance the important part which the shoulder played in the attitude had escaped me4 ,it was indeed from the action of the shoulder1 even more than from the inclination of the head1 that this expression of tenderness1 so touching to behold1 proceeded4 ,the head1 in such a case1 accordingly receives its greatest sum of expression from the shoulder4 ,that is a fact to be noted4 ,for instance1 let a head--however loving we may suppose it to be intrinsically--bend toward the object of its contemplation1 and let the shoulder not be lifted1 that head will plainly lack an air of vitality and warm sincerity without which it cannot persuade us4 ,it will lack that irresistible character of intensity which1 in itself1 supposes love2 in brief1 it will be lacking in love4 ,then1 ,i said1 ,i have found in the shoulder the agent1 the centre of the manifestations of love4 ,yes1 if in pressing a friend's hand ,i raise my shoulders1 ,i shall thereby eloquently demonstrate all the affection with which he inspires me4 ,if in looking at a woman ,i clasp my hands and at the same time raise my shoulders1 there is no longer any doubt as to the feeling that attaches me to her1 and instinctively every one will say3 ,he loves her truly2 but if1 preserving the same attitude in the same situation1 the same facial expression1 the same movement of the head1 ,i happen to withhold the action of the shoulder1 instantly all love will disappear from my expression and nothing will be left to that attitude but a sentiment vague and cold as falsehood4 ,once more1 then1 the inclinations of the head whose law ,i have previously determined1 seem1 to owe to the shoulder alone the affectionate meaning that they express2 but the head--as ,i have said1--in its double inclination1 characterizes two kinds of love 7or rather two sources of love7 which are not to be confounded3 sensuality and tenderness4 ,what part1 then1 does the shoulder play in regard to this distinction8 ,it will be curious to determine this point4 ,let us see6 ,the part played by the shoulder is considerable in tenderness2 that is not to be doubted4 ,but its role seems to be less in sensuality4 ,thus the shoulder generally rises less when the head retroacts than when it advances toward the object of its contemplation4 ,why is this8 ,is it because sensuality pertains less to love than tenderness8 ,has it not the same title to rank as one of the aspects of love8 ,in a word1 why is less demand made upon the shoulder in one instance than in the other8 ,if ,i do not mistake1 the reason is this3 love gives more than it lays claim to receive1 while sensuality asks continually and seeks merely the possession of its object4 ,love understands and loves sacrifice2 it pervades the whole being2 it inspires it to bestow its entire self1 and that gift admits of no reserve4 ,sensuality1 on the contrary1 is essentially selfish2 far from giving itself1 it pretends to appropriate and absorb in itself the object of its desires4 ,sensuality is1 so to speak1 but a distorted1 narrow and localized love2 the body is the object of its contemplation1 and it sensuality sees nothing beyond the possession of the object4 ,but love does not stop at the body--that would be its tomb2 it crosses the limits of it1 to rise to the soul in which it is utterly absorbed4 ,thus love transfigures the being by consuming its personality1 whence it comes that he who loves1 no longer lives his own life1 but the life of the being whom he contemplates4 ,let the vulgar continually confound these two things in their manifestations2 let lovers themselves fail to distinguish accurately between tenderness and sensuality2 for me this confusion is henceforth forbidden1 and ,i can from the first glance boldly separate them1 thanks to the lessons taught me by the inflections of the head4 ,but let us return to the shoulder4 ,am ,i not right in saying that in this agent ,i possess the organic criterion of love8 ,yes1 ,i maintain it4 ,but let us follow the action of this organ in its various manifestations4 ,one thing at first amazed me1 in view of the part which ,i felt ,i must assign to the shoulder4 ,whence comes1 if the designation of that role be in conformity with truth1--whence comes the activity so apparent1 so vehement indeed1 which the shoulder displays in a movement of anger or of mere impatience8 ,whence comes its perfect concomitance or relations with moral or physical pain8 ,lastly1 whence comes that universal application which ,i just now perceived clearly and which1 until now1 ,i had confined to such narrow limits8 ,but if the elevation of the shoulder is not the criterion of love1 if1 on the contrary1 that movement is met with again just as correctly associated with the most contradictory impressions1 what can it mean8 ,here ,i was1 once again1 thrown far back from the discovery that ,i was so sure ,i possessed4 ,it is very fortunate that ,i have been neither an author nor a journalist1 and ,i bless to-day that distrust of self which has saved me from the mania of writing4 ,i highly congratulate myself on the spirit of prudence that has invariably made me reply to whoever pressed me to publish3 ,when ,i am old4 ,age has come1 and it has found me even less disposed to publicity than ever4 ,this work owes its existence solely to the earnest and continual solicitations1 the sometimes severe demands of deep friendship and devotion1 which it was impossible for me to refuse4 ,this book is not1 then1 a spontaneous enterprise on my part2 it is the work of friendship4 ,and if this book has any measure of success1 if it accomplishes any good1 it may be traced back to and acknowledged as rising from the never-failing encouragement of my old friend ,brucker4 ,let us return1 now1 to where ,i was in my researches4 ,it remains1 then1 for me to specify the true meaning of the shoulders in the expression of the passions4 ,their intervention in all forms of emotion being proven to me1 it would seem that the very frequency of that intervention should exclude the possibility of assigning any particular role to this agent4 ,fancy my perplexity1 placed face to face with an organ infinitely expressive1 but whose physiognomy is mingled promiscuously with every sentiment and every passion6 ,how1 then1 are we to characterize the shoulder8 ,what name shall we give to its dominant role8 ,how specify that supreme power outside of which all expression ceases to exist8 ,is it allowable for me to call it neutral8 ,and if the universal application of that agent apparently authorizes that appellation up to a certain point1 whence comes its importance8 ,whence the empire that it exerts over the aspect of its congeners8 ,is it admissible for a neutral agent to exert so much action upon the totality of the forces to which it is allied8 ,assuredly not6 ,the word neutral1 moreover1 excludes the idea of action1 and even more strongly that of predominant action which belongs surpassingly to the shoulder4 ,truly1 here was a treasure-house for me4 ,it was1 as they say1 to give speech to the dogs4 ,this new difficulty only increased the determination with which ,i had pursued my researches2 and with the confidence arising from the fact that no obstacle had yet conquered me1 ,i said to myself that the solution of this problem would be due to my perseverance4 ,i could not1 in view of the importance of its expression1 consider the shoulder as a neutral agent4 ,after spending a long time in vain study1 ,i was on the point of giving up as insoluble the problem that ,i had set myself4 ,let us see by what simple means ,i obtained the solution4 ,how much trouble and pains one will sometimes give himself in looking for spectacles that are on his nose6 ,the shoulder1 in every man who is moved or agitated1 rises sensibly1 his will playing no part in the ascension2 the successive developments of this involuntary act are in absolute proportion to the passional intensity whose numeric measure they form2 the shoulder may1 therefore1 be fitly called the thermometer of the sensibility4 ,thermometer1 ,i cried1 there is an excellent word1 strikingly correct4 ,but have ,i not1 in pronouncing it1 simply and naturally characterized the role that ,i am striving to define8 ,thermometer of the sensibility6 ,is not that the solution of the enigma8 ,thermometer2 yes1 that is it6 ,that is the very expression to give to my researches1 an expression without which nothing could be explained4 ,that1 indeed1 answers to everything1 and makes the difficulties against which my reason struggled disappear4 ,the shoulder is1 in fact1 precisely the thermometer of passion as well as of sensibility2 it is the measure of their vehemence2 it determines their degree of heat and intensity4 ,however1 it does not specify their nature1 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 instrument1 the complement of the thermometer--the barometer4 ,the parallel is absolute1 perfect4 ,let us examine this point3 ,the shoulder1 in rising1 is not called upon to teach us whether the source of the heat or vehemence which mark it1 arise from love or hate4 ,this specification does not lie within its province2 it belongs entirely to the face1 which is to the shoulder what the barometer is to the thermometer4 ,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 paths4 ,now1 the shoulder is limited1 in its proper domain1 to proving1 first1 that the emotion expressed by the face is or is not true4 ,then1 afterward1 to marking1 with mathematical rigor1 the degree of intensity to which that emotion rises4 ,after having finished the formulation of this principle ,i exultingly exclaimed3 ,god be praised6 ,i now possess the semeiotics of the shoulder1 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 feeling4 ,thus1 a word suggested by chance became my ,archimedean lever4 ,the word1 like a flash of light1 flooded my mind with radiance which suddenly revealed to me the numerous and fertile applications of a principle hitherto unknown4 ,yes1 ,i henceforth possessed an aesthetic principle of the utmost value1 the consequences of which1 ,i could readily see1 were as novel as they were profound4 ,episode ,,vi4 ,first ,objection to the ,thermometric ,system of the ,shoulder4 ,the innate aesthetic principle of the semeiotics of the shoulder was at last clearly demonstrated to me1 and no more doubt or uncertainty upon that point seemed to me possible4 ,i might safely formulate the following rule3 ,when a man says to you in interjective form3 ,i love1 ,i suffer1 ,i am delighted1 etc41 do not believe him if his shoulder remains in a normal attitude4 ,do not believe him1 no matter what expression his face may assume4 ,do not believe him--he lies2 his shoulder denies his words4 ,that negative form betrays his thoughts2 and1 if he expresses ardent passion1 you have merely to consult the thermometer which1 all unwittingly1 he himself offers to your inspection4 ,see1 it marks zero6 therefore he lies2 doubt it not1 he lies6 but his shoulder does not lie4 ,he amiably puts it at your disposal--read1 read at your ease2 it bears inscribed in living letters his deceit and craft4 ,it can never cheat you1 and when the gentleman accosts you with such words as3 ,dear friend6 how charmed ,i am to see you6 say to yourself as you look at his thermometer3 ,traitor1 your delight as well as your friendship is below zero6 ,you try to deceive me1 but in vain2 henceforth you have no secrets from me1 clumsy forger6 ,you do not see1 as with one hand you proffer the false jewel which you would sell me1 that the other at the same instant gives me the touch-stone which reveals your tricks2 your right hand thus incessantly exposing to me the secrets of your left hand6 ,what an admirable thing is this mechanism of the body working in the service of the soul6 ,with what precision it reveals the least movements of its master6 ,what magnificent things it lays bare6 ,voluntarily or involuntarily1 everything leads to truth under the action of the translucid light which breaks forth in the working of each of our organs6 ,and yet1 well founded as the preceding theory may be1 solid as are the bases upon which it rests1 is it free from any and all objection8 ,may not some oppose to it1 for instance1 the impassibility of men and women of the world1 among whom it would be difficult to find the movements of the shoulder1 which such people deem so ungraceful in others as to deprive them of all desire to imitate them8 ,now what conclusions are we to draw from the absence of this movement in those who are known as aristocrats8 ,must we tax them all indiscriminately with falsehood8 ,here ,i might1 and without hesitation1 answer by the affirmation1 ,yes1 all aristocrats lie6 ,the medium which they constitute and which is called the world is nothing but a perpetual lie4 ,civility itself rests upon a lie4 ,nay1 more1 it insists upon deceit as a duty4 ,heavens1 what would become of the world if truth were a necessity6 ,quarter of an hour of sincerity would be intolerable2 444 the inhabitants would slay each other6 ,in the world people display their feelings1 even the most avowable1 with great reserve2 this prudence1 which paralyzes the very springs of sensitive life1 seems as if it needs must neutralize the role which ,i attribute to the shoulder2 and yet1 in spite of contrary appearances1 ,i deny that the thermometric action of the shoulder undergoes the least alteration in the aristocratic world2 ,i deny explicitly that this agent proves less expressive and1 above all1 less truthful there than in the street2 and that for the following reasons3 ,in the first place1 we cannot reasonably suppose very ardent passions in men who are enervated by the perpetual influence of an artificial society4 ,now1 here the stationary condition of the thermometer is explained3 it proves absolutely nothing against the truth of the reports2 it remains at zero to mark a colorless medium totally destitute of vitality4 ,the shoulder would violate its law if it were to rise under such circumstances4 ,it is1 therefore1 perfectly in character here2 it should be1 a priori1 impassive in a negative society4 ,but is the shoulder really impassive in that medium which we call society8 ,yes1 in the eyes of people who are not of it1 and who1 from that very fact1 cannot understand the value of certain expressions which are almost imperceptible2 no1 to those who constitute that special world of relations called superior4 ,how many things1 in fact1 the shoulder reveals by those slight changes unseen by ignorant persons1 and expressing particularly the delicate and exquisite charm of spiritual relations6 ,it is the law of infinitesimal quantities1 of those scarcely perceptible movements or sensations that characterize the finer relations of people of culture1 of eloquence1 of grace1 and of refined tastes4 ,it should be borne in mind1 as ,i have already shown1 that the manifestations of the shoulder in the street by no means accord with those of people ruled by the fashions of society4 ,there is very little harmony or relation between the exquisite joints of a refined nature1 the swift and flexible movements of an elegant organism1 and the evolutions clumsily executed by torpid limbs1 ankylosed1 as it were1 by labor at once hard and constant ,this observation logically led me to an important conclusion1 namely1 that the value or importance of a standard is deduced expressly from the nature of the being1 or the object to which it is applied4 ,of what value1 for instance1 could a millimeter be when added to the stature of a man8 ,that same millimeter1 however1 would acquire a colossal value when added to the proportions of a flea4 ,it would form a striking monstrosity4 ,an imperceptible fraction may1 in certain cases1 constitute an enormity4 ,again1 the value of a standard1 not the specific or numerical value which is an invariable basis1 but the relative or moral value1 must be deduced from the importance of the medium to which it applies4 ,for instance3 ,five hundred men constitute a very good army in the midst of a peaceful population2 and this handful of soldiers exerts1 indeed1 more moral power than the multitudes restrained under their government4 ,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 crowd4 ,the traveler1 detained by the winter in the polar regions1 finds that he is warm and takes pleasure in the discovery1 though at the time the thermometer marks #aj degrees below zero4 ,the atmosphere of a cave that we find warm in winter seems to us1 without being modified in the least1 of an icy coldness in summer4 ,the large quantity of alcohol that laboring people consume would ruin the health of less strongly constituted persons4 ,to conclude1 then1 these examples prove beyond dispute that one can only appreciate the importance of an act when he takes into account the nature of its agents1 and that without these considerations he will be obliged to give up immediately all serious estimation of these manifestations4 ,here ,i touch1 it seems to me1 a law of harmony1 a curious law that ,i wish to examine incidentally4 ,i shall1 then1 occupy myself with the objections that may1 perhaps1 be opposed even yet to the thermometric system of the shoulder ,episode ,,vii4 ,the foregoing study has1 as it seems1 established an important fact1 namely1 that among the various classes of men which make up society there is no common standard of measure4 ,it1 therefore1 appears impossible1 at first sight1 to establish a harmonious scale of relations between so many various circles4 ,however1 if these circles1 whatever their differences may be1 were specified and sufficiently known2 if ,i could1 for example1 judge a priori of the style and mode of activity adapted to each class of society2 in a word1 if it were possible for me to characterize each of its classes dynamically1 should ,i not succeed in ascertaining a proportionate gamut or scale among them1 and thereby should ,i not be enabled securely to apply the principles established above8 ,let us say1 to begin with1 that if each social sphere affects a determinate character in the intensity of its passional evolutions1 it has1 in consequence1 its special gamut2 then1 as many spheres as there are1 so many gamuts must there be4 ,now1 all these gamuts taken together must form a scale of proportion in virtue of which they may be characterized4 ,that is obvious4 ,but the difficulty is to prove the mode or first tonality of these gamuts4 ,how are we to set to work8 ,i cut short1 for the clearness of my demonstrations1 the recital of the events through which ,i have been obliged to pass before realizing even my earliest observations4 ,i shall set forth1 plainly and simply1 the final result of my studies2 and it will be seen1 in spite of the many difficulties that may arise1 with what absolute certainty the principles ,i have established can be applied4 ,what ,i ,propose4 ,i propose a great1 a worthy subject for your study4 ,at those oratorical sessions which are rapidly increasing under the name of conferences1 sessions at which so many distinguished men take the floor1 you have been told in elegant terms1 often in eloquent terms1 of the sciences1 of their application and of their progress4 ,you have listened to discourses upon art1 its primitive purity1 its supposed principles1 its decadence1 its renaissance1 its multifarious changes2 its masterpieces have been pointed out to you2 they have been described to you2 you have1 in some degree1 been made familiar with their origin4 ,you have heard the story of the lives of the great artists4 ,they have been shown to you in their weakness and in their strength4 ,the times and manners amid which they lived have been painted for you in more or less imaginary colors4 ,i propose something better than all this4 ,i offer you a work superior even to those sciences which have been described to you2 superior to all which the genius of a ,michael ,angelo or a ,raphael could conceive2 a work in comparison with which all the magnificences of science and of art must pale4 ,i propose that you should contemplate yourselves6 ,nothing is so unfamiliar to man as himself4 ,i will1 therefore1 as ,i have promised1 show you the marvels which ,god himself has placed within you1 in the transluminous obscurities of your being4 ,now1 if there be more science1 more genius in the production of a violet or a worm than is revealed by all the combined powers of science and of art1 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 image6 ,but a light inaccessible to the vain demonstrations of your sciences constantly removes this mysterious image from your gaze4 ,as light eludes the eye which it illumines1 if we would seize and contemplate it1 we must have two things3 we must have a special and a supernatural object4 ,there must be light within you1 and it must pierce the depths wherein that image dwells4 ,here there is no question of the light which shines to show us the things of the natural world by which we are surrounded4 ,nor is it a question of the intellectual light sometimes visible to scholars4 ,i speak of that light which is hidden from those very scholars because their eyes could not bear its lustre1 a transluminous light which fills the soul with beatific visions1 and of which it is said that ,god wraps it about ,him as a mantle4 ,now1 three worlds1 of the nature of which man partakes1 are offered for our contemplation4 ,these three worlds are3 ,the natural1 the intellectual1 and the supernatural4 ,three sorts of vision have been given man to initiate him into these three worlds4 ,these different forms of vision are3 ,direct1 inward and higher4 ,by means of direct vision man is made acquainted with the world of nature2 by inward vision he is shown the world of science2 and1 lastly1 by higher vision he sees the world of grace4 ,but as there can be no vision where no light penetrates1 it follows that between the three kinds of vision described and the corresponding worlds there must intervene three sorts of light1 in order to produce the triple vision necessary for the knowledge of man3 ,direct vision--sidereal light--natural world4 ,inward vision--the light of tradition--the world of science4 ,higher vision--revealed light--supernatural world4 ,such are the conditions necessary for the understanding of my demonstrations4 ,having prepared your eye for the vision of these three worlds which serve as the bases of art1 ,i shall1 then1 reveal to you their splendors2 happy if1 thus1 ,i can help to make you bless the author of so many marvels1 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 body4 ,the ,beautiful ,beauty is that reason itself which presides at the creation of things4 ,it is the invincible power which attracts and subjugates us in it4 ,the ,beautiful admits of three characters1 which we distinguish under the titles of ideal beauty1 moral beauty1 plastic beauty4 ,plato defined ideal beauty when he said3 ,beauty is the splendor of truth4 ,st4 ,augustine said of moral beauty that it is the splendor of goodness4 ,i define plastic beauty as the plastic manifestation of truth and goodness4 ,in so far as it responds to the particular type in accordance with which it is formed1 every creature bears the crown of beauty2 because in its correspondence with its type it manifests1 according to its capacity1 the ,divine ,being who created it4 ,the ,beautiful is an absolute principle2 it is the essence of beings1 the life of their functions4 ,beauty is a consequence1 an effect1 a form of the ,beautiful4 ,it results from the attractions of the form4 ,the attraction of the form comes from the nobility of the function4 ,this is why all functions not being equally noble1 all do not admit of beauty4 ,the characteristic of beauty is to be amiable2 consequently a thing is ugly only in view of the amiable things which we seek in beauty4 ,beauty is to the ,beautiful what the individual reason is to the ,divine reason of things4 ,human reason is but one ray of a vast orb called the reason of things1--,divine reason4 ,let us say of beauty what we have said of the individual reason1 and we shall understand how the ,beautiful is to be distintinguished from it4 ,beauty is one ray of the ,beautiful4 ,beauty is the expression of the object for which the thing is4 ,it is the stamp of its functions4 ,it is the transparency of the aptitudes of the agent and the radiance of the faculties which it governs4 ,it is the order which results from the dynamic disposition of forms operated in view of the function4 ,beauty is based on three conditions3 ,clearness1 integrity and due proportion4 ,beauty exists in the practical knowledge of the tendencies affected by the form in view of the object for which it is2 in view1 above all1 of the action which it exerts upon the beings with whom it is in relation4 ,thus a thing is not only beautiful from the transparency of its aptitudes1 it is especially so from the beauty of the acts which its use determines abroad4 ,this is the reason why beauty is to all creatures an object of appetency1 of desire and of love4 ,trinity4 ,there is a mystery full of deep instruction1 a mystery whose divine obscurities surpass all the light whose splendors dazzle us by their supernatural clarity1 and which1 as a great saint once said1 radiates splendid beams and floods with the glory of its fires those spirits who are blind with the blindness of holiness4 ,this mystery1 outside of which all is to man dark and incomprehensible1 illuminates everything and explains it in the sense that it is the cause1 the principle and the end of all things4 ,this dazzling mystery is the universal criterion of all truth2 it is the science of sciences1 which is self-defining and whose name is ,trinity4 ,here we foresee an objection to which we must first reply4 ,some will be surprised that a system declared to be infallible should rest upon a mystery2 they will ask what a mystery can have to do with a purely didactic question4 ,patience6 ,you shall see that it cannot be otherwise4 ,nothing is more evident than light1 yet light is a mystery1 the most obscure of all mysteries4 ,thus light escapes the eye and it does not see that by means of which it sees4 ,now1 if light is a mystery1 why should not mystery be a light8 ,let us see first what the church teaches us in regard to this mystery4 ,god is a word which serves as a pretext for every ,utopia1 for every illusion and for every human folly4 ,the ,trinity is the express refutation of all these stupidities2 it is their remedy1 corrective and preservative4 ,deprive me of the ,trinity and ,i can no longer understand aught of ,god4 ,all becomes dark and obscure to me1 and ,i have no longer a rational motive for hope4 ,the ,trinity1 the hypostatical basis of beings and things1 is the reflection of the ,divine ,majesty in its work4 ,it is1 as it were1 a reflection upon us of its own light4 ,the ,trinity is our guide in the applied sciences of which it is at once the solution and the enigma4 ,the ,trinity is manifest in the smallest divisions of the ,divine work1 and is to be regarded as the most fertile means of scientific investigation2 for if it is at once the cause1 the principle and the end of all science1 it is its infallible criterion and we must start from it as an immovable axiom4 ,every truth is triangular1 and no demonstration responds to its object save in virtue of a triply triple formula4 ,theory of ,processional ,relations2 or of the ,connection between ,principiants and ,principiates4 ,,theorem4 ,each term in the ,trinity is characterized processionally by the arrangement of the relations which unite it to its congeners4 ,we will represent the nature of these relations by an arrow1 the head of which starts from the principiant1 touching with its point the principiate4 ,example4 ,principiant terms --------------- ,principiate terms ,this established1 let us see by what sort of relations we are to distinguish the persons in the ,trinity represented by #a1 #b and #c4 #a4 ,the ,father--a term exclusively principiant1 giving the mission and not receiving it4 #b4 ,the ,son--a term both principiant and principiate1 receiving and giving the mission4 #c4 ,the ,holy ,ghost--a term exclusively principiate1 receiving the mission and not giving it4 ,illustration ,,typical ,,arrangements ,,based ,,on ,,the ,,knowledge ,,of ,,the ,,processional ,,relations ,,interuniting ,,the ,,persons ,,in ,,the ,,trinity4 #c _/ _/ _/ ,b_/ ,c _/ ,,trinity _/ #a_/ #b --------------- ,a ,illustration ,a4 ,relation of generation starting from the generator1 ending at the engendered 7#b71 expressing by its horizontality the co-equality of the principiant with the principiate4 ,b4 ,relation of spiration starting from the spirator or first principiant #a1 ending at the principiate #c4 ,c4 ,relation of spiration starting from the spirator or second principiant #b1 ending at the principiate #c1 emanated by way of the common spiration of its double principle #a and #b4 ,vicious ,arrangements4 ,reversal of the ,processional ,relations and ,confusion ,which ,leads to ,reversals4 ,these first three examples sin from lack of a necessary relationship1 in default of which the extreme terms cannot be designated4 ,here1 therefore1 the intermediate term alone can be estimated4 #a -------- #b -------- #c ,here the ,son offers the relational characteristics of the ,holy ,ghost4 #a -------- #b -------- #c ,here ,he plays the part of the ,father by the arrangement of ,his relations4 #a -------- #c -------- #b ,here the ,holy ,ghost is evidently out of place1 for ,he indicates relations which belong only to the ,word4 7#a47 ,according to these relations1 the ,holy ,ghost plays the part of the ,son1 and the ,son that of the ,holy ,ghost4 ,illustration #c _/ #a _/ v #a------b 7#b47 ,here all the relations are reversed so that the ,father plays the part of the ,son2 the ,holy ,ghost plays the part of the ,father2 and1 finally1 the ,son that of the ,holy ,ghost4 ,illustration #c _/ _/ #b v v #a------b 7#c47 ,this curious example represents by the identical arrangement of the terms that it brings together1 three ,sons2 that is to say1 the person of the ,son three times over4 ,illustration #c _/ #c _/ v #a------b 7#d47 ,another reversal of the relations1 which derives the ,holy ,ghost from the ,father1 the ,father from the ,son1 and the ,son from the ,holy ,ghost4 ,illustration #c _/ _/ #d v #a------b ,passion ,of ,signs4 ,signs of ,passion4 ,these two terms at first sight seem very similar4 ,it is not so4 ,they express two wholly distinct things4 ,therefore to know the meaning of words by no means proves one capable of finding words and fitting them to the meaning4 ,it is clearly easier to translate a language than to write it1 and just as we must learn to translate before we can compose1 so we must become thoroughly familiar with semeiotics before trying to work at aesthetics2 and1 as the science of semeiotics is still wholly incomplete1 it is1 therefore1 absolutely impossible that that which is called aesthetics should in the least resemble the science which ,i have just defined4 ,i have shown you aesthetics as a science4 ,i have given you its definition4 ,i have fixed its special part in the sum total of knowledge which goes to make up art2 moreover1 ,i have pointed out what this science is intended to teach you4 ,i have1 by so doing1 assumed serious obligations toward you4 ,i must needs produce under this title something more than mere fantastic reflections upon works of art1 or more or less attractive stories about their authors and the circumstances in which they lived4 ,it will not be so amusing1 but assuredly it will be more profitable1 and that is all for which ,i aspire4 ,art1 then1 is an act whose semeiotics characterizes the forms produced by the action of powers1 which action is determined by aesthetics1 and the causes of which are sought out by ontology4 _/ ,ontology examines the constituent virtues of the being4 ,art4 ,a,esthetics examines its powers4 ,semeiotics characterizes its forces4 _/ ,inherent form of sentiments 4 4 4 4 4 4 ,a,esthetics4 ,art4 ,metaphysical form of the principles 4 4 ,ontology4 ,organic form of signs 4 4 4 4 4 4 4 4 4 ,semeiotics4 ,the object of art1 therefore1 is to reproduce1 by the action of a superior principle 7ontology71 the organic signs explained by semeiotics1 and whose fitness is estimated by aesthetics4 ,semeiotics is the science of the organic signs by which aesthetics must study inherent fitness4 ,a,esthetics is the science of the sensitive and passional manifestations which are the object of art1 and whose psychic form it constitutes4 ,if semeiotics does not tell us the passion which the sign reveals1 how can aesthetics indicate to us the sign which it should apply to the passion that it studies8 ,in a word1 how shall the artist translate the passion which he is called upon to express8 ,a,esthetics determines the inherent forms of sentiment in view of the effects whose truth of relation it estimates4 ,semeiotics studies organic forms in view of the sentiment which produces them4 ,it is thus that wisdom and reason proceed in inverse sense from the principle to the knowledge which is the object of both4 ,wisdom1 in fact1 studies the principle in its consequences1 while reason studies the consequences in the principle1 hence it comes that wisdom and reason are often at war with each other2 hence also the obscurity which generally prevails as to the distinction between them4 ,let us say that wisdom and reason are to intelligence what aesthetics and semeiotics are to art4 ,let us add to this parallel that wisdom and reason are to intelligence what aesthetics and semeiotics are to ontology2 that is3-- #a4 ,if1 from a certain organic form1 ,i infer a certain sentiment1 that is ,semeiotics4 #b4 ,if1 from a certain sentiment1 ,i deduce a certain organic form1 that is ,a,esthetics4 #c4 ,if1 after studying the arrangement of an organic form whose inherent fitness ,i am supposed to know1 ,i take possession of that arrangement under the title of methods1 invariably to reproduce that form by substituting my individual will for its inherent cause1 that is ,art4 #d4 ,if ,i determine the initial phenomena under the impulsion of which the inherent powers act upon the organism1 that is ,ontology4 #e4 ,if ,i tell how that organism behaves under the inherent action1 that is ,physiology4 #f4 ,if ,i examine1 one by one1 the agents of that organism1 it is ,anatomy4 #g4 ,if1 amid these different studies1 ,i seek by means of analogy and generalization for light to guide my steps toward my advantage1 that is ,system4 #h4 ,if ,i make that light profitable to my material and spiritual interests1 that is ,reason4 #i4 ,if ,i add to all this the loving contemplation of the ,supreme ,author in ,his work1 that is ,wisdom4 ,let us now leave the abstractions to which you have kindly lent your attention4 ,i cannot here avoid casting a rapid glance at those sources of science and art1 the sources whence ,i desire to draw applications which ,i am assured will interest you as they interest me4 ,may they afford you the same delight6 ,by listening to me thus far you have passed through the proofs requisite for your initiation into science as well as art2 into science1 whose very definition is unknown to the learned bodies1 since they have never studied aught of it but its specialties2 into art1 whose very fundamental basis is unsuspected by the ,school of ,fine ,arts1 as ,i have elsewhere demonstrated4 ,therefore1 ,i now desire in the course of these lectures to set aside the terms of a technology which ,i could not avoid at the outset1 and by the recital of my labors and my researches1 my disappointments and my discoveries1 to show you the painful birth of a science1 whose possession entitles me to the honor of addressing you to-day4 ,definition of ,form4 ,form is the garb of substance4 ,it is the expressive symbol of a mysterious truth4 ,it is the trademark of a hidden virtue4 ,it is the actuality of the being4 ,in a word1 form is the plastic art of the ,ideal4 ,we have to consider three sorts of form3 ,the form assumed by the being at birth and which we will call constitutional form4 ,under the sway of custom forms undergo modifications3 ,we will call these forms habitual forms4 ,then there are the fugitive forms1 modifications of the constitutional form1 which are produced under the sway of passion4 ,these forms1 which we will call accidental1 passional or transitory1 are fugitive as the things which give them birth4 ,on ,distinction and ,vulgarity of ,motion4 ,motion generally has its reaection2 a projected body rebounds and it is this rebound which we call the reaection of the motion4 ,rebounding bodies are agreeable to the eye4 ,lack of elasticity in a body is disagreeable from the fact that lacking suppleness1 it seems as if it must1 in falling1 be broken1 flattened or injured2 in a word1 must lose something of the integrality of its form4 ,it is1 therefore1 the reaection of a body which proves its elasticity1 and which1 by this very quality1 gives us a sort of pleasure in witnessing a fall1 which apart from this reaection could not be other than disagreeable4 ,therefore1 elasticity of dynamic motions is a prime necessity from the point of view of charm4 ,in the vulgar man there is no reaection4 ,in the man of distinction1 on the contrary1 motion is of slight extent and reaection is enormous4 ,reaection is both slow and rapid4 ,gesture4 ,the artist should have three objects3 ,to move1 to interest1 to persuade4 ,he interests by language2 he moves by thought2 he moves1 interests and persuades by gesture4 ,language is the weakest of the three agents4 ,in a matter of the feelings language proves nothing4 ,it has no real value1 save that which is given to it by the preparation of gesture4 ,gesture corresponds to the soul1 to the heart2 language to the life1 to the thought1 to the mind4 ,the life and the mind being subordinate to the heart1 to the soul1 gesture is the chief organic agent4 ,so it has its appropriate character which is persuasion1 and it borrows from the other two agents interest and emotion4 ,it prepares the way1 in fact1 for language and thought2 it goes before them and foretells their coming2 it accentuates them4 ,by its silent eloquence it predisposes1 it guides the listener4 ,it makes him a witness to the secret labor performed by the immanences which are about to burst forth4 ,it flatters him by leading him to feel that he partakes in this preparation by the initiation to which it admits him4 ,it condenses into a single word the powers of the three agents4 ,it represents virtue effective and operative4 ,it assimilates the auxiliaries which surround it1 and reflects the immanence proper to its nature1 the contemplation of its subject deeply seen1 deeply felt4 ,it possesses them synthetically1 fully1 absolutely4 ,artistic gesture is the expression of the physiognomy2 it is transluminous action2 it is the mirror of lasting things4 ,lacordaire1 that spoiled child of the intellect1 spoke magnificently4 ,he interested1 he aroused admiration1 but he did not persuade4 ,his organism was rebellious to gesture4 ,he was the artist of language4 ,ravignan1 inferior intellectually1 prepared his audience by his attitude1 touched them by the general expression of his face1 fascinated them by his gaze4 ,he was the artist of gesture4 ,thus1 if we sing1 let us not forget that the prelude1 the refrain1 is the spiritual expression of the song2 that we must take advantage of this exordium to guide ourselves1 to predispose our hearers in our favor2 that we must point out to them1 must make them foresee by the expression of our face the thought and the words which are to follow2 that1 in fact1 the ravished spectator may be dazzled by a song which he has not yet heard1 but which he divines or thinks that he divines4 ,definition of ,gesture4 7,compare ,delaumosne1 page #dc47 ,gesture is the direct agent of the heart4 ,it is the fit manifestation of feeling4 ,it is the revealer of thought and the commentator upon speech4 ,it is the elliptical expression of language2 it is the justification of the additional meanings of speech4 ,in a word1 it is the spirit of which speech is merely the letter4 ,gesture is parallel to the impression received2 it is1 therefore1 always anterior to speech1 which is but a reflected and subordinate expression4 ,gesture is founded on three bases which give rise to three orders of studies2 that is1 to three sciences1 namely3 ,the static1 the dynamic and the semeiotic4 ,what are these three sciences1 and1 first of all1 what are they in relation to gesture8 ,the semeiotic is its mind2 the dynamic is its soul2 the static is founded on the mutual equilibrium or equipoise of the agents4 ,the dynamic presents the multiple action of three agents2 that is to say1 of the constituent forces of the soul4 ,the semeiotic presents to our scrutiny a triple object for study4 ,it sets forth the cause of the acts produced by the dynamic and the static harmonies4 ,moreover1 it reveals the meaning of the types which form the object of the system4 ,it offers us a knowledge of the formal or constitutional types1 of the fugitive or accidental types1 and1 finally1 of the habitual types4 ,the triple object of the dynamic are the rhythmic1 inflective and harmonic forms4 ,dynamic rhythm is founded upon the important law of mobility1 inversely proportionate to the masses moved4 ,dynamic inflections are produced by three movements3 ,direct movements1 rotary movements and movements of flexion in the arc of a circle4 ,dynamic harmony is founded on the concomitance of the relations existing between all the agents of gesture4 ,this harmony is regulated by three states1 namely3 ,the tonic or eccentric state1 the atonic or concentric state1 and the normal state4 ,it1 therefore1 remains for us to fix the three vital conditions of the static part of gesture4 ,the vital condition of the static is based upon the knowledge of the nine stations4 ,the spirit of the static entails the study of scenic planes which embrace three conditions3 ,the condition of the personage in relation to the scenic centre or to the interlocutor whom he addresses2 in the second place1 his situation2 and1 finally1 the direction assumed by his body in regard to the conditions already indicated4 ,the soul of the static is in the harmonic opposition of the surfaces moved4 ,the most powerful of all gestures is that which affects the spectator without his knowing it4 ,from this statement may be deduced the principle that3 ,outward gesture1 being only the echo of the inward gesture which gave birth to it and rules it1 should be inferior to it in development and should be in some sort diaphanous4 ,attitudes of the ,head4 ,the head1 considered in its three direct poses1 presents three conditions or states4 ,when facing the object contemplated1 it presents the normal state2 bent forward and in the direction of the object1 it presents the concentric state2 raised and considering the object from above1 it presents the eccentric state4 ,compare ,delaumosne1 page #fe4 ,if1 now1 we consider each of its attitudes in connection with a double lateral inclination of which they are capable1 we have the following nine3 #a4 ,the first is normal4 ,the head is neither high nor low1 the glance being direct4 #b4 ,the second is characteristic of tenderness4 ,this attitude consists in bending the head obliquely toward the interlocutor4 ,the body1 in this attitude1 should not face the object2 thus the head1 in bending toward it1 bends sidewise in relation to the body4 #c4 ,the third attitude is characteristic of sensuality4 ,this attitude is marked by an inclination quite the reverse of the second2 that is to say1 away from the interlocutor4 ,naturally1 in this attitude1 as in the preceding one1 the glance is oblique2 the head being bent forward and backward1 is here placed obliquely4 #d4 ,the fourth is characteristic of scrutiny1 reflection4 ,the head in this attitude is bent forward as we said in concentration1 and the eye1 from the effort to lower the head1 is thrown up to inspect the object4 #e4 ,the fifth is characteristic of veneration4 ,this attitude offers the same inclination as the second2 but here1 as the head must be lowered1 the eye is directed both obliquely and upward4 #f4 ,the sixth is characteristic of suspicion4 ,this attitude offers the same inclination as the third1 with the concentric modifications indicated for the preceding one4 #g4 ,the seventh is characteristic of exaltation1 passion4 ,this attitude is eccentric and direct1 as we have already said4 #h4 ,the eighth attitude is characteristic of abandonment1 extreme confidence4 ,this attitude presents the inclination of the second and the fifth1 with this difference1 that here the head is thrown back and the eye1 instead of being bent directly upon the object as in the second and upward as in the fifth1 here gazes downward4 #i4 ,the ninth attitude is characteristic of pride4 ,this last attitude takes the inclination of the sixth and eighth attitudes1 with the differences in gaze indicated in the foregoing4 ,thus1 to sum up what we have already said1 we see that the first1 fourth and seventh attitudes are directly toward the object2 that the second1 fifth and eighth bend obliquely toward the object2 and1 finally1 that the third1 sixth and ninth are the result of an oblique inclination away from the object4 ,,note4--,it is to be understood that the various attitudes of the head are asserted only in regard to the direction taken by the eye4 ,thus it is not absolutely true to say that the head is in the eccentric state because it is raised2 for it may be that1 raised as it is1 the direction of the eye may be even higher than it1 and1 in that case1 the head might1 although raised1 present the aspect of the concentric state4 ,then it would be true to say that the head presents the concentric state in a high direction4 ,attitudes of the ,hands4 ,the hands1 like the legs1 have three kinds of attitudes4 ,they open without effort and present the normal state2 they close and present the concentric state2 then they open forcibly and present the eccentric state4 ,these three kinds of attitudes produce nine forms4 #a4 ,the first is characteristic of acceptance4 ,in this the hand is presented open without effort1 the fingers close together and the palm up4 #b4 ,the second is characteristic of caressing4 ,in this attitude the palm of the hand faces the object considered and gently follows its forms4 #c4 ,the third is characteristic of negation4 ,this attitude is executed in the following fashion3 ,the arm and hand are placed as in caressing2 but1 instead of following the form of the object1 the hand rids itself of it by a rotary movement1 thus placing the palm in a lateral direction4 #d4 ,this attitude is executed with the closed fist1 the arm hanging naturally1 that is1 without any action determined by the will4 #e4 ,the fifth is characteristic of will4 ,this attitude consists in carrying the fist forward1 the back up4 #f4 ,the sixth attitude is characteristic of menace4 ,this attitude is effected by an outward rotary movement compressed in the fist1 so that1 contrary to the will1 the back of the hand is down4 #g4 ,the seventh is characteristic of desire4 ,the hand1 in this attitude1 moves forward as in the first1 but with the difference that here the fingers are spread apart1 this spreading signifying ,i do not possess1 expresses desire4 ,there is1 by the fact of the advance of the hand1 aspiration and not possession4 #h4 ,the eighth is characteristic of imprecation4 ,it consists in stretching the palm of the hand toward the object as in a caress1 but with this difference1 that the fingers are spread apart1 thus offering a repulsive aspect4 #i4 ,the ninth is characteristic of refusal1 repulsion4 ,it consists in carrying the hand obliquely as in negation1 observing the spreading of the fingers which characterizes this species4 ,affirmation--,the ,hand4 ,to make the demonstration of the different affirmations of the hand more clear1 we employ the cube which1 as is well known1 has six faces1 eight angles1 and twelve edges4 ,when the hand is placed upon a flat surface the affirmation is simple2 when the hand is placed upon an angle the affirmation is triple or common to three faces or surfaces4 ,there are three directions in the cube3 ,horizontal1 vertical and transverse4 ,so1 too1 there are three directions possible for the hand in relation to the body3 #a4 ,abduction--which removes1 #b4 ,adduction--which brings close1 and #c4 ,the normal direction4 ,there are three sorts of adduction1 three sorts of abduction1 and three sorts of normal direction4 ,there are three horizontal1 three vertical and three transverse directions2 hence nine terms applicable to the nine modes of presenting the hand in connection with the cube1 which are3 ,illustration3 ---------------------------------------- ----- _/ _/ _/ _/ _/ _/ _/ _/ _/ ,,upper ,,surface4 _/ _/ _/ _/ ,to hold4 _/ _/ _/ ---------------------------------------- ----- ,o ,i ,u ,n ,t ,w ,w ,a ,a ,r ,,front ,,surface4 ,r ,d ,t ,d o ,to retain4 ,t ,l ,l o ,a w ,limit4 -- ,a ,t i ,t b ,e t ,obtain4 ,e e ,r h ,r l ,a d ,,back ,,surface4 ,a o ,l r ,l n a ,to maintain4 g ,s w ,s 4 ,u 4 ,contain4 ,u ,r ,r ,f ,f ,a ,a ,c ,c ,e ,e 4 4 ---------------------------------------- ---- _/ _/ _/ ,,lower ,,surface4 _/ _/ _/ _/ ,to sustain4 _/ _/ _/ _/ _/ _/ _/ _/ _/ ---------------------------------------- ----- ,table of the ,normal ,character of ,these ,nine ,attitudes4 _/ #b4 ,concentric 4 4 ,conflict4 #b4 ,concentro4 #c4 ,normal 4 4 4 4 ,power4 #a4 ,eccentric 4 4 ,convulsion4 _/ #b4 ,concentric 4 4 ,prostration4 #c4 ,normo4 #c4 ,normal 4 4 4 4 ,abandon4 #a4 ,eccentric 4 4 ,expansion4 _/ #b4 ,concentric 4 4 ,execration4 #a4 ,eccentro4 #c4 ,normal 4 4 4 4 ,exaltation4 #a4 ,eccentric 4 4 ,exasperation4 ,these nine physiognomies of the hand modify those of the face1 often supply their place and sometimes even contradict them4 ,when they are appropriate to the hand and face alike1 there is homogeneity4 ,the expression of the hands results from the cooeperation of three orders of phenomena4 ,the first order comprises the intrinsic physiognomies assumed by the hand under the influence of the passions4 ,the second order comprises the attitudes assumed by the hand toward the object of the passion4 ,the third order comprises the evolutions impressed upon the hand by the body1 fore-arm and shoulder4 ,these evolutions are so many inflections4 ,we know the nine attitudes appropriate to the hand1 and the nine attitudes designated by the nine modes of presentation of the hand in regard to the cubic surfaces4 ,we must examine the nine inflections which arise in the first instance from the three directions1 antero-posterior1 vertical and transverse4 ,these inflections again include three movements of three kinds3 ,direct movements1 circular movements and oblique movements4 ,these movements are produced by three sorts of action3 ,sectional action1 rotary action and translative action4 ,to recapitulate3 ,these physiognomies1 attitudes and inflections form by their combination the multifarious expressions of which the hand is capable1 as are all parts of the body4 ,having spoken of the affirmations of the hand1 we must speak of its degree of certainty of which the arm is the thermometer4 ,this affirmation varies with the angle formed by the fore-arm with the arm4 ,all these modes of affirmation may be applied to negation4 ,attitudes of the ,legs4 #a4 ,the first attitude is normal2 it consists of an equal balance of the weight of the body on the two legs4 ,this attitude is that of the soldier carrying arms1 without the stiffness assumed by the wilful regularity of rigid discipline4 ,it is also that attitude taken by a man in the act of salutation2 it is also characteristic of the weakness of a child or of old age2 it is the sign of respect4 ,compare ,delaumosne1 p4 #ajj4 #b4 ,the second attitude is characteristic of repose in strength4 ,the weight of the body is thrown upon one hip1 the free leg being carried forward4 ,this change should be effected without tension or stiffness4 ,this attitude is also characteristic of certain concentric passions hidden under seeming calm4 #c4 ,this attitude is characteristic of vehemence1 of which it is the type4 ,it is preeminently the eccentric attitude4 ,it consists in carrying the whole weight of the body forward1 the backward leg extended in equal proportion to the forward poise of the torso4 #d4 ,this attitude is characteristic of the weakness which follows vehemence4 ,it is the type of concentration2 it is also in character as in species the antipodes of the third attitude1 since it is its resolute expression4 ,this attitude consists in throwing the whole weight of the body backward1 contrary to the preceding attitude where the body was brought forward1 and in bending the leg which bears the weight of the body1 which is also the reverse of the preceding attitude1 where the leg is extended4 ,this attitude is nearly that of the fencing-master2 it differs1 however1 in the position of the backward foot1 which1 in fencing1 is turned outward4 ,the regularity of this attitude may be verified by kneeling1 which is its paroxysm4 ,if the attitude is well done it leads to it naturally4 #e4 ,the fifth attitude serves as a preparation for oblique steps2 it is also colorless1 transitive1 suspensive4 ,it ends all the angles formed by walking4 ,we may define this attitude as a third transversal2 that is to say1 the free leg1 instead of being behind as in the third1 is impassive1 so that the body1 instead of being advanced1 should be slightly inclined to one side4 #f4 ,the sixth attitude is an attitude of pomp and ceremony4 ,it is only assumed in the presence of kings1 princes1 or persons for whom we have great respect4 ,we will define this attitude as a third crossed proceeding from the fifth2 that is to say1 the free leg of the fifth becomes the strong leg moving sidewise and slightly forward1 thus crossing the back leg4 #g4 ,the seventh attitude is an attitude characteristic of absolute repose4 ,it is the strongest attitude1 and1 consequently1 that assumed by intoxication to resist a lack of equilibrium4 ,it is the attitude of vertigo1 or of extreme trust4 ,do not be surprised by the bringing together of these very different and opposite terms in one and the same attitude4 ,it is a sufficient explanation to say that the strong attitude is sought out by weakness as a weak attitude is sought by strength4 ,this attitude consists in the division of the weight of the body between both legs1 which are spread wide apart in parallel directions4 ,this attitude would be improper in a parlor4 #h4 ,the eighth attitude is an attitude characteristic of the alternation between the offender and defender4 ,it is the exact medium between the third and fourth2 it1 therefore1 expresses moral as well as physical alternation4 ,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 himself2 in this attitude he may advance or recede4 ,this attitude is a seventh1 whose direction1 instead of being lateral1 is parallel to the body and antero-posterior4 ,in this position the body faces the forward leg1 both legs being spread wide apart1 as in the seventh1 both receive an equal portion of the weight of the body4 #i4 ,the ninth attitude is characteristic of defiance4 ,this attitude is a stiff second4 ,it differs only in that the free leg is rigid instead of being bent as in the second4 ,to execute this attitude thoroughly well the free leg must be stretched to the very utmost1 without allowing the strong leg to bend as in the fourth1 which is the only attitude where the strong leg should be bent4 ,to prevent this flexion1 the body must be carried well over on the hip of the strong leg1 so that the side of the free leg may be elongated4 ,chart ,considered from the ,organic ,point of ,view4 ,illustration #b4 ,the ,son1 #c4 ,the ,holy ,ghost1 #a4 ,the ,father4 ,having examined the table organically1 we will study it essentially4 ,example4 ,what we have called eccentric1 concentric and normal1 we will call vitality1 intellectuality and spirituality2 lastly1 having established this table from the organic and the essential point of view1 it remains for us to examine it aesthetically and from a practical point of view4 ,let us first examine a few gestures1 for instance3 ,of the ,hand4 #c colorless state abandonment _/ _/ _/ _/ #c expansion #a _/ #b prostration #c exaltation #c power _/ _/ _/ _/ _/ _/ _/ #a _/ #b #a _/ #b #a _/ #b exasperation execration convulsive state struggle ,of the ,eye4 abandonment _/ _/ _/ _/ #c indifference _/ moroseness stupor depression or somnolence _/ _/ _/ _/ _/ _/ _/ #a _/ #b #a _/ #b #a _/ #b surprise firmness contempt contention of mind ,of the ,torso4 dynamic apparatus _/ _/ _/ _/ #c limbs _/ head larynx veil of the palate _/ _/ _/ _/ _/ _/ _/ #a _/ #b #a _/ #b #a _/ #b lungs mouth lips tongue ,a,esthetic ,division4 #c pure spirituality _/ _/ _/ _/ #c vital soul #a _/ #b intellectual soul #c spiritual life #c spiritual intellect _/ _/ _/ _/ _/ _/ _/ #a _/ #b #a _/ #b #a _/ #b animal life intellectual life animal intellect mental intellece _/ ,mind _/ ,science ,human ,hypostases ,soul ,worlds ,grace ,life ,nature _/ ,light _/ ,the mind _/ distinguishes ,divine ,attributes ,love ,functions ,the soul reunites ,power ,the life asserts _/ ,understanding _/ ,speculative ,faculties ,will ,reasons ,final ,memory ,seminal _/ ,trial generates faith ,theological ,virtues ,tribulation generates experience ,fulfilment generates charity ,the ,holy ,trinity ,recovered in ,sound4 ,sound is the reflection of the ,divine image4 ,in sound there are three reflex images3 ,the reflex of life2 of the intellect2 and of love4 ,they result from the parallel and simultaneous action of three agents3 ,the projective 7life71 reflective 7intellect71 and vibrative 7love74 ,sound contains three sounds3 ,that of the tonic1 the dominant1 and the mediant4 ,the tonic 7,father7 necessarily generates the dominant 7,son71 and the mediant 7,holy ,ghost7 proceeds necessarily from the first two4 ,pythagoras discovered this law4 ,passing before a blacksmith's shop1 he heard the sound of heavy hammer strokes upon a forge4 ,he recognized perfectly that each blow gave out beside the principal tone 7tonic7 two other tones1 which corresponded to the twelfth and seventeenth of the tonic4 ,now1 the twelfth reversed is nothing but the fifth or dominant1 and the seventeenth becomes1 by a double reversion1 the third or mediant of the tonic4 ,let us say1 then1 that every tone necessarily contains the tonic its generator1 the dominant its engendered1 and the mediant which proceeds from the other two4 ,the reuenion of these three tones which makes them into one1 forms the perfect chord4 ,full and absolute consonance is the expression of union1 of love1 of order1 of harmony1 of peace2 it is the return to the source of goodness1 to ,god4 ,if a fourth form should be added to the perfect chord1 to consonance1 there would necessarily be a dissonance4 ,this fourth can only enter by an effort1 almost by violence4 ,it is outside of plenitude1 of the calm established by the ,divine law2 it produces a painful sensation1 a dissonance4 ,as soon as there is a discord1 a dissonance1 the animal cries out1 the dog howls1 inert bodies suffer and vibrate2 but all is order and calm again when consonance returns4 ,speech4 ,speech is an act posterior to will1 itself posterior to love2 this again posterior to judgment1 posterior in its turn to memory1 which1 finally1 is posterior to the impression4 ,every impression1 to become a sensation1 must first be perceived by the intelligence1 and thus we may say of the sensation that it is a definite impression4 ,but1 to be definite1 it must pass into the domain of memory and there solicit the reappearance of its congeners with which it may identify itself4 ,it is in this apparatus and surrounded by this throng of homogeneous impressions which gather round it1 as if by magic1 or rather which it draws about it as the magnet draws the iron1 it is1 ,i say1 in this complex state that it appears before the intelligence to receive from the latter a fitting name4 ,for the intelligence could not give it a name if the homogeneous impressions in which it has1 so to speak1 arrayed itself1 did not serve to point it out4 ,now1 by this distinction1 established by the double operation of the memory and the intelligence1 a movement takes place in the soul1 of attraction1 if the intelligence approve2 or of repulsion1 if it disapprove4 ,this movement is called the will4 ,the will1 therefore1 becomes the active principle in virtue of which speech is expressed2 thus speech is the express agent of the will4 ,it is speech1 in fact1 which1 under the incubation of this mysterious power1 rules1 groups and moves bodies with the aid of memory4 ,inflection is the life of speech2 the mind lies in the articulative values1 in the distribution of these articulations and their progressions4 ,the soul of speech is in gesture4 ,breathing4 ,breathing1 according to its form of production1 is3 7#a7 ,costal or combined2 7#b7 diaphragmatic2 7#c7 costo-diaphragmatic4 ,breathing is a triple act based upon three phenomena3 ,inspiration1 suspension1 expiration4 ,from the successive predominance of each of these three phenomena1 or from their equal balance1 result eighty-one respiratory acts1 which may be reduced to three terms3 ,the breathing is normal1 spasmodic1 or sibilant4 ,there are three questions to be considered in regard to breathing3 #a4 ,how should it1 the breath1 be produced to gain the greatest development for the voice8 #b4 ,what place should it occupy in speech8 #c4 ,what aspect does it assume under the influence of the passions8 ,in other words1 three characters may be attributed to respiration3 ,vocal1 logical1 pathetic or passional4 ,vocal ,respiration4 ,the lungs constantly contain a quantity of air1 which is the source of life and with which we cannot dispense without inconvenience to health and to the voice4 ,the quantity of air requisite for the renewing of the blood1 and which is called the breath of life1 amounts to a third of what the lungs are capable of receiving4 ,in order to sing1 therefore1 it must be increased by two-thirds1 and it is this borrowed breath only which should be given out in singing4 ,when the lungs are thus filled with air1 the sound is produced by escapement4 ,from this it receives greater force1 and its production1 far from being a fatigue1 becomes a relief4 ,inspiration should always be followed by a suspensive silence2 otherwise the lungs1 agitated by the act of inspiration1 perform the expiration badly4 ,logical ,respiration4 ,logical respiration constitutes the respiration itself4 ,suspension expresses reticence1 disquietude4 ,inspiration is an element of dissimulation1 concentration1 pain4 ,hence1 we have normal1 oppressive1 spasmodic1 superior1 sibilant1 rattling1 intermittent1 crackling1 and hiccoughing respiration4 ,expiration is an element of trust1 expansion1 confidence and tenderness4 ,if the expression contains both pain and love1 the inspiration and expiration will both be noisy2 but the one or the other will predominate according as pain predominates over love1 or vice versa4 ,passional ,respiration4 ,the source of passional respiration lies in the agitation of the heart4 ,the effect of respiration is most powerful1 for the slighter and more imperceptible the phenomena are1 the more effect they have upon the auditors4 ,vocal ,organ4 ,the organ assumes at birth a form2 this form is called the timbre or tone1 ,this tone corresponds to the constitutional form4 ,under the sway of habit1 the form assumes an acquired tone which is called emission4 ,the emissive form corresponds to the habitual tone4 ,under the sway of emotion the voice is modulated and assumes forms which we will call passional or transitory4 ,the mouth is normal1 concentric and eccentric4 ,see chart in ,delaumosne1 page #ha4 ,from these three types we have succeeded in fixing and classifying forty-eight million phenomena4 ,definition of the ,voice4 ,the voice is the essential element in singing4 ,it is based upon sound4 ,this is based upon three agents3 ,the projective agent1 or the lungs4 ,the vibrative agent1 or the larnyx4 ,the reverberative agent1 or the mouth4 ,each of these agents acts in different ways1 nine acts resulting therefrom1 which we will call products of phonetic acts4 ,the projective agent in its special activities engenders ,intensities1 ,shades1 ,respirations4 ,the vibrative agent in its special activities engenders ,prolations1 ,pathetic effects1 ,registers4 ,the reverberative agent in its special activities engenders ,emissions1 ,articulations1 ,vowels4 ,to recapitulate1 the phonetic agents give us nine products2 but1 when studied from the vocal point of view1 these products become as many elements and must be examined from the triple point of view of preparatory1 practical and transcendant studies4 ,we must1 therefore1 know first the general definition of these elements1 their cause and their theoretical history1 which constitutes phonology or the preparatory study of the voice4 ,secondly1 we must know the physical order in virtue of which these phenomena may be acquired or developed4 ,the various special exercises and the vices to be avoided constitute phonation or the practical study of the voice4 ,thirdly1 we must know and appreciate the physiological1 intellectual and moral meaning of these elements1 the different relations of resemblance1 of opposition and of identity which exist between these different phenomena4 ,the modes of application or principles of style form the transcendent study or aesthesiophony1 that is1 the voice applied to feeling1 etc4 ,what the ,register is4 ,the register is an intrinsic modification of the sound2 a modification which is produced in the larynx itself and which does not belong to the mouth4 ,now1 we may say of registers that they are to the larnyx what emissions are to the mouth4 ,thus registers form a physiognomy which the sound assumes in the larynx1 and emissions form the physiognomy which that same sound takes on in the mouth4 ,on ,shading4 ,light and shade are not1 as has been asserted1 subject to the arbitration or inspiration of the moment4 ,they are ruled by laws2 for in art there is not a single phenomenon which is not subject to absolute mathematical laws4 ,a knowledge of these laws is important1 the art of shading forming the basis of style4 ,the opinion which makes the ascending phrase progressive is false six times out of seven4 ,it is only correct in the following cases3 #a4 ,if an ascending phrase encounters no repeated and no dissonant note it is progressive1 and the culminating note is the most intense4 ,it has one degree of intensity4 #b4 ,if we find a note repeated in the ascending phrase1 that note1 even if it be the lowest of all1 must be made more important than the highest note and will have two degrees of intensity4 ,in this case1 the higher the voice rises the softer it must become2 for there cannot be more than one culminating point in a musical phrase any more than in a logical or mimetic phrase4 ,all sounds must1 therefore1 diminish in proportion to their distance from this centre of expression1 from this repeated note4 ,the reason of the intensity of a repeated note lies in the fact that we repeat only that thing which we desire1 and this intensity gives it a greater value4 #c4 ,if the repeated note be at the same time the culminating note1 it will require a new degree of intensity4 ,it will have three degrees of intensity4 #d4 ,we may possibly find a dissonant note in the ascending phrase1 with a repeated culminating note4 7,this note would1 then1 be more than an indication2 it would receive an adjective form from the accident1 assuming in the musical phrase the value that an adjective would have in a logical phrase47 ,its intensity1 therefore1 would be greater than that of the highest repeated note1 and it would have four degrees of intensity4 #e4 ,if the dissonant note is also the highest note1 it acquires from that position a fifth degree of intensity4 #f4 ,it may happen that the dissonant note appearing in a rising phrase is repeated2 by reason of this repetition it would receive a sixth degree of intensity4 #g4 ,finally1 if the dissonant note is at the same time culminating and repeated1 it has seven degrees of intensity4 ,pathetic ,effects4 ,pathetic effects are nine in number1 the principal of which are as follows3 ,the veiled tone2 the flat or compressed tone2 the smothered tone2 the ragged tone2 the vibrant tone4 ,the last is the most powerful4 ,vibration or tremolo1 bad when produced involuntarily by the singer1 becomes a brilliant quality when it is voluntary and used at an opportune time4 ,every break must be preceded by a vibration1 which prepares the way for it4 ,prolations are laryngeal articulations4 ,great care must be taken not to substitute pectoral articulations for them4 ,the chest is a passive agent2 it should furnish nothing but the breath4 ,the mouth and the larynx alone are entitled to act4 ,on the ,tearing of the ,voice4 ,exuberance of the contained brings on destruction of that which contains it4 ,tearing of the voice1 therefore1 should only be associated with an excessive extension of the sound whose intensity1 as we have demonstrated1 is in inverse ratio to the dramatic proportion4 ,number4 ,the figure #a is characteristic of unity and measure4 ,the figure #b1 which is the measure in the #a1 should become subordinate in its greatness and be equal with it4 ,it is another one which gives birth to the idea of number4 ,the idea of number can only arise from the presence of terms of the same nature4 ,thus the idea of number cannot arise from the presence of a cart and a toad4 ,we shall thus have two very distinct unities1 having no kind of relation to each other4 ,there must1 therefore1 be equality before there can be number4 ,this is so true that we cannot say of a man and a child that they are two men or two children1 because the one is not equal to the other4 ,it is1 therefore1 from the point of an attributive equality that we are enabled to say3 ,they are two4 ,but we can say3 ,there are two beings1 because in regard to being they are equal one to the other4 ,we now understand how two equals one1 that the two figures have an equal importance1 and that the figure #a contains exclusively the idea of measure2 the figure #b contains the idea of number1 which is not in the #a1 this being the characteristic feature by which the two terms differ4 ,now1 how are we to form a perfect unity between these two equal but distinct terms8 ,a single operation will suffice to give us the idea we wish1 and this operation is revealed to us entire in the word weight4 ,in fact1 the two terms can only be united by this word4 ,we feel that #a and #b give us a common weight1 the sum of which is represented by the figure #c4 ,the figure #c is1 therefore1 equal in importance to #a and to #b2 it maintains equality in the terms of which it is the representative1 and its characteristic feature is equally important with those already described4 ,thus to the figure #a belongs the idea of measure2 to the figure #b belongs the idea of number2 to the figure #c belongs exclusively the idea of reuenion1 of community1 of unity in fine1 which no other figure can reveal to us4 ,we may say3 #a and #a are equal among themselves1 in the unity of the figure #c2 or1 in other words3 ,measure and number find their unity in weight4 ,medallion of ,inflection 7,compare ,delaumosne1 page #aai47 ,illustration ,explanation4--,the vertical line #a 7from top to bottom7 expresses affirmation1 confirmation2 #b1 the horizontal line1 expresses negation4 ,the oblique lines1 #c and #d1 from within outward and from without inward1 express rejection4 #d1 an oblique line from within outward rejects things which we despise4 #c1 a line from within outward1 rejects things which oppress us and of which we wish to get rid4 #e1 the quadrant of a circle1 whose form recalls that of a hammock1 expresses well-being1 contentment1 confidence and happiness4 #f1 a similar quadrant of a circle1 an eccentric curvilinear1 expresses secrecy1 silence1 domination1 persuasion1 stability1 imposition1 inclosure4 ,the reentering external curvilinear quadrant of a circle1 #g1 expresses graceful1 delicate things4 ,produced in two ways1 from above downward1 it expresses physical delicacy2 from below upward1 moral and intellectual delicacy4 ,the external quadrant of a circle1 #h1 expresses exuberance and plenitude1 amplitude and generosity4 ,the circular line surrounding and embracing is characteristic of glorification and exaltation4 ,examples4 ,illustration #a4 ,you may believe #b4 ,that none1 oh ,lord #c4 ,had such glory #d4 ,or such happiness4 ,illustration ,thy voice1 brother1 cannot be heard4 ,illustration ,after such a marvel one might believe a thousand others without raising his eyebrows4 ,illustration ,the other was a perfect master of the art of cheating4 ,remark4--,these inflections being produced1 it is essential to know the centre from which they emanate4 ,the amplitude of the circle described must be in harmony with the object in question4 ,thus a circle may be produced with the entire arm1 and glorification is the thing in question4 ,illustration grace1 elegance ,illustration charm1 elevation ,illustration ,light and amiable4 ,illustration ,light and spiritual4 ,the half quarter of a circle characteristic of exuberance combined with the half quarter circle characteristic of delicacy1 expreses grace4 ,it is delicacy mixed with abundance2 tenuity supported by generosity4 ,illustration ,the rejection of a contemptible thing 7#d7 concluded by happiness1 well-being 7#e7 signifies that repose will not be purchased at the cost of a contemptible thing4 ,illustration ,the possession of happiness4 ,illustration ,the #c combined with the #e rejection of an illusory happiness4 ,note4--,the figures #c1 #d1 #e1 #f1 refer to the corresponding figures in the ,medallion of ,inflection4 ,the hand placed horizontally1 the back uppermost pirouetting on the wrist alternately in pronation and supination1 thus passing from force to feebleness and from feebleness to force1 characterizes irritability4 ,compare ,delaumosne1 pages #aad-aah4 ,illustration3 ,chart of ,man4 ,human ,nature4 ,illustration3 ,chart of the ,angels4 ,angelic ,nature4 ,the ,nature of the ,colors of ,each ,circle in the ,color ,charts4 ,red1 ,blue and ,yellow4 ,red is the color of life4 ,indeed1 this is asserted by fire1 by the heat of the blood4 ,blue is the color of the mind4 ,is not blue the color of the sky1 the home of pure intellects1 set free from the body1 who see and know all things8 ,to them everything is in the light4 ,yellow is the color of the soul4 ,yellow is the color of flame4 ,flame contains the warmth of life and the light of the mind4 ,as the soul contains and unites the life and the mind1 so the flame warms and shines4 ,compare ,delaumosne1 page #aeg4 ,the ,attributes of ,reason4 ,the human reason1 that haughty faculty1 deified in our age by a myriad of perverse and commonplace minds known under the derisive and doubly vain title of freethinkers1 is but blind1 despite its high opinion of its own insight4 ,yes1 and we affirm by certain intuition that man's reason is not and cannot be otherwise than blind1 aside from the revealing principle which only enlightens it in proportion to its subordination2 for1 abandoned to itself1 reason can only err and must fatally fall into an abyss of illusions4 ,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 reason1 which1 yielding to a criminal presumption1 deserts without remorse the principle super-abounding in life1 light and glory4 ,to understand such an anomaly1 to explain how reason1 which constitutes one of the highest attributes of man1 is so far subject to error1 it is essential to have a thorough apprehension of the complexity of its nature4 ,what1 then1 is the real nature of the reason so little studied and so illy known by those very men who raise altars in its honor8 ,let us try to produce a clear demonstration4 ,and let us first say that reason does not constitute a primary principle in man2 for a primary principle could never mistake its object4 ,neither is it a primary faculty2 it is only the form or the manner of being of such a faculty1 and thus cannot be a light in itself4 ,the rays by which it shines are external to it in the sense that it receives them from the principle which governs and fertilizes it4 ,still1 let us say that1 although neither a principle nor a faculty1 reason is none the less1 with conscience1 of which it forms the base1 the noblest power of man2 for this power ,god created free2 free from subjection to the principle that enlightens it2 free1 too1 to escape from it4 ,yet every power necessarily recognizes a guiding principle to whose service it needs must bow2 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 principles4 ,hence the error or possible blindness of reason2 hence also its incomparable grandeur1 which lies solely in its free and spontaneous subordination4 ,these principles established1 let us go still farther1 and penetrate deeper into the mysterious genius of reason4 authorized to define reason4 ,he did it in terms at once so simple1 so precise1 and of such exquisite clarity1 that we may venture to think that reason itself could not have better rendered the terms of its own entity4 ,this definition1 let no one fail to see1 contains in its extreme brevity more substance than would fill a voluminous treatise4 ,this1 then1 is his definition3 ,reason is the discursive form of the intellect4 ,now by this ,st4 ,thomas plainly establishes that reason1 distinct from the intellect1 with which we must beware of confounding it1 proceeds from it as effect proceeds from cause4 ,therefore1 intellect surpasses reason as its principiant and guiding faculty2 and reason only figures in the intelligential sphere1 despite the important part it plays in virtue of its adjunctive or supplementing power4 ,but what is the purpose of this adjunction8 ,here1 in reply to this grave and important question1 let us refer to what the same scholar says elsewhere4 ,reason arises1 he says1 from the failure of intellect4 ,certainly this is a luminous1 and doubtless a very unexpected proposition4 ,from it we learn1 on the one hand1 that the intellect is liable to defects and consequently to weaknesses2 on the other hand1 it seems established that the adjunctive power comes to aid the faculty which governs it1 since here the subjected is born of the failure of the subjector4 ,let us explain this fresh anomaly4 ,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 it2 but1 patience6 ,we are already aware that it is from the very obscurity of things that the brightest light sometimes bursts upon contemplative eyes2 and since faith is the next principle to knowledge1 let us have faith at least in the trustworthiness of him who addresses us1 especially as he has given us repeated1 unequivocal tokens of sound and upright reason4 ,let us1 then1 have no doubt that the preceding proposition contains a precious precept2 and very certainly light will soon dawn on our mind4 ,this settled1 and for the better understanding of the meaning attached to this proposition1 let us call to our aid the powers of analogy4 ,if reason arises from the failure of intellect it is doubtless to rectify the valuations of the ego4 ,now the compass1 which is in itself very inferior to the hand which fashions it and appropriates it to its own use1 nevertheless implies a defect in that hand which directs it4 ,so there is between the eye and the telescope1 which comes to its aid1 all the distance that divides the faculty from the instrument which it governs4 ,still the telescope joined to the eye communicates to it a great power of vision2 but the instrument arises from the failure of the eye1 which is nevertheless infinitely superior to it2 for it is the eye which sees1 and not the telescope4 ,it is thus that we must understand the relations of reason and intellect4 ,let us say1 then1 that the reason is to the intellect exactly what the telescope is to the eye4 ,this established1 we can formulate the following definition as well founded4 ,the intellect is the spiritual eye whose mysterious telescope reason forms1 or3 reason is a necessary appendage of mental optics1 or again3 reason is the glass used by the eye of a defective intellect4 ,but this is not all4 ,st4 ,thomas provides us still elsewhere with the means of making our analogy more striking4 ,he says1 indeed3 reason is given us to make clear that which is not evident4 ,is not this1 as it were1 the seal of truth applied to our demonstration8 ,thus the eye uses the telescope absolutely as the intellect employs the reason1 to make clear that which is not evident4 ,of course it is plain that if the sight and the intellect answered perfectly to their object1 they could do without this adjunct which betrays their imperfection4 ,the intellect would thenceforth have no more need of reason than the eye of glasses4 ,this explains the fact1 so important to consider1 that the clearer the mental vision is the less one reasons4 ,the angels do not reason2 they see clearly what is troubled and confused by our mind4 ,no one reasons in heaven1 there is no logician there1 no--,intelligence is immortal1 but reason1 which serves it here below1 will fade away in eternity with the senses which like it do but form the conditions of time4 ,divine reason alone will endure because it has nothing accidental1 and it is substantially united to the eternal word4 ,it is that reason toward which all blest intelligences will finally gravitate4 ,hence1 we see that what already partakes of the celestial life repels reasoning as a cause of imperfection or infirmity4 ,it is thus1 by its exclusion of reasons1 that the ,gospel supremely proves its celestial origin4 ,it is1 indeed1 a thing well worth remark1 especially worthy of our admiration1 that there is not to be found1 in the four ,gospels1 a single piece of reasoning1 any more than there is an interjection to be found4 ,let us add that faith does not reason3 which does not mean1 as so many misbelievers feign1 that faith is fulfilled by blindness or ignorance of the objects of its veneration4 ,quite the contrary4 ,faith dispenses with reason because of the perfection of its sight4 ,it is1 finally1 because it is superior to reason and sees things from a higher plane4 ,this is what so many short-sighted people cannot see2 and1 to return to our analogy1 it seems to them able to see nothing save through the glasses of reason4 ,it seems to them1 ,i say1 that any man who does not wear glasses must see crooked4 ,keep your glasses1 my good souls6 ,they suit short limits of sight4 ,but we1 who1 thank ,god1 have sound sight1 are only troubled and clouded by them4 ,it is thus that reason1 which is given us to make clear what is not evident1 frequently obscures even the very evidence itself4 ,we might confirm this declaration by a thousand examples4 ,to cite but one1 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 works4 ,well6 scientists have felt obliged to direct theirs upon these simple notions1 and have thus1 i4e41 by force of reasoning1 succeeded in confusing out of all recognition a question sparkling with evidence1 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 creatures4 ,consequently1 they will bluntly deny the existence of ,god2 but as they still must needs admit a creative cause1 they have to that end invented moving atoms 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 theory4 ,the scientist is born perverted1 as was said of the ,frenchman who created the vaudeville2 and men1 too strong-minded and above all too full of reason to give any credence to the mysteries taught by the church1 have displayed a blind faith in respect to moving atoms4 ,they think thus to set themselves free from what they call the prejudices of their fathers4 ,they find no difficulty in attributing to invisible corpuscles both the plan and the execution of the beings who people the universe4 ,this is the fine conception attributed to what is called a higher reason--a conception before which bow legions of strong minds4 ,to such a degree of degradation can reason drag man down4 ,it is1 therefore1 dangerous to consult the reason in any case where evidence is likely to be called into play4 ,but1 before proceeding farther in the course of our demonstrations1 a question presents itself4 ,it may be asked what we think of another kind of reason--pure reason2 for it appears that in the opinion of certain philosophers pure reason does exist4 ,i do not know where they authenticated and studied this species of reason4 ,for myself ,i confess in all humility that not only have ,i never seen a pure reason1 but it has never even been possible for me to raise my mind to the point of comprehending the signification of pure reason4 ,i greatly fear that some nonsense lurks within the phrase1 such transcendental nonsense as belongs to ideological philosophers alone4 ,i know not why1 but these gentlemen's pure reason always gives me the sensation of a strong blast of moving atoms4 ,in fact1 it is not clear2 but why require clarity of philosophers and ideologists8 ,but let us leave these senseless words and pursue the course of our demonstrations4 ,what we have said of reason is quite sufficient to prevent its confusion with the faculty whose discursive form it is4 ,but this is not enough4 ,we must1 by still more delicate distinctions1 make any confusion between these two terms impossible4 ,reason1 although essentially allied to intelligence1 is not1 like it1 primordial in man4 ,thus ,god created man intelligent1 and consequently susceptible of reason2 but we do not see the word reason brought into play in ,genesis1 because it merely expresses a derivation from the mind or intellect4 ,reason1 therefore1 is secondary and posterior in the genetic order4 ,but here to the support of this assertion we have a striking and undeniable proof2 namely1 that the infant is born intelligent but not reasonable4 ,intellect proceeds directly from that true light which shines in every man on his entrance into the world1 while reason is merely the fruit of experience4 ,a proof of the superiority of intelligence to reason is seen in the fact that it partakes of the immutable1 and is not like the latter1 liable to progress4 ,thus the child is seen to be as intelligent as an adult man can be4 ,let us rather say that it is in the child especially that intelligence displays its brightest rays4 ,yet he is not furnished with reason4 ,and why not8 ,because he has no experience4 ,reason1 therefore1 is an acquired power1 whose light is borrowed from experience or tradition4 ,reason is proportional to the experience acquired4 ,practical reason or rationality is the ration or portion of experience allotted to each person4 ,reason is to the mental vision exactly what the eye is to optical vision1 and just as the eye borrows its visual action from external light1 so reason borrows its power of clear and correct vision from traditional experience4 ,the similarity is absolute4 ,suppress light1 and vision ceases to be possible4 ,suppress revelation from intellectual objects1 and reason is thenceforth blind4 ,between reason and intelligence1 although there be inclusion and co-essentiality in these terms1 there is a great difference in the mode of cognizance2 for1 as ,st4 ,augustine says1 intelligence is shown by simple perception1 and reason by the discursive process4 ,thus1 while intelligence acts simply1 as in knowing an intelligible truth by the light of its own intuition1 reason goes toward its end progressively1 from one thing known to another not yet known4 ,the latter1 as ,st4 ,thomas says1 implies an imperfection4 ,the former1 on the contrary1 beseems a perfect being4 ,it is1 therefore1 evident1 adds the same profound thinker1 that reasoning bears the same relation to knowledge that motion does to repose1 or as acquisition to possession4 ,the one is of an imperfect nature1 and the other of a perfect nature4 ,boethius compares the intellect to eternity2 reason1 to time4 ,yet human reason1 according to the principle which illuminates it1 offers three degrees of elevation which we will distinguish1 for readier comprehension1 by three special terms1 namely3 first1 tradition or the experience of another2 second1 personal experience2 third1 the reason of things4 ,trained by tradition1 reason is called common sense4 ,trained by personal experience to the knowledge of principles1 reason is called science4 ,trained by the contemplation of principles to the perfection of the intellect1 reason is called wisdom4 ,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 life4 ,speculative or discursive reason judges by the criterion of its own experience2 thereby inferring consequences more or less in conformity with traditional teachings1 and arriving by the logical order of its deductions and in virtue of the principles which it accepts and which it applies to its discoveries1 at what we call science4 ,transcendental reason pursues1 in the effects which it examines1 the investigation of their cause1 and rises thence to the very reason of things4 ,wherefore it silences reasoning1 enters into a silent and persistent course of observation1 consults the facts1 examines1 studies and questions the principles whence it sees them to be deduced2 and1 without yielding to the obscurity in which these principles are enveloped1 pierces that obscurity by the penetrative force of unremitting attention4 ,inspired by the standard of faith1 it knows that the spirit of ,god exists at the root of these mysteries4 ,it clings thereto1 unites itself thereto by contemplation1 and finally draws from this union its strength1 its light and its joy4 ,such is the course of wisdom1 and such are the inestimable advantages of faith to reason4 ,it is in fact by faith that reason is aggrandized and elevated to the height of the intellect whence it draws its certitude4 ,reason believes because it desires to understand1 and because it knows that faith is the next principle to knowledge4 ,thus the grandeur of reason is proportioned to its humility2 proportioned1 ,i would say1 to the efforts which it multiplies to forget itself when the truth addresses it4 ,but such is not the method of procedure of strong minds4 ,they have a horror of the mysteries toward which they are still urged by correct instincts4 ,the fact is1 let us say it boldly1 they fear lest they find ,god there4 ,in these misguided spirits there is so much presumption1 self-conceit1 self-love1 that they are1 in the nullity of their lofty pride1 a worship unto themselves1 an idolatry of their own reason4 ,they have deified it1--that poor1 frail reason2 and this1 while mutilating it1 while proclaiming it independent and free from all law1 from all principle1 from everything definite4 ,to what excess of imbecility1 then1 have we not seen these freethinkers fall1 these apostles of independent reason1 who on principle boast that they have no faith and no law6 ,thence comes the scorn which afflicts these unbelievers for all who believe and hope here below2 thence1 their systematic ignorance of fundamental questions2 thence1 the incurable blindness in which they bask2 thence1 finally1 the inconsistencies and contradictions which make them a spectacle humiliating to the human mind4 ,but agnostic man labors in vain4 ,he cannot escape the mysteries which surround him on every hand1 like a gulf in which reason is inevitably lost so soon as it ceases to seek the light4 ,man stumbles at every turn against the efforts of a stronger reason than his own1--the ,supreme ,reason before which1 nilly nilly1 his must bow and confess the insanity of its judgments4 ,logic is not1 to reason1 a sure guide2 and even where it feels its foothold most strong1 it sometimes trips1 to the disgrace of the good opinion it had of its own infallibility4 ,let us show by a simple example to what rebuffs our reason is exposed when counting on the support of its logic1 face to face with the reason of facts4 ,undoubtedly it is logical and perfectly in conformity with reason1 to say that one and one make two4 ,no doubt seems possible on that point4 ,well1 this elementary truth1 the most undeniable in the eyes of all men which can be produced1 does not1 despite the assurances which seem to uphold it1 constitute an impregnable axiom2 for there are cases when one and one do not make two6 ,certainly such a proposition seems scarcely reasonable1 for its admission would entail the reversal of what are called the sound notions of logic6 ,but what will the logician say if ,i affirm that in a certain case1 one and one make but one-half8 ,would he even take the trouble to refute me8 ,no1 he would laugh in my face2 he would not listen to me2 he would tax me with absurdity and insanity1 preferring thus to lose a chance of instruction rather than confess the impotence of his logic4 ,there is the evil1 and it is generally in this way that ignorance is perpetuated4 ,but let us return to the fact which we desire to prove1 contrary to logic and the pretensions of ordinary reason4 ,now1 it is logical and perfectly in conformity with reason to say that two musical instruments make more noise than one2 and that thus two double basses1 for example1 tuned in unison and placed side by side1 produce one sound of a double intensity4 ,this seems an elementary matter4 ,it is as clear1 you say1 as that one and one make two4 ,well1 no1 it is not so clear as you suppose4 ,it is1 on the contrary1 a mistake2 for attentive experiment proves that the result is diametrically opposite to the logical conclusion4 ,this is a fact which no argument can destroy4 ,two double basses1 placed in the above-named conditions--conditions of vicinity and tonal identity--far from adding up their individual result1 are thus reduced each to a quarter of its own sonority1 which in the sum total1 instead of producing a double sound1 produces a sound reduced to half of that given individually by each instrument taken alone4 ,this is how a power plus an analogous power equals together with it but half a power2 and thus we are forced to admit that one and one do not necessarily make two4 ,i have carried the experiment still farther2 in the instrument which gained me a first-class medal at the exhibition of #ahed1 ,i was enabled to put thirty-six strings of the same piano into unison at once4 ,well6 ,all these strings1 struck simultaneously1 did not attain to the intensity of sound produced by one of them struck singly4 ,all these sounds1 far from gaining strength by union1 reciprocally neutralized one another4 ,this is not logical1 ,i admit2 but we must submit to it4 ,logic must be silent and reason bow before the brutal force of a fact to which there is no objection to be raised4 ,since we are on the subject of the phenomena of sonority1 let us draw another illustration from it1 quite as overwhelming in its illogicalness as the former4 ,when two similar phenomena differ from one another on any side1 the discord brought about by this difference is more apparent and more striking by reason of the closer conjunction of these phenomena4 ,by way of compensation the dissimilarity is less appreciable in proportion as these phenomena are farther apart from each other4 ,this is rigorously logical and perfectly conformable to reason2 yet there are cases where we must affirm the contrary4 ,thus the same sound produced1 ,i will suppose1 by two flutes not in accord with one another1 forms those disagreeable pulsations in the air which discordant sounds inevitably produce4 ,there seems to be no doubt that by gradually bringing these discordant instruments together1 the falseness of their relation must be more and more striking1 more and more intolerable4 ,wrong6 ,for then1 and above all if the mouths of these instruments be concentrically directed1 a mutual translocation is produced between the two discordant sounds1 which restores the accuracy of their agreement4 ,thus the lower sound is raised1 while the higher one is lowered1 in such a way that the two sounds are mingled on meeting and form a perfect unison4 ,now1 here are contrasts1 which1 contrary to all rational data1 so far from being exaggerated by contact1 diminish gradually1 until they are utterly annihilated4 ,thus1 then1 given two instruments of the same nature1 if the harmony which they effect be true1 they enter by reason of their conjunction into a negative state which neutralizes their sonority2 while the contrary occurs in the case of false unison4 ,here the instruments become identical with one another1 the sonority is increased and the tonal deviation is corrected to the most perfect harmony4 ,obstinate rationalists1 what is your logic worth here8 ,has it armed you against the surprises held in store for you by a multitude of facts inaccordant with your reasonings8 ,oh1 proud and haughty reason1 bow your head6 ,confess the inanity of your ways4 ,bow yet1 once again1 and contemplate the mystery whence luminous instruction shall beam for you6 ,at bottom these mysteries may surprise and baffle a reason deprived of principle2 but they are never contrary to it1 because they proceed from reason itself1 from that ,supreme ,reason which created us in its own image2 and1 by that very fact1 is always in accord with individual reason in so far as this will consent to sacrifice its own prejudices to it1 or listen to its infallible lessons4 ,but man's reason most frequently heeds itself alone4 ,thence1 once again1 arise its infirmities4 ,thus1 what will happen1 if1 because the truths which ,i utter here are obscure and do not at the first glance appear to conform to the requirements of logic1 you hastily reject them with all the loftiness of your scornful reason1 which would blush to admit what it did not understand6 ,poor reason6 which in and of itself understands so little1 and admits so many follies as soon as a scholar affirms them4 ,the consequence will be that you will be strengthened in the error which flatters your ignorance4 ,behold that proud reason which would never bend before a mystery revealed1 behold it1 ,i say1 bowed beneath the weight of prejudices1 which there will be more than one scholar1 more than one logician1 ready to endorse4 ,thus reason will refuse as unworthy itself1 all belief in the actions of ,god or of unseen spirits1 the angels1 heaven1 but will not dare to doubt the existence of moving atoms1 invisible corpuscles4 ,this is the mental poverty into which the enemies of religious faith unwittingly fall4 ,they pervert that instrument of reason whose true use is to supplement and fortify imperfect intelligence1 and misuse it to discredit and overthrow the original intuitions of intelligence4 ,random ,notes4 ,type--,man4 ,prototype--,angel4 ,archetype--,god4 ,it is within himself that man should find the reason of all he studies4 ,in the angels he should find the secret of his being3 they are his prototypes4 ,lastly1 it is in the ,divine archetype that we are to look for the universal reason4 99 99 99 99 99 ,the ,senses4 ,taste and smell say3 ,it is ,good4 ,sight and touch say3 ,it is ,beautiful4 ,hearing and speech say3 ,it is ,true4 99 99 99 99 99 ,every agreeable or disagreeable sight makes the body reaect backward4 ,the degree of reaction should be in proportion to the degree of interest caused by the sight of the object presented to our sight4 99 99 99 99 99 ,the soul is a triple virtue1 which1 by means of the powers that it governs1 forms1 develops and modifies the sum total of the constituent forces of the body4 ,the body is that combination of co-penetrating forces whose inherent powers govern all acts under the triple impulse of the constituent forces of the being4 ,the immanences are powers which1 under the impulse of the constituent virtues of the being1 govern and modify the co-penetrating forces of the body4 ,the powers govern the forces under the impulse of the virtues4 ,the virtues are the impulses under the sway of which the powers govern and direct the forces4 99 99 99 99 99 ,light is the symbol of order1 of peace1 of virtue4 99 99 99 99 99 ,science and art form two means of assimilation3 ,the one by means of absorption1 the other by means of emanation4 ,the one1 more generous than the other1 gives and communicates2 the other unceasingly receives and appeals4 ,science receives1 art gives4 ,by science man assimilates the world2 by art he assimilates himself to the world4 ,assimilation is to science what incarnation is to art4 ,if science perpetuates things in us1 art perpetuates us in things and causes us to survive therein4 ,if by science man makes himself preeminent in subjugating the things of this world1 by art he renders them supernatural by impressing upon them the living characters of his being and of his soul4 ,art is an act by which life lives again in that which in itself has no life4 ,art should move the secret springs of life1 convince the mind and persuade the heart4 99 99 99 99 99 ,beauty purifies the sense1 ,truth illuminates the mind1 ,virtue sanctifies the soul4 99 99 99 99 99 ,the more lofty the intellect1 the more simple the speech4 7,so in art47 99 99 99 99 99 ,accent is the modulation of the soul4 99 99 99 99 99 ,the artist who does not love1 is by that fact rendered sterile4 99 99 99 99 99 ,art is a regenerating or delighting power4 99 99 99 99 99 ,routine is the most formidable thing ,i know4 99 99 99 99 99 ,if you would move others1 put your heart in the place of your larynx2 let your voice become a mysterious hand to caress the hearer4 99 99 99 99 99 ,nothing is more deplorable than a gesture without a motive4 ,perhaps the best gesture is that which is least apparent4 99 99 99 99 99 ,there is always voice enough to an attentive listener4 99 99 99 99 99 ,persuade yourself that there are blind men and deaf men in your audience whom you must move1 interest and persuade6 ,your inflection must become pantomime to the blind1 and your pantomime1 inflection to the deaf4 99 99 99 99 99 ,the mouth plays a part in everything evil which we would express1 by a grimace which consists of protruding the lips and lowering the corners4 ,if the grimace translates a concentric sentiment1 it should be made by compressing the lips4 99 99 99 99 99 ,conscious menace--that of a master to his subordinate--is expressed by a movement of the head carried from above downward4 ,impotent menace requires the head to be moved from below upward4 99 99 99 99 99 ,any interrogation made with crossed arms must partake of the character of a threat4 99 99 99 99 99 ,when two limbs follow the same direction1 they cannot be simultaneous without an injury to the law of opposition4 ,therefore1 direct movements should be successive1 and opposite movements should be simultaneous4 99 99 99 99 99 ,there are three great articular centres3 the shoulder1 elbow and wrist4 ,passional expression passes from the shoulder1 where it is in the emotional state1 to the elbow1 where it is presented in the affectional state2 then to the wrist and the thumb1 where it is presented in the susceptive and volitional state4 99 99 99 99 99 ,three centres in the arm3 the shoulder for pathetic actions2 the elbow1 which approaches the body by reason of humility1 and reciprocally 7that is1 inversely7 for pride2 lastly1 the hand for fine1 spiritual and delicate actions4 99 99 99 99 99 ,the initial forms of movements should be--in virtue of the zones whence they proceed--the only explicit1 and consequently the only truly expressive ones4 99 99 99 99 99 ,bad actors exert themselves in vain to be moved and to afford a spectacle to themselves4 ,on the other hand1 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 sensibility4 ,thus they succeed in stirring all spectators4 99 99 99 99 99 ,no1 art is not an imitation of nature3 art is better than nature4 ,it is nature illuminated4 99 99 99 99 99 ,there are two kinds of loud voices3 the vocally loud1 which is the vulgar voice2 and the dynamically loud1 which is the powerful voice4 ,a voice1 however powerful it may be1 should be inferior to the power which animates it4 99 99 99 99 99 ,every object of agreeable or disagreeable aspect which surprises us1 makes the body recoil4 ,the degree of reaction should be proportionate to the degree of emotion caused by the sight of the object4 99 99 99 99 99 ,without abnegation1 no truth for the artist4 ,we should not preoccupy the audience with our own personality4 ,there is no true1 simple or expressive singing without self-denial4 ,we must often leave people in ignorance of our own good qualities4 99 99 99 99 99 ,to use expression at random on our own authority1 expression at all hazards1 is absurd4 99 99 99 99 99 ,the mouth is a vital thermometer1 the nose a moral thermometer4 99 99 99 99 99 ,dynamic wealth depends upon the number of articulations brought into play2 the fewer articulations an actor uses1 the more closely he approaches the puppet4 99 99 99 99 99 ,a portion of a whole cannot be seriously appreciated by any one ignorant of the constitution of that whole4 99 99 99 99 99 ,an abstract having been made of the modes of execution which the artist should learn before handling a subject1 two things are first of all requisite3 #a4 ,to know what he is to seek in that subject itself2 #b4 ,to know how to find what he seeks4 99 99 99 99 99 ,is not the essential principle of art the union of truth1 beauty and good8 ,are its action and aim anything but a tendency toward the realization of these three terms8 99 99 99 99 99 ,we have a right to ask a work of art by what methods it claims to move us1 by which side of our character it intends to interest and convince us4 99 99 99 99 99 ,speech is external1 and visible thought is the ambassadress of the intellect4 99 99 99 99 99 ,how should the invisible be visible when the visible is so little so6 99 99 99 99 99 ,one cannot be too careful of his articulation4 ,the initial consonant should be articulated distinctly2 the spirit of the word is contained in it4 99 99 99 99 99 ,two things to be observed in the consonant3 its explosion and its preparation4 ,the t1 d1 p1 etc41 keep us waiting2 the ch1 v1 j1 prepare themselves1 as3 vvvenez4 ,the vocals ne1 me1 re are muffled4 99 99 99 99 99 ,rhythm is that which asserts2 it is the form of movement4 ,melody is that which distinguishes4 ,harmony is that which conjoins4 99 99 99 99 99 ,let your attitude1 gesture and face foretell what you would make felt4 99 99 99 99 99 ,be wary of the tremolo which many singers mistake for vibration4 99 99 99 99 99 ,if you cannot conquer your defect1 make it beloved4 99 99 99 99 99 ,a movement should never be mixed with a facial twist4 99 99 99 99 99 ,things that are said quietly should sing themselves in the utterance4 ,part ,sixth4 ,lecture and ,lessons ,given by ,mme4 ,geraldy 7,delsarte's ,daughter7 in ,america4 ,illustration3 ,mme4 ,marie ,delsarte-,geraldy4 ,lecture ,delivered by ,mme4 ,geraldy at the ,berkeley ,lyceum1 ,new ,york1 ,february #f1 #ahib4 ,ladies3 ,when ,i made up my mind to come to this country it was not with the object of exhibiting myself1 but to speak to you of my father4 ,in your country my father is much talked of4 ,in my country1 unfortunately1 he is forgotten4 ,my father did not write anything--that is a terrible thing6 ,he expected to do so some day1 but he always put it off4 ,at last he decided to do so during the war--our unfortunate war6 ,he did not have many lessons to give at that time1 for nobody thought of taking any4 ,this gave him leisure to write4 ,his work was to have borne the title1 ,my ,revelatory ,episodes4 ,he had only written five chapters when he died4 ,it was to bring to you these five chapters that ,i came to ,america4 ,but as soon as ,i began to speak of them ,i was stopped4 ,why do you tell us this8 they said2 we know all this already4 ,i then discovered that the books written on my father by the ,abbe ,delaumosne and by ,mme4 ,angelique ,arnaud had been translated and published in this country4 ,mme4 ,arnaud's book is the better of the two1 but it is not practical--not at all practical4 ,i have gathered together what ,i remember in the form of lectures1 which ,i offer to you4 ,i have been asked for examples2 ,i shall give you examples4 ,i will begin1 however1 by giving you a little biographical sketch of my father1 and by telling you how he happened to make his discovery4 ,he was the son of a country doctor1 a man poor but original4 ,my father was still a very little boy when his father sent him and his younger brother to ,paris4 ,there they were apprenticed to a jeweler and made bands of gold4 ,soon the little brother died1 and my father was the only one to follow him to the cemetery4 ,on his way back1 after the burial1 he fell fainting on the plain4 ,when he regained consciousness he heard music in the distance1 and1 not knowing whence it came1 thought it was the music of the angels4 ,since then he dreamed of nothing but music2 he wanted to hear all he could2 he longed to study it4 ,one day he heard two little urchins singing in the street4 ,he asked them3 ,do you know music8 ,the urchins replied3 ,yes6 ,will you teach it to me8 ,yes1 certainly1 and they sang a scale for him4 ,is that all there is of music8 ,why1 yes4 ,not long after1 he made the acquaintance of an old musician1 who became interested in him1 gave him a few lessons1 and entered him at the ,conservatoire4 ,there he attended the elocution classes1 and a role was given to him to learn in which he had to say3 ,how do you do1 ,papa ,dugrand6 ,he had no success with this sentence4 ,each of his four professors told him a different way of saying it1 and he wondered3 ,how is this8 ,are there1 then1 no principles to go by8 ,one day a cousin of his arrived unexpectedly from the country4 ,how do you do1 my dear cousin6 ,and immediately after this warm greeting he ran away from his cousin1 crying1 excitedly1 ,i have it6 ,i have it6 and did not stop until he got to his room and in front of a looking-glass4 ,what he had was the right attitude and way to say1 ,how do you do1 ,papa ,dugrand6 and this way was diametrically opposed to the instruction his professors had given him on the subject4 ,my father spent forty-five years in observing4 ,he was the king of observers4 ,what remains to us is but one-quarter of all his observations4 ,my father's method is comprehensive2 it can be applied to the arts1 to the sciences4 ,his pupils were orators1 painters1 sculptors1 comedians1 lawyers1 doctors1 society amateurs4 ,my father had read in the first chapter of ,genesis that ,god made man in ,his image4 ,god is ,trinity4 ,trinity is the criterion of my father4 ,raymond ,brucker was an old friend of my father's4 ,what is this method of your friend ,delsarte8 was a question often put to him4 ,delsarte's method1 he would reply1 is an orthopedic machine to straighten crippled intellects4 ,my father considered man as the principle of all arts4 ,he used three terms to express man3 ,life1 mind and soul4 ,he would compare man to a carriage occupied by a traveler4 ,in front sits a coachman1 who drives the horse4 ,the carriage is the body of man2 the horse that makes it move is life2 the coachman who drives the horse is the mind2 the occupant of the carriage1 who gives orders to the coachman1 is the soul4 ,man feels1 thinks and loves4 ,my father made use of three terms to express three states3 ,concentric1 normal and excentric4 ,these he would combine with each other4 ,i will show you1 for example1 the three concentric attitudes of the hand3 ,the concentro-concentric1 expressing struggle2 the concentro-normal1 meaning power2 the concentro-excentric1 showing convulsion4 ,illustrates4 ,in the same way we have the combinations of the eyes and eyebrows1 and1 again1 those of the head4 ,the head is concentro-concentric when the eyes look in the same direction as that toward which the head inclines2 this expresses veneration4 ,notice how different the words1 ,i love him6 sound when said first with the head inclined from and then inclined toward the object4 ,an interesting series of movements for the arms that my father used to give is the following3 ,it is impossible2 ,it is not so2 ,it is improbable2 ,maybe2 ,it is so2 ,it is evident2 ,there is no doubt whatever about it4 ,illustrates4 ,this series is equally applicable to affirmation and to negation4 ,for example1 you can begin by1 ,it is impossible that it is not true6 and continue with that meaning4 ,i have been requested to give the attitudes of the feet4 ,i do not like to give them because they are not feminine1 and ,i abhor all that is not feminine4 ,however1 as ,i have been asked for them1 and as ,i wish to prove that my father had also given his attention to their study1 here they are3 7#a7 ,the attitude of little children and of old men1 expressing weakness2 7#b7 that of absolute repose2 7#c7 vehemence2 7#d7 prostration2 7#e7 transitory attitude1 preparatory to 7#f7 reverential walk2 7#g7 vertigo1 intoxication1 which is an ignoble vertigo1 or familiarity2 7#h7 the alternative between the positions of offensive and defensive2 7#i7 defiance4 ,applause4 ,oh6 ,i beg of you6 ,deprecatingly4 ,it is horribly ugly in me2 but in a man it is all right4 ,i shall now speak of the interesting role that the shoulder plays in the expression of emotions4 ,my father called the shoulder the thermometer of passion4 ,indeed1 the shoulders rise with every strong emotion4 ,if ,i say1 ,oh6 how angry ,i am6 without raising the shoulders1 it sounds if not false at least weak2 but listen1 when ,i raise my shoulders3 ,oh6 how angry ,i am6 ,again1 if ,i say1 ,how ,i love you6 the words are cold2 but1 with shoulders raised1 listen1 ,how ,i love you6 ,thus we see actors every day who portray different passions1 but whose shoulders remain cold2 they do not move us4 ,there is a very pretty observation to make about the elbow4 ,my father called it the thermometer of pride and humility1 and used to call our attention to the different ways the soldiers carry their elbows4 ,you know we have a great many soldiers in ,france and we have a good1 chance to observe them4 ,a corporal--that is1 nothing at all--carries his elbows like this elbows turned outward4 ,a sergeant1 whose rank is a little higher than that of a corporal1 carries them this way elbows slightly drawn in4 ,by the time he becomes lieutenant he is used to authority1 and does not have to show it off so much elbows drawn in still more4 ,as for a general1 one whose rank is the highest in the army1 he walks with his arms hanging naturally at his sides4 ,now let me tell you about the thumb4 ,my father being the son and the nephew of doctors1 was interested enough in the science to enter1 at one time1 the school of medicine4 ,here1 while dissecting1 he noticed that the thumb of a dead man falls inward toward the palm4 ,this led him to study the attitude of the thumb in life4 ,he would pass days in the garden of the ,tuileries watching the nurses and the mammas carrying their babes1 noting how their thumbs spread out to clasp the precious burden1 and how the mothers' hands spread wider open than those of hired servants2 so he called the thumb the thermometer of life4 ,my father always used to say to his pupils3 ,be warm outwardly1 cold inwardly4 ,he wanted them to pass suddenly from one great emotion to another4 ,all great actors do so4 ,he would point to a portrait of ,garrick1 representing the great actor with one-half of his face laughing1 the other half weeping4 ,he himself1 in his lessons1 after having given expression to some pathetic sentiment1 would become immediately his own kind self again4 ,he insisted on self-possession4 ,often when ,i was a little girl1 and would slip into the room during his lessons1 for ,i loved to listen to them1 and would find him portraying some terrible passion1 he would stop suddenly1 seeing the expression of horror on my face1 and would burst out laughing and catch me in his arms1 saying3 ,poor little one1 are you frightened8 ,the artist1 said my father1 must move1 interest and convince4 ,gesture is the agent of the heart4 ,gesture must always precede speech4 ,make me feel in advance1 he used to say2 if it is something frightful1 let me read it on your face before you tell me of it4 ,to illustrate the practice of gesture before speech1 ,i will now recite the fable of ,the ,cock1 the ,cat and the ,mouse4 ,here followed the recitation of the fable4 ,my father once held his whole audience under a spell1 showing them1 through the medium of a little girl of eight1 a hundred different ways of saying1 ,that dog is pretty4 ,i will show you one or two ways ,if ,i really think the dog is pretty1 ,i will say it in this tone1 ,that dog is pretty4 ,if the dog's coat is soiled1 ,i will say in a different tone1 ,that dog is pretty4 ,and if the dog has rubbed against my dress1 there will be a vexed tone1 ,that dog is pretty6 ,my father used to divide orators into artists in words and artists in gesture4 ,those who are simply artists in words are those who do not move you4 ,lamartine said of my father1 ,he is art itself4 ,theophile ,gautier said of him that he took possession of his public4 ,in #ahdh the ,national ,guard was appointed to guard the public monuments4 ,my father1 who was a member of the ,guard1 had his station near an archbishopric4 ,a poor fellow was arrested one day who looked suspicious2 he was searched and a chaplet was found on him4 ,the cry arose immediately that he should be drowned4 ,the poor man was being hustled off when my father stopped them1 saying that he claimed his part of the punishment1 and he drew from his own pocket a chaplet and showed it to them4 ,oh6 my father was kind4 ,he was goodness itself4 ,he was often asked to give lectures at the court1 but he would answer3 ,i do not sell my talent1 ,i give it4 ,he was especially fond of his poor pupils1 those who did not pay him2 he would often invite them to dine with him4 ,and now let me show you a series of lines which my father called the inflective medallion4 ,imagine a circle describing a circle in the air with her hand4 ,within this circle a vertical line1 a horizontal line1 and two oblique lines1 all intersecting each other4 ,at both ends of the vertical and horizontal lines are small curved lines1 the whole forming the medallion4 ,this medallion contains all necessary gestures4 ,if the vertical line is made from on high downward ,illustration3 down arrow1 it means affirmation2 if made from below upward ,illustration3 up arrow1 it means hope4 ,the horizontal line means negation4 ,one oblique line means simple rejection ,illustration3 top right to bottom left arrow2 the other ,illustration3 bottom left to top right arrow means rejection with scorn1 as in a line from ,lafontaine's fable1 ,the ,lion's ,court3 ,the monarch1 vexed1 sent him to ,pluto4 ,the little curve at the top of the vertical line ,illustration3 upward-facing curve expresses ease1 repose2 it has the form of a hammock4 ,the opposite curve ,illustration3 downward-facing curve means secrecy and mystery4 ,this curve 7 means amplitude4 ,the other one1 when made in this direction ,illustration expresses admiration for physical beauty1 and in the other direction ,illustration1 admiration for moral beauty4 ,the entire circle ,o expresses glorification4 ,these gestures can be made with the whole arm1 with the forearm only1 or simply with the waving hand2 the degree of expression varies accordingly4 ,lastly1 ,i will speak about the law of opposition4 ,the arm and the head should move in inverse directions illustrating2 also the arm and the hand4 ,the statue of the ,gladiator is a beautiful example of this law of opposition4 ,he is what we ,french call well based2 you cannot overthrow him4 ,in contrast to him1 my father used to cite ,punchinello1 the children's toy1 an object of ridicule4 ,punchinello1 when the string is pulled1 raises his right arm and his right leg at the same time4 ,notice the different ways in which people scold4 ,the schoolmaster moves his head from above downward2 the boy threatens back1 tossing his head upward4 ,and now1 ladies1 ,i hope that what ,i have said will move you to take a deeper interest in my father's work1 and enable you to understand his methods better than heretofore4 ,i shall then feel1 when ,i return to my country1 that ,i have not crossed the ,atlantic in vain4 ,the ,course of ,lessons ,given in ,america ,by ,mme4 ,geraldy ,mme4 ,geraldy prefaced her course of lessons with the following remarks3 ,god is ,trinity4 ,man1 created in the image of ,god1 bears the seal of the ,trinity4 ,in these lessons we shall analyze our whole person4 ,we shall dwell upon three terms3 ,concentric1 normal1 excentric4 ,we find them everywhere4 #a1 excentric2 #b1 concentric2 #c1 normal4 ,illustration -------------------------------- #b #b c4 c4 -------------------------------- #c #c n4 n4 -------------------------------- #a #a cx4 cx4 -------------------------------- ,we will begin with the eye--it is the most difficult4 ,lesson ,i4 ,the ,eye and the ,eyebrow4 ,concentric ,closed4 ,the ,eye4 ,normal ,open1 without expression4 ,excentric ,wide open4 ,concentric ,lowered4 ,the ,eyebrow4 ,normal ,without expression4 ,excentric ,raised4 ,combinations of the ,eye and ,eyebrow4 ,eye4 ,eyebrow4 ,expression4 ,concentric ,concentric ,in tenseness of thought4 ,concentric ,normal ,heaviness1 or somnolency4 ,concentric ,excentric ,disdain4 ,normal ,concentric ,moroseness4 ,normal ,normal ,without expression4 ,normal ,excentric ,indifference4 ,excentric ,concentric ,firmness4 ,excentric ,normal ,stupor4 ,excentric ,excentric ,astonishment4 ,the expressions of stupor and of astonishment are greatly increased when preceded by a quivering of the eyelid 7blinking74 ,this should be very rapid and very energetic4 ,delsarte always insisted on this blinking4 ,anxiety calls for a double movement of the eyebrows3 ,first1 contract them2 secondly1 raise them4 ,vitality is expressed by raising the outer part of the eyebrows4 ,this accomplishment is very rare2 but1 then1 it is not necessary4 ,contraction of the lower eyelid expresses sensitiveness4 ,lesson ,,ii4 ,the ,head4 ,concentric ,bent forward4 ,the ,head4 ,normal ,upright4 ,excentric ,bent backward4 ,combinations of ,head-movements4 ,concentro-concentric ,bent forward and inclined to one side 7toward the person73 ,veneration4 ,concentro-normal ,bent forward3 ,examination4 ,concentro-excentric ,bent forward and inclined to the other side 7from the person73 ,suspicion4 ,normo-concentric ,inclined toward the person3 ,tenderness4 ,normo-normal ,upright3 ,without expression4 ,normo-excentric ,inclined from the person3 ,sensuality4 ,excentro-concentric ,bent backward and inclined to one side 7toward the person73 ,abandon4 ,excentro-normal ,bent backward1 straight3 ,exaltation1 vehemence4 ,excentro-excentric ,bent backward and inclined to the other side 7from the person73 ,pride4 ,it is the position of the eye that determines the expression of the head1 for it is the direction of the eye that tells us on which side the object of veneration1 suspicion1 etc41 is supposed to be4 ,the shoulders should be observed here4 ,they are the thermometer of passion2 the stronger the emotion1 the higher they should be raised4 ,lesson ,,iii4 ,the ,hand4 ,concentric4444444444 ,closed4 ,the ,hand4 ,normal44444444444444 ,open4 ,excentric 4444444444 ,wide open4 ,combinations of ,hand-,movements4 ,concentro-concentric ,fist closed tight1 thumb pressing against the knuckles3 ,struggle4 ,concentro-normal ,hand closed1 thumb resting lightly against the side of the index finger3 ,power1 authority4 ,concentro-excentric ,hand open1 fingers contracted3 ,convulsion4 ,normo-concentric ,limp1 fingers turned slightly inward3 ,prostration4,a ,normo-normal ,limp3 ,abandon4 ,normo-excentric ,open1 fingers straight3 ,expansion4 ,excentro-concentric ,wide open1 fingers stretched apart and contracted3 ,execration4 ,excentro-normal ,fingers stretched apart and straight3 ,exaltation4 ,excentro-excentric ,fingers stretched wide apart and backward3 ,exasperation4 ,lesson ,,iv4 ,the ,arms4 ,let the arms swing backward from their natural position1 with the palm of the hands turned toward the front2 head raised4 ,say3 ,it is impossible6 ,there is no doubt whatever about it4 ,illustration ,arms at the side in their natural position1 palms toward the front2 head straight1 ,say3 ,it is not so4 ,arms slightly forward2 head very slightly bent4 ,say3 ,it is improbable4 ,forearms slightly raised4 ,say3 ,maybe4 ,forearms still higher4 ,say3 ,it is probable4 ,forearms at right angles with upper arms1 palms always upward2 head bent4 ,say3 ,it is so4 ,forearms higher4 ,say3 ,it is certain4 ,forearms still higher 7upper arms follow72 head bent forward4 ,say3 ,it is evident6 ,forearms still higher 7by this time the upper arms are horizontal72 head bent way forward4 ,say3 ,there is no doubt whatever6 ,illustration ,as will be noticed1 the head moves in the opposite direction from the arms4 ,the face must express what the words say4 ,the movements of the arms alone1 without the expression of the face1 do not mean anything4 ,lesson ,v4 ,inflections of the ,hand4--,combinations of the ,arm and ,hand4 #a4 ,acceptance4 ,put the arm out naturally1 palm upward4 #b4 ,caress4 ,raise the shoulder2 bend the head1 keep the elbow close to the side2 raise the hand as high as the face and1 with palm outward1 bring it slowly down again as if stroking an object1 at the same time raising the head4 #c4 ,negation4 ,draw a horizontal line in the air1 the movement finishing in an outward direction4 #d4 ,self-control4 ,arm hanging at the side1 hand in the concentro-normal condition1 denoting authority1 power over one's self4 #e4 ,authority4 ,extend the arm and raise it in front a little higher than the level of the shoulder2 then raise the hand1 which should be in the concentro-normal state1 from the wrist and let it fall again with decision4 #f4 ,menace4 ,the arm is kept in the same position1 the fist clenched 7hand concentro-concentric74 #g4 ,execration4 ,arm extended from the previous position sideward2 hand excentro-concentric1 palm toward the back2 head turned in opposite direction1 #h4 ,horror4 ,arm outstretched in front2 hand excentric1 palm outward2 head thrown back4 #i4 ,desire4 ,arm in same position2 hand assumes the normal condition and turns its palm upward2 head still thrown back4 ,these movements should blend one into the other1 and should be executed without any affectation4 ,the law of opposition should be observed here2 for example3 ,in the ascending movement of the arm the hand falls from the wrist2 when the arm descends1 the hand points upward4 ,lesson ,,vi4 ,basic ,attitudes4 #a4 ,weakness4 ,feet close together1 weight of body on both4 ,this attitude is that of childhood and old age4 #b4 ,perfect calm and repose4 ,rest weight on one foot 7settling at the hip71 bend the knee of the other leg and advance the foot4 #c4 ,vehemence4 ,move the body forward so that the weight rests on the foot that is in front2 the heel of the foot that is behind is thus raised4 #d4 ,prostration4 ,throw one foot far behind the other1 with the knee bent and the weight of the body upon it4 ,this attitude1 when properly taken1 leads to the kneeling position4 #e4 ,transitive position4 ,in walking1 stop midway between two steps and you have the #eth attitude or transitive position4 ,it is the one that leads to all kinds of walks1 and especially to the reverential or oblique walk4 #f4 ,reverential walk4 ,let the foot which is behind take a step forward in this manner3 ,with the toe describe on the ground a semi-circle that bends inward toward you2 this will cause the heel to pass over the instep of the other foot4 ,the other foot now takes a straight step forward1 and you pause in a respectful attitude before the personage of importance whom you wish to salute4 ,several steps may be taken in succession before the final pause4 ,the ceremonious step is always taken with the foot you begin with 7the one toward the person you salute72 the other foot always takes natural steps4 ,this walk is only meant for men1 and only on grand occasions4 #g4 ,intoxication1 vertigo4 ,the feet are planted on the ground and apart4 ,this attitude expresses familiarity4 #h4 ,the alternative4 ,one foot in a straight line behind the other1 the weight of the body on both4 ,this attitude is offensive and defensive4 #i4 ,defiance4 ,the weight of the body on the foot that is behind1 the other foot diagonally forward2 head thrown back4 ,delsarte never classed the basic attitudes under the heads of concentric1 normal or excentric1 any more than he so classed gestures4 ,he simply gave them in the above sequence4 ,lesson ,,vii4 ,the ,medallion of ,inflection4 ,the ,key to all ,gestures ,illustration ,illustration3 down arrow ,affirmation4 ,illustration3 right arrow on top2 left arrow on bottom ,negation4 ,illustration3 up arrow ,hope4 ,illustration3 top right to bottom left arrow ,rejection of things that harm us4 ,illustration3 bottom left to top right arrow ,rejection of things that we despise4 ,illustration3 upward facing curve ,ease1 comfort 7resembles a hammock74 ,illustration3 downward facing curve ,silence1 secrecy4 ,illustration3 77 curves ,plenitude1 amplitude4 ,illustration3 77 curves ,delicacy1 grace4 ,illustration ,physical beauty4 ,illustration ,beauty of intellect4 ,illustration3 ,example 7complex curve7 ,illustration3 down arrow ,you may believe ,illustration3 right arrow that no lord ,illustration3 complex curve had as much glory or happiness4 ,mme4 ,geraldy's ,lessons ,on ,lafontaine's ,fables4 ,the ,wolf and the ,lamb4 ,might makes right2 we shall prove this presently4 ,a ,lamb was quenching his thirst in a stream of pure water4 ,a ,wolf1 in quest of adventures1 happened by1 drawn to the spot by hunger4 ,what makes thee so bold as to pollute the water ,i drink8 said he1 angrily4 ,thy impudence deserves to be punished4 ,sire1 answered the ,lamb1 soften your wrath1 and consider that ,i am drinking the water more than twenty feet below your ,majesty1 and can1 therefore1 in no way pollute your ,majesty's drink4 ,you do pollute it6 replied the savage animal1 and ,i know that last year you slandered me4 ,how could ,i when ,i was not born8 replied the ,lamb4 ,i am still a suckling babe4 ,if it was not you1 then it was your brother4 ,i have none4 ,then it was some member of your family1 for you do not spare me--you1 your shepherds and your dogs4 ,i have been told so4 ,i must revenge myself4 ,thereupon the ,wolf carried him into the depths of the forest1 and ate him without further trial4 ,lesson ,given ,by ,mme4 ,geraldy4 ,in the narrative portions of a recitation1 the eyes of the speaker should meet the eyes of the audience4 ,in this way he fixes their attention and engages their sympathy4 ,looking straight at the audience3 ,might makes right deplore the fact4 ,we shall prove this presently4 ,a ,lamb by tone of voice and gesture show what a weak1 gentle creature a lamb is was quenching his thirst in a stream of pure water4 ,a ,wolf a strong1 cruel animal1 in quest of adventures1 happened by1 drawn to the spot by hunger4 ,fold the arms2 gesture should always precede speech4 ',what makes thee so bold as to pollute the water ,i drink8' said he1 angrily4 ',thy impudence deserves to be punished4' ',sire1' answered the ,lamb humbly1 'soften your wrath and--conjunctions should almost always be followed by a pause consider that ,i am drinking the water more than twenty feet ,mark me6 below your ,majesty1 and can1 therefore1 in no way pollute your ,majesty's drink4' ',you do pollute it6' replied the savage animal1 'and--,i know that1 last year1 you slandered me4' ,with this line ,delsarte always gave a progressive gesture1 which can best be described in this way3 ,give the gesture of affirmation ,illustration3 down arrow see ,lesson ,,vii41 stopping twice in the downward movement1 on the words that and year1 thus3 ,i know v that last v year you v slandered me4 ',how could ,i when ,i was not born8' replied the ,lamb gentle voice4 ',i am still a suckling babe4' ',if it was not you1 then it was your brother' gruff voice4 ',i have none4' ',then it was some member of your family1 for--you do not spare me1 you1 your shepherds and your dogs4 ,there is no pause after the conjunction and here1 as it simply joins together words in a list4 ,i have been told so impatiently2 the wolf is tired of parleying so long4 ,i must revenge myself4' ',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 low4 ,the ,cat1 the ,weasel and the ,little ,rabbit4 ,the palace of a young ,rabbit was taken possession of1 one fine morning1 by ,dame ,weasel2 she is a sly one4 ,the master being absent1 it was an easy thing for her to do4 ,she carried her belongings there one day when he had gone to do homage to ,aurora1 amid the thyme and the dew4 ,after having nibbled1 and trotted1 and made all his rounds1 ,bunny ,rabbit returned to his subterranean dwelling4 ,mrs4 ,weasel was looking out of the window4 ,hospitable gods6 what do ,i see6 exclaimed the animal1 who had been shut out from his ancestors' home4 ,hello there1 ,madam ,weasel1 come out without delay1 or ,i shall notify all the rats in the country4 ,the lady with the pointed nose replied that land belonged to the first occupant2 that a lodging which he himself could enter only on his stomach was a fine subject for war4 ,and even if it were a kingdom1 ,i should like to know why1 said she1 it should belong forever to ,john1 son or nephew of ,peter or ,william1 more than to ,paul1 more than to me8 ,bunny ,rabbit alleged the rights of use and custom4 ,it is these laws1 said he1 that have made me lord and master of this dwelling2 passing from father to son1 it was transmitted from ,peter to ,simon and then to me1 ,john4 ,is the right of the first occupant a wiser law8 ,oh6 well1 instead of disputing any more1 said she1 let us have the matter settled by ,raminagrobis ,grippeminaud4 ,the latter was a cat who lived as a devout hermit2 a cat whose ways and words were smooth2 a pious cat1 warmly clothed and fat and comfortable2 an umpire1 expert in all cases4 ,bunny ,rabbit accepted him as judge1 and they both went before his furred ,majesty4 ,said ,grippeminaud to them3 ,come nearer1 my children1 come nearer2 ,i am deaf2 it is the result of old age4 ,they both drew nearer1 suspecting nothing4 ,as soon as he saw the contestants within reach1 ,grippeminaud1 the sly fellow1 throwing out his paws on both sides at once1 caused the two suitors to be of one mind by eating them both up4 ,lesson ,given ,by ,mme4 ,geraldy4 ,begin slowly1 making frequent pauses ,the palace--of a young ,rabbit a nice little animal--was taken possession of1 one fine morning1 by ,dame ,weasel a personage with nose and manners sharp2 she is a sly one4 ,the master being absent1 it was an easy thing for her to do4 ,she carried her belongings there without asking by your leave6 one day when he had gone to do homage to ,aurora1 amid the thyme and the dew4 ,i do not know if you see the poetry here1 but we ,french people consider this last line one of the loveliest bits of ,lafontaine4 ,after having nibbled1 and trotted1 and made all his rounds1 ,bunny ,rabbit returned to his subterranean dwelling4 ,mrs4 ,weasel was looking out of the window4 ,start back in surprise1 raise the arms and shoulders high1 eyes wide open with astonishment1 excentro-excentric2 see ,lesson ,i4 ',hospitable gods6 what do ,i see6' exclaimed the animal who had been shut out from his ancestors' home4 ',hello there1 ,madam ,weasel with one arm raised1 beckon to her to come down1 come out without delay1 or--,i shall notify all the rats in the country4' ,the lady with the pointed nose replied that land belonged to the first occupant2 that a lodging which he himself could enter only scornfully2 eyes concentro-excentric1 see ,lesson ,i4 on his stomach was a fine subject for war6 ',and even if it were a kingdom the weasel talks very fast1 ,i should like to know why1' said she1 'it should belong forever to ,john1 son or nephew of ,peter or ,william talk very fast1 with a great many gesticulations1 more than to ,paul1 more than to me8 ' ,bunny ,rabbit alleged the rights of use and custom4 ',it is these laws1' said he the rabbit talks slowly1 'that have made me lord and master of this dwelling2 passing from father to son count on your fingers1 it was transmitted from ,peter to ,simon1 and then--to me1 ,john1 ,is the right of the first occupant a wiser law8' ',oh6 well6 instead of disputing any more1' said she it is the weasel who disputes2 she talks in a high key and very fast 'let us have the matter settled by ,raminagrobis ,grippeminaud4' ,the latter was a cat who lived as a devout hermit2 a cat whose ways and words were smooth2 a pious cat assert the fact1 warmly clothed and fat and comfortable said with the gesture expressive of plenitude made with both arms ,illustration2 see ,lesson ,,vii42 an umpire1 expert in all cases4 ,bunny ,rabbit accepted him as judge1 and--they both went before his furred ,majesty4 ,said ,grippeminaud the concentric state2 take the attitude of one who is wrapped up in himself1 head bent1 shoulders warped1 hands holding each other2 hardly unclasp to make the sign of beckoning to them3 ',come nearer1 my children1 come nearer2 point to the ears ,i am deaf2 it is the result of old age4' ,they both drew nearer1 suspecting nothing4 ,as soon as he saw the contestants within reach1 prepare the claws ,grippeminaud1 the sly fellow act the following throwing out his paws on both sides at once1 caused the two suitors to be of one mind by eating them both up4 ,delsarte's ,daughter ,in ,america4 ,by ,adele ,m4 ,woodward4 ,mme4 ,geraldy being asked1 during her recent visit to this country1 what she thought of the system of gymnastics called ,delsarte1 said 7to translate literally the expressive ,french73 ,it makes me jump6 ,and yet you have my father's method1 she continued1 showing two of the principal works on the subject published in this country4#i ,all that is correct 7pointing to some of the charts72 what more do you want8 ,the trouble lies here3 ,americans wanted more4 ,they added1 they devised1 they evolved from the few gestures given by the ,french master a whole system of movements which they called by his name1 and which has become very popular in young ladies' seminaries and young ladies' clubs4 ,the name of ,delsarte has been so strongly associated with this system1 that to most people the word ,delsarte without the word gymnastics would not mean anything4 ,mme4 ,geraldy came to our country to tell us what the name of ,delsarte means4 ,delsarte never taught gymnastics4 ,his whole life was devoted to the study of the laws that govern expression4 ,his pupils were men of all professions1 ministerial and legal orators1 actors1 singers1 etc4 ,the first half of his lesson1 said she1 was always devoted to theory1 the second to practice4 ,mme4 ,geraldy is a tall1 dark-haired1 middle-aged woman1 with an interesting face and a charming ,french manner4 ,she wears mourning for her mother1 who died in #ahia4 ,my mother1 she said1 was a remarkable woman2 she ought to be as well known as my father is4 ,i would rather my father were not known at all1 she continued1 than to be known as he is in your country1 that is1 as a professor of gymnastics4 ,she said she had heard of the ,american ,delsarte gymnastics while in ,paris 7,americans passing through the city had often come to her and asked questions71 but she had no idea1 until she came here1 that they were pushed so far4 ,she was quite amused at having dumb-bells given her at one of her lectures in a town in ,pennsylvania4 ,in a gymnasium1 as usual1 she said1 smiling4 ,anybody who had ever been through the ,delsarte gymnastics and afterward followed the course of lessons that ,mme4 ,geraldy gave to a class while in ,new ,york1 would have been struck by the beauty and simplicity of her father's method1 and her clear and direct exposition of it4 ,here was no affectation4 ,i abhor all that is affected1 she said4 ,there were no intricate convolutions1 no flourishes1 and1 above all1 no decomposing exercises4 ,an interesting fact to note is that ,mme4 ,geraldy began by teaching her pupils the expressions of the eyes1 and when she gave them attitudes or gestures1 she always called for the facial expression to accompany them4 ,a woman1 well-known in her profession throughout the country1 is said to have made the remark that ,mme4 ,geraldy was wrong in beginning with the eyes2 she should begin with the feet4 ,only after showing the possibilities of expression by face1 head1 hands1 arms and shoulders1 did ,mme4 ,geraldy give the basic attitudes4 ,she was very patient and painstaking with her pupils1 and showed herself interested in every one4 ,she would often pause1 while showing some expressive gestures1 and say1 smiling3 ,but you ,americans do not express yourselves in gestures4 ,you do not 'move' as much as we do4 ,and again1 when insisting on the expressiveness of the shoulders when raised 7the shoulders are the thermometer of passion1 said ,delsarte7 she would conclude3 ,but all this is not ,american2 you ,americans do not shrug your shoulders4 ,in giving the gesture of caress1 she quoted her father as saying that the attitude of the hands in prayer is a certain form of caress4 ,in our desire to have the thing we pray for1 we clasp our hands together and press them to our bosom as if we already held it4#aj ,she was sometimes amused at the numerous questions that were asked her during the lessons4 ,what searching minds you ,americans have6 she would remark1 admiringly4 ,you must know the why and the wherefore of everything4 ,we ,french people are of much lighter mind and take things more for granted4 ,during the lesson on basic attitudes1 the following question was put3 ,in the attitude of repose is the mind in a passive state1 and in the attitude expressive of vehemence is the mind in an active state8 ,the simple answer was3 ,it is the mind that governs the feet and not the feet that govern the mind4 ,mme4 ,geraldy always insisted on the law of opposition in movements1 nature's and her father's great law4 ,she gave1 for example1 an interesting series of gestures1 which might be called the ascending scale from doubt to conviction1 in which the head moves simultaneously with the arms and in an inverse direction4 ,the figure on page #edg99 represents the angles made by the arms and shoulders and1 at the same time1 those made by the head and shoulders to express the accompanying ideas4 ,delsarte used to say3 ,when ,i am speaking1 stop me in the moment of my greatest exaltation1 and ,i defy you to find me1 from my head to my feet1 in a position contrary to my method4 ,voice-culture for the speaking-voice is not an art that is cultivated in ,france1 ,mme4 ,geraldy said1 ,what can you do to change your voice8 ,it was given to you by nature2 you cannot change your vocal cords4 ,mme4 ,geraldy returned to ,france1 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 ,americans1 better understood and appreciated by them4 ,part ,seventh4 ,addenda4 ,trueness in ,singing4 ,notes of a ,lecture by ,delsarte1 ,taken by ,his ,pupil ,a4 ,giraudet1 of ,the ,national ,academy of ,music1 ,paris4 ,by a most reasonable deduction derived from his admirable principles1 ,delsarte reckoned three modes or degrees of correct singing3 #a4 ,absolute trueness2 #b4 ,temperate trueness2 #c4 ,passional trueness4 ,absolute trueness is that adopted by theorists1 who divide the gamut into five notes and two semi-notes2 the note into nine commas1 or shades of tone2 the chromatic semi-tone into five1 and the diatonic semi-tone into four4 ,thus from ,c to ,c they count five shades of tone2 whereas from ,c to ,db they count but four4 ,likewise1 from ,d to ,db they count five shades of tone1 and from ,d to ,c but four4 ,illustration3 ,absolute scale ,the difference of a comma between the ,d flat and the ,c sharp1 seemingly a very slight difference1 is1 nevertheless1 most important in singing1 as we shall see later on4 ,but performers1 to simplify our musical system1 have divided this comma into two1 making synonymous notes of ,d flat and ,c sharp2 that is to say1 notes having the same sound4 ,the note is1 therefore1 practically divided into two semitones of four commas and a half4 ,this is what is known as moderation or temperate trueness4 ,illustration3 ,temperate scale ,temperate trueness is defective from many points of view4 ,this is the universal opinion1 but we are forced to accept this method by the absolute impossibility of any improvement1 especially with the key-board instruments now in vogue2 and it must be accepted until some new invention shall revolutionize the piano by modulating its tones1 a transformation which would give that instrument not only the musical design1 but also the color and warmth which it now lacks4 ,let us pass to passional trueness1 leaving science to enter the domain of art4 ,passional trueness1 said ,delsarte1 consists in giving each semitone three1 four1 five1 six1 or even seven commas1 according to its tendency4 ,as we see1 the precept is daring1 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 false4 ,every rule has its reason and its consequences4 ,st4 ,augustine1 who knew the ,beautiful1 of which art is only the expression1 and who could explain it well1 has given us a brief but admirable definition of music3 ,music is a succession of sounds each calling forth the other4 ,simple yet profound words6 ,the sounds call each other forth1 desire and mutually attract each other1 and in every age this attraction has been so clearly evident1 that the seventh note in the scale1 when it meets the others each of which has its particular name relating to its particular function1 tonic1 dominant1 etc41 is simply called the sensitive note1 from its tendency to pass into the atonic4 ,passional trueness is based upon this tendency of the notes to pass into those which succeed them1 and upon this reciprocal attraction of sounds4 ,thus1 notes1 which have a tendency toward the acute or shrill1 may be raised two commas or more above temperate trueness4 ,notes which have a tendency toward the grave may be lowered in the same proportion4 7,example1 taken from ,the ,prophet1 by ,meyerbeer47 ,ex4 ,no4 #a4 ,music ,ah6 mon fils ,ex4 ,no4 #b ,music il re-nia ta me-re ,here1 the ,b may be but two commas distant from the ,c2 and in the second example given1 the ,a flat may also be but two commas removed from the ,g1 and this change far from producing a disagreeable effect upon the ear1 will make a most striking impression and the accent will be far more dramatic than before4 ,try the reverse1 that is1 divide the interval ,b sharp-,c into seven commas on the semitones ,a flat-,g2 it will be unendurable4 ,whence we may deduce the fact that to sing false is to sing above or below a note in the inverse direction to its attraction4 ,delsarte1 in his definition1 speaks only of the semitone1 and we ourselves give examples of that sort of attraction only2 but it does not follow that the other intervals are not equally subject to the same law4 ,their attraction may not be shown by the same effects4 ,the master added1 in speaking of trueness in singing3 ,the triad is the breathing-place of the tonality2 the notes composing it should be absolutely true4 ,they are the singer's invariable and necessary law4 ,they characterize repose4 ,their office is that of attraction1 and they can only be attracted mutually1 with the exception of the tonic1 which is the centre of attraction not only for various notes1 but for the phrase and the entire composition4 ,delsarte was very severe in regard to those who sang false2 but to sing true was not1 to his thinking1 a good quality4 ,he said1 on this point1 that no one would compliment an architect because he had built a house in accordance with geometrical rules4 ,whence he concluded that trueness is the least of good qualities1 and the lack of it the greatest of vices1 and he added in regard to style3 ,the most important quality is expression1 and a lack of expression is the least of vices4 ,let us add that the application of passional trueness depends upon a thousand conditions of rhythm and harmony1 to analyze which would lead us much too far4 ,the artist must make use of it according to his aptitudes and his tendencies1 for he must preserve his individuality4 ,he must learn by observation and the study of his own faculties to apply theoretical rules founded upon natural laws4 ,practical trueness1 while it allows us to depart from legitimate trueness1 has strong analogies with the tempo rubato4 ,the tempo rubato1 which ,delsarte employed in a remarkable and striking way in dramatic passages1 actually permits the musician1 in certain cases and in the desired proportion1 to change the value of the notes while respecting the principle of time1 which is invariable4 ,but the application of these rules is subject to the emotional intensity2 it is1 therefore1 impossible to determine theoretically and absolutely its various bearings4 ,delsarte4 ,from the ,atlantic ,monthly for ,may1 #ahga1 by permission of ,houghton1 ,mifflin ,co4 ,by ,francis ,a4 ,durivage4 ,it was not until last summer1 and then under peculiarly impressive circumstances1 that ,i saw1 for the first time1 a remarkable man whose name is indissolubly associated with ,french art--,francois ,delsarte1 of ,paris4 ,my curiosity had been deeply excited by what ,i had heard of him4 ,i was told that1 after long years of patient toil and profound thought1 his genius had discovered and developed a scientific basis for histrionic art1 that he had substituted law for empiricism in the domain of the most potential of the fine arts2 and when the names of ,rachel and ,macready were quoted in his list of pupils1 ,i was eager to behold the master and to learn something of the system which has yielded such fruits to the modern stage4 ,the kindness of a friend procured me the rare privilege of admission to the last session of ,delsarte's course1 which closed in ,july4 ,it was on one of those weary summer days when the hush of expectation1 following the fierce excitement caused by the declaration of war1 had eclipsed the gayety of ,paris4 ,the notes of the ,marseillaise had ceased to stir the blood like the sound of a trumpet4 ,the glare and glitter of ,french chivalry1 which had masked the feebleness of the ,imperial military system1 had vanished4 ,the superb ,cent ,gardes1 the brilliant lancers1 the savage ,turcos1 and the dashing ,spahis had been replaced by the coarsely clad troops of the line4 ,it was grim-visaged war and not its pageantry that we beheld2 heavy guns rumbling slowly across the ,place de la ,concorde2 dark masses of men moving like shadows on their funeral march to the perilous edge of battle4 ,it was a relief to exchange these sad scenes for that quiet interior of the ,boulevard de ,courcelles1 where a little group of persons devoted to aesthetic culture were gathered around their teacher1 perhaps for the last time4 ,the personal appearance of ,delsarte is impressive4 ,years have not deprived his massive form of its vigor1 nor dimmed the fire of his eye4 ,his head is cast in a ,roman mould2 indeed1 the fine medallion likeness executed by his daughter might well pass for an antique in the eyes of a stranger4 ,in his personal bearing there is nothing of that self-assertion1 that posing1 which is a common defect of his distinguished countrymen4 ,the pupils whom ,i met were ladies1 with the single exception of a young ,american1 ,mr4 ,james ,s4 ,mac,kaye1 to whom1 as his favorite disciple and one designated to succeed him in his profession1 ,delsarte has imparted all the minutiae of his science4 ,to this gentleman was assigned the honor of opening the seance by a brief exposition of the system1 and of closing it by reciting in ,french a brilliant tragic monologue1 the effect of which1 in spite of the absence of appropriate costume and scenic illusion1 electrified the audience4 ,in this scene1 ,les ,terreurs de ,thoas1 those rapidly changing expressions of the features1 those statuesque attitudes melting into each other1 which we all remember in ,rachel1 indicated a common origin4 ,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 ,eumenides4 ,after listening to the recitation1 ,i was not surprised to learn that the young student was to appear1 under the auspices of his teacher1 at the ,theatre ,francais1 during the approaching winter1--an honor never before conceded to any foreigner4 ,the large ,american colony in ,paris was looking forward to this debut with a natural pride1 and ,delsarte with the calm assurance of his favorite's triumph4 ,alas6 we all reckoned without taking ,king ,william1 the ,crown ,prince1 the ,fed ,prince1 von ,moltke1 and von ,bismarck into our account4 ,we never fancied1 on that bright ,july morning1 that ,krupp of ,essen's cannon and the needle-gun were soon to give laws to ,paris4 ,but inter arma silent artes as well as leges4 ,nearer and deadlier tragedies than those of ,corneille and ,racine were soon to be enacted2 and the poor players were summoned to perform their parts upon no mimic stage4 ,however1 what though the field be lost8 all is not lost4 ,the venue1 to borrow a legal phrase1 has been changed1 but the cause has not been abandoned4 ,our young countryman has returned to his native land1 bringing with him the fruits of his long studies1 to appeal to an ,american audience1 and it is quite possible that his teacher may be induced to transfer his school of art to the ,united ,states4 ,although at this seance ,delsarte appeared disposed to efface himself in favor of his brilliant representative1 he kindly consented to speak a few words 7and what a charming ,french lesson was his causerie67 and to present a specimen of his pantomimic powers4 ,the latter exhibition was really surprising4 ,he depicted the various passions and emotions of the human soul1 by means of expression and gesture only1 without uttering a single syllable2 moving the spectators to tears1 exciting them to enthusiasm1 or thrilling them with terror at his will2 in a word1 completely magnetizing them4 ,not a discord in his diatonic scale4 ,you were forced to admit that every gesture1 every movement of a facial muscle1 had a true purpose1 a raison d'etre4 ,it was a triumphant demonstration4 ,the life of this great master and teacher1 hereafter to be known as the founder of the ,science of ,dramatic ,art1 crowded with strange vicissitudes and romantic episodes1 forms a record full of interest4 ,francois ,delsarte was born at ,solesmes1 ,department of the ,north1 ,france1 in #ahaa4 ,his father was a physician1 and his mother a woman of rare abilities1 who taught herself to speak and write several languages4 ,shortly after the battle of ,waterloo a detachment of the allied troops was passing through ,solesmes1 in the midst of a dead and sullen silence1 when the commandant's quick ear caught the sound of a childish voice crying1 ,vive l',em-pe-weur6 ,vive ,na-po-le-on6 ,every one smiled at the juvenile speaker's audacity1 except the stern officer whose name has1 unfortunately1 escaped the infamous celebrity it deserved4 ,by his orders1 a platoon of soldiers sought out the child's home and burned it to the ground2 and thus little ,francois ,delsarte became the innocent cause of the ruin of his family4 ,the atrocities committed during the ,white ,terror1 of which this incident is an example1 though passed over by history1 are not forgotten by the survivors of that cruel period4 ,the leaders in the second terror could not plead the ignorance of ,robespierre's followers in excuse of their excesses1 for they were nobles1 magistrates1 priests and officers of rank4 ,delsarte's early years were passed in the midst of cruel privations and domestic troubles1 for even love forsook a home blighted by poverty4 ,his father1 naturally proud and imperious1 irritated by straitened circumstances1 out of which there seemed no issue1 crushed by the weight of obligations to others1 lost heart and hope1 became morose1 sceptical and bitter1 and treated his wife and family with such harshness and injustice1 that ,delsarte's mother was finally compelled to abandon her husband4 ,she fled with her two boys to ,paris1 hoping there to make her talents available4 ,all her efforts1 however1 were fruitless1 and she found herself on the verge of starvation4 ,one evening1 as she sat with her two boys in her wretched room1 tortured by their questions after their father1 she could not suppress her tears4 ,francois1 the eldest1 then nine years of age1 tried to console her4 ,he told her that he was almost a man1 able to earn his food and to take care of her and his little brother4 ,she listened to his prattle with a sad smile1 kissed him and embraced him4 ,during all of the sleepless night which followed1 ,francois was revolving his hidden projects of independence1 and at gray dawn1 confiding his purpose only to his brother1 and bidding him tell his mother1 when she awoke1 that he would soon be back with money to buy bread for them1 the child stole forth to seek his fortune in the great dreary world of ,paris4 ,he wandered about all day1 and at night1 hungry and weary1 entered a jeweler's shop in the ,palais ,royal1 kept by an old woman1 to whom he appealed for employment--vainly at first4 ,finally1 however1 she consented to engage him as a drudge and errand boy1 allowed him to sleep in an armoire over the door1 and gave him four pounds of bread a week in lieu of wages4 ,four pounds of bread a week6 ,the allowance appeared munificent1 and he accepted the offer with gratitude4 ,a brief experience dispelled his illusions4 ,he was always weary and always hungry4 ,after a few weeks' trial1 he left his first benefactress and secured some kind of employment at five sous a day1 out of which he contrived to save two4 ,in two weeks he had saved nearly a franc and a half for his dear mother4 ,one day1 while executing a commission for his employer1 he found his little brother alone in the street crying bitterly4 ,how is dear mamma8 was his first question4 ,dead1 and carried away by ugly men4 ,the winter of #ahba was unusually severe for ,paris4 ,one night ,delsarte and his brother fell asleep in each other's arms in the wretched loft they occupied2 but when the former opened his eyes to the morning's light he was holding a corpse to his heart4 ,the little boy had perished of cold and starvation4 ,almost mad with terror and grief1 the survivor rushed into the streets to summon the neighbors4 ,the next day a little hatless boy1 in rags and nearly barefooted1 followed two men bearing a small pine coffin which they deposited in the fosse commune of ,pere la ,chaise4 ,after seeing the grave covered1 ,delsarte left the cemetery and wandered wearily through the snow1 now utterly alone in the world1 across the plain of ,st4 ,denis4 ,overcome by cold1 hunger1 and grief1 he sank to the ground1 and then1 before he lost consciousness1 a strain of music1 real or imaginary1 met his ear and charmed him to a forgetfulness of misery1 bereavement1 all the evils that environed him4 ,it was the first awakening of his artist soul1 and to this day ,delsarte believes that it was no earthly music that he heard4 ,rousing himself from a sort of stupor into which he had fallen1 he saw a chiffonnier bending over him4 ,the man had for a moment mistaken the prostrate form for a bundle of rags2 but taking pity on the half-frozen lad1 he placed him in his basket and carried him to his miserable home4 ,and so the future artist commenced his professional career as a ,parisian rag-picker4 ,while wandering about the great city in the interest of his employer1 his only solace was to listen to the songs of itinerant vocalists and the occasional music of a military band4 ,music became his passion4 ,from some of the gamins he learned the seven notes of the scale1 and1 to preserve the melodies that delighted him1 he invented a system of musical notation4 ,on a certain holiday1 when he was twelve years old1 while listening to the delightful music in the garden of the ,tuileries1 the little chiffonnier busied himself with drawing figures in the dust4 ,an old man of eccentric appearance1 noticing his earnest diligence1 accosted him4 ,what are you doing there1 boy8 he asked4 ,terrified at first1 but reassured by the kind manner of the stranger1 ,delsarte replied3 ,writing down the music1 sir4 ,do you mean to say those marks have any significance8 ,that you can read them8 ,certainly1 sir4 ,let me hear you4 ,encouraged by the interest manifested in him1 the lad sang in a sweet and pure but sad voice the strains just played by the military band4 ,the old man was amazed4 ,who taught you this process8 ,nobody1 sir2 found it out myself4 ,bambini--for it was the then distinguished1 but now almost forgotten1 professor--offered to take the boy home with him2 and he who had entered the garden of the ,tuileries a rag-picker1 left it a recognized musician4 ,in the dust of ,paris were first written the elements of a system destined to regenerate art4 ,bambini taught his protege all he knew1 but the pupil soon surpassed the master and became his instructor in turn2 for if the one had talent1 the other possessed genius4 ,bambini predicted the future of ,delsarte4 ,one day when they were walking arm-in-arm in the ,avenue des ,champs-,elysees1 the former said3 ,do you see all those people in carriages1 with their fine liveries and magnificent clothes8 ,well1 the day will come when they will only be too happy to listen to you1 proud of your presence in their salons1 envying your fame as a great artist4 ,bambini's death left ,delsarte poor and friendless4 ,at fourteen1 however1 he managed to get admitted into the ,conservatoire1 where1 though he labored hard1 he met with harsh treatment and discouragement4 ,the professors disliked him for his reflective nature and persistent questionings which brought to light the superficiality of their acquirements2 his fellow-pupils1 for his exclusive devotion to study and his reserve1 the result of diffidence rather than of hauteur4 ,his professors were dictators1 who1 while differing from each other as teachers1 were yet united in frowning upon any attempt on the part of their pupil to emancipate himself from the thraldom of conventionalism and routine4 ,genius was a heresy for which they had no mercy4 ,thrown upon his own resources1 he soon developed1 by careful observation of nature and a constant study of cause and effect1 a system and a style radically differing from those of the professors and their servile imitators4 ,one day1 after having sung in his own style at one of the public exhibitions--applauded1 however1 only by a single auditor1--he was walking sadly and slowly in the court-yard of the ,conservatoire1 when a lady and a gentleman approached him4 ,courage1 my friend1 said the lady4 ,your singing has given me the highest pleasure4 ,you will be a great artist4 ,so spake ,marie ,malibran1 the queen of song4 ,my friend1 said her companion1 ,it was ,i who applauded you just now4 ,in my opinion1 you are a singer hors de ligne4 ,when my children are ready to learn music1 you1 above all others1 shall be their professor4 ,these were the words of ,adolphe ,nourrit4 ,the praises of ,malibran and ,nourrit gave ,delsarte courage1 revived his hopes1 and decided him to follow implicitly the promptings of his genius4 ,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 theatres4 ,it was refused4 ,the autumn of #ahbi found him a shabby1 almost ragged applicant for employment at the stage-door of the ,opera ,comique4 ,repeated rebuffs failed to baffle his desperate pertinacity4 ,one day the director1 hearing of the annoyance to which his subordinates were subjected by ,delsarte1 determined to abate the nuisance by one of those cruel coups-de-main of which ,frenchmen are pre-eminently capable4 ,the next night1 during the performance1 when ,delsarte called1 he was1 to his surprise and delight1 shown into the great man's presence4 ,well1 sir1 what do you want8 ,pardon1 ,monsieur1 ,i came to seek a place at your theatre4 ,there is but one vacant1 and you don't seem capable of filling that4 ,i want only a call-boy4 ,sir1 ,i am prepared to fill the position of a premier sujet among your singers4 ,imbecile6 ,monsieur1 if my clothes are poor1 my art is genuine4 ,well1 sir1 if you will sing for me1 ,i will hear you shortly4 ,he left ,delsarte alone1 overjoyed at having secured the manager's ear4 ,in a few moments a surly fellow told him he was wanted below1 and he soon found himself with the manager upon the stage behind the green curtain4 ,you are to sing here1 said the director4 ,there is your piano4 ,in one moment the curtain will be rung up4 ,i am tired of your importunities4 ,i give you one chance to show the stuff you're made of4 ,if you discard this opportunity1 the next time you show your face at my door you shall be arrested and imprisoned as a vagrant4 ,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 him1 and that perhaps his last chance lay within his grasp4 ,he forgot his rags2 every nerve became iron2 and when the curtain was rung up1 a beggar with the bearing of a prince advanced to the foot-lights1 was received with derisive laughter by some1 with glances of surprise and indignation by others1 and1 with a sad and patient smile on his countenance1 gracefully saluted the brilliant audience4 ,the courtliness of his manner disarmed hostility2 but when he sat down to the piano1 ran his fingers over the keys1 and sang a few bars1 the exquisite voice found its way to every heart4 ,with every moment his voice became more powerful4 ,each gradation of emotion was rendered with an ease1 an art1 an expression1 that made every heartstring vibrate4 ,then he suddenly stopped1 bowed1 and retired4 ,the house rang with bravos4 ,the dress-circle forgot its reticence and joined in the tumult of applause4 ,he was recalled4 ,this time he sang a grand lyric composition with the full volume of his voice1 aided in effect by those imperial gestures of which he had already discovered the secret4 ,the audience were electrified4 ,they declared that ,talma was resuscitated4 ,but when he was a second time recalled1 his tragic mood had melted2 there were tears in his voice as well as on his cheeks4 ,after the fall of the curtain the director grasped his hand1 loaded him with compliments1 and offered him an engagement for a year at a salary of ten thousand francs4 ,he went home to occupy his wretched attic for the last time1 and falling on his knees poured forth his soul in prayer4 ,the next day ,delsarte1 neatly dressed1 paid a visit to the directors of the ,conservatoire4 ,gentlemen1 said he1 you would not give me a recommendation as a chorister2 the public have accorded me this4 ,and he displayed his commission as ,comedien du ,roi4 ,delsarte remained upon the lyric stage until #ahcd1 when the failure of his voice1 which had been strained at the ,conservatoire1 compelled him to retire4 ,he continued1 however1 the study of music1 and his productions1 particularly a ,dies ,irae1 placed him in the front rank of composers4 ,at this period of his life1 meditation and study resulted in a firm religious faith1 which never wavered afterward4 ,he now applied himself to the task of establishing a scientific basis for lyric and dramatic art1 and after years of patient labor perfected a system on which probably his fame will ultimately rest4 ,his cours for instruction in the principles of art was first opened in #ahci4 ,from the outset he was appreciated by the highly cultivated few1 nor was it long before the circle extended and the new master won a ,european reputation4 ,some of his pupils were destined for a professional career2 but many1 men and women of rank and fortune1 sought to learn from him the means of rendering their brilliant salons yet more attractive4 ,members of most of the reigning families of ,europe were numbered among his pupils1 and his apartments in ,paris were filled1 when ,i saw them1 with pictures1 photographs1 and other souvenirs of esteem and friendship1 from the highest dignitaries of ,europe4 ,when he consented1 on one occasion1 to appear at a soiree at the ,tuileries1 ,louis ,philippe received him at the foot of the grand staircase1 as if he had been his peer1 and bestowed on him during the evening the same attentions he would have accorded to a fellow-sovereign4 ,the citizen king recognized the royalty of art4 ,and it may be noted that ,delsarte would not have appeared on this occasion1 except on the condition that no remuneration should be offered to him for the exercise of his talents4 ,malibran1 whose kind word in the courtyard of the ,conservatoire had revived ,delsarte's fainting hopes1 attended his early course of lectures4 ,i have already mentioned ,rachel and ,macready as his pupils4 ,i now recall the names of ,sontag1 of the gifted ,madeleine ,brohan1 of ,carvalho1 ,barbot1 ,pasca 7who owed everything to ,delsarte71 and ,pajol4 ,he was the instructor in pulpit oratory of ,pere ,lacordaire1 ,pere ,hyacinthe1 and the present abbe of ,notre ,dame4 ,notwithstanding the labor exacted by his great specialty1 he has done much good work in various other directions4 ,among his mechanical inventions are a sonotype1 a tuning instrument by means of which any one can tune a piano accurately1 an improved level1 theodolite and sextant1 a scale for measuring the differences in the solidity of fluids1 etc4 ,of the conscientiousness with which he works1 it may be mentioned that he devoted five years to the study of anatomy and physiology1 to obtain a perfect knowledge of all the muscles1 their uses and capabilities1--a knowledge of which he has utilized with remarkable success4 ,it is now time to give some idea of his system1 which can be done most satisfactorily1 perhaps1 through the medium of an article which appeared in the ,gazette ,musicale1 from the authoritative pen of ,a4 ,gueroult4 ,after having analyzed the maestro's theory of vocal art1 he says3 ,the study of gesture and its agents has been subjected by ,m4 ,delsarte to an analysis no less profound4 ,thus he recognizes in the human body three principal agents of expression1 the head1 the torso and the limbs1 which perform each a distinct part in the economy of a character4 ,gesture1 sometimes expressive1 sometimes excentric1 and sometimes compressive1 assumes in each case special forms1 which have been classified and described by ,m4 ,delsarte with a care and perspicuity which make his labors on this subject entirely new1 and for which ,i know no equivalent anywhere4 ,permit me to explain more fully the utility of this study1 to cite an application1 for examples are always more eloquent than generalities4 ,in the play of the physiognomy every portion of the face performs a separate part4 ,thus1 for instance1 it is not useless to know what function nature has assigned to the eye1 the nose1 the mouth1 in the expression of certain emotions of the soul4 ,true passion1 which never errs1 has no need of recurring to such studies2 but they are indispensable to the feigned passion of the actor4 ,how useful would it not be to the actor who wishes to represent madness or wrath1 to know that the eye never expresses the sentiment experienced1 but simply indicates the object of this sentiment6 ,cover the lower part of your face with your hand1 and impart to your look all the energy of which it is susceptible1 still it will be impossible for the most sagacious observer to discover whether your look expresses anger or attention4 ,on the other hand1 uncover the lower part of the face1 and if the nostrils are dilated1 if the contracted lips are drawn up1 there is no doubt that anger is written on your countenance4 ,an observation which confirms the purely indicative part performed by the eye is1 that among raving madmen the lower part of the face is violently contracted1 while the vague and uncertain look shows clearly that their fury has no object4 ,it is easy to conceive what a wonderful interest the actor1 painter1 or sculptor must find in the study of the human body thus analysed from head to foot in its innumerable ways of expression4 ,hence1 the eloquent secrets of pantomime1 those imperceptible movements of great actors which produce such powerful impressions1 are decomposed and subjected to laws whose evidence and simplicity are a twofold source of admiration4 ,finally1 in what concerns articulate language ,m4 ,delsarte has assumed a yet more novel task4 ,we all know the power of certain inflections2 we know that a phrase which accented in a certain way is null1 accented in another way produces irresistible effects upon the stage4 ,it is the property of great artists to discover this preeminent accentuation2 but never1 to my knowledge1 did anyone think of referring these happy inspirations of genius to positive laws4 ,yet1 whence comes it that a certain inflection1 a certain word placed in relief1 affects us8 ,how shall we explain this emotion1 if not by a certain relation existing between the laws of our organization1 the laws of general grammar1 and those of musical inflection8 ,there is always1 in a phrase loudly enunciated1 one word which sustains the passionate accent4 ,but how shall we detach and recognize it in the midst of the phrase8 ,how distribute the forces of accentuation on all the words of which it is composed8 ,how classify and arrange them in relation to that sympathetic inflection1 without which the most energetic thought halts at our intelligence without reaching our heart8 ,m4 ,delsarte has had recourse to the same method which guided him in the study of gesture4 ,he did not study declamation on the stage1 but in real life1 where unpremeditated inflections spring directly from feeling2 then1 fortified by innumerable observations1 he rearranged grammar and rhetoric from this special point of view1 and has obtained results as simple in their principles as they are fertile in their application4 ,if ,i wished to classify the nature and value of ,m4 ,delsarte's labors in relation to what has been spoken or written up to this time on the art of singing or acting1 ,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 conceived4 ,ingenious and multiplied observations have been employed to bring forth the delicacies of the part and its unpcrceived features4 ,the intellectual strength of the actor or vocalist has been directed to the author's conception4 ,he has been told to be pathetic here1 menacing there2 here to assume a slight tinge of irony transpiercing apparent politeness1 or1 again1 to make his gesture a seeming contradiction of his words4 ,such an analysis of the poet's work is certainly imperative1 but how far from adequate6 ,and what an immense distance there is from the intelligence which comprehends to the gesture which translates1 from the song which moves to the inflection which interprets6 ,it is with the new purpose which ,m4 ,delsarte has embraced that1 without neglecting an understanding of the author1 he says to the actor3 ',this is what you must express4 ,now1 how will you do it8 ,what will you do with your arms1 with your head1 with your voice8 ,do you know the laws of your organization8 ,do you know how to go to work to be pathetic1 dignified1 comic1 or familiar1 to represent the clemency of ,augustus or the drunkenness of a coachman8' ,in a word1 he teaches the vocalist or actor the laws of this language1 of this eloquence which nature places in our eyes1 in our gestures1 in the suppressed or expansive tones of our voice1 in the accent of speech4 ,he teaches the actor1 or1 to speak more properly1 the man1 to know himself1 to manage artistically that inimitable instrument which is man himself1 all of whose parts contribute to a harmonious unity4 ,hence1 aware of the gravity of such an assertion1 ,i do not hesitate to proclaim here that ,i believe ,m4 ,delsarte's work will remain among the fundamental bases2 ,i believe that his labors are destined to give a solid foundation to theatric art1 to elevate and to ennoble it2 ,i believe that there is no actor1 no singer1 however eminent1 who cannot derive from the acquirements and luminous studies of ,m4 ,delsarte1 positive germs of development and progress4 ,i believe that whoever makes the external interpretation of the sentiments of the human soul his business and profession1 whether painter1 sculptor1 orator1 or actor1 that all men of taste who support them will applaud this attempt to create the science of expressive man2 a science from which antiquity seems to have lifted the veil1 and what appears willing to revive in our days1 in the hands of a man worthy by his patient and conscientious efforts to discover some of its most precious secrets4 99 99 99 99 99 ,delsarte has sought neither fame nor wealth4 ,he could easily have secured both by remaining on the stage as an actor1 after he had lost his power as a vocalist4 ,he preferred to surrender himself in comparative retirement to the study of science and art1 and the instruction of those who sought his aid in mastering the principles of the latter4 ,to the needy this instruction was imparted gratuitously1 and more than one successful actress has been raised from penury to fortune by the benevolence of her teacher4 ,it would be easy to cite many illustrations of the goodness and tenderness of this man4 ,religious fervor has largely influenced his life and is the key-note of his character2 but his faith is not hampered by bigotry4 ,like all minds of high rank1 he holds that science and art are the handmaids of religion4 ,i have said that this remarkable man did not seek fame2 it has come to him unsought4 ,pages might be filled with voluntary tributes to his genius from the foremost minds of ,france1--,jules ,janin1 ,theophile ,gautier1 ,mme4 ,emile de ,girardin4 ,lamartine pronounced him a sublime orator4 ,fiorentino1 the keen1 delicate1 and calm critic1 spoke of him as this master1 whose feeling is so true1 whose style is so elevated1 whose passion is so profound1 that there is nothing in art so beautiful and so perfect4 ,if we hazarded an intrusion into the domestic circle of ,delsarte1 we should find one of those pure and happy family groups1 fortunately for ,france by no means rare even in her capital2 one of those ,french homes the existence of which nearly all ,englishmen and many ,americans deny4 ,we should find a bond of sympathy and a community of talent uniting father and mother1 two fair daughters1 and three brave sons4 ,or1 rather1 we should have found this happy gathering1 for the iron hand of war has broken the charmed ring4 ,the dear old home on the ,boulevard de ,courcelles is deserted4 ,father1 mother1 and daughters were compelled to seek refuge in the ,north of ,france1 the sons to march against the ,prussians4 ,let us trust that long ere this they have reached home unwounded1 and that the grand old maestro has no further ills in store for his declining years4 ,delsarte's ,method for ,tuning ,stringed ,instruments ,without the ,aid of ,the ,ear4#aa ,by ,hector ,berlioz4 ,do you hear1 you pianists1 guitarists1 violinists1 violoncellists1 contra-bassists1 harpists1 tuners1 and you1 too1 conductors of orchestras--without the aid of the ear6 ,what a vast1 incomparable1 nay1 priceless discovery1 especially for the rest of us wretched listeners to pianos out of tune1 to violins and 'cellos out of tune1 to harps out of tune1 to whole orchestras out of tune6 ,delsarte's invention will now make it your positive duty to cease torturing us1 to cease making us sweat with agony1 to cease driving us to suicide4 ,not only is the ear of no use in tuning instruments1 but it is even dangerous to consult it2 it must by no possible chance be consulted4 ,what an advantage for those who have no ear6 ,hitherto1 it has been just the opposite1 and we forgave you the torments that you inflicted on us4 ,but in future1 if your instruments be out of tune1 you will have no excuse1 and we shall hand you over to public vengeance4 ,without the aid of the ear1 mark you--aid so often useless and deceptive4 ,delsarte's discovery holds good only for stringed instruments1 but this is much2 this is an enormous gain4 ,hence1 it follows that in orchestras directed and tuned without the aid of the ear1 there will be no more discords1 save between the flutes1 hautboys1 clarionets1 bassoons1 horns1 cornets1 trumpets1 trombones1 kettle-drums and bass drums4 ,the triangle might1 at a pinch1 be tuned by the new method2 but it is generally acknowledged that this is not necessary1 just as with bells1 a discord between the triangle and the other instruments is a good thing2 it is popular in all lyric theatres4 ,and the singers1 whom you do not mention1 someone may ask1 will it be possible to make them sing true1 to put them in tune8 ,two or three of them are naturally in tune4 ,some few1 by great care and exactness1 may be brought very nearly into tune4 ,but all the others were not1 are not1 and will not be in tune1 either individually1 or with each other1 or with the instruments1 or with the leader of the orchestra1 or with the rhythm1 or with the harmony1 or with the accent1 or with the expression1 or with the pitch1 or with the language1 or with anything resembling precision and good sense4 ,delsarte has made it especially easy to tune the piano1 by means of an instrument that he calls the phonopticon1 which it would take too long to describe here4 ,suffice it to say1 that it contains an index-hand that marks the exact instant when two or more strings are in perfect unison4 ,it may be added that the invariable result is so absolutely correct1 no matter who may try it or under what conditions1 that the most practiced ear could not possibly attain to similar perfection4 ,acousticians should not fail to examine this invention at once1 the use of which cannot be long in becoming universal4 ,index4 ,a4 ,abdominal centre1 the1 life1 ,accent1 ,accord of nine1 the1 ,actors1 bad1 ,adjective1 the1 ,adverb1 the1 ,a,esthetic division1 chart of1 ,a,esthetic fact of first rank1 ,a,esthetics1 course of1 applied1 lay of1 ,alto voice1 the1 ,anatomy1 ,angelo1 ,michael1 ,angels1 the1 ,anger1 ,animals do not laugh1 ,ankylosed limbs1 ,apollo1 the1 ,appoggiatura1 ,aquinas1 ,st4 ,thomas1 ,archimedean lever1 ,architecture1 application of the law to1 ,aristocrats lie1 ,aristotle1 ,arms1 movements of the1 five million movements of the agents of the1 division of1 three centres in the1 ,art1 the true aim of1 all1 has the same principle1 definition of1 how ,delsarte considered1 religious sentiment in1 the death of1 elements of1 the plastic1 the grand1 the supreme1 dramatic1 lyric and oratorical1 best conditions for a work of1 object of1 sources of fine1 not imitation of nature1 ,article1 the1 ,articulate language1 weakness of1 origin and organic apparatus of1 elements of1 ,articulation1 in the service of thought1 ,articulations1 the1 ,artificial breath1 ,artistic personages1 classification of1 ,artist1 the proclivities necessary to an1 ,art-writings of the ,greeks1 ,attraction1 ,attractive centres1 ,attribute1 the1 ,attributes of reason1 the1 ,audience1 an1 different from an individual--the greater the numbers the less the intelligence1 ,b4 ,bacchus1 the1 ,balzac1 ,bambini1 ,father1 ,barbier1 ,barbot1 ,mme41 ,bass voice1 the1 ,baudelaire1 ,charles1 ,baxile1 ,m41 ,beautiful1 the1 ,beauty exists only in fragments1 moral and intellectual1 ,belot1 ,adolphe1 ,beranger1 ,berlioz1 ,bizet1 ,george1 ,blanchecotte1 ,mme41 ,blangini1 ,body1 the1 divisions of the1 retroactive movement of1 ,boileau1 ,bonnat1 ,breathing ,brohan1 ,madeleine1 ,brucker1 ,raymond1 ,buccal 7cheek7 zone1 the1 machinery 7articulate speech71 the language of the mind1 ,c4 ,calculation and artifice1 if detected1 quicksands to the orator1 ,canova1 ,captain ,renard1 fable of1 ,captivating an audience1 secret of1 ,caress1 the1 ,carvalho1 ,mme41 ,charts classifying celestial spirits1 ,charts list of1 ,chastity1 concave1 ,chaudesaigues1 ,mlle41 ,chest1 the1 the three attitudes of1 divisions of1 ,chest1 a passive agent ,chest-voice1 the the expression of the sensitive life should be little used the eccentric voice ,cheve1 ,m4 and ,mme4 ,children1 why are they graceful8 ,chopin ,chorography ,chorre1 ,mother ,cicero ,circle1 the1 for exalting and caressing ,colin ,colors1 symbolism of the primitive the three that symbolize the life1 soul and mind ,color charts1 the ,concentric state1 the ,conjunction1 the the soul of the discourse ,consonants1 musical are gestures the initial variation in the value of beat time for the pronunciation of every first1 is strong two things to be observed in ,contemplation and retroaction ,corneille ,costal breathing ,courier1 ,paul ,louis ,cousin1 ,victor ,cries ,cros1 ,antoine ,czartoriska1 ,princess ,d4 ,dailly1 ,dr4 ,darcier ,davout1 ,marshal ,death1 the sign language of ,de ,bammeville1 ,july ,de ,blocqueville1 ,mme4 ,de ,chimay1 ,princess ,degrees1 theory of ,d',haussonville1 ,countess ,dejazet ,de ,lamartine1 ,mme4 ,de la ,madelene1 ,jules ,delaunay1 ,charles ,delivery1 a hasty ,de ,leomenil1 ,mme4 ,laure ,delsarte1 biographical sketch of criterion of method of took much time in educating a pupil was he a philosopher8 lectures of teachings of the press on the discoverer of the law can never be reproduced birth1 death1 name1 early history of how he learned music enters the conservatory theatre and school of becomes a teacher of singing and elocution history of the voice of dramatic career of recitations of sings at the ,court marriage and family of religion of friends of the ,talma of music anecdotes of scholars of ,stanzas to ,eternity of dear and last pupil of musical compositions of an instance of the singing of shapeless coat of imitating defects singing during lessons inventions of ,berlioz's treatment of before the ,philotechnic ,association and the four professors last years of a concert of character and merit of ,episodes of a ,revelator of ,america's offer to return to ,paris of last letter to the ,king of ,hanover of struggles with his teachers visit to the dissecting room a pensioner of the conservatory mystical or religious musings of the way of making his discovery is grateful because he had not written his book not spontaneous on trueness in singing ,delsarte1 ,mme41 maiden name of beauty and talent of ,delsarte1 ,gustave ,de ,meyendorf1 ,mme4 ,demosthenes ,de ,musset1 ,alfred ,de ,riancey1 ,henry ,desbarolles ,descartes ,deshayes1 ,m4 ,de ,stael1 ,mme4 ,devotion ,diaphragmatic breathing ,dictation exercises ,discovery1 dawn of ,delsarte's ,dissecting room1 ,delsarte's visit to the ,divine ,majesty1 reflection of the ,divine reason ,donoso-,cortes1 ,m4 ,donot ,dramatic singing ,dugrand1 ,delsarte's struggles with papa ,dupre ,duprez ,dynamic apparatus1 its composition harmony wealth ,e4 ,ear1 the most delicate sense ,eccentric state1 the ,e flat ,elbow1 the thermometer of the relative life sign of humility1 pride1 etc4 ,ellipsis ,eloquence holds first rank among the arts to be taught and learned is composed of three languages does not always accompany intellect ,emotions1 tender1 expressed by high notes ,emphasis1 example of ,e mute before a consonant before a vowel ,epic1 the ,epicondyle1 the eye of the arm ,epigastric centre1 the1 soul ,epiglottis1 contracting the ,epilogue ,episodes of a ,revelator ,episode ,i ,episode ,,ii ,episode ,,iii ,episode ,,iv ,episode ,v ,episode ,,vi ,episode ,,vii ,equilibrium1 the laws of ,error must rest upon some truth ,etruscans1 the ,evolutions1 passional ,expiration1 the sign of ,exclamations ,expression1 very difficult the whole secret of ,expressive centres ,eye1 the tolerance of ,eyes1 the the nine expressions of parallelism between the voice and the chart of the ,eyebrow1 the the thermometer of the mind ,f4 ,fables1 recitation of ,face1 divided into three zones ,fact1 the value of a ,father1 ,son1 and ,holy ,ghost ,fingers1 the ,florentine ,force and interest consist in suspension ,form1 the vestment of substance definition of ,fourier1 ,charles ,free-thinkers1 blindness of ,french prosody ,french versification ,fright ,frontal 7forehead7 zone1 the ,g4 ,galen ,garrick ,gautier1 ,theophile ,genal 7chin7 zone1 the ,geraldon ,gesture1 in general is for sentiments its services to humanity reveals the inner man the direct agent of the heart the interpreter of speech the interpreter of emotion an elliptical language division of harmony and dissonance of origin and oratorical value of superior to the other languages is magnetic the laws of must always precede speech retroaction joy and fright require backward movement equilibrium the great law of the hirmonic law of parallelism of numbers of lack of intelligence indicated by many duration of the rhythm of importance of the laws of the semeiotic or reason of the types that characterize its modifying apparatus the inflections of delineation of spheroidal form of the sense of the heart the spirit of the inflection of the deaf a series of1 for exercises the static the life of the semeiotic the spirit and rationale of the series of1 applied to the sentiments oftenest expressed the1 of interpellation the1 of thanks1 affectionate and ceremonious the1 of attraction the1 of surprise and assurance the1 of devotion the1 of interrogative surprise the1 of reiterated interrogation the1 of anger the1 of menace the1 of an order for leaving the1 of reiteration the1 of fright three important rules for how produced dilatory difficulty in object of definition of without a motive ,giraudet1 ,alfred report of ,delsarte's lecture ,gluck ,god1 the spirit of1 in all things how ,he reveals things a pretext for every ,utopia the archetype ,good1 the ,gospel1 the1 directs investigation ,gounod ,grace ,great movements for exaltation of sentiment ,greeks1 the1 had no school of aesthetics ,groans ,gueroult1 ,adolphe ,guide-accord1 the1 of ,delsarte ,gymnastics1 the grand law of organic the practice of ,h4 ,habit ,halevy ,hand1 the1 another expression of the face expressions of the its three presentations criterion of the chart of the digital face the back and the palmar face the three rhythmic actions the1 in natural surprise the1 in death attitudes of the in affirmation the nine physiognomies of ,handel ,harmony ,harmony1 born of contrasts is in opposition ,head1 the1 movements of the occipital1 parietal and temporal zones the primary agent of movement action of1 in surprise which side is for the soul and which for the senses8 attitudes of ,head voice1 the how produced interprets mental phenomena the concentric voice ,heart1 when to carry the hand to the ,hegel ,hervet ,high head1 small brain ,hippias ,hoffman ,horace ,hugo ,humanity is crippled ,human reason ,human science1 the alpha and omega of ,human triplicity1 the ,human word composed of three languages ,i4 ,ideal1 the ,imitation1 the melody of the eye uselessness of ,immanences1 the ,impressionalism ,impressions and sensations ,individual type1 how formed ,infant1 the1 has neither speech nor gesture ,infinitesimal quantities ,inflection1 a modification of sound their importance illustrations of rules of must not be multiplied special life revealed through four millions of the melody of the ear the gesture of the blind differentiating the high life of speech medallion of ,ingres ,inspiration1 when allowable the sign of ,interjection1 the ,interpellation ,interrogative surprise ,intonations1 caressing ,italian1 no two equal sounds in ,j4 ,jacob1 ,mlle4 ,jacotot ,jesus of ,nazareth ,joncieres ,joy1 the greatest in sorrow ,joys1 keen ,k4 ,kant ,king of ,hanover ,delsarte's last letter to the ,king ,louis ,philippe ,kreutzer ,l4 ,lablache ,laboring men1 the ways of ,lachrymose tone disgusting ,lacordaire ,la ,fontaine ,la ,harpe ,lamaitre1 ,frederick ,lamartine ,lamentation ,language ,laocoon1 the ,larynx1 the coloring of lowering the the thermometer of the sensitive life ,larynxes1 artificial ,latin prosody ,laugh1 signification of the its composition ,law1 definition of application of the1 to various arts ,legouve ,legs1 the1 and their attitudes ,leibnitz ,leroux1 ,pierre ,liars do not elevate their shoulders ,life1 the sensitive state principal elements of the phenomena of ,light ,lind1 ,jenny ,literary remains of ,delsarte ,literature1 the law applied to ,littre's ,dictionary ,logic often in default ,longus ,louvre1 false pictures in the ,love gives more than it receives ,lovers1 the gaze of ,loyson1 ,father ,lucht1 ,auguste ,lully ,lungs1 the ,lyric art ,m4 ,malherbe ,malibran ,man the three phases of either painter1 poet1 scientist1 or mystic three types in the object of art a triplicity of persons the agent of ,a,esthetics when a man shrinks unfamiliar to himself ,marcello ,marie1 ,franck ,mars ,martellato ,massenet ,materialism ,measure in oratorical diction ,medallion of inflection ,mediocrity ,medium voice1 the expression of moral emotions the normal voice ,melody ,menace1 the head and hand ,mengs ,mental or reflective state ,mercie ,mind1 the intellectual state ,mode simpliste ,modest people turn out the elbow ,mohere ,monsabre1 ,father ,moral or affective state ,mother1 the voice of the ,mother vowel1 the ,motion1 distinction and vulgarity of ,mouth1 the no contraction of back part openings of1 for various vowels a vital thermometer ,movements from various centres flexor1 rotary1 and abductory initial forms of ,mucous membrane1 transmitter of sound ,muscular machinery 7gesture71 the language of emotion ,music1 the seven notes of a succession of sounds ,musset ,n4 ,napoleon ,,iii ,nasal cavities1 the ,naturalism ,ninefold accord1 the ,normal state1 the ,nose1 a complex and important agent nine divisions of ,nose1 a moral thermometer ,notes1 high1 for tender emotions ,nourrit1 ,adolph ,number ,o4 ,occipital zone1 the life ,ontology ,opposition of agents ,orator1 the1 should be a man of worth ,oratorical sessions ,oratory1 definition of the science of1 not yet taught the essentials the fundamental laws of the criterion of the student of1 should not be a servile copyist three important rules for the student of symbolism of colors applied to perseverance and work necessary to the student of ,order for leaving1 an ,organic chart ,p4 ,painter1 how a1 examines his work ,painting1 application of the law to ,palate1 the ,pantomime1 secrets of ,parietal zone1 the soul ,particle1 the ,pasca1 ,mme4 ,passion of signs ,passive attitude1 the type of energetic natures ,pasta1 ,mme4 ,people1 vulgar and uncultured ,pergolesi ,phenomena1 natural1 contain lessons ,phidias ,philotechnic ,association ,physiology ,plato ,poe1 ,edgar ,a4 ,poets are born1 orators are made ,poise lack of1 in body ,powers1 the ,praxiteles ,preacher1 a1 must not be an actor ,preposition1 the ,pricette1 ,father ,principiants and principiates ,processional relations1 theory of reversal of ,professors1 ,delsarte and the four ,progressions ,pronoun1 the ,pronunciation ,proudhon ,pythagoras ,q4 ,quintilian ,r4 ,r1 cure of the faulty ,rachel ,racine ,rainbow1 the the colors of ,rameau ,random notes ,raphael's picture of ,moses1 a fault in ,ravignan ,reaction ,realism ,reason a blind faculty an act of faith the attributes of ,reber ,reboul ,recitative ,reiterated interrogation ,reiteration ,respect1 a sort of weakness ,respiration suppressing the and silence three movements of multiplied to facilitate vocal1 logical1 passional ,respiratory acts1 their signification ,retroaction ,reverence1 the sign of ,reynaud1 ,jean ,rhythmus ,romagnesi ,rossini ,roulade ,routine ,royer1 ,mme41 ,clemence ,s4 ,st4 ,augustine ,st4 ,saens ,st4-,simonism ,st4 ,thomas ,salutation1 the sign of ,sand1 ,george ,schiller ,science1 bases of the and art ,scientists1 cause of the failure of ,sculptor1 aims of the ,sculpture1 application of the law to ,semeiotics of the shoulder ,senses1 the ,sensibility1 thermometer of ,sensitive nature betrayed by voice ,sensitive or vital state ,sensualism1 convex ,sensuality ,sentiment ,shades and inflections ,shakespeare ,shoulder1 the thermometer of love the sensitive life the sign of passion action of1 in surprise thermometer of emotions semeiotics of in the aristocratic world ,sigh1 the ,signs of passion ,silence1 the father of speech the speech of ,god the rule of ,simplisme ,sincerity intolerable ,singing ,sob1 the ,societies1 meeting of the learned ,socrates ,sontag1 ,mme4 ,soprano voice1 the ,sorbonne1 the ,soul1 the moral state ,souhe1 ,frederic ,sound1 the first language of man revelation of the sensitive life is painting should be homogeneous every sound is a song the sense of the life reflection of divine image ,souvestre1 ,emile ,speech the omnipotence of inferior to gesture anticipated by gesture the sense of the intelligence the three agents of oratorical value of soul of visible thought ,spontini ,standard1 value of a ,subject1 the ,subjectivity in ,a,esthetics ,substantive1 the ,sue1 ,eugene ,sully-,prudhomme ,surprise and assurance ,system ,t4 ,talma ,teachers1 ignorance of the ,tears1 accessory matters to be shed only at home ,temporal region1 the mind ,tenderness ,tenor voice1 the ,thanks1 affectionate and ceremonious ,thermometers1 the three the articular arm centres called ,thermometric system of the shoulder ,theresa ,thoracic centre1 the mind ,threatening with the shoulder ,thumb1 the thermometer of the will has much expression the sign of life the1 in death living mimetics of the thermometer of life and death ,thyrcis ,tone1 position of ,tones1 the lowest1 best understood prologation of ,torso1 the1 divisions of chart of ,treatise on ,reason ,tremolo1 the ,trinitarians1 the ,trinity1 the the holy1 recovered in sound ,true1 the ,trueness in singing ,truth1 men are divided in regard to ,types1 the1 in man ,typical arrangements phrases ,u4 ,uchard1 ,mario ,ugly1 the ,uprightness1 perpendicular ,uvula1 raising the ,v4 ,values1 the law of resume of the degrees of ,verb1 the ,verdi ,veron1 ,eugene ,vertebrae1 three sorts of ,vice1 hideousness of ,vicious arrangements ,violent emotion1 in1 the voice stifled ,virtues1 the ,vision1 three sorts of ,vital breath ,vocal cords1 fatiguing the ,vocal music ,vocal organ1 the ,vocal shades1 law of ,vocal tube1 the1 must not vary for a loud tone ,voice1 the charms of organic apparatus of a mysterious hand the kinds of the registers of meaning of the high and deep the language of the sensitive life the chest1 the medium1 the head the white dimensions and intensity of how to obtain a stronger three modes of developing method of diminishing the less the emotion1 the stronger the how to gain resonance a tearful1 a defect the tremulous1 of the aged the rhythm of its tones must not be jerky inflections of great affinity between the arms and the exercises for the mixed tenuity and acuteness of shades of definition of the shading of the pathetic effects in the tearing of the two kinds of loud ,voltaire ,volubility1 too much ,vowels correspond to the moral state length of the initial ,w4 ,wartel ,weight ,what ,i ,propose ,will1 the ,winkelmann ,wisdom ,wolf and the lamb1 the fable of the ,words1 the value of1 in phrases dwelling on the final ,worlds1 three1 presented ,wrist1 the thermometer of the physical life ,writing1 a dead letter ,z4 ,zaccone1 ,pierre ,zeuxis ,zola1 ,m4 ,footnotes #a ,the sensitive is also called the vital1 the mental1 the reflective1 and the moral the affective state4 ,the vital sustains1 the mental guides1 the moral impels4--,,translator4 #b ,the registers here given undoubtedly refer to the singing voice1 as the range of notes in the speaking voice is very much more limited4 ,very frequently voices are found whose range in singing is very much greater than that which the author has given here2 however1 on the other hand1 many are found with even a more limited range4--,,translator4 #c ,the sounds here given are those of the ,french vowels4 ,a has two sounds1 heard in mat and far4 ,e with the acute accent 7e7 is like a in fate1 ,e with the grave accent 7e7 is like e in there4 ,i has two sounds--the first like ee in reed1 the second like ee in feel4 ,o has a sound between that of o in rob and robe4 ,o with the circumflex 7o7 is sounded like o in no4 ,the exact sound of u is not found in ,english4 ,ou is sounded like oo in cool4 ,the nasal sound an is pronounced nearly like an in want4 ,the nasal in is pronounced somewhat like an in crank4 ,the nasal on is pronounced nearly like on in song4 ,the nasal unis pronounced nearly like un in wrung4 ,consult some work on ,french pronunciation1 or1 as is far preferable1 learn these sounds from the living voice of the teacher--,translator4 #d ,from ,greek3 geneiou1 the chin4 #e ,many of these papers were entrusted by the family to a former pupil of ,delsarte1 who took them to ,america4 #f ,notes taken by his pupils1 during the latter years of his lessons prove that the master touched upon this question4 ,i do not copy them because1 being somewhat confused1 they might give rise to misunderstandings2 neither do they in any way contradict anything that ,i have said above2 they confirm1 on the contrary1 what remains in my memory of the interpretation of ,delsarte1 who never belied himself4 #g ,the existence of the persons of the ,trinity1 the one in the other4 ,these charts and diagrams are given in ,part ,fifth4 #h ,for a fuller report of this lecture1 see ,delsarte ,system of ,expression1 by ,genevieve ,stebbins1 second edition1 #b4 ,edgar ,s4 ,werner1 ,publisher1 #dh ,university ,place1 ,new ,york4 #i ,delsarte ,system of ,oratory and ,delsarte ,system of ,expression4 #aj ,see page #edi for complete lesson4 #aa ,this extract shows that ,delsarte was not unknown to ,berlioz4 ,mme4 ,arnaud refers to the coldness with which ,berlioz treated ,delsarte4 ,the article given here has been translated so as to preserve as nearly as possible the quaint1 half sarcastic style of the author4--,,publisher4