CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
Cornell University Library 
 arW37365 
 
 Delsarte system of dramatic expression, 
 
 
 3 1924 031 749 595 
 ohn.anx 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031749595 
 
DELSARTE 
 
 SYSTEM OF 
 
 Dramatic Expression 
 
 -BY- 
 
 Genevieve Stebbins 
 
 ORIGINAL ILLUSTRATIONS 
 
 NEW YORK 
 48 UNIVERSITY PLACE 
 
 Edgar S. Werner 
 1886 
 
Copyright by 
 EDGAR S. "WERNER, 
 
 A 11 rights reserved. 
 
CONTENTS. 
 
 PAGE. 
 
 Introduction 3 
 
 LESSON I. 
 
 Decomposing Exercises Il 
 
 ^Esthetic Talk. 
 
 LESSON II. 
 
 Harmonic Poise of Bearing J 7 
 
 Esthetic Talk. 
 
 LESSON III. 
 
 Principle of Trinity 3I 
 
 ^Esthetic Talk. 
 
 LESSON IV. 
 
 The Legs S7 
 
 ^Esthetic Talk. 
 
 LESSON V. 
 The Walk 73 
 
 ERRATA 
 
 Change description of the attitudes of Chart VIII, page 142, to 
 correspond with that of the attitudes of Chart VI, page 135; the 
 object to which both eyeball and head turn being on the left. 
 
 N.I). — The arrangement of Charts VI and VIII is different from 
 the other Charts in order that the Plane of the Superior may be at 
 the top and the Plane of the Inferior at the bottom. The philosoph- 
 ical harmony is not thereby disturbed. 
 
 In Chart X, page 152, for " normo-excentric " read normo-coiuen- 
 tric ; for " excentro-excentric " read ext-entro-eoncentrie ; for " nor- 
 mo-concentric " read >ionno excentric ; for '' excentro-concentric "' 
 read i'Xteiitro-ext-t'utrir. (When corrected, it will be the same as the 
 Criterion Chart. ) 
 
 In Chart XIV, page 164, in lower right-hand corner, for " excen- 
 tro-concentric 1 ' read exicntro-excentric. 
 
 A moment's use of the pen will remedy these printer's errors, 
 which, in spite of the utmost care, have crept in. The reader is 
 cordially ashed to call the publisher's attention to any other errors or 
 defects that may be discovered, in order that the necessary correc- 
 tions may be made in the next edition. 
 
iv Contents. 
 
 LESSON XI. page. 
 
 The Arm. — Continued 115 
 
 LESSON XII. 
 The Torso 121 
 
 LESSON XIII. 
 The Head 129 
 
 LESSON XIV. 
 The Head. — Continued 137 
 
 LESSON XV. 
 Active Agents of the Eye 143 
 
 LESSON XVI. 
 Profiles 155 
 
 LESSON XVII. 
 The Lips and the Jaw 161 
 
 LESSON XVIII. 
 Grammar of Pantomime 167 
 
 LESSON XIX. 
 A Gamut of Expression in Pantomime 177 
 
 LESSON XX. 
 The Voice 187 
 
 LESSON XXI. 
 Color 219 
 
 Order of Exercises for Systematic Practice 234 
 
 Index 257 
 
ESTHETIC GYMNASTICS. 
 
 PAGE. 
 
 i. Decomposing Exercises: Fingers, Hand, Fore- 
 arm, Entire arm, Head, Torso, Foot, Lower 
 leg, Entire leg, Entire body, Eyelids, Lower jaw, 1 2 
 
 2. Harmonic Poise of Bearing : Standing, Change 
 
 of centre of gravity forward, back and sideways, 
 Rotation, Poise when seated 18 
 
 3. Gestures from the significant zones, mental, moral 
 
 and vital 49 
 
 4. Standing in significant attitudes 66 
 
 5. The walk 73 
 
 6. Stage falls : Back fall, Front fall, Kneeling, Bow- 
 
 ing, Sitting, Rising from sitting, Rising from 
 back fall, Rising from front fall, Rising from 
 kneeling, Pivoting, Rising on toes 83 
 
 7. Sinking wrist, Serpentine movement, Feather 
 
 movement 95 
 
 8. Opposition of torso and arms, Gladiator oppo- 
 
 sitions 101 
 
 9. The command " Go," Evolution of motion in 
 
 arms, Involution of motion from action to 
 repose, Involution of body, Evolution of body, 104 
 
 10. Spiral movement 108 
 
 11. Spiral movement followed by extension of arms 
 
 in breadths 113 
 
vi ^Esthetic Gymnastics. 
 
 PAGE. 
 
 12. Primary oppositions of head and arm: Mental 
 
 or normal calm of being, Resigned appeal to 
 heaven, Accusation, Imprecation, Remorse, 
 Deep thought, grief or shame, Reproach, Re- 
 pulsion from affection, Pathetic protest or- 
 benediction 117 
 
 13. Direct, circular and oblique movements for right 
 
 arm and hand 1 24 
 
 14. Rotation of head in various attitudes 134 
 
 15. Lid exercises 140 
 
 1 6. Brow exercises 151 
 
 1 7. Nostril exercise 158 
 
 18. Mouth exercise 163 
 
 19. Gamut of expression in pantomime 177 
 
 Scene I. You are standing idly in a room : a step 
 on the stairs attracts your attention. The 
 door opens to admit a person for whom you 
 have an affection. You greet this person in 
 delighted surprise. 
 
 Scene II. Receiving no response from the object 
 of your greeting, you increase the courtesy of 
 your salutation, with repeated assurances of 
 your affection. 
 
 Scene III. Your greeting increases in ardor. Re- 
 ceiving no response, you express surprise and 
 affectionate protest. 
 
 Scene IV. The object still shows great doubt of 
 your love ; and, consequently, you intensify 
 your expressions of devotion. 
 
 Scene V. No effect is produced on object. In great 
 surprise you ask the reason : " Does he think 
 you guilty of some wrong to him ? " You 
 attest your innocence with great vehemence. 
 
^Esthetic Gymnastics. vii 
 
 Scene VI. Continued disbelief in your truth and 
 innocence enrages you. You make, however, 
 one final effort for self-control, but show ex- 
 treme anger in bearing and face. 
 
 Scene VII. Your passion has now passed beyond 
 your control, and you order the object of it to 
 leave your presence. 
 
 Scene VIII. While gazing in anger at object, as 
 in final attitude of Pantomime 7, its aspect 
 changes into something which paralyzes you 
 with terror, appalls you and fills you with 
 loathing. 
 
 Scene IX. You glance toward object. To your 
 amazement, another transformation has taken 
 place. A vision of beauty is before you. 
 Great astonishment depicted on face. You 
 are attracted toward vision. It recedes. You 
 beseech it to remain with you, but it vanishes, 
 leaving you prostrate. 
 
LIST OF CHARTS, ILLUSTRATIONS, ETG. 
 
 PAGE. 
 
 Chart I. Criterion 39 
 
 II. Attitudes of the legs 72 
 
 III. Conditional attitudes of the hand 97 
 
 IV. Circle 125 
 
 V. Zones of the head 131 
 
 VI. Attitudes of the head 135 
 
 VII. Divisions of the head 136 
 
 VIII. Attitudes of the eyeball 142 
 
 IX. The brow 143 
 
 X, XI. Combinations of brow and upper lid. .152, 153 
 
 XII. Expressions pf the eyebrow 154 
 
 Profile cuts 155 
 
 XIII. Expressions of the nose 159 
 
 XIV. Expressions of the mouth 164 
 
 XV. Vowels 199 
 
 XVI. Consonants 200 
 
 XVII. Symbolic colors 226 
 
Iwtotfticttotx. 
 
INTRODUCTION. 
 
 "Where, where, can I find the Abbe Delaumosne?" 
 I asked of every one I met in Paris when, some 
 months after my arrival, I found myself settled for the 
 year's study of the French drama, for which I had 
 come. 
 
 "Who is the Abbe Delaumosne? " asked M. Reg- 
 nier, ex-president of the government conservatory, 
 to whom I was applying for lessons. 
 
 " He is the compiler of Delsarte's system of dra- 
 matic art," I replied ; " I want very much to see him, 
 but no one can tell me where to find him." 
 
 At last a letter from his publisher, to whom I had 
 written, contained the wished-for address, Nanterre, 
 of whose church, St. Genevieve, the abb6 was cure. 
 The next morning found me on my way. 
 
 " Nanterre ! " shouts the guard. I descend and 
 look about me. The tiniest of tiny hamlets. No 
 one in sight; but yes, a stout peasant woman, a 
 huge basket on her head, is coming toward me. I 
 stop her. 
 
 "Where is the church St. Genevieve?" 
 
 In voluble patois she directs me. I walk up the 
 one long street, stone walls on each side hiding the 
 houses. At the end, near an old fountain, I find the 
 
4 Delsarte System. 
 
 church I am seeking, and enter. An old woman 
 who is telling her beads before an image of the 
 Madonna, motions me to the door of the sacristry. 
 I knock. , . ■ 
 
 " Entrez," comes back. A tall form, a beaming 
 face, a pleasant voice greet me. It is the Abbe 
 Delaumosne. 
 
 "What can I do for you, my child?" 
 
 In a few words I state my errand. I wish to talk 
 with him about Delsarte. He is greatly interested 
 in the report I bring of the spread of Delsarte's 
 teachings in America. He gives me the following 
 resume : 
 
 "Francois Delsarte was born Nov. II, 1811, at 
 Solesme, France. His father, a physician, died leav- 
 ing his family poor. The young Delsarte was sent 
 to Paris, in 1822, to study with a painter on china, 
 but his tastes carried him into other channels. He 
 became, in 1825, a pupil of the conservatory, a 
 government institution for instruction in dramatic art, 
 music, and the ballet. Here, for the want of proper 
 guidance, he lost his voice. Finding himself thus 
 incapacitated for the stage, he resigned that career 
 for that of a teacher of singing and the dramatic art. 
 Realizing that he had been shipwrecked for want of 
 a compass and pilot, he determined to save others 
 from his fate by seeking and formulating the laws 
 of an art hitherto left to the caprice of mediocrity, 
 or the inspiration of genius. After years of unre- 
 mitting labor and study — study which took him by 
 
Introduction. 5 
 
 turns to hospitals, morgues, asylums, prisons, art 
 galleries, etc., patiently unearthing the secrets and 
 methods of past genius — study which kept him 
 enchained by the hour watching the children at play 
 in the great public gardens, weighing humanity every- 
 where and everyhow, he succeeded in discovering 
 and formulating the laws of aesthetic science. Thanks 
 to him, that science has now the same precision as 
 that of mathematics. He died, without arranging 
 his life-work for publication, July 20, 1871. Many 
 are the names, famous in their different careers, that 
 have owed much to his instruction — Rachel, Sontag, 
 Pasca, Monsabre, etc." 
 
 We talked for some hours ; then, late in the after- 
 noon, I left, after promising a speedy return and re- 
 newal of our conversation. 
 
 This is an age of formulation. What Comte has 
 done for exact science, Buckle and Mill for history, 
 Spencer for culture, and Ruskin for painting, Delsarte 
 has tried to do for action, for expression. It is as 
 though the world, growing weary of productive 
 activity, sought to pause and rearrange before plung- 
 ing into further depths ; to rescue from the void and 
 formless mass of collected material a system whose 
 symmetry and beauty should embody all that is worth 
 saving ; and, surely, an art like acting should have 
 some higher standard than the empirical caprices of 
 its exponents. " Trusting to the inspiration of the 
 moment, is like trusting to a shipwreck for your 
 first lesson in swimming." 
 
6 Delsarte System. 
 
 In America, there is an opinion prevalent among 
 / actors, managers and the public at large to the 
 effect that all work done on the stage should be the 
 result of temperament rather than study ; that if 
 any study is given, it should be entirely personal, 
 and should come from the actor's observation of his 
 own emotions. More than this, they declare, is 
 injurious, and will make one mechanical and elocu- 
 tionary. They admit that, after one is fairly on the 
 / stage, a few things, such as standing, entrances and 
 exits, points, taking the tone of one's interlocutor in 
 a scene of excitement, etc., may be learned from 
 old professionals. Now, I am not denying the great 
 benefit to be derived from a careful study of one's 
 own emotions ; but how if one's personal experiences 
 do not include the experience one is called upon to 
 / portray? 
 
 I was rehearsing " Phedre " one day to M. 
 Regnier: — 
 
 " Recited with feeling," he criticised, " but you 
 give me the love of a young girl, not that of a 
 woman starving herself to death, and dying of re- 
 morse ! Very well for Juliet, but it will not do for 
 Phedre ." 
 
 I had trusted to temperament and it had failed me. 
 
 Poets are born ; but they have their laws of 
 versification. Orators must study rhetoric ; lawyers 
 their codes ; singers have a technique ; musicians, 
 harmony ; painters, sculptors, architects, — all have 
 some compass, some guide, which does not interfere 
 
Introduction. 7 
 
 with their natural aptitude, but only increases it. 
 Things grow by what they feed on, and we save 
 time by using the experiences of others. 
 
 A young painter shut himself in his studio, and 
 laboriously worked out his own methods. One day 
 he came forth jubilant, and imparted his discovery 
 to Gerome. 
 
 "My dear boy," answered the master, "I could 
 have showed you that in five minutes, and saved you 
 two years of time ! " 
 
 Delsarte has saved for the students of the dramatic 
 profession many years of unnecessary labor ; and to 
 those who will faithfully and conscientiously follow 
 his guidance, the result is certain, for he holds the 
 lamp of truth. 
 
 Another great French master, Samson, has said : — 
 " L'art cest la naturel en doctrine erige." 
 Many years ago an enthusiastic young man, find- 
 ing himself in Paris in pursuit of art-studies, heard 
 of the famous classes in pantomime of Francois 
 Delsarte. He went, saw, and was conquered. He 
 had found his master and the master his most ardent 
 disciple — Steele Mackaye. The latter, like a John 
 the Baptist, came back to America to prepare the 
 New World for the coming of Delsarte. Talks, 
 lectures, interviews in the daily papers on the grand 
 new philosophy excited public attention, and prom- 
 inent men united to bring Delsarte to this country. 
 Visions of a conservatory, a theatre, and a reformed 
 stage, which, like liberty, should enlighten the world, 
 
8 Delsarte System. 
 
 floated before the public gaze ; and such people as 
 William Stuart, of the old Winter Garden theatre, 
 Alger, Monroe, thought the scheme practicable. 
 But "man proposes and God disposes." The toc- 
 sin of battle was sounded, and France and Germany 
 rushed into mortal combat. Delsarte could not leave 
 his country, and before the angel of peace had de- 
 scended on his troubled land, he had passed to the 
 other world. 
 
Ijec0m^0sxng ^a&ern&es. 
 
 IF 
 
LESSON I. 
 
 DECOMPOSING EXERCISES. 
 
 ESTHETIC TALK. 
 
 Dear pupil, will you accompany me, an invisible 
 presence by my side, as we trace our way through 
 a course of lessons? And if you practice faithfully, 
 I can assure you that you will not regret the time 
 and patience required in the study. 
 
 A lovely day in spring. You are before me. 
 Listen to my words : The first great step in the study 
 of this art is the attainment of perfect flexibility. 
 This is acquired by diligent practice of the decom- 
 posing exercises, as witness : 
 
 I withdraw my will-power from fingers, then hand. 
 Touch it. Do not shudder. Do you feel as if a 
 dead thing had struck your living palm? Now I will 
 show you the same phenomenon with forearm, entire 
 arm, waist, spine, hips, knees, ankles, toes, jaw, eye- 
 lids. Now I fall. Give me your hand and help me 
 to rise. I did not mean to startle you so. I have 
 not even bruised myself. I simply withdrew my 
 vital force into the reservoir at the base of the brain. 
 
 The first great thing to be acquired is flexibility of 
 the joints. These exercises free the channels of ex- 
 pression, and the current of nervous force can thus 
 rush through them as a stream of water rushes 
 through a channel, unclogged by obstacles. We name 
 these exercises decomposing. I wish you to buy a 
 mirror large enough to reflect your entire figure, and 
 faithfully to practice many hours- a day if you wish 
 rapid results. 
 
12 Delsarte System. 
 
 Delsarte required of his pupils a great deal of 
 hard work. You cannot in an instant prepare the 
 human body for the translation, through that grand 
 interpreter, art, of the best possibilities of the soul. 
 There is too much imperfection in our nature. 
 
 The order of practice is as follows : 
 
 ESTHETIC GYMNASTICS. 
 
 1. Fingers; 
 
 2. Hand ; 
 
 3. Forearm; 
 
 4. Entire arm ; 
 
 5. Head; 
 
 6. Torso ; 
 
 7. Foot; 
 
 8. Lower leg ; 
 
 9. Entire leg; 
 
 10. Entire body; 
 
 11. Eyelids; 
 
 12. Lower jaw. 
 
 Exercise I. 
 
 Let fingers fall from knuckles as if dead ; in that 
 
 condition shake them. Vital force should stop at 
 
 knuckles. 
 
 Exercise II. 
 
 Let hand fall from wrist as if dead ; shake it in 
 that condition forward and back, up and down, side- 
 ways, rotary shake. 
 
Decomposing Exercises. 13 
 
 Exercise III. 
 
 Drop forearm from elbow as if dead ; shake it. 
 Vital force arrested at elbow. 
 
 Exercise IV. 
 
 Raise arms above head, decompose them, i. e., 
 withdraw force. They will fall as dead weights. 
 Arms still hanging decomposed from shoulders, 
 agitate body with a rotary movement. The arms 
 will swing as dead weights; now change and swing 
 body forward and back; knee bends in this. The 
 arms will describe a circle in their sockets; they 
 must be decomposed. 
 
 Exercise V. 
 Drop head to one side decomposed ; it will grad- 
 ually describe a half-circle, moving from its own 
 weight as you have seen persons asleep nodding. 
 Drop it back decomposed. 
 
 Exercise VI. 
 
 Drop torso sideways decomposed ; commence 
 
 with the head. The head will draw the shoulder; 
 
 and, by degrees, with no conscious effort, the torso 
 
 will fall. Do this first on one side, then on the other. 
 
 Exercise VII. 
 Lifting foot from the ground, agitate it as you do 
 the hand. You better seat yourself for this exer- 
 
14 Delsarte System. 
 
 cise. Be sure the foot falls from the ankle decom- 
 posed. 
 
 Exercise VIII. 
 Decompose lower leg as forearm ; agitate from 
 
 knee. 
 
 Exercise IX. 
 
 (a.) Stand on footstool on one leg, then swing free 
 leg by a motion of the entire body ; free leg de- 
 composed. 
 
 (b.) Lift leg from ground as a horse does in paw- 
 ing, then drop it decomposed. You have discarded 
 the footstool for the last exercise. 
 
 Exercise X. 
 Standing with your weight on back leg, bend 
 that knee ; also bend torso forward. The head 
 should fall back. Withdraw the will from back leg ; 
 the body will drop to the ground. 
 
 Exercise XI. 
 Let lids fall as if going to sleep. 
 
 Exercise XII. 
 Let jaw fall so you feel its. weight, i.e., decomposed. 
 
 You must practice these exercises for me many 
 hours a day ; and, let me see— yes, come Thursday at 
 two ; you shall then teach me all this. I shall expect 
 you to show me everything as if you know all and I 
 nothing. Good morning. 
 
;arm0trix J^riss ai g^armg. 
 
LESSON II. 
 
 HARMONIC POISE OF BEARING. 
 
 AESTHETIC TALK. 
 " Art is at once the knowledge, the possession, and 
 the free direction of the agents, by virtue of which are 
 revealed the life, soul, and mind. It is the appropri- 
 ation of the sign to the thing. It is the relation of the 
 beauties scattered through nature to a superior type. 
 It is not, therefore, the mere imitation of nature." 
 
 There, fellow-student, is not the above a succinct 
 and beautiful definition of art, by the master Del- 
 sarte? I came across it the other day in Arnaud's 
 book on Delsarte,* which, by the way, is very inter- 
 esting. I advise you to read it; but beware of too 
 much reading on the subject. You may then con- 
 tent yourself with the brain's knowledge ; and what 
 we are aiming for is unconscious cerebration, not 
 conscious. The first is only acquired by a patient 
 practice of the technique, as a singer studies her 
 scales. 
 
 Remember, genius has been defined as " the power 
 of taking great pains;" this, of course, united to a 
 keen instinct. No study can take the place of natural 
 intuition. Nature's voice must whisper to us our 
 vocation, but study can prepare our instruments, 
 perfect our tools. Cultivation can make the wild 
 
 * " Delsarte System of Oratory." By M. l'Abbe" Delaumosne and Mme. Angelique 
 Arnaud. $2. Edgar S. Werner, Publisher, 48 University Place, New York. 
 
 2 
 
1 8 Delsarte System. 
 
 rose a Gloire de Dijon — a dream of beauty with its 
 marvelous tinting and many petals delighting the 
 eye, as its delicate perfume intoxicates the senses; 
 but it cannot from a thistle make a rose. But, here, 
 I am keeping you waiting; and you wish to com- 
 mence your lesson. 
 
 ESTHETIC GYMNASTICS. 
 
 First take your weight on both feet, toes turned 
 out, heels near together. A normal form will have 
 the curves of a line of beauty, viz. : two convex 
 curves separated and joined by a concave one. The 
 head and leg form the convex curves, the torso forms 
 the concave one, the head and the leg sympathizing. 
 
 Now, when by an act of will we change the weight 
 so it no longer rests equally on both feet, we must 
 always bear in mind the fact that the head sympa- 
 thizes with the strong leg, that is, the head should 
 incline to the side of the leg that bears the weight ; 
 while, as we observed above, the torso has an oppo- 
 site curve from head and leg, and so should incline 
 from the strong leg, thus always presenting nature's 
 line of beauty. 
 
 Practice this now for me a few moments ; I will 
 
 call it off for you. 
 
 Attention ! 
 
 Exercise I. 
 
 Stand firm on both legs. 
 
Harmonic Poise. 19 
 
 Change weight, making right leg the strong one. 
 
 Incline head to right. 
 
 Incline torso to left. 
 
 You are now in a harmonic balance. 
 
 Incline torso to the right also and you become 
 
 awkward ; continue the inclination and you fall, thus 
 
 proving the lack of equilibrium. 
 
 Oh, did you hurt yourself? Not much. That 
 bruise will remind you to stand correctly ; " it's an 
 ill wind that blows no one good." Also let me warn 
 you not to make the inclination of either head or 
 torso too great; in other words, do not let them 
 "flop;" a certain possession of the two in question 
 is necessary for all dignity of attitude. 
 
 Attention ! 
 
 Exercise II. 
 
 Stand firm, weight distributed equally on both legs. 
 
 Change weight, making left leg the strong one. 
 
 Incline head to the left, in accordance with the 
 rule that the head must sympathize with the strong 
 leg. 
 
 Incline torso to the right, in accordance with the 
 rule that the torso should always be in opposition to 
 the head and strong leg for perfect equilibrium. 
 
 Attention ! 
 
 Exercise III. 
 
 Change slowly from left to right, keeping a perfect 
 proportion of line during each second of the change. 
 
20 Delsarte System. 
 
 Of course, the inclination of the head is more decided 
 as is the torso when the weight is decidedly borne on 
 one leg ; it becomes less and less marked as you near 
 the centre. 
 
 This opposition of the three parts of the body is 
 one of the most beautiful things I know of. Hour 
 after hour has flown by me unheeded as I examined 
 one after another the exquisite forms of gods and 
 heroes in the great museum of the Louvre ; and no 
 matter what the character the marble god portrayed, 
 no matter what incident — battle or peace, pleasure 
 or grief, anger or sorrow, — the god or hero showed 
 his race by the divine lines of opposition. Those 
 lines are ideal, and, of course, only in the ideal are 
 they truth. They indicate a moral poise which should 
 always be, but, alas ! in our fallen human nature, is 
 not always found. So some emotions, having in 
 them no elements of the sublime, cannot be repre- 
 sented by the body in opposition. 
 
 Attention ! 
 
 Exercise IV. 
 
 Stand with weight on both legs. 
 
 Advance one leg. 
 
 Carry the weight upon it. Advanced leg is now 
 strong. 
 
 The head must incline forward in sympathy. 
 
 The torso must incline back. 
 
 This inclination of the torso hollows the back at 
 the waist-line, and raises the chest. It is the attitude 
 of the Apollo Belvedere. 
 
Harmonic Poise. 21 
 
 Incline torso forward in similar line to head and 
 leg. 
 
 Ah ! see, you throw out your hand for a support; 
 left to yourself, you would totter and fall ; so you see 
 beauty is power. 
 
 Attention ! 
 
 Exercise V. 
 
 Stand weight on both legs. 
 
 Place one leg behind you and carry the weight on 
 to it. 
 
 Incline head back. 
 
 Incline torso forward. 
 
 Reverse that inclination of the torso and incline it 
 in similar manner as the head, and the result will be 
 as disastrous as in the former cases. I do not wish 
 you to fall and hurt yourself; a slight tottering will 
 prove the case as well as a tumble. 
 
 Attention ! 
 
 Exercise VI. 
 
 From last attitude, viz., strong leg behind, sway 
 gently forward until the weight is carried on to the 
 forward leg. 
 
 Allow head and torso to sway gently in opposi- 
 tion as the centre of gravity changes. 
 
 The slowness with which the changes are made, 
 taking care that the motion shall be continuous, is 
 
22 Delsarte System. 
 
 one of the principal things to observe after the 
 
 inclinations of the head and torso are seen to be 
 
 correct. 
 
 N. B. — The nervous control is of inestimable value ; I advise 
 a great deal of practice. 
 
 One has a sensation, in watching some one essay- 
 ing the above, of being magnetized. The control 
 of it enables the performer to show a most subtle 
 attraction or repulsion, to change his weight from 
 extreme front or back or side, to an opposite, with- 
 out the observer seeing the change ; he will only 
 feel it, and it lends a magnetic charm to all change 
 of bearing. Not that it should always be used — 
 only in subtleties. 
 
 Attention ! 
 
 Exercise VII. 
 
 Stand weight on both legs, feet together. 
 
 Sway gently forward until the weight is on the 
 balls of the feet — the heels must not rise from the 
 ground. 
 
 The head will incline slightly forward in sympathy 
 with the forward weight. The torso will incline 
 slightly back in opposition to the forward weight. 
 
 Attention ! 
 
 Exercise VIII. 
 From above attitude sway gently back until weight 
 is carried on to the heels — the toes must not rise 
 from the ground. 
 
Harmonic Poise. 23 
 
 The head will incline slightly back in sympathy 
 with the back weight. 
 
 The torso will incline slightly forward in oppo- 
 sition to the back weight. 
 
 Continue it forward and back, forward and back, 
 for some time. 
 
 Let me again enjoin on you to make the move- 
 ment as slow as possible. 
 
 Ah! you feel mesmerized yourself, do you not? 
 You take a long breath ; it is a strange sensation. 
 " There are more things in heaven and earth, Hora- 
 tio, than are dreamed of in your philosophy." 
 
 Attention ! 
 
 Exercise IX. 
 
 Stand weight on both feet, heels together, toes 
 apart. 
 
 At waist-line rotate torso to the right, simul- 
 taneously rotating head to the left. Be careful that 
 this rotation is made by the waist and not by the 
 thighs. 
 
 Now reverse above, rotating torso to the left and 
 head to the right. 
 
 I wish you to practice this for me until great 
 flexibility has been secured at the waist. I cannot 
 find words enough to express to you the great im- 
 portance I lay upon this exercise. Almost all 
 sinuousness depends on the easy control of the 
 
24 Delsarte System. 
 
 muscles at the waist. Without that control one 
 may be gracious, but never graceful. All masters 
 for the ballet insist on arduous work in this direc- 
 tion. 
 
 Delsarte writes : " Dynamic wealth depends on 
 the number of articulations brought into play ;" and 
 also : " When two parts follow the same direction, 
 they cannot be simultaneous without an injury to the 
 law of opposition ; " and the great articulation, so to 
 speak, to learn to control is at the waist (though 
 strictly it is not an articulation). 
 
 But you must be tired by this time ; I have kept 
 you standing a long time. You may now sit down 
 and we will practice in a chair. 
 
 Attention ! 
 
 Rotate waist and head as described above. 
 Very well ; you really are making remarkable prog- 
 ress. I wish all my pupils were as intelligent. 
 
 Attention ! 
 
 Exercise X. 
 
 Seat yourself squarely. 
 
 Incline torso forward. 
 
 Incline head back. Make this movement a simul- 
 taneous one. i 
 
 Now reverse above ; i. e., incline torso back as 
 you incline head forward. 
 
Harmonic Poise. 25 
 
 Practice this for me half a dozen times — one ! two ! 
 three ! four ! five ! six !' There, there, you forget ; 
 your head is not moving in opposition. Yes, you 
 are right now. 
 
 Attention ! 
 
 Exercise XI. 
 
 Seat yourself as before. 
 
 Incline torso to the right; simultaneously in- 
 cline head to the left. 
 
 Reverse this; i. e., incline torso to the left as 
 you incline head to the right. 
 
 Be careful in this last exercise that the torso is not 
 forward or back. There, you see yours was bent 
 back. We wish a direct side action. 
 
 Attention ! Now we will make a combination : 
 
 Exercise XII 
 
 Incline torso forward and to the right; simul- 
 taneously incline head back and to the left. 
 
 Reverse this; i. e., incline torso forward and to 
 the left; simultaneously incline head back and to 
 the right. 
 
 I have already advised the use of a- mirror, so I 
 counsel you to give your reflection these lessons; 
 and I beg of you to be strict with her or him. 
 
 Attention ! 
 
26 Delsarte System. 
 
 Exercise XIII. 
 
 Incline torso back and to the right ; simultaneously 
 incline head forward and to the left. 
 
 Reverse this ; i. e., incline torso back and to the 
 left ; simultaneously incline head forward and to the 
 right. 
 
 Am I giving you top long a lesson? Remember, 
 though, that you will have a whole month to perfect 
 yourself in, and do not be impatient with me; we 
 have nearly finished. 
 
 Attention ! 
 
 Exercise XIV. 
 Combine the forward-side movement with a rota- 
 tion of waist and head. 
 Very good. 
 
 Do the same with the back-side movement. 
 Perfect ! 
 Attention ! 
 
 Exercise XV. 
 
 Sway slowly, head and torso going in opposition, 
 from extreme left to extreme right. 
 
 Reverse this ; i. e., sway slowly from extreme right 
 to extreme left. 
 
 As I cautioned you when standing, make this 
 movement as slow as you possibly can. 
 
 Attention ! 
 
Harmonic Poise. 27 
 
 Exercise XVI. 
 
 Sway gently from extreme back to extreme forward. 
 
 Take care — your head and torso are not moving 
 in perfect opposition. That is better. You see the 
 arc in which the head moves is a smaller one than 
 that in which the torso moves. A perfect proportion, 
 however, must be maintained. 
 
 Attention ! 
 
 Exercise XVII. 
 
 Sway gently from back-left to forward-right, taking 
 an oblique line. Oblique lines are always mystic. 
 
 Reverse this ; i. e., from forward-right sway slowly 
 to back-left, still an oblique course. 
 
 In all of this never forget for one instant the 
 simultaneous movement in opposition of the head 
 and torso. 
 
 All the above is invaluable to the student who 
 wishes a real harmonic poise of all the parts of the 
 'body. 
 
 ESTHETIC TALK— Continued. 
 
 Dear pupil, do you yet realize the meaning of the 
 great word study? I hear reechoing from the past, — 
 
 "You will arrive at no perfection in these and 
 kindred exercises without spending many hours a 
 day in arduous practice. There is no royal road. 
 You should devote yourself heart and soul to this 
 study. Shut the world away for a time ; make no 
 visits, receive no calls. A person who fritters away 
 
28 Delsarte System. 
 
 her time in a thousand frivolous ways will accomplish 
 nothing." 
 
 "An artist should be fit for the best society, and — keep out of 
 it." — Ruskin. 
 
 All this was listened to with bated breath, and I 
 obeyed. I was very young, and had great faith in my 
 teacher ; and faith is the corner-stone of the Temple 
 of Art as well as of the Temple of God. I was un- 
 acquainted with the various discussions relative to 
 the use and practicability of Delsarte's formulae or his 
 aesthetic gymnastics. I was like a child learning to 
 spell, unconcerned as to the root of the words, as long 
 as she went to the head of the class. The failure of 
 many persons to physically demonstrate these theo- 
 ries comes, I have long fancied, from the lack of 
 attention to the technique. They are fascinated by 
 their analyzation ; but when they try to put them 
 into practice they find rebellious joints and stiffened 
 muscles. Then they cry out : This is unnatural, 
 studied ; and so they return to their unconscious 
 awkwardness. A little more practice and patience, 
 and their acquired grace would have become uncon- 
 scious. 
 
 I cannot be thankful enough that I was so con- 
 stantly urged to practice, and was not allowed one 
 advanced step until the preceding one was pro- 
 nounced perfect; and if I stop and dwell on this 
 here, dear invisible one, it is to call your attention 
 to the great necessity for work ; for there is but one 
 step from the sublime to the ridiculous ; and if, at 
 the end of these lessons, you have -not freed the 
 channels for expression, you will simply be ridiculous, 
 and will merit all the fun which is leveled at the 
 mechanical mugging of so-called Delsarteans. 
 
 Work ! work ! work ! 
 
gasis 0f ike J>ijsiem* 
 
LESSON III. 
 
 PRINCIPLE OF TRINITY. 
 
 ESTHETIC TALK. 
 
 Good morning. Will you have a fan? It is much 
 too warm for gymnastics. You shall show me your 
 prowess later. For the present sit in this chair, by 
 the open window. The air has been freshened by 
 the shower. Look ! A rainbow ! It comes aptly 
 to illustrate my talk. 
 
 Count the colors. 
 
 Red, orange, yellow, green, blue, indigo and violet 
 — seven in all. Red, yellow and blue are the essen- 
 tial ones. The others are produced by overlapping. 
 
 Each primary color has its peculiar attribute dis- 
 tinct from the other two. 
 
 The red is the caloric, or heating principle. 
 
 The yellow is the luminous, or light-giving prin- 
 ciple. 
 
 In the blue ray the power of actinism, or chemical 
 action, is found. 
 
 The trinity of red, yellow and blue, when com- 
 bined, constitute the unity of ordinary or white light. 
 The three are one, the one is three. 
 
 Plants will blossom into a bright passion of life 
 under the influence of the red and yellow rays. No 
 fruit appears, however, without the added power of 
 the blue ray. Life is unproductive until the three 
 united in one bring all things to perfection. 
 
 Now, in that rainbow — ah! while we have been 
 talking the "covenant of God" has faded away. 
 
32 Delsarte System. 
 
 Come from the window, and look over my scrap- 
 book with me. 
 
 " The number three was held sacred by the an- 
 cients, it. being thought the most perfect of all num- 
 bers, as having regard to the beginning, middle and 
 end." 
 
 The Druidical triad was infinite plentitude of life, 
 infinite knowledge and infinite power — the three 
 grand attributes of God. 
 
 God was first represented by the ancients under 
 three principal forms, because goodness, wisdom 
 and power are the three essential divine attributes ; 
 for instance : The Egyptians represented divine 
 goodness by the god Osiris ; the Greeks, by Jupiter ; 
 the Persians, by Oromazes. Divine wisdom was 
 represented by the goddess Isis, in Egypt ; by Pal- 
 las Athene, in Greece ; and by Mythene, in Persia. 
 The third principle was called by the Egyptians, 
 Orus ; by the Greeks, Apollo ; and by the Persians, 
 Mithas. 
 
 The oracle of Serapis said : " First God, then the 
 Word and Spirit, all uniting in one whose power can 
 never end." 
 
 While Pythagoras, the Samian philosopher, states 
 that the symbol of all things or fulness is the 
 monad, active principle, or father; the duad, pas- 
 sive principle, or mother ; and the result or opera- 
 tion of both united. 
 
 The ancient trinities of the Hindoos, as well as 
 those of the Egyptians, emblematized the male or 
 paternal principle, the female or maternal principle, 
 and the offspring. The same was done by early 
 Chinese philosophy; The Chinese take the triangle 
 to signify union, harmony, — the chief good of man, 
 the heaven, the earth. 
 
 Numberless superstitions and confused notions 
 
Principle of Trinity. 33 
 
 were founded on the corruptions of this philosophy, 
 as it became more debased and licentious. 
 
 In the philosophy of the ancient Egyptians, the 
 first principle of the mind is said to be intellect ; the 
 second, will ; and the third, which was the joint efflux 
 of these, concord or harmony of action. 
 
 The Platonic hypothesis seems to be : Infinite 
 goodness, infinite wisdom, and infinite active power, 
 not as mere qualities or accidents, but as substantial 
 things, all uniting to make up one divinity. 
 
 The above ideas agree with Swedenborg. He de- 
 fines trinity as consisting of " love, wisdom and 
 power. Love, being the origin and parent of all 
 existence, is called Father ; wisdom, which is the 
 form of love, is named the Son, and the only begot- 
 ten ; while the divine power, consisting in the per- 
 fect union of love and wisdom, going forth in crea- 
 tive energy and life-imparting influence, is the Holy 
 Spirit.' - 
 
 These are the sacred triune which form the fulness 
 of the Godhead. 
 
 But you ask, "What has all this to do with dra- 
 matic expression or aesthetic gymnastics? I did not 
 come here for a sermon." 
 
 Patience, you will soon see the connection. Every 
 created thing is composed of two parts : a life-power 
 or energy, and a form to show this power in effect. 
 This demonstrates to us an important fact, namely, 
 that there must be a union of two forms — one spir- 
 itual, the other material ; the spiritual iorm being the 
 life-power or energy, and the material form being 
 the one which appears to the senses. The latter 
 is the form by which life-power or energy is brought 
 into action. Swedenborg writes : 
 
 " Three degrees : living endeavor, living power, 
 and living motion. The endeavor in a man who is 
 
34 Delsarte System. 
 
 a living subject is his will united to his understand- 
 ing ; the living powers in him are what constitute the 
 interior of his body, in all of which there are mov- 
 ing fibres variously interwoven ; and living motion 
 in him is action which is produced through those 
 powers by the will united to the understanding. 
 Powers have no potency but by action of the body." 
 
 Come to this long mirror, with me. What do you 
 see reflected? 
 
 Your own figure, yes ; but do not yet turn away. 
 Name for me the separate parts. Head, torso, legs 
 and arms. Very well, but include legs and arms 
 under one term, — limbs. Now, according to our 
 philosophy, matter has no form of itself. It is being 
 that forms the matter. That head, torso and limbs, 
 which you have just named, are but the covering of 
 a spiritual head, torso and limbs. 
 
 " It is sown a natural body; it is raised a spiritual body.' - 
 
 St. Paul says : " There is a natural body and there 
 is a spiritual body." Notice : not an essence, but a 
 formed body. Again, Swedenborg writes: "Man 
 is a microcosm. His esse or soul corresponds to 
 love ; his existere is that which is called his body ; 
 it corresponds to wisdom; the proceeding from 
 both is that which is called the sphere of his life — 
 it is his power." 
 
 That interior head, torso and limbs are often very 
 badly expressed by the outside covering, and cower 
 abashed and ashamed at the representation given of 
 them to the world. 
 
 To recapitulate the foregoing ideas : 
 
 All things exist from a first cause, deific essence. 
 This essence is a trinity; an imperfect human cor- 
 respondent and example being man, in whom the 
 
Principle of Trinity. 35 
 
 trinity of faculties, will, understanding and memory, 
 act together as one mind. The triune in deific 
 essence is Love, Wisdom, Power. 
 
 Delsarte himself says : 
 
 " The principle of the system lies in the statement 
 that there is in the world a universal formula which 
 may be applied to all sciences, to all things possible. 
 
 " This formula is the trinity. 
 
 " What is requisite for the formation of a trinity? 
 
 " Three expressions are requisite, each presuppos- 
 ing and implying the other two. Each of the three 
 terms must imply the other two. There must also 
 be an absolute co-necessity between them. Thus, 
 the three principles of our being, life, mind and soul, 
 form a trinity. 
 
 "Why? 
 
 " Because life and mind are one and the same soul ; 
 soul and mind are one and the same life ; life and 
 soul are one and the same mind." 
 
 Delsarte employs the word life above as the 
 equivalent of sensation, of physical manifestations. 
 
 Now, you may ask what has all this to do with 
 dramatic expression ; why go into the region of 
 metaphysics ? 
 
 Let me again recall to you, — 
 / /"" Art is at once the knowledge, the possession, 
 
36 Delsarte System. 
 
 and the free direction of the agents by virtue of which 
 are revealed the life, soul and mind. It is the appro- 
 priation of the sign to the thing. It is the relation 
 of the beauties scattered through nature to a superior 
 type. It is not, therefore, a mere imitation of nature.''/ 
 
 Now, man is the object of art. So you see we 
 need a firm basis when we would have types — truth, 
 — not a mere imitation of an often distorted nature. 
 
 In analyzing the organism, Delsarte stated that 
 the inflection of the voice is the language of the 
 sensitive nature, or physical life; gesture the lan- 
 guage of emotion or soul ; articulation the language 
 of reason. 
 
 The first he named vocal ; the second, dynamic ; 
 the third, buccal. 
 
 These languages correspond to the three states 
 which art is to translate : 
 
 i . The sensitive state to the life ; 
 
 2. The moral state to the soul ; 
 
 3. The intellectual state to the mind. 
 
 "From the fusion of these three states in varying 
 and incessant combination, and from the predomi- 
 nance of one of the primitive modalities, whether 
 accidental or permanent, countless individualities are 
 formed, each with its personal constitution, its shades 
 of difference of education, habits, age, character, etc." 
 
.Principle of Trinity. 37 
 
 I have quoted the above from Arnaud on Delsarte. 
 
 However, do not be frightened at the vista open- 
 ing before you. It is much simpler than you think. 
 Again let me quote Arnaud : 
 
 " It is upon this mutual interpenetration of the 
 various states in the triple unity, that the master 
 founds the idea which dominates and pervades his 
 whole system. * * * Three, the vital number, must, 
 by its very essence and by inherent force, raise itself 
 to its multiple nine. This is what the mast'er calls 
 the ninefold accord." 
 
 All motion is expansive which is objective, which 
 has relation to the exterior world. So Delsarte has 
 named motion from yourself as a centre, cxcentric. 
 
 Again we fold in, contract, concentrate our motion 
 in subjective states of mind. So motion to a centre 
 Delsarte has named concentric. 
 
 Motion between these two extremes, being well 
 balanced, he has aptly termed normal. 
 
 In essence, reason is mental ; will or love is moral 
 or volitional ; sensation or feeling is vital or physical ; 
 which three states of being are translated in the 
 organism by the motions, — concentric for mental, 
 normal for moral, excentric for vital. 
 
 Below is the chart of the ninefold accord. The 
 late Prof. Monroe called it " the key of the universe." 
 
38 Delsarte System. 
 
 He also called Delsarte " Swedenborg geometrized ;" 
 but we are wandering from our criterion. 
 
 "In appropriate language — wherein new words are not lacking for 
 the new science — he takes apart each of the agents of the organism, 
 enumerated above; he examines them in their details, and assigns 
 them their part in the sensitive, moral, or intellectual transmission 
 with which they are charged. Thus gesture — the interpreter of sen- 
 timent — is produced by means of the head, torso and limbs ; and in 
 the functions of the head are comprised the physiognomic movements, 
 also classified and described, with their proper significance, such as 
 anger, hate, contemplation, etc., — and the same with the other agents. 
 Each part observed gives rise to a special chart, where we see, for 
 instance, what should be the position of the eye in exaltation, aversion, 
 intense application of the mind, astonishment, etc. The same labor 
 is given to the arms, the hands and the attitudes of the body, with the 
 mark, borrowed from nature, of the slightest movement, partial or 
 total, corresponding to the sensation, the sentiment, the thought that 
 the artist wishes to express. I hope that these works may yet be re- 
 covered entire, for the master was lavish of them, and that they may 
 be given to the public. Many of these papers were entrusted by the 
 family to a former pupil of Delsarte, who took them to America." — 
 Arnaud on Delsarte. 
 
 N. B. — These charts are now presented to the public, com- 
 plete, for the first time. The author has felt it almost in the 
 light of a sacred duty to rescue the life-work of the great 
 master Delsarte, from the threatening oblivion. 
 
Principle of Trinity. 
 
 39 
 
 CHART I.— Criterion. 
 
 Essence. 
 Mento-mental. 
 
 Essence. 
 Moro-mental 
 
 Essence. 
 Vito-mental. 
 
 Action. 
 Concentro-concentric. 
 
 Action. 
 Normo-concentric. 
 
 Action. 
 Excentro-concentric. 
 
 Essence. 
 Mento-moral. 
 
 Essence. 
 Moro-moral. 
 
 Essence. 
 Vito-moral. 
 
 Action. 
 Concentro-normal. 
 
 Action. 
 Normo-normal. 
 
 Action. 
 Excentro-normal. 
 
 Essence. 
 Mento- vital. 
 
 Essence. 
 Moro- vital. ■ 
 
 Essence. 
 Vito- vital. 
 
 Action. 
 Concentro-excentric. 
 
 Action. 
 Normo-excentric. 
 
 Action. 
 Excentro-excentric. 
 
40 Delsarte System. 
 
 A good shorthand of these terms is made by the 
 use of the grave accent (\), such as is employed, 
 over French vowels', for the name concentric ; an 
 acute accent ( / ) for the name excentric ; a dash 
 ( — ) for the name normal. For the ninefold accord 
 combine. 
 
 On the seashore, the other day, I saw some darkies 
 running a bag-race. A sack is tied about the neck, 
 confining the body. In this guise each unfortunate 
 racer struggles to run. It reminded me of man : his 
 spirit is imprisoned, incarnated. We chain it stronger 
 by an education, teaching that all expression , is 
 vulgar. 
 
 The caste of " Vere de Vere " must be impassive. 
 ^Esthetic gymnastics aim to break that chain — no 
 more. They will not dower you with soul. That is 
 God-given. And here, dear pupil, a hint. Cultivate 
 your mind and heart. For the expression of noble 
 emotions, one must feel noble emotions. You can 
 never show truly more than you are capable of ex- 
 periencing. Imitation will carry you but a short 
 way. Personification contains the Promethean 
 spark. 
 
 In the museum of the Louvre is seen the original 
 Venus of Milo. Other art-galleries must content 
 themselves with a copy. The beautiful marble 
 woman, an inner spirit, is clothed in plaster. Her 
 lovely head, torso and limbs shape it to a semblance 
 of herself. The inner Venus, like the spiritual body, 
 is the form, as the idea of the sculptor was first the 
 form of the marble goddess. 
 
 Take pencil and paper, and write what I dictate. 
 
Principle of Trinity. 41 
 
 The human body has three grand divisions : 
 
 1. Head = mental or intellectual ; 
 
 2. Torso = moral or volitional ; 
 
 3. Limbs = vital or physical. 
 
 Each division subdivides into parts. The zones 
 are significant points of arrival or departure for the 
 gesture. 
 
 The head has three active and three passive zones. 
 
 The active zones are : 
 
 1 . Frontal = mental ; 
 
 2. Buccal = moral or volitional; 
 
 3. Genal = vital. 
 The passive zones are : 
 
 1 . Temporal = mental ; 
 
 2. Parietal — moral or volitional ; 
 
 3. Occipital = vital. 
 
 The torso contains three zones : 
 
 1 . Thoracic = mental ; 
 
 2. Epigastric = moral or volitional. 
 
 3. Abdominal = vital. 
 The arm has three sections : 
 
 1 . Hand = mental ; 
 
 2. Forearm = moral or volitional ; 
 
 3. Upper arm = vital. 
 The leg has three sections : 
 
 1. Foot = mental; 
 
42 Delsarte System. 
 
 2. Lower leg = moral or volitional ; 
 
 3. Upper leg or thigh = vital. 
 
 The articular centres of the arm are three : 
 
 1. The shoulder = a thermometer of passion 
 
 (the word passion here signifies impulse, 
 excitement, vehemence) ; 
 
 2. The elbow = a thermometer of the affec- 
 
 tions and self-will ; 
 
 3. The wrist = a thermometer of vital energy. 
 
 Have you finished copying? You do not under- 
 stand it thoroughly? Well, we will see if a little talk 
 and some few examples will elucidate matters. 
 
 No, don't fold away your paper. Look over it 
 again. What did you first write? 
 
 1. " Head = mental or intellectual." Surely that 
 explains itself. The common phrase of " he has no 
 head," reminds lis that head corresponds to mind. 
 
 2. " Torso = moral or volitional." Volitional sig- 
 nifies pertaining to the will, the desires, the love of 
 the being. The torso contains the two great motive 
 organs of the body — the heart and lungs. 
 
 3. " Limbs = vital or physical." Powerful action, 
 progression, deeds, — all depend on the limbs. How 
 familiar the expression, " He stretched forth his arm," 
 or, " The protecting arm of his country," to signify 
 power. 
 
 Now we come to the zones. 
 
Principle of Trinity. 43 
 
 The head, which, as a division, is mental, contains, 
 however, in that mental three active and three passive 
 zones, modifying the division : 
 
 1. " Frontal = mental." If I had a black-board 
 here I would draw a head for you. Lacking it, we 
 must imagine one. The frontal zone includes the 
 forehead and eyes. " The mental eye;" " a clear- 
 sighted man " — one whose understanding is clear ; 
 we " look " into a subject ; we " see " a reason ; we 
 refer to various degrees of illumination, of blindness, 
 darkness and brilliancy in reference to the intellect, 
 — all of which illustrates the frontal zone as purely 
 mental. 
 
 2. " Buccal = moral or volitional." Buccal means 
 pertaining to the cheek. This zone includes the 
 cheek and nose. " A keen-scented man '" refers to 
 one whose perceptions are keen. The nose reveals 
 the will or desire. The noses of different nations 
 reveal the leading desire of that nation, viz.: The 
 Roman nose, conquest, cruelty; the Greek nose, 
 ethics, beauty ; the Turk's nose, sensuality, etc. 
 
 3. " Genal = vital." Genal comes from an old 
 French word, meaning pertaining to the mouth or 
 chin. The mouth is contained in this zone. Now, 
 a mouth-zone represents touch, taste and sound. 
 All three are vital. 
 
■44 Delsarte System. 
 
 The above-named zones are capable of many more 
 
 subdivisions. 
 
 The base of the brain is vitai. . Reference is often 
 
 made to a man's thick neck, when we call attention 
 
 to an overpreponderance of the physical. The middle 
 
 of the head, when high, indicates reverence. It is 
 
 the moral zone. The front brain is mental. 
 
 There is a certain amount of truth in physiognomy 
 and phrenology ; and the student of expression will 
 find an added interest in life by scrutinizing the faces 
 and heads of chance acquaintances. Many a moment 
 has passed unheeded as, seated in the cars settled 
 for a long ride, I have amused myself in constructing 
 character and life from stories told by the faces 
 opposite. 
 
 Look again on your paper. 
 
 " The torso contains three zones. 
 
 1. " Thoracic = mental." The lungs are more 
 in that region than in the lower zone. Lungs are 
 mental. Their action we name inspiration, aspira- 
 tion, expiration, etc. We also say the same of the 
 mind. They purify the blood, as truth does the 
 will or love. 
 
 2. " Epigastric = moral or volitional," pertaining 
 to the love of the being. This zone contains the 
 heart, an organ always used in metaphor as express- 
 ive of love. The feelings largely affect the action of 
 this organ. It beats quicker in excitement, slower 
 
Principle of Trinity. 45 
 
 in fear or horror. Our entire being is affected by a 
 change in its normal action. It feeds with its life- 
 giving fluid all our body, as love feeds, governs and 
 directs our being. The moral zone is the affectional 
 zone. Gestures directed from that section, as a 
 point of departure, express love as the side of the 
 being preponderating in expression. 
 
 3. " Abdominal = vital." This zone, as a point of 
 arrival or departure for the gesture, is called vital, 
 as representing the more material, physical instincts. 
 Gestures proceeding from this section are vulgar or 
 sensual. 
 
 You are not forgetting, I hope, that, as a division, 
 the torso is moral or volitional, represe?itative of the 
 desire of the being. Never lose sight of the grand 
 division. It exerts a modifying influence on the 
 subdivision. 
 
 Three sections in the arm. Read them from your 
 paper : 
 
 1. " Hand = mental." The hand emphasizes the 
 expression of the eyes. The eyes are mental. The 
 hand is mental in the grand vital division of the arm. 
 The eye looks toward an object, the hand points. 
 We talk with the hand to the deaf and dumb. We 
 write with the hand ; we draw, play, work with the 
 
46 Delsarte System. 
 
 hand. Need more be adduced to show it the agent 
 of the brain ? 
 
 2. " Forearm = moral or volitional." Samson, 
 the great French actor and teacher, writes : " The 
 elbow is the soul of the arm." It is the articulation 
 connecting the upper arm vital, with the forearm 
 moral. 
 
 3. "Upper arm = vital." Vital force flows first 
 from the brain into that section. " Strike out from 
 the shoulder,'' is a familiar phrase. There can be 
 no force in the arm if the muscles of that portion 
 are undeveloped. 
 
 Read the next. 
 
 1. " Foot = mental." Have you never observed 
 a person in thought tapping his foot on the floor? 
 The foot makes gestures as the hand does. It ad- 
 vances, retreats, stamps and — kicks ! 
 
 2. " Lower leg = moral or volitional." We kneel 
 in the expression of reverence, love, obedience, etc., 
 whenever we would express a subordination of our 
 will to that of others. This brings the moral section 
 of the leg into prominence. 
 
 3. " Upper leg or thigh = vital." Like the upper 
 arm, the vital impelling force flows first into this 
 part. No powerful action of the legs is possible 
 without muscle being developed there. The first 
 
Principle of Trinity. 47 
 
 impulse of the leg in walking should be felt in the 
 thigh. 
 
 Will you read me the next? 
 " The articular centres of the arm are three." 
 I. "The shoulder = a thermometer of passion — " 
 Please hand me that book. Take your pencil and 
 copy these extracts from Delsarte's notes : 
 
 " I reproduced the movements of the head, but 
 they were awkward and lifeless. What was the 
 cause ? As I uttered the preceding words, I noticed 
 that under the sway of the grief which dictated them, 
 my shoulders were strangely lifted up ; and, as then 
 I found myself in the attitude which I had previously 
 tried to render natural, the unexpected movement 
 of my shoulders had suddenly impressed it with an 
 expression of justice and truth. Thus I gained 
 possession of an aesthetic fact of the first rank. 
 
 " The shoulder intervenes in all forms of emotion. 
 What, then, shall I call it? What name shall we 
 give to its dominant role — ' thermometer,' I cried ; 
 there is an excellent word ! The shoulder is, in 
 fact, precisely the thermometer of passion as well as 
 of sensibility ; it is the measure of their vehemence ; 
 it determines their degree of heat and intensity. 
 However, it does not specify their nature. The 
 
48 Delsarte System. 
 
 thermometer marks the degrees of heat and cold 
 without specifying the nature of the weather. 
 
 " The shoulder, in rising, is not called upon to 
 teach us whether the source of the heat or violence 
 which mark it arises from love or hate. . It belongs 
 to the face to show that. Now, the shoulder is lim- 
 ited ; first, that the emotion expressed by the face 
 is or is not true ; then in marking with mathematical 
 rigor the degree of intensity to which that emotion 
 rises. The shoulder, in every man who is moved or 
 actuated, rises sensibly, his will playing no part in 
 the ascension. The shoulder is, therefore, a ther- 
 mometer of sensibility." 
 
 Delsarte goes on to state that people of the higher 
 classes have a gamut of expression subtler than 
 those of the lower ; still, in a degree, the shoulder 
 rises even with them when they are under the influ- 
 ence of real emotion. With them it is the law of 
 infinitesimal quantities. There must be a difference 
 between "the swift and flexible movements of an 
 elegant organism and those evolutions clumsily exe- 
 cuted by the torpid limbs hardened by constant 
 labor." 
 
 I have let Delsarte himself explain his reason for 
 calling the shoulder a thermometer of sensibility. 
 
 2. " The elbow = a thermometer of the affections 
 
Principle of Trinity. 49 
 
 and self-will." I quoted Samson above : " The elbow 
 is the soul of the arm." In its movement toward an 
 object, if the forearm and hand continue the direction, 
 the action expresses affection to the object. If the 
 hand is brought back, for instance, akimbo, it is 
 self-assertive affection for yourself. It is thus a 
 thermometer of the affections. 
 
 3. "The wrist = a thermometer of vital energy." 
 The arm, as a whole, is a vital division. The vital 
 energy is concentrated or exploded from the wrist. 
 
 The hip, knee and ankle do not need dwelling on. 
 The hip thrown out, indicates vulgarity, sensualism ; 
 the knee, assertion; the ankle concentrates vital 
 energy as the wrist does. 
 
 To impress the foregoing zones well on your mind, 
 practice the following. I will call off: — 
 
 .-ESTHETIC GYMNASTICS. 
 
 Exercise I. 
 
 Place your hand on your forehead, the mental zone, 
 
 and say : 
 
 "There's a fearful thought! " 
 
 Exercise II. 
 
 Take your hand away from your forehead, using 
 
 that zone as a point of departure for the gesture, 
 
 and say: 
 
 " I will not entertain so bad a thought ! " 
 
 4 
 
50 Delsarte System. 
 
 Exercise III. 
 Place your hand on your cheek, the moral or affec- 
 tional zone, and repeat : 
 
 "Oh, Romeo, Romeo, wherefore art thou Romeo! " 
 
 You remember Romeo says : " See, how she leans 
 her hand upon her cheek." 
 
 Exercise IV. 
 Take your hand away from the cheek with a little 
 gesture of negation, and repeat : 
 
 " Deny thy father ! " 
 
 Exercise V. 
 Place your chin in the palm of your hand and say : 
 
 " I shall forget to have thee still stand there, remembering how I love 
 thy company ! " 
 
 Exercise VI. 
 With the tips of the fingers throw a kiss taken from 
 the mouth : 
 
 "A thousand times good night! " 
 
 In the head, whatever may be the distinctive zone, 
 it is mentalized. , 
 
 Exercise VII. 
 Place your hand on the brain, near the forehead, 
 and repeat: 
 " Well, Juliet, I will lie with thee to-night. Let's see for means ! " 
 
Principle of Trinity. 51 
 
 Exercise VIII. 
 Carry the hand from that zone, and repeat : 
 
 " I do remember an apothecary ! " 
 
 Exercise IX. 
 Place your hand on the top of your head, on the 
 bump of reverence, as phrenologists would say, -and 
 repeat : 
 
 " It is even so ! " 
 
 Exercise X. 
 Carry the hand from that zone, and repeat: 
 
 "Then I defy you, stars ! " 
 
 Exercise XI. 
 Place your hand at the back of the brain, the vital 
 zone, and repeat: 
 
 "'Tis torture and not mercy. Heaven is here where Juliet lives." 
 
 Exercise XII. 
 
 Place your hands on the chest, the mental zone, 
 
 in the affectional division, the seat of honor, and 
 
 repeat : 
 
 "To live an unstained wife to my sweet love." 
 
 Exercise XIII. 
 Carry the hands out from chest and repeat : 
 
 " Shall I speak ill of him that is my husband ? " 
 
52 Delsarte System. 
 
 Exercise XIV. 
 Place your hand on your heart, the moral or affec- 
 tional zone, and repeat : 
 
 "Or this true heart with treacherous revolt turn to another." 
 
 Exercise XV. 
 Carry the hands from heart and repeat : 
 
 "Take all myself." 
 
 Exercise XVI. 
 Place your hand on your abdomen, the vital zone, 
 and repeat: 
 
 " My poverty, not my will, consents." 
 
 His poverty is starvation, a vital physical feeling ; 
 so, in taking the money Romeo offered, his hand 
 departs from that vital zone. 
 
 Exercise XVII. 
 Carry the hand from the abdomen. The apothe- 
 cary does so to receive the gold. Gestures of affec- 
 tion, departing from that zone, are sensual. One 
 slaps the thigh as a vulgar expression of vital satis- 
 faction ; kneels in reverence or love ; stamps the foot 
 in mental excitement. 
 
 (a.) Repeat as you slap the thigh : 
 
 " Gregory, on my word, we'll not carry coals." 
 
 (b.) Repeat as you kneel : 
 
 " O, speak again, bright angel! " 
 
Principle of Trinity. 53 
 
 (c.) Repeat as you stamp the foot : 
 
 " Wilt thou provoke me ! Then have at the boy." 
 
 Now, I think, dear pupil, you have quite a budget 
 to study for me during the next month. Of course, 
 it will need patience and perseverance on your part. 
 It is very difficult, almost impossible, to do without 
 the aid of a living teacher. Greater industry will be 
 needed on your side. Good-bye, we shall meet 
 again when the leaves are red and gold, in the beauti- 
 ful month of October. 
 
%tal gxxrxsxtftt. 
 
LESSON IV. 
 
 THE LEGS. 
 
 ESTHETIC TALK 
 
 Good day. Will you have this bunch of golden- 
 rod? Let me fasten it in your dress, an autumn 
 greeting. I have come from a walk through the 
 fields, and purple aster, and red sumach, and golden- 
 rod look up to the grey-tinted sky. Have you made 
 as much progress in your work as nature has in hers? 
 Think of it ! When first we met in June, the mead- 
 ows were one white plain of daisies, earth's stars ; 
 now they seem to have drawn the glowing sunset 
 tints into their fecund bosom, and sent them, quiver- 
 ing with life, upward into passionate blossoming. 
 
 What shall we study to-day? Draw your chair to 
 the table ; there you will find pen and paper. Copy 
 as I dictate from our master Delsarte: 
 
 "Esthetics is the science of the sensitive and 
 passional manifestations which are the object of art, 
 and whose psychic form it constitutes. 
 
 " Semeiotics is the science of the organic signs by 
 which esthetics must study inherent fitness. 
 
 " The object of art, therefore, is to reproduce, by 
 the action of a superior principle (ontology), the 
 organic signs explained by semeiotics, and whose 
 inherent fitness is estimated by aesthetics. 
 
58 Delsarte System. 
 
 ." If semeiotics does not tell us the passion which 
 the sign reveals, how can aesthetics indicate to us 
 the sign which it should apply to the passion that 
 it studies? In a word, how shall the artist translate 
 the passion which he is called upon to express? 
 
 "^Esthetics determines .the inherent forms of sen- 
 timent in view of the effects whose truth of relation 
 it estimates. 
 
 " Semeiotics studies organic forms, in view of the 
 sentiment which produces them. 
 
 " To sum up : 
 
 " i. If, from a certain organic form, I infer a cer- 
 tain sentiment, that is Semeiotics. 
 
 " 2. If, from a certain sentiment, I deduce a certain 
 organic form, that is jEsthetics. 
 
 "3. If, after studying the arrangement of an 
 organic form whose inherent fitness I am supposed 
 to know, I take possession of that arrangement under 
 the title of methods, invariably to reproduce that 
 form by substituting my individual will for its in- 
 herent cause, that is Art. 
 
 " 4. If I determine the initial phenomena under 
 the impulsion of which the inherent powers act upon 
 the organism, that is Ontology. 
 
 " 5. If I tell how that organism behaves under the 
 inherent action, that is Physiology. 
 
The Legs. 59 
 
 " 6. If I examine, one by one, the agents of that 
 organism, it is Anatomy." * 
 
 Let us consider the third paragraph. 
 . " The object of art, therefore, is to reproduce, by 
 the action of a superior principle (ontology), the 
 organic signs explained by semeiotics, and whose 
 inherent fitness is estimated by aesthetics." 
 
 Look with me at this aster. Do you realize that 
 the purple star is as much the result of its " superior 
 principle " as you or I am of ours ? 
 
 The spirit in a plant is its power of gathering from 
 the earth and the air dead matter, and shaping it to 
 its chosen form. The flower is the sign, the end, 
 the creature, that the spirit makes. 
 
 You see, then, dear pupil, two things to observe : 
 One the life-power and energy ; the other, the form 
 proceeding therefrom, and most perfectly adapted 
 to bring them into outward manifestation. 
 
 What we produce is merely the form of what exists 
 in our minds. Every stroke of the artist's brush is 
 made within ere it glows on the canvas. In the 
 actor, every accent, every inflection, every gesture, 
 is but the outer reverberation of the still small voice 
 within. 
 
 * Arnaud on Delsarte. 
 
60 Delsarte System. 
 
 The idea, as separate from the object, exists prior 7 
 to the object itself; and the outward work is but the ') ' 
 material form, the effect of the spiritual idea or 
 spiritual form. 
 
 " The certain and practical sense of this word ' spirit.' The sense 
 in which you all know that its reality exists as the power which 
 shaped yon into shape, and by which you love and hate when you 
 have received that shape. You need not fear, on the one hand, that 
 either the sculpturing or the loving power can ever be beaten down 
 by the philosophers into a metal, or evolved by them into a gas ; 
 but, on the other hand, take care that you yourselves, in trying to 
 elevate your conception of it, do not lose its truth in a dream or even 
 in a word. The ' spirit of man ' truly means his passion and virtue, 
 and is stately according to. the height of his conception, and stable 
 according to the measure of his endurance.'' — Ruskin. 
 
 Delsarte says : 
 
 "External gesture, being only the reverberation of 
 interior gesture, which gives it birth and rules it, 
 should be its inferior in development." 
 
 He adds : 
 
 "A voice, however powerful it may be, should be 
 
 inferior to the power which animates it" 
 
 After reflecting seriously on the foregoing, how 
 can one call the system of Delsarte mechanical? 
 Do we consider the blossoming into beauty of a rose 
 mechanical because we soften and sod the hard soil 
 through which it must force itself into being? We 
 make the ground flexible for the tender rootlets, as 
 we aim to make the clay of which we are made 
 plastic to the inner emotion, revelatory of the soul. 
 The music of the spheres might be echoing in the 
 brain of some inspired master ; but without an in- 
 
The Legs. 6i 
 
 strument how could he convey its wondrous vibra- 
 tions to his fellow-souls? 
 
 Ontology deals with the inner impelling power, 
 the individual will. Suppose I say in metaphor, 
 "The Greeks achieved marvelous deeds, nurturing 
 the gifts of the intellect like faithful gardeners, and 
 making them bring forth marvelous fruit ! " 
 
 ^Esthetics would determine the fitness of the simile, 
 
 semeiotics would determine the sign. 
 
 The science of semeiotics is the science of signs, 
 of correspondences. Correspondence is derived from 
 three Latin words, cor-re-spondeo, and it means literally 
 to answer again from the heart. We use the word 
 in common speech to show that written communica- 
 tion has passed between two people. It is only 
 complete when the one written to has replied, has 
 spoken to the other again from the heart. I am thus 
 particular because a great deal is learned by a strict 
 attention to the derivation of words.* 
 
 The material form should correspond to the inner 
 form, should answer " thought to thought, heart to 
 heart." " Correspondence is no arbitrary relation- 
 ship like metaphor or figure, but one founded alike 
 on the inward and outward nature of the things by 
 which we are surrounded." 
 
 * " Correspondence, compounded of two Latin words con, with and respondere, to 
 answer. Some have thought that correspondence might be more properly derived 
 from cor, the heart, and respondens, answering ; but as the signification is the same 
 either way it is of little consequence." — Science of Correspondences : Rev. Edward 
 Madeley. 
 
62 Delsarte System. 
 
 I see an outward manifestation, viz., a child laughs. 
 I infer that the child is pleased ; it cries, I know it 
 is displeased. Remember, — 
 
 " If, from a certain organic form, I infer a certain 
 sentiment, that is semeiotics." An example of which 
 is the foregoing. 
 
 " If, from a certain sentiment, I deduce a certain 
 organic form, that is aesthetics." 
 
 An artist wishes to model Coriolanus exiled from 
 Rome by the people for whom he had risked his 
 life and shed his blood. ^Esthetics would select the 
 bearing, attitude, and expression. The marble must 
 reveal the passion surging in the breast of the out- 
 raged hero. 
 
 Do you not now see at a glance the importance 
 
 to the aspirant for dramatic laurels of a knowledge 
 
 of semeiotics and aesthetics? The two, combined 
 
 with individual will, make art. 
 
 I have dwelt at some length on the inherent prin- 
 ciple, as I wished you never to lose sight of the fact 
 Ijhat 
 
 "The spirit quickens, the letter kills.'' 
 
 In a science monthly of last year, I read an in- 
 teresting account of the hypnotic experiments made 
 by French doctors. A gendarme, on guard in front 
 of the Louvre, was selected (on account of his 
 phlegm) for the experiment. Thrown into a mes- 
 meric sleep by means of a few passes, an artist, 
 
The Legs. 63 
 
 summoned from a neighboring studio, posed him as 
 a model of fear. The unconscious soldier obeyed 
 the artist's hand. But now comes the strangest fact. 
 He felt the emotion, and described himself as ex- 
 periencing the throes of terror. 
 
 This seems to bear out an idea to be inculcated in 
 these lessons, viz. : A perfect reproduction of the 
 outer manifestation of some passion, the giving of 
 the outer sign, will cause a reflex feeling within. 
 
 This is delicate ground, and will make some of you 
 cry, " Mechanical." I feel like replying with Aunt 
 Betsy Trotwood, " Donkeys, Janet, donkeys ! " 
 Think seriously a moment. Certain attitudes, by ex- 
 tending or contracting the muscles, by compelling 
 the breath to come and go more rapidly, by increas- 
 ing the heart-beats, cause physical interior sensations 
 which are the correspondences of emotion. The 
 emotion is then slightly felt, but you must bear in 
 mind that the sign is first formed within ; so, after 
 all, the exterior expression does not come first. In 
 the mesmerized subject, the idea was in the artist's 
 mind. I am treading on egg-shells here, I am 
 conscious. 
 
 The artistic idea within must form the outward ex- 
 pression, but that idea seems in genius to be uncon- 
 scious ; you cannot mentally plan it at the moment 
 of its execution. Regnier said to me, in speaking 
 
64 Delsarte System. 
 
 of Delsarte : " If you have to seek in the head what 
 ought to be in the heart, you are not an artist." 
 That is true in itself, but not true of Delsarte. The 
 latter may be mystical, he is certainly not mechanical. 
 I think we shall find the solution in this : 
 
 All our study, all our observations, all our ex- 
 periences, all our life, is mixed in the mystic alembic, 
 which, for want of a clearer name, I will call our 
 interior memory, — that unconscious storehouse where 
 inherited tendencies, traits, and aptitudes are also 
 found. At the call of art this memory awakes from 
 its lethargy, and, without your having to again feel 
 the emotion, forms the expression, which expression 
 affects you in a reflex wave. 
 
 St. Augustine says : " Give me a lover and he will, 
 understand." And I say : " Give me a student with 
 feu sacre, and he will understand." 
 
 How I have wandered ! But, although these paths 
 lead from the main road, they must be traversed by 
 art's pilgrim, if he would know all the truth. 
 
 But to return. Semeiotics is thus the science of 
 
 signs, and so the science of the form of gesture. 
 
 There are three types to be considered in man : 
 
 1. Constitutional; 
 
 2. Passional; 
 
 3. Habitual, 
 
 The constitutional type is that which is congenital. 
 
The Legs. 6$ 
 
 The passional type is that produced under the 
 sway of emotion. 
 
 The habitual type is one not inborn, but created 
 by habit, which acts as a second nature, refashioning 
 the material being. 
 
 Passional types explain habitual types, and habitual 
 types explain congenital types. 
 
 Thus we obtain a complete analysis of man. 
 
 There are three forms of expression for gesture : 
 
 1. The habitual bearing of the agent of ex- 
 
 pression ; 
 
 2. The emotional attitudes of the agent; 
 
 3. The passing inflections of the agent. 
 The bearing is the most permanent. 
 
 The attitudes are less so. 
 The inflections are passing. 
 
 Have you not observed how a man's habits will 
 color his every action? This is such a well-recog- 
 nized fact that we often hear. " He tried to pass for 
 a gentleman, but his bearing betrayed him ;" or, vice 
 versa, " He disguised himself as a workingman and 
 went among the people, but his habit of command 
 betrayed him." 
 
 Continued indulgence in any one form of feeling 
 will make that feeling the predominant trait. So 
 beware, young sculptors, each day you are perhaps 
 carving for — eternity. 
 
 Take your pencil again, and draw a chart contain- 
 
 5 
 
66 Delsarte System. 
 
 ing nine squares similar to the one in our second 
 lesson. Leave room in each square for writing the 
 signification of the attitudes of the legs. Now lay 
 your chart aside while you again listen. 
 
 The legs and arms form the vital division of the 
 body, representing, as they do, the power of action. 
 
 Strong leg signifies that the weight of the body is 
 borne on that leg. 
 
 Free leg signifies that the leg is free from weight. 
 
 Ex. is an abbreviation of excentric, con: for con- 
 centric, nor. for normal. 
 
 ESTHETIC GYMNASTICS. 
 Will you stand? I will call off the attitudes of 
 the legs. 
 Attention ! 
 
 Exercise I. — Action nor. -nor. 
 
 Both legs strong and wide apart ; standing in the 
 breadths, knees straight. 
 
 Signification : Vital repose, vulgarity, intoxication, 
 fatigue. You see, one must always observe two 
 things : An attitude may be a sign of a physical con- 
 dition, or of a sentiment. The foregoing attitude in- 
 dicates either a condition or a sentiment : A condition 
 of fatigue, vertigo, or intoxication ; or a sentiment 
 of familiarity or vulgar boorishness. 
 
The Legs. 67 
 
 A gentleman, in the privacy of his own house- 
 hold, might permit himself to stand, his hands under 
 his coat-tails, his back to the fire in the nor.-nor. 
 attitude. He would be a vulgar boor if he assumed 
 the same position in society. 
 
 Attention ! 
 
 Exercise II. — Action con.-nor. 
 Standing in the breadths ; both legs are strong and 
 together; knees straight, that is unbent; heels to- 
 gether; toes turned out. 
 N. B. — In all of these attitudes the toes should turn out. 
 This attitude signifies a condition of feebleness, or 
 a sentiment of respect It is the one a child assumes, 
 a valet, a soldier. 
 
 Gentlemen, in a formal introduction to ladies, or 
 to those superior to themselves in station, take this 
 position. It is taught to small cavaliers in dancing- 
 school, when, with bent head and proffered arm, they 
 beg their little sweethearts to tread a measure. 
 
 The young should always assume it before the 
 old. It is the position of the inferior before the 
 superior. 
 
 Attention ! 
 
 Exercise III. — Action ex.-nor. 
 
 Standing in the lengths ; both legs are strong and 
 apart, one directly in front of the other ; the knees 
 are straight. 
 
 Do you observe that in all the normal attitudes 
 of the legs, the weight is born equally on both ? 
 
68 Delsarte System. 
 
 The condition signified is indecision, while the 
 sentiment is deliberation. It is an action half-way 
 between advance and retreat. A slight forward im- 
 petus would decide for advance, a slight backward 
 movement would declare for retreat. A change of 
 weight, however, would be necessary to indicate these 
 two opposites. This attitude is agnostic, — it decides 
 for nothing, but hesitates and cries, "Who knows?" 
 
 Attention ! 
 
 Exercise IV. — Action nor.-con. 
 
 Standing in the lengths ; the back leg is strong ; 
 the knee of that leg is straight ; the forward leg is 
 free, while its knee is bent, thus bringing the foot in 
 
 front near to the foot behind. 
 
 N. B. — You 117111 observe that in all three of the concentric 
 attitudes, the weight is borne on the back leg. It is the final 
 term which names the genus of the attitude. The first term 
 serves as an attribute making a species in the genus. 
 
 The foregoing attitude signifies calm strength, 
 reserved force, reflection, controlled emotions. It 
 is an attitude which shows the mind as ruler, the 
 attitude of the thinker, the scholar, the gentleman. 
 It indicates concentration. 
 
 Attention ! 
 
 Exercise V. — Action con-con. 
 Standing in the lengths ; the strong leg is back, its 
 knee bent ; the free leg is in front, the knee straight. 
 
The Legs. 69 
 
 The condition shown is prostration; the senti- 
 ment, despondent passion. 
 Attention ! 
 
 Exercise VI. — Action ex.-con. 
 
 Standing in the lengths ; the strong leg is back, 
 its knee straight ; the free leg in front, the knee also 
 straight. 
 
 The condition such a position represents is antag- 
 onistic ; the sentiment, defiance, irritation, splenetic 
 emotion. 
 
 It also indicates self-assertion with an added ele- 
 ment of defiance. 
 
 Many men erroneously consider this position a 
 manly one to assume. Remember, these attitudes 
 are types. They can run into each other, mix, over- 
 lap, as colors in the rainbow. An attitude midway 
 between the nor. -con. and the ex.-con. is very com- 
 mon. The mixed attitude, then, partakes of the 
 meaning of the two from which it is composed. 
 
 Attention ! 
 
 Exercise VII. — Action nor. -ex. 
 
 Standing in the lengths ; strong leg is in front. 
 Stand so firmly on the forward leg that the other is 
 unnecessary for support ; the khee is straight ; free 
 leg is behind, the knee bent ; the ball of the foot 
 rests on the ground ; the heel should be raised. 
 
 This attitude signifies a condition of vigor, anima- 
 
yo Delsarte System. 
 
 tion, intention, or attention. It represents sentiments 
 of an ardent or passional tendency. 
 
 There is no introspection in this attitude, it is 
 essentially excentric. 
 
 Attention ! 
 
 Exercise VIII. -^-Action con.-ex.. 
 
 Standing in the breadths ; the free leg is slightly 
 in the rear of the strong leg; the knee of the strong 
 leg is straight ; the free knee, is bent ; the toe of the 
 free leg is on a line with the instep-arch of the strong 
 leg; the foot of the free leg is very much turned 
 out; the heel of the free leg is raised a little from 
 the ground, while the ball rests on the ground. 
 
 The attitude should be unconstrained. It rep- 
 resents a suspensive condition, neutral, transitive, 
 or colorless sentiments. It should be assumed when 
 changing the direction of the lateral walk on the stage. 
 
 Attention ! 
 
 Exercise IX. — Action ex.-ex. 
 
 Standing in the lengths ; both legs should be 
 wide apart ; strong leg in front, the knee bent ; free 
 leg behind, the knee straight; the heel of the foot 
 is raised, the ball resting on the ground. 
 
 This signifies a condition of great excitement or 
 exaltation, sentiments of an explosive nature. 
 
The Legs. 71 
 
 You have done very well. Practice these attitudes 
 before a mirror, strictly observing a harmonic bear- 
 ing in each of them. 
 
 Keep in mind your previous lesson on that subject, 
 viz.: The head must sympathize with the strong leg, 
 must incline to the side of the strong leg, while the 
 torso inclines in the opposite direction, thus always 
 preserving equilibrhtm and the line of beauty. 
 
 /ESTHETIC TALK.— Continued. 
 
 Again I will unearth some of my treasures for 
 you. Look over my shoulder at this collection of 
 photographed statues. We will select one for each 
 of the foregoing attitudes. 
 
 See, here is a faun holding a huge bunch of grapes, 
 high over head. With upturned face he is dropping 
 them one by one into his laughing mouth. One 
 seems to share the grapes, so contagious is his enjoy- 
 ment. Be quick, be quick, my faun. Do I not hear 
 the songs of the wine god and his bacchantes ? Soon 
 you must join their revelry. Still he stands in marble 
 silence. Can you tell me in what attitude? Yes, 
 correct, in the nor.-nor., that of vital repose. 
 
 What have you found? Ah, Hebe, the bewitching 
 little waitress on Olympus. She stands, with both 
 lovely arms upraised. Her two dear little feet nestle 
 close together. It is our second attitude. 
 
 Here in this frieze of the Parthenon we find our 
 third example. That beautiful youth in the proces- 
 sion turns and stops for one short instant. About 
 what does he hesitate? His lips are dumb — we 
 shall never know. 
 
 Pallas Athene, haughty child of Zeus, reflection, 
 
72 Delsarte System. 
 
 control, reserve power is conveyed by your bearing. 
 You do not need Medusa 6f the snaky locks on your 
 helmet to chill our blood. It freezes at your look. 
 We enter your temple to worship, and Cupid and 
 Bacchus are left outside, twining their garlands of 
 roses and grapes. 
 
 Ariadne, do not despair. The same wind that is 
 filling the sails of Theseus, and wafting his argosy 
 from you, brings to your ear the chant of merry 
 bacchantes. A hero has deserted, but a god comes 
 to console. So courage. She still is despairing; 
 the pictured stone changes not. She teaches us the 
 fifth attitude. 
 
 Ah ! Demosthenes, my noble friend, well met ; 
 but why this defiant position? Why this self-asser- 
 tion? You have been petrified in the midst of an 
 oration and are there to illustrate our sixth attitude. 
 
 " The horn of the hunter is heard on the hill." 
 Diana ! Diana of the Louvre ! quick, select your 
 arrow, shoot your bow. My heart beats quicker, my 
 blood bounds at the sight of your vital presence. 
 I would be one of your nymphs, Diana ! Diana ! 
 
 Sweet Modesty. Chastely your robes fold around 
 you ; you stand in a neutral attitude. What shall I 
 judge from that? 
 
 Ah ! Fighting gladiator ! you indicate to me ex- 
 plosion, with your excited air and forward-bent knee. 
 I am told that you are striving to seize the bridle of 
 rearing horses with that outstretched arm, and you 
 are running, not fighting. You have been much 
 maligned. 
 
 What is it, child ? You would look at the others ? 
 Seek some gallery where you will find casts of the 
 antique, and spend a profitable hour in discovering 
 the attitude in which each statue stands. Then go 
 home and essay them before the glass. 
 
CHART II.— Arrr 
 
 Concentro-con centric 
 
 Concent ro-normal. 
 
 Concentro excentric 
 
JS Ol'- THE LbGS. 
 
LESSON V. 
 
 THE WALK. 
 
 ^ESTHETIC TALK. 
 
 Well met. Nay, do not lay off your hat ; we will 
 go to school in the woods, faire V ecole buissiniere, 
 as they say in la belle France. How keen is the 
 autumnal air ! A few hundred yards before us we 
 see the scarlet and brown of the trees in hectic glory, 
 frescoed against the blue dome of the sky. This is 
 Madison Square. Will you rest on this bench? 
 
 We are out for a walking-lesson. For the last few 
 moments I have been observing you intently, you 
 unconscious. Are you brave enough to stand the 
 fire of criticism ? Your walk is full of defects; stiffly 
 projecting the leg, dragging after it the torso, the 
 heel strikes the ground with a thud, jarring the spine. 
 
 There are almost as many walks as there are in- 
 dividuals. It is temperamental, as much an indicator 
 of the habits, character and emotions, as the voice. 
 One recognizes a friend by his step, even when heard 
 but not seen. As we sit here, listen to a short 
 lecture. 
 
 In our last lesson we considered the attitudes of 
 the legs, and learned the emotional signification of 
 
74 Delsarte System. 
 
 each pose ; we shall now find that each attitude is 
 
 the basis of a walk. 
 
 Remembering that all the parts of the human body 
 
 have a reciprocal action on one another, every step 
 
 must be a nice adjustment of the opposition to be 
 
 maintained between head, torso and limbs. The 
 
 perfect walk must be straight, each step a foot apart 
 
 (your own foot, not the ordinary foot-measure). 
 
 Bobbing up and down, pitching, rolling, strutting, 
 
 must be avoided as gymnastic crimes. The great 
 
 work of the movement falls to the lot of the thigh, 
 
 the vital division of the leg. This is the strongest 
 
 portion of the frame. 
 
 An item I lately read illustrated this : In England, 
 at country fairs, a man astonished bucolic audiences 
 by his prowess in lifting a cannon weighing thousands 
 of pounds. He supported it suspended from a belt 
 around the hips. However, one fine day, a daring 
 youth sought to emulate him, and, to his own aston- 
 ishment, succeeded. " Come one, come all." Many 
 more essayed, none failed ; thus proving no extra- 
 ordinary strength on the part of the showman, but 
 more than ordinary wit in discovering the strength 
 of the thigh. In modern athletic sports, the thigh 
 does most of the hard work. The best rowing is 
 from the hip, the arms serving to hold the oars. 
 
 To recapitulate what we have collected so far for 
 
 our walk: 
 
 I . A straight forward step ; 
 
The Walk. 75 
 
 2. Harmonic poise ; 
 
 3. Thigh-movement. 
 
 What is thigh-movement? Look! sweeping up 
 Fifth avenue trots a thoroughbred ; mark his action. 
 With vital force he lifts his thigh, so to speak ; lower 
 leg and hoof hang loosely. The straightening of 
 the knee plants the hoof. Now turn and observe 
 me. I lift the thigh forward, lower leg and foot hang 
 loosely ; the unbending at my knee plants the foot, 
 as simultaneously my weight sways on it. 
 
 And now, you ask, which should touch first, the 
 ball or the heel of the foot? Strictly speaking, the 
 ball, if we all were virtuous and restored the foot to 
 the proportions of a bare foot ; but, alas ! the stern 
 mandate of fashion decrees a heel on the shoe ; so 
 ordinary mortals must yield, and in planting the foot 
 the heel will first touch mother earth. The bare foot 
 is fashioned to grasp the ground. Carry the foot in 
 transfer near the ground. High stepping is fine in 
 sound, but neither horses nor men can afford it when 
 either have work to do or races to run. The torso 
 and head should sway in harmonic sympathy with 
 every motion of the legs ; this is the walk of animated 
 attention, emotions that are vital. 
 
 Observe the processions of the Athenian youths 
 and maidens on the Elgin marbles. In these pro- 
 
76 Delsarte System. 
 
 cessions, fantastic and involved, one finds each figure 
 sculptured in marble action in various stages of this 
 walk, — the normo-excentric. This is significant of 
 a normo-vital poise of being ; but, alas ! as your 
 eye roams over the passing crowd, we find no human 
 example. That St. Bernard there comes toward us 
 with majestic stride, fulfilling all the requirements. 
 Man alone hops and halts, trudges and strides, limps 
 and ambles. What says Byron? 
 
 "Near this spot 
 
 Are deposited the remains of one 
 
 Who possessed beauty without vanity, 
 
 Strength without insolence, 
 
 Courage without ferocity, 
 
 And all the virtues of man without his vices. 
 
 This praise, which would be unmeaning flattery 
 
 If inscribed over human ashes, 
 
 Is but a just tribute to the memory of 
 
 Boatswain, a dog. " 
 
 Watch that restless crowd. Can you find me a 
 human example? Appearing through the gleaming 
 trees, with happy sun-kissed face, whistling an air 
 from " Trovatore," comes a young Italian vender. 
 On his head he balances a tray of plaster-casts, im- 
 ages of Venus, Mercury, Psyche. The necessity for 
 perfect poise has been his task-master. Profit by 
 the example; and, when you reach your home, 
 practice the walk with a book on your head, walk- 
 ing straight on a chalked tape, the marks two feet 
 
The Walk. 77 
 
 apart (your own feet) . Pin this tape in front of the 
 looking-glass, and step on the marks as you see them 
 reflected. 
 
 " The perfection and power of the body as an instrument is mani- 
 fested in three stages : 
 
 1 . " Bodily power by practice ; 
 
 2. " Bodily power by moral habit ; 
 
 3. " Bodily power by immediate energy." — Ruskin. 
 
 So the walk may express your temperament (moral 
 habit) ; it may express a passing emotion (immedi- 
 ate energy) ; or it maybe gained by practice. Happy 
 one if your temperament is the exciting cause of 
 beautiful action. Hear Plato : " It is the testimony 
 of the ancients that the madness which is of God is 
 a nobler thing than the wisdom which is of men." 
 
 And again : " He who sets himself to any work 
 with which the muses have to do without madness, 
 thinking that by art alone he can do his work suf- 
 ficiently, will be found vain and incapable ; and the 
 work of temperance and rationalism will be thrust 
 aside and obscured by that of inspiration." 
 
 Very strong words, too strong, perhaps, for inser- 
 tion here ; and yet they emphasize what I wish you 
 always to bear in mind. But do not mistake me ; 
 I am no advocate of the " inspiration of lazy medi- 
 ocrity." I wish you only to remember " the suprem- 
 acy of genius as the necessity of labor ; for there 
 
78 Delsarte System. 
 
 never was, perhaps, a period in which so many and 
 so vain efforts have been made to replace it by study 
 and toil." Study and toil prepare a perfect mirror 
 in which the vision of genius can be perfectly re- 
 flected ; without it often the image comes torn and 
 rent as from a broken glass. 
 
 The imagination, the ruling and divine power, 
 is never governed. The rest of man is but an in- 
 strument on which that plays, a canvas on which that 
 paints ; harmoniously, if the strings be true, the can- 
 vas white and smooth ; wildly, if one be broken, the 
 other stained. Thus, you see, while work must be 
 done, the instrument perfected, art is only valuable 
 as it expresses goodness and greatness in the soul. 
 Imitation may imitate the expression, but it can al- 
 ways be detected as imitation, and resembles truth 
 as nearly as the cloud on a painted canvas is like one 
 on heaven's canopy, flecked and thrilled with golden 
 light. 
 
 " But the moment that inner part of man, or rather that entire and 
 only being of the man of which cornea and retina, fingers and hands 
 are all the mere servants and instruments, that manhood which has 
 light in itself though the eyeball be sightless, and can gain in strength 
 when the hand and the foot are hewn off and cast into the fire, the 
 moment this part of the man stands forth with its solemn 'behold it 
 is I,' then the work becomes art, indeed, perfect in honor, priceless in 
 value, boundless in power.'' — Ruskin. 
 
 The tendency of the age is toward formulation of 
 
The Walk. 79 
 
 science, not art. When we remember that within 
 the last half century the real nature of earth, air, 
 light, and of animal existence, was hardly dreamed 
 of, — and that even now the mass of mankind fail to 
 apprehend it, we realize what children we have been 
 for more than six thousand years. A master of 
 modern science says : " When men invented the 
 locomotive, the child was learning to go ; when they 
 invented the telegraph, it was learning to speak." 
 But the locomotive and the telegraph must be 
 guided; and here a word of advice: When before the 
 public in the pulpit, on the platform, or the stage, 
 forget all rules, or rather make no effort to recall 
 them. Your motto there should be heart-work, not 
 head-work. 
 
 "Then why study art's rules and formulae?" I 
 hear you ask. 
 
 Because much of your practice will cling to you, 
 without conscious thought; because nature rarely 
 showers all her gifts on one head. Inspiration may 
 be yours without bodily power to express ; or you 
 may be virtuosos without "the still small voice 
 within." Rachel sought Samson for interpreter; 
 she was virtuoso. Demosthenes and Talma were 
 creators, but we all know their struggles to conquer 
 the bodily powers in expression. So let us pray for 
 
80 Delsarte System. 
 
 "a quick, perceptive and eager heart, perfected by 
 the intellect, and finally dealt with by the body under 
 the direct guidance of these higher powers." 
 
 Are you rested? Shall we walk? Who comes to- 
 ward us as we enter Fifth avenue? An actress, by 
 her walk. Observe, she plants her foot with bent 
 knee, using the knee as a spring. A soft, sinuous 
 step, a panther-like effect. Very effective in its 
 proper place, as expressive of controlled force, se- 
 crecy ; we call that the normo-concentric walk. Im- 
 agine this scene in " Diplomacy : " Zicka is crossing 
 the room to steal the letter in the casket. Words are 
 unnecessary; her secret step betrays her errand. 
 The difference between this walk and the first de- 
 scribed, consists in the planting of the foot with bent 
 knee; then, as the weight sways on it, the figure 
 rises. No jar is possible to the frame, hence its 
 selection by many actresses for grace. It is needless 
 to add that it should be used only in portraying 
 secret, sinuous character. 
 
 A walk taught by stage-managers, and selected by 
 the society actor, is the excentro-concentric, express- 
 ing defiance. Observe me. I start in the defiant 
 attitude, vital force flowing to toes before I move ; 
 rigid knee. I feel " how manly I am." Each ad- 
 vance step strikes the heel hard on the pavement, 
 
The Walk. 8i 
 
 the torso dragged after. Behold, aptly to illustrate, 
 stride two dudes. The windows in the opposite 
 house almost jar as they pass. 
 
 " My knees sink under me ; help or I die ! " the 
 despondent, despairing walk of prostration seems to 
 exclaim. 
 
 Here toddles a wee one, hand in that of nurse. 
 Baby, dear, you are toddling in the concentro-normal 
 walk, expressing infancy or inferiority ; very cunning 
 in you, small atom, but quite out of place in Miss 
 Flora McFlimsey. Watch her, as yonder she trots 
 with soubrette steps. A little shake at the hips helps 
 her legs to take their tiny pace. Miss Flora, you 
 should sport cap and ribbons and muslin apron to 
 be all in harmony. 
 
 Turn your head before Prof. Muggins is out of 
 sight. With" doubting step he hesitates and thinks ; 
 a slight pause, ever and anon ; musing over proto- 
 plasm, professor? 
 
 An actor playing a blind part, asked my opinion 
 of his performance. 
 
 " I have but one criticism to make," was my ver- 
 dict. "Your legs are not blind." 
 
 " My legs blind ! How can I make them so ? " 
 
 I explained : 
 
 " Fearing to lose their equilibrium, the blind in- 
 stinctively seek a broad base in standing and walking. 
 6 
 
82 Delsarte System. 
 
 Each step is taken with rigid knee; the nor.-nor. 
 
 attitude is the basis of this walk." 
 
 Also in vertigo and drunkenness, the sinking forces 
 seek to recover their equilibrium on as broad a base 
 as possible. It is the vulgar and peasant walk. 
 
 And now, attention to the turn. The concentro- 
 excentric attitude is the one assumed in the change 
 of direction. I throw my weight on the ball of the 
 advanced foot, raising the heel and anchoring with 
 the ball of the free foot ; this leaves both heels free. 
 So I turn to any point I choose ; the free foot then 
 points the changed direction. This saves numberless 
 small steps, always awkward and especially so behind 
 the footlights. 
 
 Central Park ! A good arena for our race. Let 
 us try a run. Here is a by-path, no one observing 
 but those two black swans with crimson beaks, "sail- 
 ing majestically on that tree-encircled lake. Catch 
 me, if you can. Ah ! I outdistance you, for, like 
 all women, you roll instead of run. Recall the atti- 
 tude of the fighting gladiator, the excentro-excen- 
 tric ; forward leg strong, knee bent, torso thrown 
 well forward. The run is a continuous succession 
 of these attitudes. Try for me. Very well ; you are 
 an apt scholar. Shall we race again? We cannot; 
 a gray-coated policeman appears. He eyes us with 
 
The Walk. 83 
 
 suspicion. He thinks us "children of too large a 
 growth " for such games. We will go home ; the 
 sun is setting. 
 
 ESTHETIC GYMNASTICS. 
 Exercise I. — Back Fall, 
 (a) Assume attitude of prostration, con.-con. of 
 legs ; (b) sink as low as the back knee will allow ; 
 (c) then swing the body to the floor, striking the 
 thigh of the back leg on one side just above the 
 knee ; (d) let torso fall back, simultaneously straight- 
 ening bent knee. The entire body is now prone. 
 
 Exercise II. — Front Fall. 
 («) Assume attitude of explosion, ex. -ex. of legs ; 
 (b) throw body forward, striking floor on thigh of 
 strong leg. Be careful to protect the face with the 
 forearms as you throw torso to the ground. 
 
 Exercise III. — Kneeling, 
 (a) Assume attitude of explosion, ex>.-ex. of legs ; 
 (b) bend free leg until the knee rests on the ground. 
 N. B. — Always rest on knee which is toward the audience. 
 
 Exercise IV. — Bowing, 
 (a) Sink into attitude of prostration, con.-con. of 
 legs; (b) rise slowly from it, carefully observing 
 
84 Delsarte System. 
 
 harmonic poise of head and torso in opposition to 
 the legs. 
 
 N. B. — Sink on knee toward the audience. There are various 
 degrees of bowing; the knee bends less in a slight obeisance. 
 
 Exercise V. — Sitting, 
 (a) Stand before a chair, attitude of legs con.- 
 con. ; right leg strong ; (d) bend right knee as far 
 down and out as is possible ; (c) bend torso forward 
 in opposition. The thigh now meets the chair and 
 you are seated. 
 
 Exercise VI. — Rising from Sitting, 
 {a) Rise by bending torso forward and throwing 
 weight' on right leg ; (b) when torso is raised from 
 chair, throw weight on left leg, and (<r) rise to nor.- 
 ex. attitude of legs. 
 
 Exercise VII — Rising from Back Fall, 
 (a) With the aid of the arm (right arm if the 
 bent leg in falling was the right), raise the torso as 
 you simultaneously bend under you the right leg; 
 (J?) throw yourself thus into a kneeling position, 
 right knee touching the floor ; (c) then rise as de- 
 scribed below in the rise from kneeling. 
 
 Exercise VIII. — Rising from Front Fall. 
 This is about the same as rising from back fall. 
 (a) The outstretched leg, say right, is bent under 
 
The Walk. 85 
 
 as the torso rises, aided to that rise by the right arm 
 
 holding the weight for one instant, the palm on the 
 
 floor ; (3) from kneeling position, you then rise. 
 
 N. B. — The arm and knee which bear the weight should be 
 on the same side. 
 
 Exercise IX. — Rising from Kneeling. 
 
 {a) Throw the weight on the free leg, i. e,, not 
 
 the one the knee of which is on the ground ; (J>) rise 
 
 from thence to attitude of legs nor.-ex. 
 
 N. B. — All of the foregoing stage business is in accordance 
 with the system of Delsarte, which system is founded on the 
 universal laws of equilibrium and grace. The three great 
 things to be always borne in mind in every movement are 
 ease, precision, harmony. 
 
 Exercise X. — Pivoting, 
 (a) Stand erect, both legs strong ; (b) sway weight 
 on to ball of right foot, heel clearing the ground, ball 
 of left foot touching the ground ; (c) turn toward 
 left on the right ball, left ball following; {d) rest on 
 heel of right foot. Your direction will then be to- 
 ward the left. Reverse this to change the direction 
 toward the right. Do not jar on the heel, (e) Stand 
 in attitude nor.-ex. ; (/) pivot on ball of advanced 
 foot to attitude ex.-con. This completely reverses 
 the attitude, the face replacing the back. 
 
86 Delsarte System. 
 
 Exercise XI. — Rising on Toes, 
 (a) Stand in attitude con.-nor., heels together, 
 toes diverging; (b) rise slowly on toes; sink as 
 slowly. Be careful not to lurch back on heels and 
 so jar the body. This develops the calves of the 
 legs. The slowness with which you rise and sink in 
 uninterrupted motion, is the chief merit of the fore- 
 going exercise. 
 
(Dearest : 
 
 The clock struck one, your hour, but you 
 came not • instead rat=tat=tat, a messenger, 
 a telegram : "Am called away ; will explain 
 by letter ;" and to=day your letter — such a 
 blue one I — our chats and studies must cease 
 for the present, unless I can teach by letter. 
 I will send you concise summaries of the 
 laws to be apprehended, the gymnastics to 
 be essayed, — more I cannot promise. In=- 
 closed find the lesson. Write me of your 
 progress. 
 
 Your teacher and friend, 
 
 THE AUTHOR. 
 
 For articles on the Delsarte System of Dramatic Expression, elab- 
 orating the following, see The Voice, Edgar S. Werner, Publisher, 
 No. 48 University Place, New York. 
 
LESSON VI. 
 
 THE HAND. 
 
 We have to consider, — 
 
 1. The faces of the hand; 
 
 2. The functions of the hand; 
 
 3. The indications of the hand. 
 
 THE FACES OF THE HAND. 
 
 1. The palm, vital in nature, revelatory in ex- 
 pression ; 
 
 2. The back, moral in nature, mystic in expres- 
 sion; 
 
 3. The side, mental in nature, indicative or defini- 
 tive in expression. 
 
 THE FUNCTIONS OF THE HAND. 
 
 1. To define or indicate; 
 
 2. To affirm or deny ; 
 
 3. To mold or detect; 
 
 4. To conceal or reveal ; 
 
 5. To surrender or hold; 
 
 6. To accept or reject ; 
 
90 Delsarte System. 
 
 7. To inquire or acquire ; 
 
 8. To support or protect; 
 
 9. To caress or assail. 
 
 Description of Movement. 
 
 1. (a) To define: first finger prominent; hand 
 moves up and down, side to earth. 
 
 (Jf) To indicate : first finger prominent ; hand 
 points to object to be indicated. 
 
 2. («) To affirm : hand, palm down, makes move- 
 ment of affirmation up and down. 
 
 (b) To deny : hand, palm down, makes move- 
 ment of negation from side to side. 
 
 3. (a) To mold: hand makes a movement as if 
 molding a soft substance, as clay. 
 
 (b) To detect: rub the thumb across the fin- 
 gers as if feeling a texture held between them. (A 
 movement often made when following a train of 
 thought.) 
 
 4. (a) To conceal : bring the palm of the hand 
 toward you, the fingers at the same time gently clos- 
 ing on palm. 
 
 (b) To reveal: reverse the above movement, 
 exposing palm. 
 
 5. {a) To surrender: closed hand opens, palm 
 down, action as if dropping something on the ground. 
 
The Hand. 91 
 
 (b) To hold : the hand closes as if to retain 
 something. 
 
 6. (a) To accept: fingers close on upturned 
 palm as if receiving something. 
 
 (b) To reject: fingers unclose from down- 
 turned palm as if throwing something away. 
 
 7. (« ) To inquire : a tremulous movement of the 
 outstretched fingers as in the blind ; palm down. 
 
 (b) To acquire : hand drawn toward you, fin- 
 gers curve toward down-turned palm 
 
 8. (a) To support: palm up, making a flat surface 
 as if supporting a weight. 
 
 (b) To protect : palm down ; a movement of 
 fingers as if covering what you protect. 
 
 9. («) To caress: a movement of stroking up and 
 down, or sideways. If sideways, one caresses the 
 animal nature. 
 
 (b) To assail : palm down ; the fingers make 
 a convulsive movement of clutching. 
 
 THE INDICATIONS OF THE HAND. 
 
 1. The hand indicates the side of the being pre- 
 dominating in activity. This is shown by the point 
 of departure of the gesture from its significant zone. 
 
 2. The hand indicates the condition of the being. 
 
92 Delsarte System. 
 
 This is shown by the unfolding of the hand by itself, 
 as illustrated in the attitudes of the hand. 
 
 3. The hand indicates the intention or attention 
 of the being ; this is shown by the inflections of the 
 hand in gesture. 
 
 THE CONDITIONAL ATTITUDES OF THE HAND. 
 I. 
 
 Action: nor.-nor. 
 
 Signification: calm repose. 
 
 Description of action : hand normal. 
 
 That is, the thumb carried opposed to the second 
 and third fingers. Test this by shutting the thumb 
 on the two foregoing fingers; the first and little 
 fingers are apart from these two. The thumb is the 
 thermometer of will-power in the hand, as the palm 
 is vital, the fingers mental. In the subdivision of 
 the fingers, the first is mental, hence its predomi- 
 nance in defining; the little finger fe expressive of 
 the affections ; the second and third together rep- 
 resent the vital tendencies. All we have to observe 
 here is that in the normal attitude of the hand, its 
 proper carriage is as follows: 
 
 1. Thumb exactly opposed to second and third 
 fingers ; 
 
 2. Second and third fingers touch each other; 
 
The Hand. 93 
 
 3. Little and first fingers spread apart and a little 
 back of their neighbors. 
 Hold this attitude lightly. 
 
 " Suppose I had asked the same service of three men, and that 
 each had answered me with the single word 'yes,' accompanied by a 
 gesture of the hand. If one of them had let his thumb approach the 
 forefinger, it is plain to me that he would deceive me ; for his thumb, 
 thus placed, tells me that he is dead to my proposition. 
 
 " If I observe in the second a slight contraction of the thumb, I 
 must believe that he, although indisposed to oblige me, will still do 
 so from submission. 
 
 " But if the third oppose his thumb forcibly to the other fingers 
 
 Oh! I can count on him; he will not deceive me. The 
 
 abduction of his thumb tells me more in regard to his loyalty than 
 all the assurances which he might give me." — Delsarte. 
 
 II. 
 
 Action : con. -nor. 
 
 Signification : indifference, prostration, imbecility, 
 insensibility, or death. 
 
 Description of action : thumb attracted inward. 
 
 " I noticed, in fact, that in all these corpses the thumb displayed a 
 similar tendency, — that of adduction or attraction inward. 
 
 " Now I prove that the thumbs of the dying man contracted at first 
 in an almost imperceptible degree. '* * * Thus, I had acquired 
 the proof that not only does the adduction of the thumb characterize 
 death, but that this phenomenon indicates the approach of death in 
 proportion to its intensity. " — Delsarte. 
 
 III. 
 
 Action : ex.-nor. 
 
 Signification : approbation, tenderness. 
 Description of action: the thumb abducted; the 
 fingers curved gently. 
 
94 Delsarte System. 
 
 "I noticed nurses who were distracted and indifferent to the chil- 
 dren under their charge; in these, the thumb was invariably drawn 
 toward the fingers, thus offering some resemblance to the contraction 
 which it manifests in death. With other nurses, more affectionate, 
 the fingers of the hand that held the child 1 were visibly parted, dis- 
 playing a thumb bent outward; but this eccentration rose to still 
 more startling proportions in the mothers. There the thumb was 
 bent violently as if to embrace a beloved being." — Delsarte. 
 
 IV. 
 Action : nor.-con. 
 
 Signification : calm self-possession, power. 
 
 Description of action : fold fingers on palm, thumb 
 
 upright at side of first finger. 
 
 V. 
 Action : con. -con. 
 
 Signification : struggle, resolution, concentration 
 of force. 
 
 Description of action : fold fingers on palm, thumb 
 
 pressed tightly across the second joints of closed 
 
 hand. 
 
 VI. 
 Action : ex. -con. 
 
 Signification : convulsion. 
 
 Description of action : fingers and thumb crooked 
 
 toward centre of palm, hand nearly closed. 
 
 VII. 
 Action : nor.-ex. 
 
 Signification: animated attention or intention, 
 earnestness. 
 
The Hand. 95 
 
 Description of action : hand open, fingers straight, 
 thumb spread. 
 
 VIII. 
 Action : con. -ex. 
 
 Signification : exasperation. 
 
 Description of action : hand as in convulsion, only- 
 more spread from palm; hand expanded, fingers 
 crooked. 
 
 IX. 
 Action : ex.-ex. 
 
 Signification : exaltation of passion. 
 
 Description of action : hand spread to its greatest 
 extent, fingers and thumb wide apart. 
 
 The attitudes of the hand color the voice, by the 
 sympathy there is between the muscles and nerves 
 of the hand and those of the throat and jaws. 
 
 Practice the line, — 
 
 " Shut the door ! " 
 assuming by turn each attitude with both hands. 
 Each attitude will effectually color the tone. 
 
 ./ESTHETIC GYMNASTICS. 
 Exercise I. 
 Raise arm in breadths; hand falling as if dead 
 brings finger-tips level with shoulder. Arm still ex- 
 tended, sink wrist ; arm stiff, recompose hand. This 
 action brings hand from palm in to palm out, finger- 
 
g6 Delsarte System. 
 
 tips raised. The level of finger-tips has not changed 
 during the process. 
 
 Exercise II. 
 Sink wrist in every altitude ; move the arm through 
 the air, keeping hand as a dead weight. It will float 
 as a feather. 
 
 N. B. — The foregoing must be practiced until easily per- 
 formed. 
 
 SERPENTINE MOVEMENT. 
 
 Exercise III. 
 Sink wrist as previously explained; arm in 
 breadths. Rotate wrist until fingers point to ground, 
 palm out. Raise hand on wrist, palm in. Elbow 
 has been stiff. Now, bend elbow until finger-tips 
 touch shoulder, simultaneously sinking upper arm to 
 side of torso. Without unbending, raise elbow up 
 and out ; wrist remains level with armpit, hand falls 
 decomposed. Now, sink elbow again to side ; com- 
 bine last with a rotary inward movement of upper 
 arm, which throws decomposed hand palm out and 
 down. Straighten elbow ; this will throw the hand 
 out and up. Recompose hand. 
 
 N. B. — It is difficult to write out movement, which needs 
 the living teacher. The above must be done with great ac- 
 curacy or it is worthless. 
 
The Hand. 
 
 97 
 
 CHART III. 
 Conditional Attitudes of the Hand. 
 
 Concentro-concen trie. 
 
 Normo-concentric. 
 
 Excentro-concentric. 
 
 Concentro-normal. 
 
 Normonormal, 
 
 Excentro-normal. 
 
 Concentro- excentric . 
 
 Normo-excentric. Excentro-excentric. 
 
LESSON VII. 
 
 THE HAND.— Continued. 
 
 THE POSITIONS OF THE HAND IN SPACE, RELATIVE 
 TO THE CENTRES OF GRAVITY AND BEING. 
 
 Man is en rapport with : 
 i. Nature; 
 
 2. Humanity ; 
 
 3. Divinity. 
 
 He has radiations to each. Nature and divinity 
 are the two extremes ; the centre of gravity down, 
 the universal centre up. 
 
 The human radiations between man and man are 
 in the lengths. The individual centre is represented 
 by the torso, which figures the love of the being. 
 Thus man stands on the earth, communicates with 
 his fellow-beings expanding from individual centres, 
 and looks upward to the universal. 
 
 THE RELATIVE ATTITUDES OF THE HAND. 
 
 1 . Nor.-nor. Hand straight with forearm, side to 
 earth. 
 
 2. Con. -nor. Hand straight with forearm, palm 
 turned to earth. 
 
ioo Delsarte System. 
 
 3. Ex. -nor. Hand straight with forearm, palm 
 turned up from earth. 
 
 4. Nor. -con. Palm turned to self, side to earth. 
 
 5. Con. -con. Palm in, fingers turned to earth. 
 
 6. Ex.-con. Palm in, fingers up from earth. 
 
 7. Nor.-ex. Palm out, side to earth. 
 
 8. Con.-ex. Palm out, fingers to earth. 
 
 9. Ex.-Cx. Palm out, fingers from earth. 
 
 THE INFLECTIONS OF THE HAND. 
 
 The abbreviations used below describe the relative attitudes of the 
 hand. For their explanation, refer to the foregoing definitions. 
 
 i. Hand nor.-nor., moves up and down; signi- 
 fies simple statement, formulation, or definition. 
 
 2. Hand con. -nor., moves from side to side; sig- 
 nifies impatient negation. 
 
 3. Hand ex.-nor., moves from side to side; sig- 
 nifies distribution. 
 
 4. Hand from ex.-con. to con.-ex., signifies salu- 
 tation. 
 
 5. Hand from con.-ex. to ex.-con., signifies ap- 
 pellation. 
 
 6. Hand from ex. -ex. to con. -con., signifies grasp- 
 ing, lust, assailment ; curved fingers. 
 
 7. Hand from con.-con. to ex.-ex., signifies exalta- 
 tion, surprise. 
 
The Hand. ioi 
 
 8. Hand from nor. -con. to nor.-ex., signifies ex- 
 position, revelation. 
 
 9. Hand from nor.-ex. to nor.-con., signifies con- 
 cealment, mysticism, deceit. 
 
 AESTHETIC GYMNASTICS. 
 Exercise I. 
 Bend torso forward at waist; simultaneously raise 
 arms back in opposition. 
 
 Exercise II. 
 Bend torso .backward at waist; simultaneously 
 raise arms forward in opposition. 
 
 Exercise III. 
 Raise arms slowly over head, commencing at 
 shoulder level. At the same time head must sink 
 on breast in opposition. 
 
 Exercise IV. 
 Let arms fall, head rising in opposition. 
 
 Exercise V. 
 Sway arms to the right, head turning to the left 
 in opposition. 
 
 Exercise VI. 
 Sway arms to the left, head turning to the right 
 in opposition. 
 
102 Delsarte System. 
 
 GLADIATOR OPPOSITIONS. 
 
 Exercise VII. 
 Take attitude ex. -ex. of legs, signifying explosion ; 
 right leg strong. Simultaneously raise left arm in 
 front, right arm back. Return to attitude con.-nor. 
 of legs, heels together. Arms drop to side. 
 
 Exercise VIII. 
 
 Take attitude ex.-ex. of legs; left leg strong. 
 Right arm raised in front simultaneously with left 
 arm back. Return to attitude con.-nor. of legs. 
 Arms drop to side. 
 
 Repeat the above movements a number of times 
 in quick succession. 
 
 The arm in excentric gesture, i. e., gesture in the 
 lengths, should always be in opposition to the for- 
 ward leg to maintain perfect equilibrium. 
 
LESSON VIII. 
 
 THE HAND.— Continued. 
 
 THE AFFIRMATIONS OF THE HAND. 
 
 There are many affirmations of the hand. Below are nine. The 
 abbreviations, nor. -nor., etc., describe the relative attitudes of the 
 hand. 
 
 An affirmation is a movement up and down. 
 
 1. Hand nor. -nor. 
 
 Signification : Teacher's affirmation. It defines. 
 
 2. Hand con. -nor. 
 
 Signification : Patron's affirmation. It protects. 
 
 3. Hand ex. -nor. , 
 
 Signification : Champion's affirmation. It supports. 
 
 4. Hand nor.-con. 
 
 Signification : Conservative's affirmation. It limits. 
 
 5. Hand con. -con. 
 
 Signification: Tyrant's affirmation. It commands. 
 
 6. Hand ex.-con. 
 
 Signification : Seer's affirmation. It mystifies. 
 
 7. Hand nor.-ex. 
 
 Signification : Saint's affirmation. It reveals. 
 
 8. Hand con. -ex. 
 
 Signification: Bigot's affirmation. It rejects all 
 opposed. 
 
104 Delsarte System. 
 
 9. Hand ex. -ex. 
 
 Signification : Orator's affirmation. It paints, 
 demonstrates or protests. 
 
 The hand supplements the expression of the face. 
 
 The two hands clasped in the various conditional 
 attitudes, as power, struggle, convulsion, etc., does 
 not change the meaning. 
 
 ESTHETIC GYMNASTICS. 
 
 THE COMMAND "GO." 
 
 This movement takes place in the lengths. 
 
 Exercise I. 
 Raise arm in front level with the shoulder. Ro- 
 
 v 
 
 tate hand into ex.-nor. relative position, first finger 
 indicating object. 
 
 Exercise II. 
 Withdraw arm ; elbow bends without changing 
 the altitude. When wrist is level with armpit, raise 
 elbow; hand falls decomposed. Sink elbow; un- 
 bend it ; upper arm has continued a backward sweep 
 during preceding movement. Altitude of first finger 
 unchanged. 
 
 Exercise III. 
 The arm, stretched to its full length, is now be- 
 hind, level with shoulder. Sink wrist until hand 
 
The Hand. 105 
 
 shall be level with arm, palm down, first finger point- 
 ing as if to an exit. 
 
 Exercise IV. 
 Practice evolution of muscular action in gesture 
 of arms thus : 
 
 1. Shoulder; 
 
 2. Upper arm; 
 
 3. Elbow; 
 
 4. Forearm ; 
 
 5. Wrist; 
 
 6. Hand. 
 
 Exercise V. 
 Practice involution from action to repose thus : 
 
 1. Hand; 
 
 2. Wrist; 
 
 3. Forearm; 
 
 4. Elbow ; 
 
 5. Upper arm ; 
 
 6. Shoulder. 
 
 Exercise J Y. 
 
 Practice arm-movements in evolution-motion, 
 raising the arm in every degree of altitude. 
 
 Notice that the forearm forms a more and more 
 acute angle with the upper arm as the altitude rises. 
 Begin the unbending of the forearm before the upper 
 
106 Delsarte System. 
 
 arm reaches the destined level, so the hand recom- 
 poses as the upper arm ceases motion. 
 
 N. B. — I cannot too strongly call your attention to this 
 exercise. 
 
 The law of evolution is also exemplified in the 
 perfect walk. 
 
 Practice involution of body thus : 
 
 Exercise VII. 
 Bow head as you raise hand ; then torso as you 
 bend forearm toward the breast. 
 Practice evolution of body thus : 
 
 Exercise VIII. 
 
 Raise torso as you unbend forearm ; then head as 
 you expand hand. 
 
LESSON IX. 
 
 THE ARM. 
 There are three things to be noted in order to 
 fully understand the motions of the arm : 
 
 1. The articulations; 
 
 2. The attitudes; 
 
 3. The inflections. 
 
 The articulations of the arm are three : 
 
 1. The shoulder, which is the thermometer of 
 sensibility and passion ; 
 
 2. The elbow, which is the thermometer of the 
 affections and self-will ; 
 
 3. The wrist, which is the thermometer of vital 
 energy. 
 
 THE SHOULDER. 
 
 " The shoulder, in every man who is moved or agitated, rises 
 sensibly, his will playing no part in the ascension ; the developments 
 of this involuntary act are in absolute relation of proportion to the 
 passional intensity whose numeric measure they form. The shoulder 
 may, therefore, be fitly called the thermometer of sensibility." — Del- 
 sarte. 
 
 1. The shoulder raised indicates sensibility, pas- 
 sion; 
 
 2. The shoulder dropped indicates prostration, 
 insensibility, death; 
 
108 Delsarte System. 
 
 3. The shoulder advanced indicates endurance 
 patience. 
 
 THE ELBOW. 
 
 "Three centres in the arm: The shoulder, for pathetic action; 
 the elbow, which approaches the body by reason of humility, and re- 
 ciprocally, that is, inversely, for pride ; lastly, the hand, for fine, 
 spiritual and delicate actions." — Delsarte. 
 
 1. The elbow turned out indicates tenderness, 
 force, audacity, self-assertion, conceit; 
 
 2. The elbow turned in indicates suppression of 
 self, poverty of spirit, weakness, imbecility; 
 
 3. The elbow normal indicates calm repose, 
 modesty, unconsciousness of self. 
 
 THE WRIST. 
 
 1 . The wrist turned out demonstrates vital energy 
 in action ; 
 
 2. The wrist turned in demonstrates vital energy 
 in accumulation, concealment, concentration ; 
 
 3. The wrist normal demonstrates vital energy in 
 repose, calm. 
 
 ESTHETIC GYMNASTICS. 
 
 SPIRAL MOVEMENT. 
 
 This movement takes place in the heights and 
 depths. 
 
 N. B. — Keep in mind evolution of motion. 
 
The Arm. 109 
 
 Exercise. 
 («) Bring arm directly in front of body, muscular 
 force acting only in upper arm. A rotary move- 
 ment of the arm has turned the eye of the elbow 
 (commonly called crazy-bone) to the front. Now 
 follows the evolution of motion. (6) Putting force in 
 upper arm, raise it to level of shoulder in front. 
 The forearm and hand must hang decomposed, (c) 
 At level of shoulder, force flows into forearm and 
 unbends it; upper arm still rising. When arm is 
 straight, (of) a rotary movement of wrist turns hand ; 
 (e) force flows into hand, raising it on line with arm, 
 palm in. The arm is now directly over head, fingers 
 pointing up. 
 
 This exercise consists in evolution of motion carried to the altitude 
 of absolute truth. 
 
LESSON X. 
 
 THE ARM.— Continued. 
 
 THE ATTITUDES OF THE ARM. 
 
 I. 
 Action : nor.-nor. 
 
 Signification : suspense of will in its attention or 
 intention. 
 
 Description of action : elbows bent and pressed 
 to sides brings wrists to level of chest. Hands 
 fall decomposed. 
 
 II. 
 
 Action : con. -nor. 
 
 Signification : calm resignation of will. 
 
 Description of action : arms crossed on breast. 
 
 III. 
 
 Action : ex. -nor. 
 
 Signification : expansion of will-power in the as- 
 sertion of its force, or affection. 
 
 Description of action : arms extended from shoul- 
 ders in breadths ; elbows unbent. 
 
 IV. 
 Action : nor.-con. 
 Signification : calm repose, indifference. 
 
ii2 Delsarte System. 
 
 Description of action : arms hanging from shoul- 
 ders at sides. 
 
 V. 
 Action : con. -con. 
 
 Signification : subjective reflection, force in am- 
 bush {i. e., force concealed). 
 
 Description of action : arms hang back of body. 
 
 VI. 
 Action : ex.-con. 
 
 Signification : objective reflection, force in prepar- 
 ation. 
 
 Description of action : arms hang full length in 
 front of body. 
 
 VII. 
 Action : nor.-ex. 
 
 Signification : vital repose, self-assertion, inso- 
 lence, defiance. 
 
 Description of action: elbows bent, hands on 
 hips ; eye of elbow toward front. 
 
 VIII. 
 
 Action : con. -ex. 
 
 Signification : vital concentration, suppressed pas- 
 sion, reflective form of excitement or vitality. 
 
 Description of action : arms folded tightly on 
 chest ; forearms are nearly level with shoulders. 
 
The Arm. 113 
 
 IX. 
 
 Action : ex.-ex. 
 
 Signification : exaltation, passional explosion. 
 Description of action: arms extended their full 
 length in front, level with shoulders. 
 
 AESTHETIC GYMNASTICS. 
 Exercise, 
 (a) With both arms, execute the spiral move- 
 ment to the altitude of absolute truth ; both arms 
 are now over the head ; (b) decompose hands, 
 then forearms ; (c) sweep upper arms into breadths ; 
 (d) unbend elbows ; (e) expand hands. The arms 
 finish in attitude ex. -nor., signifying expansion of 
 will in force, or tenderness. 
 
 One arm should slightly precede the action of the 
 other. 
 
 8 
 
LESSON XL 
 
 THE ARM.— Continued. 
 THE INFLECTIONS OF THE ARM. 
 
 I. 
 Action : nor.-nor. 
 
 Signification : declaration. 
 
 Description of action : movement of arm directly 
 
 in breadths ; hand nor.-nor. ; relative. 
 
 II. 
 
 Action : con. -nor. 
 
 Signification : negation. 
 
 Description of action: movement of arm in 
 breadths ; hand con.-nor. ; relative. 
 
 III. 
 
 Action : ex. -nor. 
 
 Signification : rejection. 
 
 Description of action : oblique movement of arm ; 
 hand ex.-ex. ; relative. 
 
 IV. 
 Action : nor.-con. 
 
 Signification : caress. 
 
 Description of action : movement of arm in heights 
 and depths ; hand nor.-nor. ; relative ; animal caress 
 in breadths ; hand con.-nor. ; relative. 
 
n6 Dels arte System. 
 
 V. 
 Action: con. -con. . ,.■-.-; i 
 Signification : affirmation. 
 
 Description of action : movement of arm in heights 
 and depths ; hand' con. -nor. ; relative. 
 
 VI. 
 
 Action : ex. -con. 
 Signification : appellation. 
 
 Description of action: movement of arm from 
 depths to heights ; hand ex. -nor. ; relative. 
 
 VII. 
 Action : nor.-ex. 
 Signification: acceptation. 
 
 Description of action: movement pf arm in 
 lengths ; hand ex. -nor. ; relative. 
 
 VIII 
 
 Action : con. -ex. 
 Signification :,, attraction. 
 
 Description of action : movement of arm in lengths 
 toward torso ; hand ex. -ex. ; relative. 
 
 IX. 
 
 Action: ex. -ex. 
 
 Signification : repulsion. 
 
 Description of action : movement from torso of 
 arm in lengths ; hand ex.-ex. ; relative. 
 
The Arm. 117 
 
 esthetic gymnastics. 
 
 PRIMARY OPPOSITIONS OF THE ARM AND HEAD. 
 
 Exercise I. — Mental or Normal Calm of Being. 
 
 Take position of legs con.-ex., weight on right 
 foot; head and arm quiet. 
 
 Exercise II. — Resigned Appeal to Heaven. 
 
 (a) Right shoulder rises slightly, while head sinks in 
 opposition ; (b) upper arm makes rotary movement, 
 which turns eye of elbow out; (c) then forearm un- 
 bends ; (d) hand expands in tenderness ; head has 
 been slowly rising in opposition and is right, oblique, 
 back, when movement ceases. 
 
 Exercise III. — Accusation. 
 
 (a) Upper-arm muscles swing arm to attitude ex.- 
 ex. ; (b) rotate wrist; (<r) expand hand into ex.- 
 nor. ; relative. (Head has sunk in opposition to 
 level position.) 
 
 Exercise IV. — Imprecation. 
 
 (a) Swing arm above head; (3) expand hand 
 ex.-ex., relative, and con.- ex., conditional, expressing 
 execration. (Head has sunk as low as possible, 
 thrusting out chin.) 
 
 Exercise V. — Remorse. 
 Hand decomposes, then forearm ; this drops hand 
 on back of head, which has risen in opposition to 
 meet it ; eye of elbow to front. 
 
1 18 Delsarte System. 
 
 Exercise VI. — Deep Thought, Grief or Shame. 
 Head and arm do not separate, but, united, sink 
 on chest. 
 
 Exercise VII. — Reproach. 
 
 (a) Head and arm separate ; (b) head rises and 
 rotates to the right, while (V) hand and forearm 
 decomposing, drops hand near left armpit and fore- 
 arm across chest. 
 
 Exercise VIII. — Repulsion from Affection. 
 (a) Upper-arm muscles swing arm into breadths ; 
 (6) forearm unbends ; (c) hand expands, back of 
 hand to front; (d) head rotates in opposition to left. 
 
 Exercise IX. — Pathetic Protest or Benediction. 
 
 («) Upper-arm muscles swing arm to attitude ex.- 
 ex. ; {b) hand expands, con. -nor., signifying bene- 
 diction. Expanding ex.-ex., it expresses pathetic 
 appeal or protest. 
 
 N. B. — The action of head and arm in above movements must 
 be made simultaneously. Each action flows into the subse- 
 quent one. Always retain a gesture as long as the same 
 thought or emotion is retained, or one remains in the same 
 mood. 
 
 " External gesture being only the reverberation of interior gesture, 
 which gives it birth and rules it, should be its inferior in develop- 
 ment. 
 
 " Nothing is more deplorable than a gesture without a motive. " 
 —Delsarte. 
 
luteal gnrisitftt. 
 
LESSON XII. 
 
 THE TORSO. 
 
 There are three things to be known in relation to 
 the torso : 
 
 1. Its significant zones ; 
 
 2. Its attitudes ; 
 
 3. Its inflections. 
 
 Its zones we have already studied, but will here 
 recapitulate. 
 
 ZONES OF THE TORSO. 
 Mental Zone : The seat of conscience, honor, 
 manhood and womanhood. 
 
 Moral Zone : Seat of the affections. 
 
 Vital Zone : Seat of the appetites. 
 
 The zones of the torso are the points of departure 
 or arrival for a gesture. As such they indicate the 
 side of the being predominating in expression. 
 
 In emotion, if the gesture seeks the chest, self- 
 respect predominates ; for that is the mental zone. 
 
 If the gesture seeks the heart-region, the affections 
 predominate ; for that is the moral zone. 
 
122 Delsarte System. 
 
 If the gesture seeks the abdomen, the appetites 
 predominate ; for that is the vital zone. 
 
 In the carriage of the torso, the prominent zone 
 is very significant of the being. 
 
 Above all things, protruding the aDdomen should 
 be avoided ; the best carriage throws the moral zone 
 into prominence. 
 
 ATTITUDES OF THE TORSO. 
 The torso has two species of attitudes : 
 
 1. Conditional attitudes ; that is, those produced 
 by the physical condition of the torso in itself; 
 
 2. Relative attitudes; that is, those relating the 
 torso to the object in nature, or to the image in mind. 
 
 The conditional attitudes of the torso are three : 
 
 1. Expansion; indicating different degrees of ex- 
 citement, vehemence, and power in the will ; 
 
 2. Contraction; indicating different degrees of 
 timidity, effort, pain, or convulsion of will ; 
 
 3. Relaxation; indicating different degrees of 
 surrender, indolence, intoxication, prostration, or 
 insensibility in the will. 
 
 Relative Attitudes. 
 The torso is endowed with three forms of expres- 
 sion in its variable movements : 
 1. Bearings; 
 
The Torso. 123 
 
 2. Attitudes; 
 
 3. Inflections. 
 
 Its bearings and attitudes are the most deeply 
 expressive. 
 
 Its inflections are all indicative of weakness, real 
 or assumed. 
 
 The torso represents the moral element, or love 
 of the being. It is the weight and centre of the 
 body, as love is the weight and centre of the being. 
 It is the core, so to speak, of the man. 
 
 The relative attitudes of the torso are three : 
 
 1. Leaning to the object. If the attitude is direct, 
 the attraction is vital or objective ; if the attitude is 
 oblique, the attraction is moral or subjective ; 
 
 2. Leaning from the object, if direct, signifies 
 vital or objective repulsion ; if the attitude is oblique, 
 moral or subjective repulsion; 
 
 3. Leaning before the object denotes vital or ob- 
 jective humility, shame or obsequiousness; if ob- 
 lique, moral or subjective humility, shame or rever- 
 ence. , 
 
 INFLECTIONS OF THE TORSO. 
 
 i. Up and down indicates the despair of the weak ; 
 oscillation of the will alternately excited and de- 
 pressed ; 
 
 2. From side to side indicates carelessness ; vacil- 
 
124 Delsarte System. 
 
 lation of the will ; indifference to the equilibrium of 
 the will ; 
 
 3. Twisting or rotary movement indicates childish 
 impatience ; spasmodic convulsion of the will ; chaos 
 of the will. 
 
 ^ESTHETIC GYMNASTICS. 
 
 The primary inflections of gesture comprise three 
 types of motion ; they are usually united. We name 
 them direct, circular, and oblique inflections. 
 
 The flexor movements are direct ; the rotary move- 
 ments circular; the abductory movements oblique. 
 
 Study the following chart, and mark well the di- 
 rection of the arrowheads. They apply to the right 
 arm and hand. The inside quarter circles, drawn 
 concave in relation to the outer circle, should be fol- 
 lowed by the right hand or arm as they are curved. 
 
Circle-Chart. 
 
 125 
 
 CHART IV. 
 Movements of Right Arm and Hand. 
 
UlettM gmisitftj. 
 
LESSON XIII. 
 
 THE HEAD. 
 There are three things to be known in relation to 
 the head : 
 
 1. Its significant zones ; 
 
 2. Its attitudes; 
 
 3. Its inflections. 
 
 The zones of the head we have already studied as 
 points of departure or arrival for the gesture. How- 
 ever, to recapitulate: 
 
 The zones of the face are three. 
 
 1 . Forehead and eye are mental ; 
 
 2. Nose and cheek are moral; 
 
 3. Mouth and chin are vital. 
 
 The top and back of the head also divide into three 
 zones : 
 
 1 . The zone above the forehead is mental ; 
 
 2. The zone on top of the head is moral; 
 
 3. The zone at the back of the head is vital. 
 In emotion, if the hand seeks the chin, vital in- 
 stincts predominate : namely, appetites, passions ; 
 
 9 
 
130 Delsarte System. 
 
 While if the hand seeks the forehead, the mental 
 instincts predominate ; 
 
 If the hand touches the cheeks, the moral instincts ; 
 that is, the affections, predominate. 
 
The Heaix 
 
 131 
 
 CHART V. 
 Zones of the Head. 
 
 1. Vital. 
 
 2. Mental. 
 
 3. Moral. 
 
132 Delsarte System. 
 
 attitudes of the head. 
 
 I. 
 
 Action: nor. -nor. 
 
 Signification : calm repose, or indifference. 
 
 Description of action:' head level between the 
 shoulders, inclined neither to right nor left, up nor 
 down. 
 
 II. 
 
 Action : con.-nor. 
 
 Signification: trust, tenderness, sympathy, affec- 
 tion, esteem from the soul. 
 
 Description of action : head leans toward object, 
 but must not be raised, depressed or rotated. 
 
 III. 
 Action : ex.-nor. 
 
 Signification : distrust, esteem from the senses. 
 Description of action : head leans from object, but 
 must not be raised, depressed or rotated. 
 
 IV. 
 
 Action : nor.-con. 
 
 Signification: reflection, concentration, scrutiny, 
 humility. 
 
 Description of action : head sinks on chest mid- 
 way between the shoulders. 
 
The Head. 133 
 
 V. 
 
 Action : con. -con. 
 
 Signification : humility plus trust and affection = 
 veneration, adoration. 
 
 Description of action : head depressed and toward 
 object; not rotated. 
 
 VI. 
 
 Action: ex.-con. 
 
 Signification : scrutiny plus distrust = suspicion, 
 hate, envy, jealousy. 
 
 Description of action : head depressed and from 
 object ; not rotated. 
 
 VII. 
 Action : nor.-ex. 
 
 Signification : exaltation, explosion from self as 
 a centre, a lifting to the universal. 
 
 Description of action : head thrown back mid- 
 way between the shoulders. 
 
 VIII. 
 
 Action : con. -ex. ' 
 
 Signification : exaltation plus trust, abandonment 
 plus trust = resignation or abandonment to sense or 
 soul. 
 
 Description of action: head thrown back and 
 toward object. 
 
134 Delsarte System. 
 
 IX. 
 
 Action: ex.-ex. 
 
 Signification : exaltation plus self-assertion or dis- 
 trust = arrogance. 
 
 Description of action: head thrown back and 
 from object. 
 
 Inflections of the head, other than those necessary 
 for opposition of movement, should be avoided as 
 weak. Two are in common use: (i) A rotation 
 from shoulder to shoulder, expressing negation ; and 
 (2) a movement down, signifying assent. 
 
 ^ESTHETIC GYMNASTICS. 
 
 Exercise. 
 
 Practice the nine attitudes of the head. Then 
 
 rotate the head in each attitude, taking care not to 
 
 change the significant angle of the head in relation 
 
 to the shoulders. 
 
The Head. 
 
 i3S 
 
 CHART VI. 
 
 Attitudes of the Head. 
 
 Con centro-ex cen trie . 
 
 Concentro-normal. 
 
 Concentro-concen trie. 
 
 Normo-normal. 
 
 Normo-con cen trie. 
 
 Excentro-excentric. 
 
 Excentro-normal. 
 
 ^ V^o^ 
 
 LN 
 
 Excentro-concentric. 
 
 jlW^— 'o^' 
 
136 
 
 Delsarte System. 
 
 CHART VII. 
 Divisions of the Head. 
 
 
 <* 
 
LESSON XIV. 
 
 THE HEAD— Continued. 
 
 The head is divided into three divisions : 
 i. Active; 
 
 2. Passive; 
 
 3. Neuter. 
 
 The active division of the head has three parts : 
 
 1. Divine; 
 
 2. Human; 
 
 3. Animal. 
 
 The passive division is divided' in the same man- 
 ner. (See Chart VII, page 136.) 
 
 The Active Division of the Head. 
 
 THE EYES. 
 
 There are two sets of agents in the eye : 
 
 1. Passive, which is organized in the eyeball; 
 
 2. Active, which is organized about the eyeball. 
 The eyeball is-simply an indicator of the direction 
 
 from which an impression comes, or to which an 
 expression goes. Its significance arises from the rela- 
 tion it indicates between the subject and the object. 
 
I3 8 Delsarte System. 
 
 Pupil is mental ; 
 
 White is vital ; 
 
 Iris is moral. 
 
 Man has more white in the eye than any other 
 animal, showing more life in the mind than any 
 other animal. 
 
 SIGNIFICATION AND ACTION OF THE EYEBALL. 
 
 I. 
 
 Action : nor.-nor. 
 Signification : neutral. 
 
 Description of action : eyeball is calm midway 
 between the two corners. 
 
 II. 
 
 Action : con. -nor. 
 
 Signification: simple mystic regard of object or 
 thing. 
 
 Description of action : eye is turned to object, 
 neither raised nor depressed. 
 
 III. 
 
 Action : ex.-nor. 
 
 Signification : simple mystic attention to subject 
 or idea. 
 
 Description of action: eye is turned from object, 
 neither raised nor depressed. 
 
The Head. 139 
 
 IV. 
 
 Action : nor.-con. 
 
 Signification : simple subjection of image, object 
 or idea to self. 
 
 Description of action : eye is depressed midway 
 between the two corners. 
 
 V. 
 
 Action : con.-con. 
 
 Signification: exaltation of self in mystic regard 
 of object. 
 
 Description of action : eye is depressed and turned 
 to object. 
 
 VI. 
 
 Action : ex. -con. 
 
 Signification : exaltation of self in mystic atten- 
 tion to subject or idea. 
 
 Description of action : eye is depressed and turned 
 from object. 
 
 VII. 
 
 Action: nor.-ex. 
 
 Signification : simple subjection of self to object, 
 image or idea. 
 
 Description of action : eye is raised midway be- 
 tween the two corners. 
 
140 Delsarte System. 
 
 VIII. 
 
 Action : con. -ex. 
 
 Signification : subjection of self in mystic regard 
 of object. 
 
 Description of action : eye is raised and turned 
 to object. 
 
 IX. 
 
 Action : ex. -ex. 
 
 Signification : subjection of self in mystic atten- 
 tion to subject or idea. 
 
 Description of action: eye is raised and turned 
 from object. 
 
 Beside the foregoing, there is a converging, a 
 diverging, and a parallel gaze of the eye. 
 
 The converging is the ordinary gaze ; 
 
 The diverging is the gaze of vertigo, drunkenness, 
 insanity ; 
 
 The parallel, having no appreciable focus, is the 
 gaze of ecstacy. The mind seems to be viewing an 
 object which the eye cannot focus. 
 
 AESTHETIC GYMNASTICS. 
 Exercise I. 
 Using a hand-glass, take nor.-nor. eye ; keeping 
 eyeball steady, raise lid as high as possible above 
 
The Head. 141 
 
 Exercise II. 
 Keeping lid raised and steady, move the eyeball 
 into all the attitudes of the chart. (See Chart VIII, 
 page 142.) 
 
 N. B.— This exercise accustoms lid and eyeball to separate 
 and independent action, and should be practiced until easy to 
 accomplish. 
 
142 
 
 Delsarte System. 
 
 CHART VIII. 
 Attitudes of the Eyeball. 
 
 PLANE OF THE SUPERIOR. 
 
 Jg 
 
 Excen tro- excen trie. 
 
 Normo-excentric. 
 
 Concentro-excentric. 
 
 Excen tro-normal . 
 
 Normo-normal. 
 
 Con centro- normal. 
 
 Excen tro-concentric. 
 
 Normo-concentric. Concentro-concentric. 
 
 PLANE OF THE INFERIOR. 
 
 N. B. — Plane of the superior indicates the upraising of the 
 eyeball, Plane of the Inferior the depressing of the eyeball. 
 
 To object — the eyeball turned to the object. From object, 
 vice versa. 
 
LESSON XV. 
 
 ACTIVE AGENTS OF THE EYE. 
 
 Brow — Upper Lid — Under Lid. 
 
 Brow = mental ; reveals condition of the mind; 
 Upper lid = moral ; reveals condition of the will ; 
 Lower lid = vital ; reveals condition of the senses. 
 
 CHART IX.— The Brow. 
 
 Ex. Nor. Con. 
 
 Vital. Moral. Mental. 
 
 i^u/ 
 
 1 . Ex. (near the nose) ; vital force of mind ; 
 
 2. Con. ; mental force of mind ; 
 
 3. Nor. ; moral force of mind. 
 
144 Delsarte System, 
 
 signification and action of the eyebrow. 
 
 I. 
 
 Action : nor.-nor. 
 
 Signification: calm serenity of mind; vital and 
 mental force inactive. 
 
 Description of action : brow normal. 
 
 II. 
 
 Action : con.-nor. 
 
 Signification : calm reflection ; vital force concen- 
 trated ; mental force full, but serene. 
 
 Description of action : ex. of brow depressed. 
 
 III. 
 
 Action : ex.-nor. 
 
 Signification : anxiety, calm suffering ; vital force 
 exalted, mental force quiet. 
 
 Description of action : ex. of brow raised. 
 
 IV. 
 Action : nor.-con. 
 
 Signification : timid or sterile mind ; vital force 
 in repose, mental force dormant and depressed. 
 Description of action : con. of brow lowered. 
 
The Eye. 145 
 
 V. 
 
 Action : con. -con. 
 
 Signification: timid reflection; vital force con- 
 centrated, mental force prostrated. 
 
 Description of action : ex. and con. of brow low- 
 ered. 
 
 VI. 
 
 Action : ex. -con. 
 
 Signification: pain, agony, mental despair; vital 
 force exalted, mental force prostrated, depressed. 
 
 Description of action : ex. of brow raised ; con. 
 of brow depressed. 
 
 VII. 
 Action : nor.-ex. 
 
 Signification : passional excitement of mind, im- 
 agination ; vital force quiet, mental force exalted. 
 Description of action : con. of brow raised. 
 
 VIII. 
 Action : con. -ex. 
 
 Signification : fury, madness ; vital force concen- 
 trated, mental force exalted. 
 
 . Description of action : ex. of brow lowered ; con. 
 of brow raised. 
 
 10 
 
146 Delsarte System. 
 
 IX. 
 Action : ex.-ex. 
 
 Signification: painful passion, terror, fear; vital 
 and mental force exalted. 
 
 Description of action : ex. and con. of brow raised. 
 
 UPPER EYELID. 
 
 I. 
 
 Action: nor.-nor. 
 
 Signification : calm attention or intention. 
 Description of action : edge of lid half-way be- 
 tween pupil and top of iris. 
 
 II. 
 Action: con.-nor. 
 
 Signification: indifference to object; tendency to 
 subject in mind ; rejection of object by will. 
 
 Description of action : lid falls to top of pupil. 
 
 III. 
 Action: ex.-nor. 
 
 Signification : animated attention or intention. 
 Description of action : lid touches top of iris. 
 
 IV. 
 Action: nor.-con. 
 
 Signification: intense consideration of subject 
 within. 
 
The Eye. 147 
 
 Description of action : lid falls half-way between 
 pupil and bottom of iris. 
 
 V. 
 Action : con.-con. 
 
 Signification : prostration, sleep, insensibility or 
 death. 
 
 Description of action : lid is completely shut. 
 
 VI. 
 Action : ex. -con. 
 
 Signification : subjectivity or interiority of mind. 
 
 Description of action : lid half covers pupil. 
 
 VII. 
 Action : nor.-ex. 
 Signification : exaltation. 
 
 Description of action: lid raised, showing line 
 of white above iris. 
 
 VIII. 
 Action : con. -ex. 
 
 Signification : passional tendency. 
 
 Description of action : lid shows a slight line of 
 
 white above iris, less than in nor.-ex. 
 
 IX. 
 Action: ex.-ex. 
 Signification : madness. 
 
148 Delsarte System. 
 
 Description of action: lid raised to its highest 
 point above iris. 
 
 LOWER EYELID. 
 
 Lower lid normal = calm ; 
 
 Lower lid raised = sensitiveness ; 
 
 Lower lid depressed = death. 
 
 Inner corner near nose when raised denotes sensi- 
 tiveness to pain ; 
 
 Outer corner raised denotes sensitiveness to pleas- 
 ure. 
 
 SIMPLE COMBINATIONS OF BROW AND UPPER LID. 
 
 By combining the nine positions of the brow with 
 the nine positions of the upper lid, you can form 
 eighty-one combinations. 
 
 Nine of these are described below. (See Chart X, 
 page 152; for a second nine see Chart XI, page 1 53.) 
 
 I. 
 
 Action : nor. -nor. 
 Signification : calm serenity. 
 Description of action : brow normal = nor. ; lid 
 normal = nor. 
 
The Eye. 149 
 
 II. 
 
 Action : con.-nor. 
 
 Signification : calm reflection, concentrated atten- 
 tion or intention, with calm of will. 
 
 Description of action: brow depressed = con. ; 
 lid normal = nor. 
 
 III. 
 Action : ex. -nor. 
 Signification : calm indifference. 
 Description of action: brow raised = ex. ; lid 
 normal = nor. 
 
 IV. 
 
 Action : nor.-con. 
 
 Signification : subjective reflection, interiority of 
 will, quiescent tendency of will in mind. 
 
 Description of action : brow normal = nor. ; lid 
 depressed =con. 
 
 V. 
 
 Action : con. -con. 
 
 Signification : deep thought, subjective action of 
 mind. 
 
 Description of action: brow depressed = con. ; 
 lid depressed = con. 
 
150 Delsarte System. 
 
 VI. 
 
 Action: ex.-con. 
 
 Signification: mental contempt, supercilious re- 
 gard. 
 
 Description of action : brow raised = ex. ; lid 
 depressed = con. 
 
 VII. 
 
 Action : nor. -ex. 
 
 Signification : eagerness to know plus inability to 
 mentally solve = stupor. 
 
 Description of action : brow calm = nor. ; lid 
 raised = ex. 
 
 VIII. 
 
 Action : con. -ex. 
 
 Signification: resolution, concentrated eagerness 
 of will. 
 
 Description of action : brow depressed = con. ; lid 
 raised = ex. 
 
 IX. 
 Action : ex. -ex. 
 
 Signification : surprise. 
 
 Description of action : brow raised = ex. ; lid 
 
 raised = ex. 
 
 N. B. — In the abbreviations above used, the last term signifies 
 the position of the lid ; the first, that of the brow. 
 
The Eye. 151 
 
 esthetic gymnastics. 
 
 Exercise I. 
 Practice the combinations of brow and lid. (See 
 Chart X, page 152, and Chart XI, page 153.) 
 
 Exercise II. 
 Before a mirror, concentrate your attention on con. 
 of brow ; try to raise and depress it, other parts of 
 the brow remaining quiet. 
 
152 
 
 Delsarte System. 
 
 CHART X. 
 Simple Combinations of Upper Lid and Brow. 
 
The Eye. 
 
 153 
 
 CHART XL 
 Combinations of Upper Lid and Brow. 
 
 N. B.— In this chart the brow is the final term, the upper lid 
 the first. By combining nine of the brow with nine of the lid 
 eighty-one distinct combinations can be made. We here 
 present eighteen combinations. 
 
 Concentro-concentric. 
 
 Conccntro-normal. 
 
 Con cen tro-excen trie . 
 
 N ormo-con ce n trie . 
 
 Normo-normal. 
 
 Excentro-concentric. 
 
 Excentro-normal 
 
 Normo-excentric, 
 
154 
 
 Delsarte System. 
 
 CHART XII. 
 Expressions of the Eyebrow. 
 
 Concentro-concentric. 
 
 Normo-concentric. 
 
 Excentro-concentric. 
 
 Concentro-normal. 
 
 vr cs -* , v 
 
 Normo- normal. 
 
 Excentro-normal. 
 
 Con centro-ex centric. 
 
 Normo- excen trie. Excentro-excentric. 
 
LESSON XVI. 
 
 PROFILES. 
 There are three primitive and characteristic pro- 
 files: 
 
 i. Straight. 
 
 2. Concave. 
 
 3. Convex. 
 
156 Delsarte System. 
 
 The straight profile is the best ; 
 
 The concave is cold, chaste ; 
 
 The convex is warm, sensual. 
 
 As each feature may be straight, concave or con- 
 vex, a combination of the lines produces many and 
 varied profiles. 
 
 The form of each feature is either congenital, or 
 stamped from long habit. 
 
 EXPRESSIONS OF THE NOSE. 
 
 I. 
 Action : nor. -nor. 
 
 Signification: calm serenity, indifference. 
 
 Description of action : nostrils in repose. 
 
 II. 
 
 Action : con. -nor. 
 
 Signification : insensibility, hardness, cruelty. 
 Description of action : nostrils contracted. 
 
 III. 
 Action : ex. -nor. 
 
 Signification : sensibility, excitement, passion. 
 Description of action : nostrils dilated. 
 
 IV. 
 Action : nor. -con. 
 
 Signification : aggression. 
 
Profiles. 157 
 
 Description of action : nose wrinkled laterally 
 between eyebrows. 
 
 V. 
 Action : con. -con. 
 
 Signification : aggression plus cruelty = hate. 
 Description of action : nostrils contracted ; nose 
 wrinkled between eyebrows. 
 
 VI. 
 Action : ex.-con. 
 
 Signification : aggression plus scorn = fury. 
 Description of action : nostrils dilated ; nose 
 wrinkled between eyebrows. 
 
 VII. 
 Action : nor. -ex. 
 
 Signification : sensuousness, lasciviousness. 
 Description of action : nostrils raised. 
 
 VIII. 
 
 Action : con. -ex. 
 
 Signification : sensuousness plus insensibility or 
 rejection = contempt. 
 
 Description of action: nostrils contracted and 
 raised. 
 
158 Delsarte System. 
 
 IX. 
 Action : ex.-ex. 
 
 Signification : sensuousness plus excitement = 
 scorn. 
 
 Description of action : nostrils dilated and raised. 
 
 ESTHETIC GYMNASTICS. 
 
 Exercise. 
 Dilate and contract the nostrils as rapidly as pos- 
 sible ; move no other portion of the face. 
 
Profiles. 
 
 i59 
 
 CHART XIII. 
 
 Expressions of the Nose. 
 
 Concentro-concentric. 
 
 Normo-concentric. 
 
 Excentro-concentric. 
 
 Concentro-norma.. 
 
 Normo-normal. 
 
 Excen tru ■ n ormal . 
 
 Con centro-excen trie. 
 
 Norm o-excen trie. 
 
 Excentro-excentric. 
 
LESSON XVII. 
 
 THE LIPS AND THE JAW. 
 
 1 . Lower jaw — energy in force ; 
 
 2. Upper lip — sensitiveness in force; 
 
 3. Lower lip — will in force. 
 
 THE LOWER JAW. 
 
 The jaw slightly dropped — suspension of energy 
 in force ; 
 
 The jaw entirely dropped and back — paralysis of 
 energy in force ; 
 
 Jaw brought rigidly up and forward — exaltation 
 of energy in force. 
 
 EXPRESSIONS OF THE MOUTH. 
 
 I. 
 
 Action : nor.-nor. 
 
 . Signification : abandon, suspense. 
 Description of action : lips slightly parted. 
 
 II. 
 Action : con. -nor. 
 
 Signification: firmness. 
 
 Description of action : lips closely shut. 
 11 
 
1 62 Delsarte System. 
 
 III. 
 Action: ex.-nor. 
 
 Signification : astonishment. 
 
 Description of action : lips completely apart. 
 
 IV. 
 Action : nor.-con. 
 
 Signification: disapproval plus abandon — grief. 
 Description of action : lips slightly apart, corners 
 of mouth depressed. 
 
 V. 
 
 Action: con. -con. 
 
 Signification: disapproval plus firmness = dis- 
 content. 
 
 Description of action : lips closely shut, corners 
 depressed. 
 
 VI. 
 
 Action : ex.-con. 
 
 Signification: disapproval plus astonishment = 
 horror. 
 
 Description of action : lips completely apart, cor- 
 ners depressed. 
 
 VII. 
 Action: nor .-ex. 
 
 Signification: approval plus abandon = joy, 
 pleasure. 
 
The Lips and the Jaw. 163 
 
 Description of action : lips slightly apart, corners 
 of mouth raised. 
 
 VIII. 
 Action : con. -ex. 
 
 Signification : approval. 
 
 Description of action: lips closely shut, corners 
 
 of mouth raised. 
 
 IX. 
 Action : ex.-ex. 
 
 Signification: approval plus astonishment = hi- 
 larity, laughter: 
 
 Description of action : lips completely apart, cor- 
 ners raised. 
 
 ESTHETIC GYMNASTICS. 
 Exercise. 
 Practice the various expressions contained in the 
 chart of the mouth, passing in succession from one 
 to the other. (See Chart XIV, page 164.) 
 
1 64 
 
 - Delsarte System* 
 
 CHART XIV. 
 Expressions of the Mouth. 
 
 Concentro-concentric. 
 
 Normo-concentric. 
 
 Excentro-con centric. 
 
 Concentro-normal. 
 
 Normo-normal. 
 
 Excentro-normal. 
 
 Concentro-excentric. 
 
 Normo-excentric. 
 
 Excentro-concentric. 
 
Grammar at I&trtcrmxme 
 
LESSON XVIII. 
 
 GRAMMAR OF PANTOMIME. 
 
 There are nine laws that govern the significance 
 of motion in the human body, namely : 
 i. Altitude; 
 
 2. Force; 
 
 3. Motion; 
 
 4. Sequence; 
 
 5. Direction; 
 
 6. Form; 
 
 7. Velocity; 
 
 8. Reaction; 
 
 9. Extension. 
 
 The three primary laws are : (1) Altitude; (2) 
 Force; (3) Motion. 
 
 LAW OF ALTITUDE. 
 
 Positive assertion rises ; 
 Negative assertion falls. 
 The different degrees signify: 
 1. Probability; 
 
1 68 Dels arte System. 
 
 2. Possibility; 
 
 3. Improbability; 
 
 4. Negation; 
 
 5. Impossibility; 
 
 6. Assertion [level with shoulder line] ; 
 
 7. Evidence; 
 
 8. Certainty; 
 
 9. Absolute truth ; 
 
 The first five are negative and fall from level ot 
 shoulder line; the last three are positive and rise 
 from level of shoulder line. 
 
 LAW OF FORCE. 
 Conscious strength assumes weak attitudes ; 
 Conscious weakness assumes strong attitudes. 
 This is true spiritually as well as physically. 
 
 LAW OF MOTION. 
 Its Relation to Emotion. 
 ( Excitement or passion tends to expand gesture ; 
 Thought or reflection tends to contract gesture ; J 
 Love or affection tends to moderate gesture. 
 Thus, — 
 
 Passion tends to extreme expansion of the 
 muscles; 
 
Grammar of Pantomime. 169 
 
 Thought tends to extreme contraction of the mus- 
 cles; 
 
 Affection tends to a happy medium of activity of 
 the muscles. 
 
 The balance of passion and reason, in affection, 
 constitutes the divinest emotion of being, and pro- 
 duces the most beautiful modulations of manner in 
 the body. 
 
 An illustration of the tendency of passion to ex- 
 pand the body, is shown in the explosion of anger. 
 
 An illustration of the tendency of thought to con- 
 tract the body, is shown in the attitude of the student. 
 
 An illustration of the tendency of affection to a 
 happy medium, is shown in the attitudes character- 
 istic of love. 
 
 The battle of reason with passion, in gesture, is 
 one of the strongest forms of pantomime. 
 
 Illustration. — Listening to a speech which ex- 
 cites passion, reason, trying to suppress the passion, 
 contracts the form gradually. Those thermometers 
 of passion, the nostrils and the upper lids, will indi- 
 cate the passion. The mouth will contract, so will 
 the hands and whole body. This will go on until the 
 force of passion exceeds the force of reason in the 
 will ; then comes the explosion of passion, by the 
 sudden and vehement expansion of the gesture. 
 
170 Delsarte System, 
 
 law of sequence. 
 
 " Let your attitude, gesture and face foretell what you would make 
 felt."— Delsarte. 
 
 Expression of face precedes gesture, and gesture 
 precedes speech. 
 
 This law illustrates the relation of pantomime to 
 speech. It is a very important one. In considering 
 the two languages of emotion, the verbal and the 
 pantomimic, the latter is revelatory of the true man ; 
 while the verbal is more or less artificial. It takes 
 many words to say what a single look reveals. Gest- 
 ure is the lightning, speech the thunder; thus 
 gesture should precede speech./ 
 
 The gesture shows the emotional condition from 
 which the words flow, and justifies them. 
 
 The eye is the centre of mental significance in ex- 
 pression. The centre of gravity is the vital centre. 
 As the mind is first impressed and the passions are 
 thence aroused, the eye should indicate attention or 
 intention first ; then the centre of gravity ; then ges- 
 ticulation; then articulation 
 
 LAW OF DIRECTION. 
 Lengths are passional ; 
 Heights and depths are intellectual; 
 Breadths are volitional. 
 
Grammar of Pantomime. 171 
 
 These facts apply both to the attitudes and inflec- 
 tions. 
 
 LAW OF FORM. 
 Straight form is vital ; 
 Circular form is mental; 
 Spiral form is moral, mystic. 
 
 LAW OF VELOCITY. 
 
 " Gesture is melodic or inflective through the richness of its forms; 
 harmonic through the multiplicity of parts that unite simultaneously to 
 produce it. Gesture is rhythmic through its movement more or less 
 slow, or more or less rapid. The law is thus formulated : 
 
 "The rhythm of gesture is proportional to the mass to be moved. 
 This law is based upon the vibration of the pendulum. Great levers 
 have slow movements ; small agents more rapid ones. " — Delaumosne 
 on Deharte. 
 
 " Rhythm is the form of movement. 
 
 " Melody is that which distinguishes. 
 
 " Harmony is that which conjoins." — Deharte. 
 
 Velocity is in proportion to the mass moved and 
 the force moving. 
 
 Agents of expression with short radii move faster 
 than those with long radii. 
 
 In proportion to the depth and majesty of the 
 emotion, is the deliberation and slowness of the motion ; 
 and, vice versa, in proportion to the superficiality 
 and explosiveness of the emotion, will be the velocity 
 of its expression in motion. 
 
172 Delsarte System, 
 
 law of reaction. 
 
 " Every object of agreeable or disagreeable aspect which surprises 
 lis, makes the body recoil. The degree of reaction should be pro- 
 portionate to the degree of emotion caused by the sight of the ob- 
 ject. " — Delsarte. 
 
 Every extreme of emotion tends to react to its 
 opposite. 
 
 Concentrated passion tends to explosion; explo- 
 sion to prostration. Thus the only emotion which 
 does not tend to its own destruction, is that which 
 is perfectly poised. 
 
 LAW OF EXTENSION. 
 
 The extension of a gesture is in proportion to the 
 surrender of the will in emotion. 
 
 Finally, there remain but three additional great 
 laws to consider, namely: 
 
 1. Opposition; 
 
 2. Evolution; 
 
 3. Trinity. 
 
 LAW OF OPPOSITION. 
 
 " When two limbs follow the same direction, they cannot be simul- 
 taneous without an injury to the law of opposition. Therefore, direct 
 movements should be successive and opposite movements simul- 
 taneous." — Delsarte. 
 
 " Delsarte himself tells us that he studied the poses of the statues 
 of antiquity for fifteen years. It was in consequence of this period 
 of study that the master condemned the parallel movement of the 
 limbs in gesture, and recommended attitudes which he called 
 inverse." — Amaud on Delsarte. 
 
Grammar of Pantomime. 173 
 
 The law is thus stated : 
 
 Simultaneous movement must be made in opposition; 
 
 Successive movement should be parallel. 
 
 It is the law of harmony in music ; symmetry in 
 form; grace in movement; equilibrium; repose in 
 action ; sex ; unity, as illustrated by the magnetic 
 poles, or by the necessity of opposition of form in 
 things that are to unite. 
 
 This law applied to gesture sublimates it. 
 
 LAW OF EVOLUTION. 
 
 " Evolutio — evolvere. Act of unfolding or unrolling; hence, in 
 process of growth, development ; as the evolution of flower from the 
 bud. A series of things unrolled." — Webster's Dictionary. 
 
 " Progression of the articulations of the limbs. 
 
 " Here follow the vital expression of the arm, and the progression 
 through which it should pass in moving from one articulation to 
 another. 
 
 " There are three great articular centres : The shoulder, elbow and 
 wrist. Passional expression passes from the shoulder, where it is in 
 the emotional state, to the elbow, whtere it is presented in the affec- 
 tional state ; then to the wrist and the thumb, where it is presented in 
 the susceptive and volitional state." — Delsarte. 
 
 Example. — Lift your arm, vital force in upper 
 arm, forearm and hand decomposed. Then unbend 
 elbow, vital force flowing into forearm. Then ex- 
 pand hand, vital force flowing into fingers, — all this 
 being a gradual unrolling or evolution of vital force 
 through the various articulations. 
 
 The law of evolution necessarily includes its oppo- 
 
174 Delsarte System. 
 
 site, viz., involution, from the Latin root involvo, to 
 wrap or fold in. Given an extended gesture of the 
 arm, vital force retires, first, from the hand ; second, 
 from forearm ; third, from upper arm and shoulder. 
 It is the correct use of this law which forms one of 
 the principal elements in the production of perfect 
 gesture: 
 
 LAW OF TRINITY. 
 
 " The principle of the system lies in the statement that there is in 
 the world a universal formula which may be applied to all sciences, 
 to all things possible. 
 
 " This formula is the trinity. 
 
 "What is requisite for the formation of a trinity? 
 
 " Three expressions are requisite, each presupposing and implying 
 the other two. Each of the three terms must imply the other two. 
 There must also be an absolute co-necessity between them. Thus, 
 the three principles of our being, life, mind and soul, form a trinity. 
 
 "Why? 
 
 " Because life and mind are one and the same soul ; soul and mind 
 are one and the same life ; life and soul are one and the same mind." 
 — Delsarte. 
 
 [The trinity-principle has been extensively treated in Lesson III.] 
 
^ danrnt of %xpxz$$ion in 
 Wuntomimz. 
 
LESSON XIX. 
 
 A GAMUT OF EXPRESSION IN PANTOMIME. 
 
 IMAGINARY SCENE I. 
 You are standing idly in a room ; a step on the 
 stairs attracts your attention. The door opens to 
 admit a person for whom you have an affection. 
 You greet this person in delighted surprise. 
 
 Pantomime I. 
 Assume attitude of legs con. -ex. ; right leg strong. 
 Attention called to noise on the right, you lift right 
 ear, eyes turning left in opposition. Door opens. 
 Eyes turn right toward object entering. Head fol- 
 lows in rotary motion, levelling gaze on object. Face 
 assumes an expression of delighted surprise. Titilla- 
 tion of eyelids. Head lowers slightly toward object 
 in tenderness, con. -con. ; shoulder rising in opposi- 
 tion. Movement creeps down upper arm and turns 
 eye of elbow toward object, thus asserting tender- 
 ness. This movement has slightly bent forearm as 
 it hangs from elbow decomposed. Now unbend 
 forearm. Rotary movement of wrist turns hand into 
 relative attitude con. -ex. Hand then expands in 
 conditional attitude ex. -nor., affection. During 
 
 12 
 
178 Delsarte System. 
 
 action of arm, head has Deen rising in its propor- 
 tionate arc ; it finishes in attitude con.-ex., abandon- 
 ment to affection. 
 
 IMAGINARY SCENE II. 
 Receiving no response from the object of your 
 greeting, you increase the courtesy of your saluta- 
 tion, with repeated assurance of your affection. 
 
 Pantomime 2. 
 From final attitude of Pantomime 1 , head becomes 
 con.-nor. ; shoulder rises a trifle in opposition, show- 
 ing sensibility. Head continues motion toward hand, 
 which rises in relative attitude ex.-con. The motion 
 now passes into torso and forearm ; that is, the torso 
 bends obliquely toward object in courtebus rever- 
 ence, forearm at the same time bending up until 
 backs of fingers touch chin. Retaining that posi- 
 tion, elbow is lifted out and up to level of shoulder ; 
 hand falls decomposed (similar to a motion in ser- 
 pentine movement) and the head rotates to left in 
 opposition. Head and arm now resume previous 
 position. Torso and forearm unbend. Head rises as 
 hand falls into relative attitude con.-ex., and expands 
 into conditional attitude ex.-nor. of tenderness. 
 
 N. B. — The movement of elbow UP and OUT has signified : 
 " I emphasize the assurance of my affection for you ! " The 
 elbow turned out, meaning tenderness, force, etc. 
 
Expression in Pantomime. 179 
 
 imaginary scene iii. 
 Your greeting increases in ardor. Receiving no re- 
 sponse, you express surprise and affectionate protest. 
 
 Pantomime 3. 
 
 From final attitude of Pantomime 2, arm makes 
 an upward movement of appellation, head dropping 
 a little in opposition. Hand now expands into con- 
 ditional attitude nor. -ex., animation; little finger 
 pointing to normal zone of the torso. Forearm 
 bends until little finger is brought to left side of 
 normal zone. Simultaneously, torso has bent for- 
 ward in opposition. A moment's pause, then the 
 shoulders lift ; face expresses surprise ; hand drops 
 decomposed, position of arm retained. Now sink 
 elbow, pressing upper arm against side, throwing 
 decomposed hand into relative attitude con.-nor. 
 Unbend elbow, which throws hand out and up into 
 relative attitude ex. -ex. 
 
 The torso has risen in opposition to forearm, the 
 head to the hand, and the attitude is now one of 
 affectionate protest. 
 
 IMAGINARY SCENE IV. 
 The object still shows great doubt of your love; 
 and, consequently, you intensify your expressions of 
 devotion. 
 
180 Delsarte System. 
 
 Pantomime 4. 
 Retaining the attitude of protest, you now call in 
 the aid of your left arm in order to intensify your 
 expressions. Raise left arm almost to level of shoul- 
 der, attitude similar to that of right arm. Rotary 
 movement of wrists turns hands into relative attitude 
 con. -ex. Raise hands, relative attitude ex. -con. ; 
 bend forearms. Sink elbows, pressing them to sides ; 
 this brings fingers to armpits, torso bending in oppo- 
 sition to forearm, head to hand. Now both elbows 
 rise up and out sideways. Hands fall decomposed ; 
 shoulders rise as head sinks lower. Attitude of legs 
 changes to nor. -con. = concentration. Left leg 
 strong, while elbows sink to sides. Forearms un- 
 bend as torso rises. Hands expand as head resumes 
 its position. Shoulders drop and head rises to atti- 
 tude ex. -ex. in assertion. 
 
 IMAGINARY SCENE V. 
 
 No effect is produced on object In great surprise 
 you ask the reason : " Does he think you guilty of 
 some wrong to him?" You attest your innocence 
 with great vehemence. 
 
 Pantomime 5 . 
 From final attitude of Pantomime 4, right arm 
 sweeps up in appellation. Head sinks toward object 
 
Expression in Pantomime. 181 
 
 in opposition. Scrutiny and bewilderment depicted 
 on face. A pause. Then both forearms bend, 
 bringing hands vehemently to mental zone of torso. 
 Upper arms level and parallel with shoulders. Shoul- 
 ders rise; head sinks lower in opposition. Head 
 rotates to left, followed by arms expanding into 
 attitude ex.-nor. as head returns to right. Shoulders 
 sink as head rises. 
 
 IMAGINARY SCENE VI. 
 Continued disbelief in your truth and innocence 
 enrages you. You make, however, one final effort 
 for self-control, but show extreme anger in bearing 
 and face. 
 
 Pantomime 6. 
 From final attitude of Pantomime 5, right hand 
 sweeps to left moral zone of torso. Hand clenches 
 in conditional attitude con. -con. = concentrated 
 passion, wrists turning in. At the same time, left 
 elbow sinks, bringing wrist to level of hip. Hand 
 clenched, wrist turned in = vital energy in concen- 
 tration. Right knee has stiffened, making attitude 
 of legs ex.-con. = defiance. Head has sunk in op- 
 position to attitude ex.-con. = hate. A half spring 
 on to right leg, as if to advance on object, is checked, 
 
1 82 Delsarte System. 
 
 resulting in a quick stamp only; then you recoil 
 into attitude of legs ex. -con. At the spring, the 
 hands have unclenched convulsively and rotated 
 slightly, only to reclench at the recoil. Head has 
 risen and sunk in opposition. The face expresses 
 menace. The brows are lowered, the nostrils dilated, 
 jaws clenched, etc. 
 
 IMAGINARY SCENE VII. 
 
 Your passion has now passed beyond your con- 
 trol, and you order the .object of it to leave your 
 presence. 
 
 Pantomime 7. 
 
 From final attitude of Pantomime 6, forearm un- 
 bends into attitude of arms ex.-ex. Wrist rotates 
 hand into relative attitude ex. -nor. Now make the 
 movement described in Lesson VIII — the command 
 to leave the room, to " Go ! " When the arm is 
 executing the last half of the movement " Go ! " — 
 i. e., when the wrist is level with armpit, — change 
 bearing to attitude of legs nor.-ex., aninjated atten- 
 tion. Right leg strong. 
 
 IMAGINARY SCENE VIII. 
 While gazing in anger at object, as in final attitude 
 of Pantomime 7, its aspect changes into something 
 
Expression in Pantomime. 183 
 
 which paralyzes you with terror, appalls you, and 
 fills you with loathing. 
 
 Pantomime 8. 
 Hands decompose and are brought tremblingly in 
 front of face, palms outward as if to banish object 
 from sight. Then elbows unbend, violently throwing 
 arms out into attitude of extreme repulsion, ex.-ex. 
 Hands relative attitude ex.-ex. Bearing changes to 
 attitude of legs con.-con. = prostration. Left leg 
 strong, head violently averted from object in ex.- 
 con. = horror, hate. 
 
 IMAGINARY SCENE IX. 
 You glance toward object. To your amazement, 
 another transformation has taken place. A vision 
 of beauty is before you. Great astonishment de- 
 picted on face. You are attracted toward vision. 
 It recedes. You beseech it to remain with you, but 
 it vanishes, leaving you prostrate. 
 
 Pantomime 9. 
 Eye turns to object. Head follows. Bearing 
 becomes ex.-con., left leg strong. Arms expand. 
 Wrists turn hands palms up. Then arms are slowly 
 brought to attitude of attraction, con.-ex., while the 
 bearing becomes nor.-ex. Right leg strong. As 
 
1 84 Delsarte System. 
 
 the vision recedes, the bearing becomes ex. -ex., right 
 leg strong, you gradually fall on left knee, arms 
 rising in appellation to object as you kneel. Object 
 vanishes. You faint, arms decomposing as you fall. 
 
Sfce-^xrice. 
 
LESSON XX. 
 
 THE VOICE. 
 
 IN TONE AND WORD {logos'). 
 
 In all that follows, wherever I can, I shall let Del- 
 sarte speak for himself. Of this division I am but 
 the editor, glad of any scintillation from the brilliant 
 spirit-light of the master. 
 
 In a previous lesson we found : 
 
 1. The voice, — vital ; 
 
 2. The gesture, — moral; 
 
 3. The word, — mental; 
 
 the three thus revealing life, mind and soul. 
 
 RESPIRATION. 
 
 In regard to tone, its great essential, respiration, 
 must first be studied. You remember, no doubt, 
 three zones in the torso : 
 
 1. Mental, — chest; 
 
 2. Moral, — heart; 
 
 3. Vital, — abdomen. 
 
 Natural respiration brings into prominence, during 
 inspiration, the vital zone. In the language of Del- 
 sarte : — 
 
/ 
 
 1 88 Delsarte System. 
 
 " It is the 'vital breath ; but while you can sing with 
 the natural respiration, it is rapidly exhausted if not 
 augmented by additional inhalation ; for it results in 
 dryness and breathlessness, which cause suffering 
 alike to singer and listener. The artificial breath, on 
 the contrary, preserves the ease and freshness of the 
 voice. The chest should be a passive agent." 
 
 Delsarte taught diaphragmatic breathing, which 
 throws, during inspiration, the moral zone into 
 greatest prominence. 
 
 Clavicular breathing brings the chest or mental 
 zone into action. • It is an hysteric method, only to 
 be used when the dramatic situation demands sob- 
 bing, gasping utterance. Be very careful in its use ; 
 it indicates a mind unbalanced. It soon causes 
 dizziness if performed in a sobbing manner. All 
 great excitement and loss of control is betrayed 
 pantomimically by the quick rise and fall of the 
 chest in clavicular respiration. 
 
 For a complete and practical guide to the develop- 
 ment and correct use of the respiratory and vocal 
 organs, the student is referred to Guttmann's " Gym- 
 nastics of the Voice."* 
 
 *$i.25. Edgar S. Werner, Publisher, 48 University Place, New York. 
 
The Voice. 189 
 
 voice-production. 
 In studying voice-production we must consider 
 three essentials : 
 
 1. The lungs ; 
 
 2. The larynx ; 
 
 3. The pharynx, nose and mouth-cavities. 
 The lungs convey the air to the larynx, the vi- 
 brating agent; thence to the mouth-cavities, the 
 reverberating or resonating agent. 
 
 Delsarte named the " direct attack '" of the glottis, 
 martellato, and compared it to pearls united by an 
 invisible thread. According to him, each note 
 should be produced by an elastic escapement. He 
 cautioned against the squeezing out of the tone after 
 it was produced. He taught that all intensity of 
 effect was produced by a profound inspiration, ex- 
 pulsion, and finally this elastic escapement or articu- 
 late click of the glottis. The glottic stroke should 
 be produced by explosion. The foregoing refers to 
 vowels. 
 
 Upon this point the master directs that, — 
 
 " The initial consonant should be prepared the 
 same way as the attack on the tone. Such is the 
 concentration of the archer preparing to launch an 
 arrow, of the runner about to leap a ditch." 
 
 Dragging of the voice before the consonant is 
 
igo Delsarte System. 
 
 to be avoided. Delsarte's directions are to swell 
 and diminish on a single note,"E flat (of the me- 
 dium) ; the intermediary notes will be sympathetically 
 strengthened. This special exercise will prevent the 
 separation of the registers and gain the mixed or 
 heart-voice. 
 
 When this note has acquired broad and powerful 
 tones, the development is to be communicated to 
 the neighboring notes. 
 
 Delsarte says : 
 
 " If you would move others, put your heart in the 
 place of your larynx ; let your voice become a 
 mysterious hand to caress the hearer. 
 
 " There are two kinds of loud voices : the vocally 
 loud, which is the vulgar voice ; and the dynamically 
 loud, which is the powerful voice. A voice, how- 
 ever powerful it may be, should be inferior to the 
 power which animates it." 
 
 QUALITY OF TONE. 
 
 The vowel sounds, being the forms of the open- 
 ings of pharynx and mouth, affect the quality of 
 tone. The mother vowel a, the broad Italian sound 
 (ah), is normal; with an acute accent it becomes & 
 (as in at) , excentric ; with a grave accent it becomes 
 d, (as in awe), concentric. 
 
The Voice. 191 
 
 From these three a's spring the other simple vowel 
 sounds, viz.: 
 
 Excentric. Normal. Concentric. 
 
 a a a 
 
 e o e 
 
 e au eu 
 
 i ou u 
 
 . N. B. — Look in a French dictionary for the correct pronun- 
 ciation of the foregoing sounds. 
 
 Practice on E flat (medium) the normal vowels. 
 They give the mixed quality of tone ; then couple 
 with them the consonants /, m, p. When further 
 advanced, practice on the chromatic scale these com- 
 binations. The excentric vowels give the physical 
 quality of tone. The concentric give the mental 
 tone. Once having secured and recognized the 
 moral love-tone, the mental and physical vowels can 
 be amalgamated into normal quality. For dramatic 
 effect the power to take each quality at will is neces- 
 sary. 
 
 POINTS OF REVERBERATION. 
 There are three significant points of reverberation 
 in the mouth : 
 
 1. The physical in the pharynx; 
 
 2. The moral or normal in the palatine arch; 
 
 3. The mental back of the upper teeth. 
 
192 Delsarte System. 
 
 The normal vowel emission is naturally directed to 
 the palatine arch; the excentric to the pharynx; 
 the concentric or mental to the back of the teeth. 
 
 The common street-vender, as he calls his wares, 
 is an example of the physical emission and reverber- 
 ation. When we are under the influence of physi- 
 cal emotion, our voices harmonize in expression. 
 "Hoarse with passion" is a common phrase. This* 
 voice is sometimes very effective in dramatic expres- 
 sion, but, if much used, hoarseness is sure to be the 
 consequence. 
 
 The mental voice expresses a hard, cold, scientific 
 statement of facts. 
 
 COLOR OF TONE. 
 
 The voice is further colored by gesture. I have 
 previously called your attention to the fact that the 
 conditional attitudes of the hand sympathetically 
 color the voice ; and again, the expression of the 
 face preceding the tone will color it. To quote 
 Delsarte : — " The ravished listener should be dazzled 
 by a song unheard as yet, but which he guesses or 
 thinks he guesses." 
 
 Loudness of tone is inconsistent with true feeling, 
 The more one is moved, the lower the utterance, 
 The voice is brilliant when there is little emotion. 
 
The Voice. 193 
 
 In deep feeling the heart seems to be in the throat 
 and the voice is stifled. " The whining, tearful tone 
 is always weak." — (Delsarte.) 
 
 INFLECTION. 
 
 We now approach a subject of great importance, 
 — inflection. Inflection in gesture has been defined 
 as a movement indicating a passing emotion. In- 
 flection in voice also subtly indicates each passing 
 thought. 
 
 Hear again the master : — 
 
 " Persuade yourself that there are blind men and 
 deaf men in your audience whom you must move, 
 interest and persuade ! Your inflection must become 
 pantomime to the blind, and your pantomime, inflec- 
 tion to the deaf." 
 
 Inflections are rising, falling, or the voice rests in 
 monotone. Thus they are excentric, concentric and 
 normal. Combinations of these three produce the 
 inflection named by English authorities circumflex. 
 
 The shade, a poetic accent, is rather felt than ex- 
 pressed. It must be innate ; it can be named, but 
 not learned. You may have heard a play, a song, 
 many times, and its effect on you has been cold and 
 barren ; but, some day, under the inspiration of a 
 creative touch, the dead ashes of your enthusiasm 
 13 
 
194 Delsarte System. 
 
 are fired by a living spark. The fen sacrz of genius 
 has fallen from Olympus and illumined all around. 
 
 " Accent is the modulation of the soul." — ''Del- 
 sarte.) 
 
 Arnaud writes : 
 
 " Delsarte had established typical phrases, where 
 the mere shade gave an appropriate meaning to every 
 variety of impression and sentiment which can pos- 
 sibly be expressed by any one set of words. One 
 of these phrases was this : ' This is a pretty dog.' 
 
 " A very talented young girl succeeded in giving 
 to these words a great number of different modula- 
 tions, expressing endearment, coaxing, admiration, 
 ironical praise, pity and affection. Delsarte, with 
 his far-reaching comprehension, conceived of more 
 than 600 ways of differentiating these examples. 
 
 " The .second phrase was : ' I did not tell you that 
 I would not.' 
 
 " This time the words lent themselves to revealing, 
 as the case might be, indifference, reproach, encour- 
 agement, the hesitation of a troubled mind." 
 
 The shade is intimately connected with the ellip- 
 sis which formed a most important part of Delsarte's 
 method 
 
 "The conjunction and interjection are elliptical; 
 thus in the sentence, ' Ah ! . . . . how miserable I 
 
The Voice. 195 
 
 am ! ' 'Ah ! ' should imply a painful situation before 
 the explanatory words begin." — (Delsarte.) 
 
 The silence which follows "Ah! " must, however, 
 be filled by a significant gesture. 
 
 PARTICULAR INFLECTIONS. 
 Under the head of particular inflections come : 
 
 1 . Exclamations ; a startled cry on ah, eh, or oh. 
 
 2. Cries ; prolonged exclamations on ah, caused 
 by acute pain, joy, fear. In violent pain produced 
 by a physical cause, the exclamation starts from a 
 deep sound, then strikes a high sound, then a me- 
 dium tone in a circumflex manner. 
 
 3. Groans; formed by two successive sounds, a 
 high and then a low sound. A constant and monoto- 
 nous repetition of these tones produces the effect. 
 
 4. Lamentation ; expressed by a sombre, lugu- 
 brious, big voice, expressing grief that cannot be re- 
 pressed. 
 
 5. The sob is produced by a clavicular, hysteric 
 breathing, in a succession of little vocalized inspi- 
 rations followed by a long vocalized expiration. 
 
 N. B. — Clavicular breathing, the rise and fall of the chest, 
 is a sign of excitement. 
 
 6. The sigh is the product of a long and slow in- 
 spiration followed by a sudden, faint-toned expira- 
 tion. 
 
196 Dels arte System. 
 
 7. The laugh is the product of a deep inspiration 
 followed by a succession of short, quick explosive 
 vocal expirations. The vowel used should be Italian 
 a or 0, prefixed by h, for a normal laugh. 
 
 8. Singing is the modulated voice. " Things said 
 
 quietly should sing themselves in the utterance." — 
 
 (Delsarte.) 
 
 N. B. — " Preparation for tone consists in deep breathing, de- 
 pression of larynx, canalization of tongue." — (Delsarte.) 
 
 The late Prof. Lewis B. Monroe was an ardent 
 
 student of Delsarte. Their minds were akin, and 
 
 he welcomed every thought of the latter with great 
 
 joy, for in himself he felt the reverberation. So 
 
 I make no apology for here introducing a collection 
 
 of notes from him. 
 
 PRINCIPLES OF EMPHASIS AND INFLECTION. 
 
 1 . " The emphatic word is the one that suggests 
 the main idea. 
 
 2. " Falling inflection expresses the will or knowl- 
 edge of the speaker. 
 
 3. "Rising inflection defers to the hearer, or to 
 the will of the hearer. 
 
 4. " Rising inflection is prospective. 
 
 5. "Falling inflection is retrospective. 
 
 6. " Monotone is suspensive. 
 
The Voice. 197 
 
 7. " The slide always falls on the accented syllable 
 of the word. 
 
 8. "A modifying phrase reverts by its pitch to the 
 clause or word modified. 
 
 9. " Fact of negation in a sentence does not, as a 
 rule, change the emphasis. 
 
 10. " Doubt about emphasis, greater includes the 
 less. See which word will convey the idea or sug- 
 gest the answer, and which words can be thrown away. 
 
 11. " Reiteration in emphasis requires the falling 
 inflection. 
 
 12. " If the falling inflection is given, the subor- 
 dinate clause must be lower in pitch ; if the rising, 
 the subordinate clause must be higher in pitch. 
 
 13. "Of falling inflections, the higher takes pre- 
 cedence. 
 
 14. "A concession followed by an opposing as- 
 sertion takes the rising inflection. 
 
 15. " Rising circumflex may indicate a doubt." 
 
 THE WORD {logos). 
 
 Man communicates with his fellow-man in three 
 ways: 
 
 1 . The voice ; 
 
 2. The gesture; 
 
1 98 Delsarte System. 
 
 3. The word; 
 the different expressions of life, mind and soul. 
 
 Words are the combinations of vowels and con- 
 sonants. 
 
 I here quote the late Dr. Guilmette's arrangement 
 of vowels and consonants ; it is invaluable. 
 
The Voice. 199 
 
 CHART XV.— Vowels. 
 
 Permutation of the Five Organic Vowel Sounds. 
 N. B. — Let there be a prompt and firm molding of the 
 sounds, with " direct attack " of glottis. 
 
 a (ah), o (oh), e (eh), u (00), i (ee). 
 
 I. 
 
 II. 
 
 III. 
 
 ieuao 
 
 i u e a 
 
 i e u a 
 
 i e u a 
 
 iueoa 
 
 iouae 
 
 i e u a 
 
 i u a e 
 
 i a u e 
 
 IV. 
 
 V. 
 
 VI. 
 
 iaeuo 
 
 e i u a 
 
 euiao 
 
 i a u e 
 
 e i a u 
 
 e u a i 
 
 i a u e 
 
 e i a u 
 
 e u i a 
 
 VII. 
 
 VIII. 
 
 IX. 
 
 u i e a 
 
 u a i e 
 
 a i e u 
 
 u i a e 
 
 u a i e 
 
 a i u e 
 
 u e i a 
 
 u e a i 
 
 a e u i 
 
 X. 
 
 XI. 
 
 XII. 
 
 auieo 
 
 a e u i 
 
 i e u a 
 
 a u i e 
 
 a i u e 
 
 e i a u 
 
 a u e i 
 
 a e i u 
 
 u e a i 
 
 [The sounds of the English vowels, according to 
 Bell, are : " 1 — eel ; 2 — ill ; 3 — ale ; 4 — ell, ere ; 
 5 — an ; 6 — ask ; 7 — ah ; 8 — her ; 9 — up, urn ; 
 10 — on, all; 11 — ore; 12 — old; 13 — pull, pool. 
 U after a vocal consonant is u as in duty, literature ; 
 u after r is 00 as in rue, true."] 
 
200 Delsarte System. 
 
 CHART XVI.— Consonants. 
 
 Permutations of tJie Labials, Linguals and Laryngeals. 
 I. 
 
 LINGUALS. 
 
 tlkr k t 1 r 
 
 t k 1 r r t 1 k 
 
 trlk k r t 1 
 
 1 t k i- r k 1 t 
 
 II. 
 LABIALS p AND / WITH LARYNGEALS b AND g. 
 
 p f b g f gp b 
 
 p b f g gf b p 
 
 pgfb gbpf 
 
 f p b g bpfg 
 
 III. 
 
 LABIAL p WITH LINGUALS t AND k AND 
 LARYNGEAL b. 
 
 ptkb bptk 
 
 pktb kpbt 
 
 kbpt btkp 
 
 k t p b t p kb 
 
The Voice. 201 
 
 classification of the organic labial, lingual 
 and laryngeal articulations. 
 
 I. 
 
 Labial proper p — p ; 
 Semi-labial f — f. 
 
 II. 
 
 LINGUAL. 
 
 Apex of the tongue straight, t — t hard ; 
 Apex of the tongue curved, 1 — 1 soft ; 
 Dorsum of the tongue arched, r — r hard, vibratory; 
 Apex of the tongue curved, r — r soft, vibratory. 
 
 III. 
 
 LARYNGEAL. 
 b— b; g — g; d — d; v — v. 
 
 DIRECTIONS FOR PRACTICE. 
 
 1. The principal laryngeal sound represented by 
 the character b should, for the purpose of enlarging 
 the chamber of the larynx, be practiced forcibly , 
 several times a day. It is wrongly named a conso- 
 nant. 
 
 2. Prefix the articulation of each of the above 
 consonants to the closed organic vowel i (ee), taking 
 care to keep passive those vocal organs whose im- 
 mediate use is not required. Let the mind be very 
 
202 Delsarte System. 
 
 vigilant over the active organ, and none other, tak- 
 ing care to retain it for a second or more in its posi- 
 tion after the articulation shall have been given. 
 
 3. The same rule should be strictly observed in 
 the molding of the organic vowel sounds, otherwise 
 a slurring and drawling of the vocal element will 
 be the result, and a miserably defined vowel will 
 result for speaker or singer. 
 
 4. The organic vowel sounds a and (ah and oh) 
 should be practiced upon a steady intonation, with the 
 mouth widely opened and held firm by the intro- 
 duction of the points of the first three fingers, and 
 there retained during the molding of these vowel 
 sounds. Use the same process for the vowels e and 
 u (eh and 00), with the points of two fingers holding 
 the jaws firmly apart. Finally use one finger for i 
 (ee). 
 
 5. Practice chart of organic vowels with active 
 whisper ; then practice laryngeal b, without vocaliza- 
 tion, on different notes of the scale, viz. : 1, 2, 3, 4, 
 S, 6, 7, 8; 1, 3, 5, 8; 1, 4. 6, 8. 
 
 6. Finally, essay the following lines, with strict 
 regard to the molding of vowels and consonants, on 
 the chromatic scale, rising a half tone at each itali- 
 cized word and continuing the next line on that tone. 
 
The Voice. 203 
 
 "There stood an unsold captive in the mart, 
 A gray-haired and majestical old man, 
 Chain'd to a pillar. It was almost night, 
 And the last seller from his place hsAgone, 
 And not a sound was heard but of a dog 
 Crunching beneath the stall a refuse done, 
 Or the dull echo from the pavement rung 
 As the faint captive changed his weary feet." 
 
 " The initial consonant should be articulated dis- 
 tinctly; the strength of the word lies in it." — (Del- 
 sarte.) 
 
 It would be better, perhaps, to say the initial con- 
 sonant of the root. The force of the consonant is 
 subordinated to the degree of the idea it is called on 
 to determine. One of the secrets of expression is 
 in the time you hold the initial consonant of the 
 root before articulation. That silence is the father 
 of the word and justifies it. This brings us to the 
 consideration of 
 
 THE THEORY OF DEGREES. 
 
 I shall quote entire from an old pupil of the mas- 
 ter, Arnaud : 
 
 " In the Course of Applied ^Esthetics, the theory 
 of degrees was largely developed. To understand 
 this theory — one of the most striking points in Del- 
 sarte's method, and original with him — one should 
 have some idea of the grammar which he composed 
 
204 Delsarte System. 
 
 for the use of his pupils. All that is the very 
 essence of language, that from which no language, 
 no idiom can escape — the constituent parts of 
 speech — are examined and investigated from a 
 philosophic and psychologic point of view. Just as 
 the author examined the constituent modalities of 
 our being in the light of aesthetics, he seized the 
 affinities between the laws of speech, as far as re- 
 gards the voice — logos — and the moral manifes- 
 tations of art. I will only enter into these studies 
 so far as they refer to the special field of aesthetics. 
 
 " In this category, we find the following definitions 
 which serve to classify the quantitative values or de- 
 agrees; that is, the extent assigned to each articula- 
 tion or vocal emission to enable it to express the 
 thoughts, sentiments and sensations of our being in 
 their truth and proportionate intensity : 
 
 " i. Substantive is the name given to a group of 
 appearances, to a totality of attributes. 
 
 "2. Adjective expresses ideas, simple, abstract, 
 general and modificative ; it is an abstraction in the 
 substantive. 
 
 "3. Verb is the word that affirms the existence 
 and the coexistence between the being existing and 
 its manner of existing. 
 
 " 4. The participle alone is a sign of action. 
 
The Voice. 205 
 
 " 5 , 6, 7. The article, pronoun and preposition fit 
 into the common definitions. 
 
 " 8. The adverb is the adjective of the adjective 
 and of the participle (in so far as it is an attribute 
 of the verb) ; it modifies them both, and is not mod- 
 ifiable by either of them ; it is a sign of proportion, 
 an intellectual compass. 
 
 " 9. The conjunction has the same function as the 
 preposition ; it unites one object to another object, 
 but it differs from it, inasmuch as the preposition has 
 but a single word for its antecedent, and a single word 
 for its objective case, while the conjunction has an 
 entire phrase for antecedent, and the same for com- 
 plement. It characterizes the point of view under 
 the sway of which the relation should be regarded : 
 restrictive, as but ; hypothetical or conditional, as 
 if; conclusive, as then, etc. The conjunction pre- 
 sents a general view to our thought ; it is the reunion 
 of scattered facts ; it is essentially elliptical. 
 
 " 10. The interjection responds to those circum- 
 stances where the soul, moved and shaken by a 
 crowd of emotions at once, feels that by uttering 
 a phrase it would be far from expressing what it 
 experiences. It then exhales a sound, and confides 
 to gesture the transmission of its emotion 
 
 " The interjection is essentially elliptical, because, 
 
206 Delsarte System. 
 
 expressing nothing in itself, it expresses at the time 
 all that thegesture desires it to express, for ellipsis 
 is a hidden sense, the revelation of which belongs 
 exclusively to gesture. 
 
 " It must first be noted that these degrees are 
 numbered from one to nine, and that, of all the 
 grammatical values defined, the conjunction, inter- 
 jection and adverb are classed highest. 
 
 " Delsarte made the following experiment one day 
 in the ' Circle of Learned Societies ' during a lecture : 
 
 " 'Which word,' he asked his audience, 'requires 
 most emphasis in the lines — 
 
 " ' "The wave draws near, it breaks, and vomits up before our eyes, 
 Amid the surging foam, a monster huge of size." ' 
 
 " The absence of any rule applicable to the sub- 
 ject caused the most complete anarchy among the 
 listeners. One thought that the word to be empha- 
 sized must be monster — as indicating an object of 
 terror ; another gave the preference to the adjec- 
 tive huge; still another thought that vomits de- 
 manded the most expressive accent, from the ugli- 
 ness of that which it expresses. 
 
 " Delsarte repeated the lines : 
 
 '"" The wave draws near, it breaks, and vomits up before 
 
 our eyes." ' 
 
 " It was on the word and that he concentrated all 
 the force of his accent; but giving it, by gesture, 
 
The Voice. 207 
 
 voice and facial expression, all the significance lack- 
 ing to that particle, colorless in itself, as he pro- 
 nounced the word, the fixity of his gaze, his trem- 
 bling hands, his body shrinking back into itself, while 
 his feet seemed riveted to the earth, all presaged 
 something terrible and frightful. He saw what he 
 was about to relate, he made you see it ; his words 
 had only to specify the fact, and to justify the emo- 
 tion which had accumulated in the interval. 
 
 " But this particle, which here allows of eight 
 degrees, is much diminished when it fills the office 
 of a simple copulative. The extent of the word or 
 syllable is always subordinate to the sense of the 
 phrase ; in the latter case it does not require more 
 than the figure 2." 
 
 N. B. — Gesture and expression of face should always pre- 
 cede the pronunciation of the initial consonant. It should 
 justify its value. The inflection of the voice should also 
 harmonize with the value. 
 
 Delsarte continues : 
 
 " On retracing in my memory the walks I had 
 taken in the Tuileries, I was struck by an important 
 fact amidst the phenomena called up : the voice of 
 the nurse or mother, when she caressed her child, 
 invariably assumed the double character of tenuity 
 and acuteness. It was in a voice equally sweet and 
 high-pitched that she uttered such words as these : 
 
208 Delsarte System. 
 
 ' How lovely he is ! ' — ' Smile a little bit for 
 mamma ! ' Now this caressing intonation, impressed 
 by nature upon the upper notes of all these voices, 
 forms a strange contrast to the direction which all 
 singing-teachers agree in formulating; a direction 
 which consists in augmenting the intensity of the 
 sound in direct ratio to its acuteness. Thus, to 
 them the entire law of vocal shades would consist 
 in augmenting progressively the sound of the ascend- 
 ing phrase or scale, and diminishing in the same 
 proportion for a descending scale. Now nature, by 
 a thousand irrefutable examples, directs us to do 
 the contrary, that is, she prescribes a decrease of 
 intensity (in music, decrescendo) proportionate to 
 the ascensional force of the sounds. I was, there- 
 fore, fully convinced that caressing, tender and 
 gentle sentiments find their normal expression in 
 high notes." 
 
 Delsarte was not yet satisfied ; he felt there must 
 be some truth in such a universally received law. 
 He proceeds : 
 
 " I will knock unceasingly at the door of facts. 
 I will question every phenomenon. 
 
 " I then perceived that my first affirmations were 
 no better founded than those of the masters, whose 
 theories I had attacked. The truth of the matter 
 
The Voice. 209 
 
 is that ascending progressions may arise from oppo- 
 site shades of meaning. 'Therefore,' said I to 
 myself, ' it is equally inadmissible to exclude either 
 affirmation.' 
 
 " The law is necessarily complex : let us bring 
 together, that we may seize them as a whole, both 
 the contrary expressions and the circumstances 
 which produce them. 
 
 " Vulgar and uncultured people, as well as children, 
 act in regard to an ascensional progression in an in- 
 verse sense to well-educated, or, at any rate, affec- 
 tionate persons, such as mothers, fond nurses, etc. 
 
 " But why this difference ? What are its motive 
 causes? 
 
 "'Ha!' I cried, as if struck by lightning, 'I've 
 found the law ! As with the movements of the head, 
 sensuality and tenderness., these shades of meaning 
 may be traced back to two distinct sources : senti- 
 ment and passion. It is sentiment which I have seen 
 revealed in mothers ; it is passion which we find in 
 uncultured persons.' " 
 
 N. B. — The word passion here seems to signify impulse, 
 excitement, vehemence. 
 
 "Sentiment and passion, then, proceed in an 
 inverse way. Passion strengthens the voice in pro- 
 
 H 
 
210 Delsarte System. 
 
 portion as it rises, and sentiment, on the contrary, 
 softens it in due ratio to its intensity." 
 
 Here follows Delsarte's formulation of the law of 
 vocal proportions : 
 
 " Given a rising form, such as the ascending scale, 
 there will be intensitive progression when this form 
 should express passion (whether impulse, excite- 
 ment or vehemence). 
 
 " There will be, on the other hand, a diminution 
 of intensity where this form is caused by sentiment. 
 
 " Moreover, the application of this law is subject 
 to quantitative expressions or shades. 
 
 " These quantitative shades or expressions result 
 from the greatness or littleness of the being or 
 objects to which the sounds relate. Thus we would 
 not use the same tones for the words: ' Oh, what 
 a pretty little girl ! ' — ' What a lovely little flower ! ' — 
 And : ' See that nice, fat peasant woman ! ' — ' What 
 a comfortable great house ! ' 
 
 " Thus, a gamut should be considered as a double 
 scale of proportion, according to the theory indicated 
 above." 
 
 These formulae are applicable to the spoken phrase 
 as well as to music. 
 
The Voice. 211 
 
 degrees for music. 
 
 Laure de La Madelene reports Delsarte as saying : 
 " Light and shade are not, as has been asserted, 
 subject to the arbitration of inspiration; they are 
 ruled by laws (for in art there is no phenomenon 
 not subject to absolute mathematical laws). These 
 laws, which it is most important to know, form the 
 basis of the system. 
 
 " The sound of an ascending phrase does not 
 necessarily increase in intensity ; far from it ; the 
 opinion which makes it progressive is, six times out 
 of seven, incorrect. It is only correct where no re- 
 peated note or dissonant note is encountered in the 
 ascent. Then the intensity of the sound may be 
 centred upon the culminating note : in that case we 
 will call it 
 
 First Degree. 
 
 " If we find a note repeated in the rising phrase, 
 that note must be made more intense than the 
 highest note ; it will become the principal note (the 
 note upon which chief stress is to be laid, if we may 
 so express it) . The sound must diminish in propor- 
 tion to its distance from this centre of expression, 
 for in a musical phrase (as in a logical or mimetic 
 
212 Delsarte System. 
 
 phrase) there cannot be two chief values : the re- 
 peated note, however low, should, therefore, have 
 
 Two Degrees. 
 
 " If the repeated note be also the highest note, it 
 will acquire new intensity : it must be marked as 
 having 
 
 Three Degrees. 
 
 " (For we only repeat those things which are 
 requisite or. necessary : for instance, in conversation, 
 if the person with whom you are talking seems ab- 
 sent-minded, and your remarks do not seem to be 
 very important, you lay no stress upon them ; but 
 if you think your statement requires a hearing, you 
 repeat your words in a louder tone and articulating 
 more distinctly, in order that you may be heard and 
 understood ; in the same way, if you receive no 
 answer to this appeal, upon repeating it you neces- 
 sarily make some change in the conditions in which 
 the first appeal was made : this change can only be 
 a renewed augmentation of sound and a more marked 
 articulation.) 
 
 " We may possibly find a dissonant note in the 
 ascending phrase, preceding a repeating and culmi- 
 nating sound. This note could, then, have but one 
 significance ; the accident would give it the form of 
 
The Voice. 213 
 
 an adjective, and it would have, in the musical 
 phrase, the value that an adjective would have in a 
 logical or spoken phrase. Its intensity would, 
 therefore, be greater than that of the highest 
 repeated note : it would, therefore, take 
 
 Four Degrees. 
 " If the dissonant note is also the highest note, 
 that fact would give it new intensity : it would then 
 have 
 
 Five Degrees, 
 without affecting the intermediary values (the pro- 
 gressive value of the notes) — values determined by 
 the position which the notes occupy in the scale of 
 sounds : for in a phrase following a normal course, — 
 that is, a phrase containing neither repeated notes 
 nor dissonances, re would exceed do in intensity, 
 and mi would have more power than re ; and so on. 
 And if, instead of following the diatonic or chro- 
 matic order, there be a solution of continuity — if, 
 for instance, at a bound, we pass from the first to 
 the fifth note in the gamut, the value of the three 
 notes suppressed will not be destroyed, but implied, 
 and the fifth note should be given the same intensity 
 which it would have had if the three preceding 
 notes had been uttered. 
 
214 Delsarte System. 
 
 " The dissonant note, appearing in a rising phrase, 
 may be repeated : in consequence of this repetition 
 it would receive a greater value, which would give it 
 
 Six Degrees.'' 
 Arnaud tells us that Delsarte taught : — 
 " The root of the word appoggiatura being appuyer 
 (to sustain), the chief importance should be given 
 in the phrase, to appoggiatura, by extent and 
 expression ; the more so that this note is generally 
 placed on a dissonance; and, according to this 
 master's system, it is on the dissonance — and not 
 at random and very frequently, as is the habit of 
 many singers — that the powerful effect of the 
 vibration of sound should be produced." 
 
 Finally, let me quote Delsarte's words in regard 
 to musical signs : 
 
 " Signs are useful when the pupil begins his 
 studies. To acquire freedom in the use of the 
 mechanism, the pupil, before creating an artistic 
 personality for himself, needs leading strings. He 
 will never be really free until he can obey the will 
 of a stranger ; and when he has no teacher beside 
 him, to whom he can refer and submit, indicative 
 signs may, to a certain extent, supply the absent 
 adviser; but, from the day that the student pos- 
 
The Voice. 215 
 
 sesses freedom in the use of the instruments by- 
 means of which are revealed life, mind and soul, 
 being an artist, he should no longer be compelled 
 to hold to a strict observance of written signs. 
 Otherwise he would be in danger of becoming a 
 mere automaton, playing when the springs are 
 pressed." 
 
 There, dear pupil, the master himself has advised 
 the method of your use of all in the foregoing 
 pages, not one word of which will be comprehended 
 " save by a deed," as another great art-teacher, Rus- 
 kin, has said of the Book of books. 
 
 I cannot too strongly recommend the following 
 method of utilizing the Delsarte System of Dramatic 
 Expression, in the creation of character. While the 
 wings of inspiration should never be clipped, still 
 remember that the first essential of the power to 
 command is the ability to obey ; and the pupil in art 
 cannot better test his power of conception than by 
 forming it according to the high standard of perfect 
 law. Remember, all great musicians have to stop 
 the flight of Pegasus, while annoting their music in 
 accordance with the laws of harmony and orches- 
 tration. The precision and thoroughness of music 
 proves it a nobler art than the drama. It need not 
 be so. You have it now in your power to uplift 
 
216 Delsarte System. 
 
 your own art-language. Will you do so? If you 
 have the patience, obey the following directions : 
 
 Write one line of the text to be studied after the 
 word " text " ; above it write ( I ) v. c.=vocal color ; 
 (2) in.=inflection ; (3) em.=emphasis ; (4) being 
 "text"; under "text" write (5) el.—ellipsis ; (6) 
 ex.=expression of face; (7) g.=gesture; (8) at. 
 =attitude ; (9) s. b.^stage business. 
 
 Below I give you an example : 
 
 Scene from Macbeth. — Lady Macbeth speaks. 
 
 1. V. C Some breath on moral tone; 
 
 2. In. Falling on " fail " ; 
 
 3. Em. On "fail"; 
 
 4. Text. We, fail; 
 
 5. El. We must resign ourselves to destiny; 
 
 6. Ex. Head bows, eyelids droop, — resigna- 
 
 tion; 
 
 7. G. Arms drop in abandon; 
 
 8. At. Concentro-excentric ; 
 
 9. S. B. Stands left of Macbeth. 
 
 N. B. — The ellipsis of a text is expressed by the gesture ; so 
 the signification of the two correspond. The expression of the 
 face and the hand colors the tone ; thus they, too, will cor- 
 respond. 
 
(Mar. 
 
LESSON XXI. 
 
 COLOR. 
 
 So we are together again. The Christmas holi- 
 days have brought you. Lay aside your fur, for 
 see how the snowflakes powder. Draw the arm- 
 chair close to this great open fireplace ; put your 
 feet on the brass fender, and sit with me and watch 
 the burning of the great log. What care we now 
 for the cold outside? Listen to the sleigh-bells. 
 You brought me this wreath? How it smells of 
 the woods ! 
 
 We are going to talk on color to-day — a fasci- 
 nating subject. Do you recall how, some time ago, 
 we touched on it in our illustrations of trinity? We 
 found that the prismatic rays of the sun were clearly 
 divided into three primary colors, — red, yellow and 
 blue, the calorific, the colorific and the chemical 
 ray. Colors derive their tints and hues from the 
 refractions and reflections of the rays of heat and 
 light from the sun, in varying intensity, combined 
 more or less with darkness or blackness and shade. 
 " There are two fundamental elements of color, — red. 
 which is derived from the flaming light proceeding 
 
220 Delsarte System. 
 
 from the heat, and white from light. All colors 
 are modifications of these with obscurity or black- 
 ness." The trinity of red, yellow and blue consti- 
 tute, combined, the unity of white or ordinary light. 
 The red is the calorific or heating principle ; the 
 yellow is the colorific or light-giving principle; the 
 blue is the chemical ray, in which the power of 
 actinism or chemical action is found. 
 
 Red is significant of love ; yellow of intelligence ; 
 blue of action or use. Red is thus moral ; yellow 
 is mental ; blue is vital ; or, red is normal, yellow 
 is concentric, blue is excentric. " Celestial rosy red, 
 love's proper hue," says Milton, in Paradise Lost. 
 
 N. B. — For the hues produced by their intermingling, look 
 at the symbolic chart of color, page 226. 
 
 Colors had the same significance amongst all the 
 ancient peoples. In Persia, the two principles of 
 good and evil were symbolized under the two con- 
 trasts, light and darkness, white and black, from 
 which all other color was derived. The color-lan- 
 guage passed from India, China, Egypt and Greece, 
 to Rome. It was revived in the Middle Ages, in 
 the passionate, vital painting of the windows of the 
 Gothic cathedrals and the walls of the churches of 
 Venice, — ■" hues that have words and speak to us of 
 heaven." Iris, the messenger of the gods and good 
 
Color. 221 
 
 tidings, has the rainbow for her girdle, the symbol 
 of regeneration — the covenant between God and 
 man. The robe of the Egyptian Isis sparkles and 
 shines with all of nature's hues. " Osiris, the all- 
 powerful god, gives light to Isis, who modifies it and 
 transmits it by reflection to men. Isis is the earth, 
 and her symbolic robe was the hieroglyphic of the 
 material and of the spiritual worlds." 
 
 Heraldry is the last remnant of ancient symbolism. 
 Every genuine old coat of arms was an utterance 
 of chivalric honor to its wearer. 
 
 We all know there is symbolic meaning attached 
 to the colors of a knight's shield, though the origin 
 of such meaning seems to be lost in antiquity. Aztec 
 paintings indicated these significations. Let me read 
 you this from Ruskin : 
 
 "Whether derived from the quarterings of the 
 knight's shield, or from what other source I know 
 not ; but there is one magnificent attribute of the 
 coloring of the late twelfth, the whole thirteenth and 
 the early fourteenth century, which I do not find 
 definitely in any previous work nor afterward in 
 general art, though constantly and necessarily in 
 that of great colorists, namely, the union of one color 
 with another by reciprocal interference; that is to 
 say, if a mass of red is to be set beside a mass of 
 
222 Delsarte System. 
 
 blue, a piece of the red will be carried into the blue, 
 and a piece of the blue carried into the red ; some- 
 times in nearly equal portions, as in a shield divided 
 into four quarters, of which the uppermost on one 
 side will be of the same color as the lowermost on 
 the other ; sometimes in smaller fragments ; but, in 
 the periods above named, always definitely and 
 grandly, though in a thousand various ways. And 
 I call it a magnificent principle, for it is an eternal 
 and a universal one, not in art only, but in human 
 life. It is the great principle of brotherhood, not by 
 equality, nor by likeness, but by giving and receiv- 
 ing; — the souls that are unlike, and the nations that 
 ' are unlike, and the natures that are unlike, being 
 bound into one noble whole by each receiving some- 
 thing from and of the other's gifts and the other's 
 glory. ... I have long believed that in whatever 
 has been made by the Deity externally delightful to 
 the human sense of beauty, there is some type of 
 God's nature or of God's laws ; nor are any of His 
 laws, in one sense, greater than the appointment that 
 the most lovely and perfect unity shall be obtained 
 by the taking of one nature into another. I trespass 
 upon too high ground ; and yet I cannot fully show 
 the reader the extent of this law, but by leading him 
 thus far. And it is just because it is so vast and so 
 
Color. 223 
 
 awful a law, that it has rule over the smallest things ; 
 and there is not a vein of color on the lightest leaf 
 which the spring winds are at this moment unfolding 
 in the fields around us, but it is an illustration of an 
 ordainment to which the earth and its creatures owe 
 their continuance and their redemption." 
 
 Ah ! you draw a long breath ; so do I. To me 
 Ruskin has ever been an apostle of light and beauty 
 and truth. " Wherever literature assuages woe " his 
 burning words will fire and cheer. 
 
 The selam or nosegay of the Arabs is emblematic. 
 The Koran mystically says : " The colors which the 
 earth displays to our eyes are manifest signs for 
 those who think." 
 
 " The colors which appear on the earth correspond 
 to the colors which the seer beholds in the world 
 of spirits, where everything is spiritual and, conse- 
 quently, significative. Such is, at least, the origin 
 of the symbolical .meaning of colors in the books 
 of the prophets and the Apocalypse." (Portal's 
 Des Couleurs Symboliques.*) 
 
 Red in the original tongue is called adam, signi- 
 fying good. 
 
 Madeley, in his " Science of Correspondences," 
 says: 
 
 " The twelve stones in the urim and thummim are 
 
224 Delsarte System. 
 
 representative of all the varieties of divine truth; 
 brilliant, transparent, sparkling, glowing with inward 
 radiant principles of love, charity, goodness and 
 benevolence, of which they are but the outward 
 forms. They were ordered by express divine com- 
 mand to be arranged in trines and worn on the 
 breast or over the heart of the high priest when he 
 entered the tabernacle. They were divided into four 
 orders of trines, distinctly significative of the two- 
 fold constitution of the internal and external man; 
 each trine having especial relation to the three 
 degrees of the mind and life, and the signification 
 of each stone being determined by its color and by 
 its place. This may be seen more clearly from the 
 following arrangement : 
 
 1st row: Sardius, topaz, carbuncle. 
 
 Reuben ; Simeon ; Levi ; 
 signifying and representing the three degrees of 
 celestial goodness in the internal will, with their 
 purity and burning brilliancy. (Topaz was evi- 
 dently red.) 
 
 2nd row: Emerald, sapphire, diamond. 
 Judah; Dan; Naphtali; 
 
 signifying and representing the three degrees of 
 celestial wisdom in the internal understanding, with 
 their transparent and sparkling lustre. 
 
Color. 225 
 
 3rd row: Ligure, agate, amethyst. 
 
 Gad ; Asher ; Issachar ; 
 
 signifying and representing the three degrees of 
 spiritual love or charity which are active in the ex- 
 ternal will, but modified in brilliancy. 
 
 4th row: Beryl, onyx, jasper. 
 
 Zebulon ; Joseph ; Benjamin ; 
 
 signifying and representing the three degrees of 
 faith or knowledge in the external understanding, 
 less transparent and more opaque than the three 
 degrees of internal wisdom. 
 
 " Similar things are signified in the order of the 
 stones in the foundations of the new Jerusalem." 
 
 " Colors have an influence on the passions ; and 
 they, as well as their harmonies, have relation to 
 moral and spiritual affections." — (St. Pierre's "Stud- 
 ies of Nature.") 
 
 There, have I not given you quite a universal 
 budget? When next we meet, bring a nosegay, . 
 arranged in colors that speak. Ah ! while chatting 
 our flaming log has changed to radiant coals. Ob- 
 serve the burning red thrilled and penetrated with 
 yellow luminous light. Its vivid existence is shown 
 in the tiny bluish flame which, like an aura, emanates 
 from its consuming life. 
 IS 
 
226 
 
 Delsarte System. 
 
 CHART XVII. 
 
 Symbolic Colors. 
 
 mento-mental 
 
 moro-mental 
 
 vito-mental 
 
 yellow 
 
 red 
 
 blue 
 
 plus 
 
 in 
 
 in 
 
 yellow = 
 
 yellow = 
 
 ' yellow = 
 
 yellow. 
 
 orange. 
 
 green (light). 
 
 concentro-concentric. 
 
 normo-concentric. 
 
 excentro-concentric. 
 
 mento-moral 
 
 moro-moral 
 
 vito-moral 
 
 yellow 
 
 red 
 
 blue 
 
 in 
 
 plus 
 
 in 
 
 red = 
 
 red = 
 
 red = 
 
 salrnon. 
 
 red. 
 
 purple. 
 
 concentro-normal. 
 
 normo-normal. 
 
 excentro-normal. 
 
 mento- vital 
 
 moro- vital 
 
 vito-vital 
 
 yellow 
 
 red 
 
 blue 
 
 in 
 
 in 
 
 plus 
 
 blue = 
 
 blue = 
 
 blue = 
 
 green (dark). 
 
 violet. 
 
 indigo. 
 
 concentro-excentric. 
 
 normo-excentric. 
 
 excentro-cxcentric. 
 
 Red = Love ; 
 
 Yellow = Intelligence ; 
 
 Blue = Power. 
 
Color. 227 
 
 Parting Advice. 
 
 Before we part, let me tell you how to use our 
 previous lessons. 
 
 First, they place you in possession of the highest 
 standards by which to judge all great works. Next, 
 they start you on your art-pilgrimage ; but they will 
 not take you all the way. The greatest art-work is 
 only produced under the inspiration of such supreme 
 laws, that man cannot voluntarily command it. 
 
 Practice all of the aesthetic gymnastics, use all the 
 charts, but as gymnastics only. Never, in creating 
 a role, make them your masters by a voluntary 
 seeking of their attitudes in symbolic meaning. As 
 a standard of criticism of sculpture, painting and 
 acting, they have great use ; yet here let me recall 
 an anecdote : 
 
 " Haydn had agreed to give some lessons in 
 counterpoint to an English nobleman. ' For our 
 first lesson,' said the pupil, already learned in the 
 art, drawing at the same time a quatuor of Haydn's 
 from his pocket, ' for our first lesson may we examine 
 this, quatuor; and will you tell me the reasons of 
 certain modulations which I cannot entirely approve 
 because they are contrary to the principles ? ' Haydn, 
 a little surprised, declared himself ready to answer. 
 The nobleman began, and at the very first measures 
 
228 Delsarte System. 
 
 found matter for objection. Haydn found himself 
 much embarrassed, and answered always, ' I have 
 done that because it has a good effect. I put that 
 passage there because it does well.' The English- 
 man, who judged that these answers proved nothing, 
 recommenced his proofs and demonstrated to him, 
 by very good reasons, that his quatuor was good for 
 nothing. ' But, my lord, arrange this quatuor, then, 
 to your. fancy; play it so and you will see which of 
 the two ways is the best.' ' But why is yours the 
 best which is contrary to the rules?' ' Because it is 
 the pleasantest.' Haydn at last lost patience and 
 said : ' I see, my lord, it is you who have the good- 
 ness to give lessons to me, and, truly, I am forced 
 to confess to you that I do not deserve the honor.' 
 The partisan of the rules departed, still astonished 
 that in following the rules to the letter one cannot 
 infallibly produce a Matrimonio Segreto." (De 
 Stendhal's Vies de Haydn, de Mozart et de Meta- 
 stases 
 
 Ruskin adds to this : 
 
 " This anecdote, whether in all parts true or not, 
 is in its tendency most instructive, except only in 
 that it makes one false inference or admission; 
 namely, that a good composition can be contrary to 
 the rules. It may be contrary to certain principles 
 
Color. 229 
 
 supposed, in ignorance, to be general, but every 
 great composition is in harmony with all true rules 
 and involves thousands too delicate for ear, or eye, 
 or thought to trace ; still, it is possible to reason 
 with infinite pleasure and profit about these princi- 
 ples, when the thing is once done; only all our 
 reasoning will not enable any one to do another 
 thing like it, because all reasoning falls short of the 
 divine instinct. Thus we may reason wisely over 
 the way a bee builds his comb, and be profited by 
 finding out certain things about the angles of it; 
 but the bee knows nothing about those matters. It 
 builds its court in a far more inevitable way. And, 
 from .a bee to Paul Veronese, all master-workers 
 work with this awful, this inspired unconsciousness." 
 You will not think me egotistical if I relate my 
 own experience. When a student, I was an enthu- 
 siast on this subject of method. I worked at it, I 
 thought of it, I dreamed it night and day; but I 
 have never consciously used it in public work. And 
 my best results have been attained when I, a passive 
 subject, obeyed an inner inspiration coming from 
 whence I know not and urging me on to results I 
 had not aimed at. This, in my own modest efforts, 
 has been my experience : how much more must it 
 be the experience of great artists ! Then why study ? 
 
230 Delsarte System. 
 
 Because the fruit, the flower, the child needs cultiva- 
 tion for development. Favorable circumstances, 
 resolution and industry can do much ; they deter- 
 mine as to whether the poor fruit shall fall and die, 
 or expand into velvet softness ; whether the flower 
 shall wither ere it blossom ; whether the child shall 
 reflect heaven's light or earth's blackness. And 
 now, let me conclude this by quotations from Ruskin 
 just as applicable to oratory and acting as to the 
 sister arts, writing and painting. 
 
 " Only according to his own nobleness is an artist's 
 power of entering into the hearts of noble persons, 
 and the general character of his dream of them. 
 
 " He who habituates himself in his daily life to 
 seek for the stern facts in whatever he hears or sees, 
 will have these facts again brought before him by 
 the involuntary imaginative power in their noblest 
 associations. And he who seeks for frivolities and 
 fallacies will have frivolities and fallacies again pre- 
 sented to him in his dreams. Now, therefore, observe 
 the main conclusions which follow from these two 
 conditions attached always to art of this kind. 
 
 " First, it is to be taken straight from nature." 
 (Delsarte studied for fifty years from nature, and so 
 guides the beginner to truth. He rejected the tra- 
 ditional methods of movement taught in the Conser- 
 
Color. 231 
 
 vatoire.) " It is to be the plain narration of some- 
 thing the painter or writer saw. All great men see 
 what they paint before they paint it, see it in a per- 
 fectly passive manner, — cannot help seeing it if they 
 would ; whether in their mind's eye or in bodily fact 
 does not matter ; very often the mental vision is, I 
 believe, in men of imagination, clearer than the 
 bodily one ; but vision it is of one kind or another, 
 — the whole scene, character, or incident passing 
 before them as in second sight, whether they will or 
 no, and requiring them to paint it as they see it ; 
 they not daring under the might of its presence to 
 alter one jot or tittle of it as they write it down or 
 paint it down. Therefore it is, that every system of 
 teaching is false which holds forth ' great art ' as in 
 any wise to be taught to students or even to be 
 aimed at by them. Great art is precisely that which 
 never was, nor will be taught. It is preeminently 
 and finally the expression of the spirits of great men ; 
 and without holding out to him as a possible or 
 even probable result that he shall ever paint like 
 Titian or carve like Michael Angelo, enforces upon 
 him the manifest possibility and assured duty of 
 endeavoring to draw in a manner at least honest and 
 intelligible and cultivates in him those general 
 characteristics of heart, sincerities of thought, and 
 
232 Dels arte System. 
 
 graces of habit which are likely to lead him through- 
 out life to prefer openness to affectation, realities to 
 shadows and beauty to corruption." 
 
 We have finished our task, — nay pleasure. Good- 
 bye, little book ; we are sorry to part. While 
 with you, the living, loving spirit of the master, in- 
 spirer of my girlish dreams, dear companion always, 
 has seemed beside me. Deep down, impressed on 
 heart and mind, two names I find emblazoned, — 
 Delsarte — Ruskin. 
 
 Kindred spirits, masters mine, your thoughts, 
 like grand old music, reverberate through my being. 
 To one and all I bow and say, Amen. Your keen 
 white souls, God's madmen are ye, have ever cried, 
 — " On, youthful pilgrim ! " Beauty's torch must be 
 fired in a flaming heart. True art is but the soul's 
 
 "BEHOLD IT IS I." 
 
©rto at %xveti$z$. 
 
ORDER OF EXERCISES FOR SYSTEM- 
 ATIC PRACTICE. 
 
 DECOMPOSING EXERCISES. 
 
 1 . Fingers — one exercise. 
 
 2. Hand — one exercise. 
 
 3. Forearm — one exercise. 
 
 4. Entire arm — three exercises. 
 
 5. Head — two exercises; {a) dropped forward, 
 (b) dropped back. 
 
 6. Torso — one exercise. 
 
 7. Foot — one exercise. 
 
 8. Lower leg — one exercise. 
 
 9. Entire leg — one exercise. 
 
 10. Entire body — one exercise. 
 
 1 1 . Eyelids — one exercise. 
 
 12. Lower jaw — one exercise. 
 
 / 
 
 BEARING. 
 i . Harmonic bearing in standing attitude nor.-nor. 
 
 2. Harmonic bearing in attitude nor.-con. 
 
 3. Harmonic bearing in attitude nor.-ex. 
 
236 Delsarte Sxstem. 
 
 4. Harmonic bearing in attitude con.-con. 
 
 5. Harmonic bearing in attitude ex. -ex. 
 
 6. Harmonic bearing in attitude con.-ex. 
 
 7. Harmonic bearing in attitude ex.-con. 
 
 8. Harmonic bearing when seated ; (a) forward ; 
 (£) back ; (c) sideways ; (d) obliquely forward and 
 back. 
 
 WALKING. 
 
 1. Take a long tape, mark the length of two of 
 your feet on it. Pin it in front of a long mirror. 
 Walk on it, letting the heel fall on the mark each 
 step. 
 
 2. Observe harmonic bearing while in motion. 
 
 3. Lift the thigh, unbend the knee, plant the foot, 
 let the torso lead. 
 
 4. Walk with a book on your head. 
 
 ARM-MOVEMENTS. 
 i. Sink wrist. 
 
 2. Wave arm through the air, letting the hand 
 hang a dead weight. The hand will float as a 
 feather. Keep the elbow stiff. 
 
 3. Evolution of vital force in arm-movement; 
 
238 Delsarte System. 
 
 (a) lift upper arm ; (£) unbend elbow ; (c) expand 
 hand. 
 
 4. Evolution of force in every altitude in lengths. 
 
 5. Evolution of force in every altitude in breadths. 
 
 N. B.^Lengths and breadths until heights and depths are 
 reached. 
 
 6. Expand hand from closed fist, gradually open- 
 ing the fingers, taking care that the thumb shall 
 oppose the two middle fingers. 
 
 7. Serpentine movement. 
 
 8. Spiral movement. 
 
 9. Commanding movement. 
 
 N. B. — The serpentine movement is in the breadths ; the 
 spiral movement is in the heights ; the commanding move- 
 ment is in the lengths. 
 
 10. Raise the arm in evolution of motion; ex- 
 pand the hand into Definition ; bring down in 
 Teacher's Affirmation. 
 
 11. Raise the arm; expand the hand into Pro- 
 tection ; bring down in Patron's Affirmation. 
 
 12. Raise the arm ; expand the hand in Support; 
 bring down in Champion's Affirmation. 
 
 13. Raise the arm; expand the hand in Limita- 
 tion ; bring down in Conservative's Affirmation. 
 
240 Delsarte System. 
 
 14. Raise the arm; expand the hand in Despot's 
 attitude ; bring down in Tyrant's Affirmation. 
 
 13. Raise the arm; expand the hand in Mystic 
 attitude ; bring down in Seer's Affirmation. 
 
 16. Raise the arm; expand the hand in Exposi- 
 tion ; bring down in Saint's Affirmation. 
 
 17. Raise the arm; expand the hand in Protest 
 attitude ; bring down in Orator's Affirmation. 
 
 18. Raise the arm; expand the hand in Bigot's 
 attitude ; bring down in Bigot's Affirmation. 
 
 19. Practice the nine affirmations with bent arm, 
 as hand-movements. 
 
 20. Raise the arm, hand dead ; rotate arm. 
 
 2 1 . Raise the arm ; sink wrist ; rotate arm. 
 
 22. Practice the sinking of the wrist, and rotation 
 with elbows bent and near sides. 
 
 23 Rise upon toes. 
 
 24. Poise forward and back from heels to balls 
 of feet and back to heels. 
 
 25. Poise from ex. -con. attitude to nor. -ex. 
 
 26. Stand in attitude nor. -nor. ; then poise from 
 left to right and vice versa, slowly changing the 
 centre of gravity. 
 
242 Delsarte System. 
 
 27. Pivot (a) to right; (b) to left; (c) half-way- 
 round. 
 
 28. Gladiator oppositions. 
 
 29. Primary oppositions of head and arm. 
 
 30. Waist rotation in opposition to head rotation. 
 N. B.— The head rotates to the side of the strong leg. 
 
 31. Arm-gestures from significant zones. 
 
 32. Involution of body. 
 
 33. Evolution of body. 
 
 34. Bowing in opposition; as the knee sinks 
 back, the torso bends forward and the head rises. 
 
 35. Bowing in successive movement; the eyes 
 droop, then the head bows and the torso inclines. 
 
 36. Kneeling. 
 
 37. Falling. 
 
 38. Rotation of head in the various attitudes 
 without changing the significant angle. 
 
 39. Gamut of expression in motion. 
 
 BREATHING EXERCISES. 
 
 I. Simple vital breathing ; bring into prominence 
 vital or excentric zone. 
 
244 Delsarte System. 
 
 2. Artistic breathing; bring into prominence 
 moral or normal zone. 
 
 3. Mental breathing; bring into prominence 
 mental or concentric zone. 
 
 4. Normal breathing ; then count one to ten, tak- 
 ing a short breath between each number, pronounc- 
 ing the number with " direct attack " of glottis. 
 
 5. Normal breathing; hold breath, move arms 
 vigorously in all directions. 
 
 6. Normal breathing; hold breath until you feel 
 a warm current within, then exhale very slowly. 
 
 7. Inhale slowly through the nostrils, as if gently 
 sniffing a nosegay, then exhale as slowly. 
 
 N. B. — Always inhale through the nostrils when possible in 
 speaking and singing. 
 
 8. Inhale very slowly through the lips held as if 
 whistling, walking quickly and moving arms vigor- 
 ously; exhale slowly, continuing the arm and leg 
 movement. 
 
 VOWEL AND CONSONANT ARTICULATION. 
 i. "Direct attack "of the glottis on charts of 
 organic vowels. 
 
 2. Preparation for consonant articulation. 
 
246 Delsarte System. 
 
 3. Combinations of vowels and consonants. 
 
 4. Chromatic scale on organic vowels. 
 
 5. Chromatic scale on Sta-bat-ma-ter-do-lo-ro-sa- 
 Jux-ta-cru-cem-la-cri-mo-sa-dum-pen-de-bat-fi-li-us. 
 Pronounce with the organic vowel molding. 
 
 6. Practice verse from " Parrhasius ; " (a) in 
 whisper ; (b) in aspirate ; (c) with normal tone, rising 
 a note on each marked word. 
 
 7. Practice " Do you think so? " coloring the tone 
 with the conditional attitudes of the hand. 
 
 8. Crescendo and diminuendo on E flat (medium) 
 in the moral or heart-tone. 
 
 9. (a) Descend from E flat (medium) on the scale 
 in the heart-tone ; (b) ascend from £ flat (medium) 
 on the scale in the normal or heart-tone. 
 
 10. Practice coloring the tone with the various 
 pantomimic expressions of the body, taking any 
 word or phrase, as " Stop ! " " Hold ! " "I will not 
 do it ! " etc. 
 
248 Delsarte System. 
 
 bell's vowel table. 
 
 1 — eel; 
 2— ill ; 
 3— ale ; 
 4 — ell, ere ; 
 
 5 — an ; 
 
 6 — ask ; 
 
 7— ah; 
 
 8— her ; 
 
 9 — up, urn; 
 10 — on, all; 
 1 1 — ore ; 
 12 — old ; 
 13 — pull, pool. 
 U after a vocal consonant is u as in duty, litera- 
 ture ; u after r is 00 as in rue, true. 
 
250 
 
 Delsarte System. 
 
 BELLS CONSONANT TABLE. 
 
 Breath. Voice. Nasal Voice. 
 
 m 
 
 Lips-s wh 
 If 
 
 Point of tongue < 
 
 b 
 
 w 
 
 V 
 
 d 
 z 
 
 th(en) 
 
 th(in) 
 
 r (rough) r (smooth) 
 
 U 
 
 fsh 
 Top of tongue < 
 
 zh 
 
 "g 
 
 Back of tongue, k g 
 
 J or soft g = dzh ; ch = tsh (as in church) ; qu 
 = kw ; ph = f. 
 
252 Delsarte System. 
 
 VERSES FROM PARRHASIUS. 
 There stood an unsold captive in the mart, 
 A grey-haired and majestical old man, 
 Chain'd to a pillar. It was almost night, 
 And the last seller from his place had gone, 
 And not a sound was heard but of a dog 
 Crunching beneath the stall a refuse bone, 
 Or the dull echo from the pavement rung, 
 As the faint captive changed his weary feet. 
 'Twas evening, and the half descended sun 
 Tipp'd with a golden fire the many domes 
 Of Athens, and a yellow atmosphere 
 Lay rich and dusky in the shaded street 
 Through which the captive gazed. 
 The golden light into the painter's room 
 Stream'd richly, and the hidden colors stole 
 From the dark pictures radiantly forth, 
 And in the soft and dewy atmosphere 
 Like forms and landscapes magical they lay. 
 
lute. 
 
INDEX. 
 
 A. PAGE. 
 
 Abbreviations, explanation of 66 
 
 Accent 194 
 
 Action colored by habit 65 
 
 Adjective 204 
 
 Adverb 205 
 
 Advice to those appearing in public 79 
 
 .(Esthetics, definition of 57 
 
 .(Esthetic gymnastics, aim of 40 
 
 how to practice 227 
 
 talk 11, 17, 20, 27, 31, 40, 57, 71, 73 
 
 exercises for practice.. .12, 18, 49, 66, 73, 83, 95, 101, 108, 113 
 
 "7. I2 4, 134. 140, I5 T » iS 8 » l6 3> '77 
 
 Affection, tendency of 169 
 
 Agate - 225 
 
 Age, tendency of the 78 
 
 Agnostic attitude 68 
 
 Alger, W. R 8 
 
 Amethyst 225 
 
 Anatomy, definition of 59 
 
 Ankle 49 
 
 Apocalypse, symbolic meaning of colors in 223 
 
 Apollo 32 
 
 Belvedere 20 
 
 Appoggiatura 214 
 
 Arm, sections of 41, 45 
 
 articular centres of 42, 47, 107 
 
 attitudes of ill 
 
 inflections of 115 
 
 chart of movements of right 125 
 
 vital expression of 1 73 
 
 17 
 
25 8 Index. 
 
 PAGE. 
 
 Arnaud, Mme. Angelique, quotations from .. 1 7, 36, 37, 38, 172, 194 
 
 203, 214 
 
 Art, definition of 17. S 8 
 
 reason for studying rules of - - 79 
 
 object of - 59 
 
 great 231 
 
 Article 205 
 
 Articulation the language of reason 36 
 
 situation of the great 24 
 
 its sequential order — 17° 
 
 classification of the different 201 
 
 Artificial breath 188 
 
 Artist, an, and society 28 
 
 necessity for nobleness of character in an 230 
 
 Attitude, law of 167 
 
 dignity of 19 
 
 inverse 17 2 
 
 Aztec painting 221 
 
 B. 
 
 Beauty, line of 18 
 
 is power ,.- 21 
 
 Bell, A. Melville 199 
 
 Beryl 225 
 
 Best results, how attained 229 
 
 Blue ray, necessary for fruit 31 
 
 Body, opposition of parts of 20 
 
 grand divisions of 41 
 
 perfection and power of 77 
 
 recoil of 1 72 
 
 Breath, vital 1 188 
 
 Brotherhood, principle of 222 
 
 Brow, chart of 143 
 
 Buckle 5 
 
 Byron's tribute to a dog 76 
 
 C 
 Carbuncle _ 224 
 
 Celestial wisdom, three degrees of 224 
 
Index. 259 
 
 PAGE 
 
 Centres, great articular 1 73 
 
 Cerebration, unconscious, necessary 17 
 
 Charts.. .39, 72, y7. 121, 131, 135, 136, 142, 143, 152, 153, 154, 155 
 
 159, 164, 199, 200, 226 
 
 Delsarte's now given to the public tor the first time 38 
 
 how to use 227 
 
 Che ek 12g 
 
 Chin j 2 „ 
 
 Chest, in breathing _ jgg 
 
 Circle-chart '_ 125 
 
 Circumflex io? 107 
 
 Clavicular breathing 1 jj8, 195 
 
 Color 219 
 
 language 220 
 
 Coloring, attribute of, in I2th, 13th and 14th centuries 221 
 
 Colors, their attributes 31 
 
 significations of 220 
 
 meaning among the ancients 220 
 
 chart of. 226 
 
 Command " Go," the 104 
 
 Comte 5 
 
 Concentric motion, definition of. 37 
 
 Conjunction 194, 205 
 
 Consonants, initial 189, 203 
 
 initial preceded by gesture 207 
 
 chart of 200 
 
 directions for practice of 201 
 
 Coriolanus, exiled 62 
 
 Correspondence, definition of 61 
 
 Criterion chart 39 
 
 terms, a shorthand of 40 
 
 Cry -. 195 
 
 D. 
 
 Decomposing exercises _ n 
 
 Degrees, theory of 203 
 
 Deific essence 34 
 
 Delaumosne, l'Abb^ 3 
 
 quotation from 171 
 
260 Index. 
 
 PAGH. 
 
 Delsarte, Francois, biographical sketch of 4 
 
 his efforts in behalf of dramatic art 5 
 
 his plans to come to America 7 
 
 quotations from .. .24, 35, 47, 57, 60, 93, 94, 107, 108, 118, 170 
 
 171, 172, 173, 174, 188, 189, 190, 192, 193, 194, 196, 203 
 
 206, 207, 208, 210, 214 
 
 his fifty years of study 230 
 
 Delsarte system, not mechanical 60, 64 
 
 principle of 35, 174 
 
 one of the most striking points in 203 
 
 Demosthenes 79 
 
 De Stendhal, quotation from 228 
 
 Diamond 224 
 
 Diaphragmatic breathing 188 
 
 Direction, law of 1 70 
 
 Divine attributes, the 32 
 
 Divisions of the book : 
 
 Introduction - I 
 
 Decomposing exercises 9 
 
 Harmonic poise of bearing :. 15 
 
 Easis of the system 29 
 
 Vital division 55 
 
 Moral division 119 
 
 Mental division 127 
 
 Grammar of pantomime 165 
 
 A gamut of expression in pantomime 1 75 
 
 The voice 185 
 
 Color 217 
 
 Order of exercises for practice 233 
 
 Dog's walk contrasted with man's 76 
 
 Dramatic art, the first step necessary for 11 
 
 necessity of practicing the technique of 215 
 
 Drunkenness, the gaze of 140 
 
 Duad principle 32 
 
 Dynamic wealth 24 
 
 E. 
 
 Ecstasy, the gaze of 140 
 
 Educational tendencies, harmful : 40 
 
Index. 261 
 
 PAGE. 
 
 Egyptians, philosophy of the ancient 33 
 
 Elbow 108, 173 
 
 soul of the arm 46 
 
 as a thermometer 42, 48 
 
 signification of movement of 178 
 
 Ellipsis 194, 216 
 
 Emerald 224 
 
 Emotion, the only non-self-destructive 1 72 
 
 Emphasis, principles of 196, 197 
 
 doubt about 197 
 
 reiteration in 197 
 
 illustration in 206 
 
 Evolution, law of 1 73 
 
 Excentric motion, definition of 37 
 
 Exclamation 195 
 
 Expression, freeing the channels of- 11 
 
 precedes gesture 1 70 
 
 movements of agents of 171 
 
 passional 1 73 
 
 a gamut of 177 
 
 one of the secrets of 203 
 
 Extension, law of 172 
 
 Eyeball, as an indicator 137 
 
 signification and action of 138 
 
 chart of 142 
 
 Eyebrow 143 
 
 signification and action of. 144 
 
 charts of combinations of upper lid and 152, 153 
 
 chart of 154 
 
 Eyelid, upper 143, 146 
 
 lower 143, 148 
 
 simple combinations of brow and upper 148 
 
 Eyes 137 
 
 man has more white in 138 
 
 active agents of. 143 
 
 centre of mental significance 170 
 
262 Index. 
 
 F. PAGE- 
 
 Face, zones of 129 
 
 expression of, colors tone 216 
 
 Failure, the cause of. 28 
 
 Faith, necessity of 28 
 
 three degrees of 225 
 
 Feather movement 96 
 
 Flexibility 11 
 
 Foot 46 
 
 Force, law of 168 
 
 Form, law of 171 
 
 Formula, a universal 1 74 
 
 G. 
 
 Gamut of expression in pantomime 177 
 
 Genius, definition of 17 
 
 Gentleman, attitude of the 68 
 
 Gentlemen, position of, in introduction to ladies T 67 
 
 Gerome 7 
 
 Gesture, the language of emotion or soul 36 
 
 the interpreter of sentiment 38 
 
 from significant zones _ 49 
 
 forms of expression for 65 
 
 external and interior '. 60, 118 
 
 duration of retaining a 118 
 
 inflections of 124 
 
 effect of passion on 168 
 
 effect of thought on 168 
 
 effect of love on 168 
 
 precedes speech jto 
 
 rhythm of j -j 
 
 Gladiator oppositions I02 
 
 Glottis, "direct attack" of 189 
 
 God, as represented by the ancients , 32 
 
 Godhead, the ,, 
 
 Groan 195 
 
 Guilmette, Dr Iq g 
 
 Guttmann's " Gymnastics of the Voice " r88 
 
Index. 263 
 
 H. PAGE. 
 
 Hand 89, 99 
 
 faces of 89 
 
 functions of 89 
 
 description of movement 90 
 
 indications of 91 
 
 conditional attitudes of 92 
 
 chart of 97 
 
 relative attitudes of 99 
 
 positions of, in space relative to the centres of gravity and 
 
 being 99 
 
 attitudes of, color the voice 95, 216 
 
 inflections of loo 
 
 affirmations of 103 
 
 Hard work required 12, 27, 28, 78 
 
 Harmonic poise of bearing 17 
 
 Harmony 171 
 
 Haydn, anecdote of 227 
 
 Head 42, 43 
 
 zones of 41, 129 
 
 sympathy with strong leg 18, 71 
 
 chart of zones of 131 
 
 attitudes of - . 
 inflections of- 
 
 132 
 134 
 
 chart of attitudes of 13c 
 
 chart of divisions of 136 
 
 active divisions of- 137 
 
 Heart, the, metaphor for love 44 
 
 Heraldry 221 
 
 High notes for tender sentiments 208 
 
 Hip 49 
 
 How to move others 190 
 
 Hypnotic experiments 62 
 
 I. 
 
 Idea, main J 9° 
 
 Imagination 7° 
 
 Imitation, insufficiency of 40, 7^ 
 
 Indulgences, continued, result of 65 
 
264 Index. 
 
 PAGE. 
 
 Inflection 193 
 
 the language of the sensitive nature 36 
 
 in gesture 193 
 
 pantomime to the blind 193 
 
 particular - 195 
 
 principles of 196 
 
 should harmonize 207 
 
 Insanity, the gaze of 140 
 
 Inspiration, trusting to 5 
 
 Intensity of effect, how to produce 189 
 
 Interior sensations, caused by outer manifestations and attitudes, 63 
 
 memory 64 
 
 Interjection 194, 205 
 
 Intonation, caressing 208 
 
 Introduction 3 
 
 Involution 1 74 
 
 Iris 220 
 
 Isis 32, 221 
 
 J- 
 
 Jasper 225 
 
 Jaw 161 
 
 Jupiter 32 
 
 K. 
 
 " Key of the universe " 37 
 
 Knee 49 
 
 Knight's shield, colors of 221 
 
 Koran, quotation from 223 
 
 L. 
 
 Lamentation 195 
 
 Language, vocal, dynamic, buccal 36 
 
 Larynx 189, 201 
 
 heart in the 190 
 
 Laugh 196 . 
 
 Legs 46, 57, 66 
 
 sections of 41 
 
 attitudes of 66 
 
Index. 265 
 
 PAGE 
 
 Legs illustrated by photographed statues : A faun, Hebe, youth 
 in Parthenon frieze, Pallas Athene, Ariadne, Demosthenes, 
 
 Diana, Modesty, fighting gladiator 71 
 
 chart of 72 
 
 Ligure 225 
 
 Limbs, 42, (legs and arms) 66 
 
 progression of articulations of 1 73 
 
 Lips 161 
 
 Little finger, expressive of the affections 92 
 
 Louvre, the museum of 20, 40, 62 
 
 Lungs 189 
 
 are mental 44 
 
 M. 
 
 Macbeth, a scene from 216 
 
 Mackaye, Steele 7 
 
 Madeline, Laure de la, quotation from 211 
 
 Madeley, quotation from 223 
 
 Man the object of art 36 
 
 spirit of, imprisoned 40 
 
 three types in 64 
 
 communicates in three ways 197 
 
 Martellato 189 
 
 Matter has no form of itself 34 
 
 Melody 171 
 
 Mental vision 231 
 
 Method, proper use of 229 
 
 Michael Angelo 231 
 
 Mill S 
 
 Milton, quotation from 220 
 
 Mind and heart, necessity of culture of 40 
 
 Mirror, use of a 11, 25 
 
 Mithas 32 
 
 Mixed or heart- voice, how to acquire 190 
 
 Monad principle 32 
 
 Monotone 193, 196 
 
 Monroe, Lewis B 8, 37, 196 
 
 Monsabre 5 
 
266 Index. 
 
 PAGE. 
 
 Moral division 119 
 
 poise 20 
 
 Motion, law of .168 
 
 and emotion 171 
 
 Mouth, expressions of 161 
 
 chart of 164 
 
 Movement, simultaneous and successive 173 
 
 Music, degrees for 211 
 
 Mythene . .'. 32 
 
 N. 
 
 Nanterre _ 3 
 
 Natural intuition 17 
 
 Negation, fact of 197 
 
 Nervous control, value of _ 22 
 
 Ninefold accord 37 
 
 chart of _ 39 
 
 Normal form, curves of _ 18 
 
 motion, definition of 37 
 
 Nose, Roman, Greek, Turk's 43 
 
 expressions of.- 156 
 
 chart of 159 
 
 Notes, progressive value of 213 
 
 Number three, the, held sacred 32 
 
 O. 
 
 Ontology, definition of 58 
 
 Onyx 225 
 
 Opposition, lines of _ 20 
 
 law of 24, 172 
 
 Order of exercises for systematic practice _ 236 
 
 Organism, analyzation of 36 
 
 Oromazes 32 
 
 Orus 32 
 
 Osiris 32, 221 
 
 P. 
 
 Pallas Athene 32 
 
 Pantomime, grammar of » 167 
 
 a gamut of expression in 177 
 
Index. 267 
 
 PAGE 
 
 Pantomime, its relation to speech 1 70 
 
 inflection to the deaf 193 
 
 Participle 204 
 
 Parting advice . . 227 
 
 Pasca 5 
 
 Passion 209 
 
 tendency of 169 
 
 influenced by color 225 
 
 People, vulgar and uncultured 209 
 
 Pharynx 189 
 
 Phrase, Delsarte's method of differentiating 194 
 
 modifying 197 
 
 rising 211 
 
 dissonant note in 212 
 
 Physiognomy and phrenology 44 
 
 Physiology, definition of 58 
 
 Plato, quotation from 77 
 
 Platonic hypothesis - 33 
 
 Portal, quotation from 223 
 
 Preposition 205 
 
 Previous lessons, how to use 227 
 
 Primary oppositions of arm and head 117 
 
 Profiles 155 
 
 chart of 155 
 
 Progressions, ascending 209 
 
 Promethean spark, the 40 
 
 Pronoun 205 
 
 Pythagoras 32 
 
 R. 
 
 Rachel 5, 79 
 
 Rainbow, used in illustration 31, 221 
 
 Reaction, law of 1 72 
 
 Registers 19° 
 
 Regnier, M 3,6, 63 
 
 Respiration 187 
 
 Respiratory and vocal organs, correct use of 188 
 
 Rhythm 171 
 
268 Index. 
 
 PAGE. 
 
 Run, the 82 
 
 of women 82 
 
 Raskin 5, 214, 232 
 
 quotations from 28, 60, 77> 7^> 221, 228, 230 
 
 S. 
 
 Sampson, M., quotations from 7, 46 
 
 interpreter for Rachel 79 
 
 Sapphire 224 
 
 Sardius 224 
 
 Scholar, attitude of the 68 
 
 Selections, directions for analyzing and practicing 216 
 
 Semeiotics, definition of 57 
 
 science of 61, 64 
 
 Sentiment 209 
 
 Sequence, law of 1 70 
 
 Serapis, oracle of 32 
 
 Serpentine movement 96 
 
 Shade, vocal 193, 194, 208, 210 
 
 Shoulder 107, 1 73 
 
 as a thermometer 42, 47 
 
 Sigh 195 
 
 Signs, musical 214 
 
 Silence, father of a word 203 
 
 Singing 196 
 
 Sinuousness, how to acquire 23 
 
 Slide 197 
 
 Sob 195 
 
 Sontag 5 
 
 Spencer 5 
 
 Spiral movement 108 
 
 Spirit, definition of 60 
 
 Spiritual love, three degrees of 225 
 
 St. Augustine, quotation from 64 
 
 St. Genevieve, church of 3 
 
 St. Paul, quotation from 34 
 
 St. Pierre, quotation from 225 
 
 Stones, arrangement and signification of 224 
 
 Strength, conscious 168 
 
Index. 269 
 
 PAGE. 
 
 Stuart, William 8 
 
 Study, meaning of 27 
 
 and toil 78 
 
 reason for 229 
 
 Substantive 204 
 
 Swedenborg, quotations from 33, 34 
 
 System, basis of the 29 
 
 T. 
 
 Talma 79 
 
 Teaching, false system of 231 
 
 Technique, attention to 28 
 
 Temperament, trusting to 6 
 
 Thermometers of passion 169 
 
 Thigh, movement of- 75 
 
 strength of 74 
 
 its part in walking 46, 74 
 
 Thinker, attitude of the 68 
 
 Thought, tendency of 169 
 
 Three, the vital number 37 
 
 things to be borne in mind 85 
 
 Thumb 1 73 
 
 as a thermometer 92 
 
 significance of the attitudes of 93, 94 
 
 Thummim, stones in 223 
 
 Titian 231 
 
 Tone, quality of. 190 
 
 points of reverberation of. 191 
 
 color of 192 
 
 preparation for 196 
 
 Topaz 224 
 
 Torso 42, 44, 121 
 
 zones of. 41, 121 
 
 attitudes of 122 
 
 carriage and expression of 122 
 
 inflections of 123 
 
 Triad, the Druidical 32 
 
 Tribute to Delsarte and Ruskin 232 
 
270 Index. 
 
 PAGE. 
 
 Trines 224 
 
 Trinities of the Hindoos, Egyptians and Chinese 32 
 
 Trinity 219 
 
 principle of 31 
 
 in color 31, 220 
 
 requisites of 35, 174 
 
 law of 1 74 
 
 Turn, the _ $2 
 
 Types, the, in man 64 
 
 U. 
 
 Understanding, external 225 
 
 Urim, stones in , 223 
 
 V. 
 
 Velocity, law of 171 
 
 Venus of Milo 40 
 
 Verb 204 
 
 ' ' Vere de Vere, " caste of , 40 
 
 Veronese, Paul 229 
 
 Vital division 55 
 
 Vocal proportions, law of 210 
 
 Voice 187 
 
 the language of the sensitive nature 36 
 
 colored by gesture , 95, 192 
 
 a caressing hand 190 
 
 two kinds of loud. 
 
 190 
 
 quality of, in emotion 192 
 
 mental . 
 
 192 
 
 in monotone ' 193 
 
 of the mother 207 
 
 strengthened by passion 209 
 
 softened by affection 210 
 
 Voice-production 189 
 
 Vowel, mother igo 
 
 excentric, normal, concentric igi 
 
 directions for practice 191, 201 
 
 normal emission of 102 
 
Index. 271 
 
 PAGE 
 
 Vowel, chart of 199 
 
 English, according to Bell 199 
 
 W. 
 
 Waist-muscles, importance of control of 23 
 
 Walk, indicative of character 73 
 
 the perfect 74 
 
 how to 75 
 
 directions for practicing the 76 
 
 of an actress 80 
 
 of prostration 81 
 
 of dudes 81 
 
 of infancy and inferiority 81 
 
 of meditation 81 
 
 of the blind 81 
 
 of the intoxicated 82 
 
 Walking-lesson 73 
 
 Weakness, conscious 168 
 
 Will or desire revealed by the nose 43 
 
 Wisdom, internal 225 
 
 Wrist 108, 173 
 
 as a thermometer 42, 49 
 
Second Edition — Revised and Enlarged. 
 
 GYMNASTICS OF THE VOICE; 
 
 A SYSTEM OF CORRECT BREATHING IN SINGING AND SPEAKING, BASED 
 UPON PHYSIOLOGICAL LAWS. 
 
 A Practical Guide in the Training and Use or the Speaking and Singing Voice, 
 
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