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The Delsarte System 
 
 OF 
 
 Physical Culture. 
 
Copyright, 1893, 
 
 BY 
 
 The Butterick Publishing Company (Limited). 
 
METROPOLITAN CULTURE SERIES. 
 
 * 
 
 THE DELSARTE SYSTEM 
 
 PHYSICAL CULTURE. 
 
 ^eov-ae-v^^ \:i.le-c«„nov 
 
 FIRST EDITION. 
 
 NEW YORK: 
 THE BUTTERICK PUBLISHING COMPANY (Limited). 
 
 1893. 
 
^■l)" 
 
 AUTHOR'S NOTE. 
 
 When Mme. Marie Geraldy, daughter of the late Frangois Delsarte, 
 visited the United States some eighteen months ago, she informed 
 us that her father never taught gymnastics of any kind, but simply 
 expression of the face and body ; and she was very much disturbed 
 by the idea that he seemed to be known in America only as a pro- 
 fessor of gymnastics, and remarked that she would rather he were 
 wholly unknown than that he should have such a reputation. 
 
 While she was wholly in error regarding the estimation in which 
 Delsarte is held by the thinking students and followers of his 
 doctrines in America, it is not remarkable, considering her slight 
 acquaintance with our language, that she should have formed erro- 
 neous ideas concerning the nature of the work done here under her 
 father's name, since so many instructors teach only the aesthetic 
 gymnastics, which were no doubt formulated by those who first 
 introduced the form of expression in this country, and which have 
 since been added to from time to time by the leading exponents of 
 the system to meet the especial needs of the American people. The 
 French as a nation are naturally expressive, using a great deal of 
 gesticulation to supplement and emphasize their speech; and for that 
 reason the methods of expression taught by Delsarte are much more 
 readily mastered by his countrymen than by Americans, who, on 
 account of their different temperament, mode of life and conven- 
 tional restraint, would find the art difficult to acquire without first 
 preparing the body for ideally correct expression through this almost 
 perfect form of physical culture, which has grown from the doctrines 
 taught by Delsarte. 
 
 As no one has ever publicly claimed the honor of originating 
 the aesthetic gymnastics now known only by the name of Delsarte, 
 we, as Americans, with all honor and affection, dedicate to the great 
 master this ideal form of aesthetic culture, which has gradually de- 
 veloped as a necessary and fitting accompaniment of his inestimably 
 valuable system of expression. 
 
 ELEANOR GEORGEN. 
 
 New York, May, 1893. 
 
INTRODUCTION. 
 
 Francois Delsarte, the eminent French savant and teacher, who left 
 to the world that which is now known as the Delsarte System of Expres- 
 sion, was born at Solesmes, France, in 1811. From boyhood he displayed a 
 decided taste for the dramatic art, and, while still a mere youth, he became a 
 pupil at the Conservatory, at Paris. Here, however, he had the misfortune 
 to lose his voice ; and so, being incapacitated for the stage, he turned his 
 attention to teaching the art he loved so well, and devoted his whole life 
 to the study of human nature in its every phase. In the course of his wide 
 researches he became convinced that there are certain fixed laws whereby true \ 
 nature can be accurately simulated and idealized by art, so that a perfect out- ' 
 ward expression of inward emotions may be produced. We say true nature, - 
 because mere habit and mannerism are frequently mistaken for natural expres- 
 sions. Delsarte died in 1871 without publishing his great work, but he left, 
 his valuable manuscripts to live after him. 
 
 The Delsarte System of Expression includes a series of gymnastics 
 designed to strengthen and relax every muscle of the body. It is the most 
 nearly perfect form of physical culture that we have. It gives health, strength, 
 symmetry, grace and freedom of action. Mere athletic gymnastics develop cer- 
 tain muscles but leave others wholly dormant, thus producing strength at the 
 expense of grace. In fact, our most difficult pupils are those who have taken 
 a course of athletic gymnastics, for their muscles are hard and inflexible and 
 their movements ungraceful and angular. Many forms of physical culture are 
 too violent for girls and women, but the Delsarte System is beneficial and 
 suitable for every one, and should be made an obligatory part of the curri- 
 culum of every school. 
 
 While learning to strengthen and relax the muscles of the body, the 
 pupil at the same time takes a series of ejMrcises for controlling them and 
 rendering them entirely subservient to the action of the brain. To the 
 diligent student, properly taught, the mastery of this art means all manner of 
 bodily graces, and, we may add, perpetual youth. In making this statement 
 we do not use a mere flower of speech, but mean it literally, for by the 
 Delsarte system we are taught to use all the muscles of the body, arms and 
 legs correctly, thus rendering them strong and flexible ; and, as a matter of 
 fact, true, healthful youth is nothing more than strength and elasticity of the 
 muscles, while old age means a stiffening of the joints and sinews through 
 general disuse. Observe a person of middle age, or even more advanced in 
 
years, of whom we say, "How well he carries his age." Does not such a one 
 possess an erect carriage, an elasticity gf step and general activity that cause 
 us to make the remark? Besides, activity of the body lends brightness to the 
 face, which assists in making one appear young. 
 
 The results achieved in a vast number of most unlikely cases confirm the 
 belief that anyone not afflicted with actual deformity and not engaged in an 
 occupation entirely opposed to flexible movement may become easy and grace- 
 ful. Many people go through life with an ungraceful gait and -stiff, awkward 
 movements, when, if they only knew it, they could correct the evil perma- 
 nently by avoiding certain bad habits, exercising muscles now in disuse and 
 relaxing others that are used too much. 
 
 As mentioned above, we have, in the study of the Delsarte method, first 
 the physical culture which teaches us the art of withdrawing the natural 
 nervous force from the different members of the entire body and enables us 
 to control that force by the action of the brain, and then to govern the 
 muscles artistically, developing every set equally until the limbs assume an 
 appearance of strength and symmetry and allow perfect freedom of action, 
 which is synonymous with grace and beauty. It stands to reason that, if our 
 muscles are free and flexible, all our movements will become correspondingly 
 free, and we will feel new life and vigor through lack of restraint. It is like 
 oiling machinery and then setting it in motion. 
 
 The exercises of this system act as a health restorer. They are not 
 violent, yet they are wonderfully strengthening by reason of the slowness of 
 the movements. They induce proper habits of respiration and develop the 
 chest admirably. They also serve to strengthen the back ; and many people 
 suffer from weak and ' painful backs because they unconsciously carry them- 
 selves badly at all times, but especially when walking, the chest being drawn 
 in and the abdomen thrown forward, or else the chest and shoulders being 
 held far back and the abdomen thrown forward. Either posture gives a dis- 
 tinct but reversed curve to the spine and throws the entire weight of the torso 
 upon the muscles of the back. 
 
 If the back is to be relieved of all strain and an erect, easy carriage 
 acquired in walking, the chest must predominate and the hips be well drawn 
 back ; but those who have always carried themselves incorrectly will find it 
 almost impossible to attain the proper action until the muscles have become 
 flexible through the practice of the exercises which will be described farther 
 on, and which, if faithfully performed, cannot fail to produce beneficial effects. 
 
 As the exercises are of a soothing nature and regulate the nervous force, 
 they are beneficial for nervousness, because they teach us repose — that bless- 
 ing possessed by so very few. Many people quickly tire themselves in 
 performing their ordinary duties, because they lack repose and give certain 
 muscles unnecessary work through bad habits acquired and through lack of 
 proper exercise. These persons assert that 'they are not strong ; in some cases 
 this may be true, but in many more instances their weakness proceeds from 
 a cause which might easily be removed. It is also true that many people do 
 
not relax their vital energy even in sleep, and as a consequence they do not 
 receive as much benefit from sleep as do those who can give themselves up to 
 perfect repose. 
 
 This grand system of culture, in giving us perfect control of our bodies, 
 arouses within us a keener sensibility ; and here we enter the second depart- 
 ment of the work, the limitless study of expression. This was the great 
 aim of Delsarte's life, for which these preliminary exercises were but the 
 preparation — the beginning for a great end, which was to be the full, artistic, 
 soulful, outward expression of the inward emotions. By exercising the facial 
 muscles we teach the countenance to express and the eyes to glow with 
 the intelligence of the thought within ; and by the same process the fingers 
 become sensitive to feeling, giving delicacy to the touch and symmetry to 
 even an ugly hand. For through this art we learn to carry the thumb 
 properly and, therefore, artistically, and to give life and elasticity to the 
 movements ; consequently, the hand will give expression to the emotions, and 
 surely there is nothing more beautiful than an expressive hand. It is far 
 more to be desired than one that merely possesses the outlines of symmetry. 
 
 The body becomes alive to the feehng within, and the soul awakens. 
 The mind first grasps an idea, which is then conveyed to the emotional 
 center, the breast, the home of the heart ; the heart in tui-n should mirror 
 the sentiment, and the face should awaken to the thought or emotion within. 
 All action should radiate from the center. The body is swayed according to 
 the strength of the emotion, until the latter, seeking a wider outlet, flows 
 into the extremities and becomes a gesture — the only true gesture ; and not 
 only should the arms and hands gesticulate, but the lower limbs as well, by 
 being in full sympathy with every other active part. Gesture too frequently 
 becomes a meaningless wave of the arm, devoid of all feeling, while the 
 speaker's body and lower limbs might be carved from wood or stone, so 
 little expression is displayed in either. Public readers and elocutionists too 
 often indulge in this inane style of gesture, knowing nothing of the divine 
 art of expressing from an active, emotional center which gives true heart to 
 such work. "It is not art but heart which wins the wide world over"; and if 
 the "heart" is not there, cultivate it. 
 
 To those leading a public life, whether they be preachers, lawyers, 
 orators, elocutionists or actors, the Delsarte System is invaluable, since it 
 teaches true naturalness of expression and unconstrained gesticulation. For 
 persons in private Hfe it is not necessary to go beyond the study of 
 physical culture and general deportment, but for all forms of public life 
 the deeper, grander subject of expression must be entered upon with all the 
 heart and soul. 
 
^^^-^^ y^ /^J^ ^ 
 
 
 
CONTENTS. 
 
 CHAPTER I. 
 
 Apparel. 
 
 PAGE. 
 
 15 
 
 CHAPTER n. 
 
 POISE. 
 
 SiDE-To-SiDE Poise — Side-to-Side Poise with Harmonic Arm 
 Action — Oblique Poise — Oblique Poise with Harmonic 
 Arm Action — Heel-to-Toe Poise — Toe Poise. 16 
 
 CHAPTER III. 
 
 RELAXING EXERCISES. 
 
 Hands and Fingers — Ankles — Wrists — Shoulders — Elbows — 
 Knees — Hips — Neck — Facial Muscles — Body. 28 
 
 CHAPTER IV. 
 
 CONTROLLING MOVEMENTS. 
 
 Straight Radiations — Spiral Radiation — Curved Radia- 
 tions — General Controlling Exercise for the Chest 
 and Torso — General Expansive Exercise — Swaying of 
 the Shoulders for Flexibility of the Waist Muscles 
 — Harmonic Expansion of the Hand. - 35 
 
CONTENTS. 
 
 CHAPTER V. 
 WALKING. 
 
 PAGE. 
 
 Exercise I. — To Acquire Excellent Carriage of the Body 
 — Exercise II. — To Acquire Free Action in Throwing 
 THE Leg from the Hip — Exercise III. — To Give Spring 
 to the Feet. - 48 
 
 CHAPTER VL 
 
 TRANSITIONS. 
 
 transitions of the feet. 
 Transition of Attention Toward the Free Leg — Transi- 
 tion OF Attention Toward the Strong Leg. 51 
 
 55 
 
 58 
 
 transitions of the arms. 
 Six Exercises. 
 
 transitions of the head. 
 Thirteen Actions. 
 
 CHAPTER VII. 
 
 OPPOSITIONS. 
 
 Between Head and Arms — Between Arms and Legs — Prin- 
 cipal Oppositions Between the Body and Arms. 
 
 CHAPTER VIII. 
 
 GENERAL DEPORTMENT. 
 
 Entering and Leaving a Room— How to Manage a Train- 
 To Sit Gracefully— To Rise Gracefully— To Ascend 
 Stairs— To Descend Stairs— To Acknowledge an Intro- 
 duction—Correct Formal Bow— To Shake Hands— To 
 Stoop— To Rise— To Present and Accept— The Courtesy. 70 
 
 59 
 
CONTENTS. 
 CHAPTER IX. 
 ATTITUDES. 
 
 PAGE. 
 
 The Feet — The Hand. - 82 
 
 CHAPTER X. 
 
 ATTITUDES {Continued). 
 
 The Hand in Relation to the Body. 88 
 
 Attitudes of the Arm. 
 
 CHAPTER XL 
 ATTITUDES {Continued). 
 The Trunk or Body. 
 
 90 
 
 92 
 
 CHAPTER XII. 
 ATTITUDES {Concluded). 
 
 The Head — The Eyeball — The Upper Eyelid — The Lower 
 
 Lids — The Eyebrow — The Nose — The Jaw — The Lips. 99 
 
 CHAPTER XIIL 
 GESTURE. 
 
 The Hand — Acceptance — Salutation — Invitation — Distribu- 
 tion — Demonstration — Domination — Apprehension — 
 Negation — Assertion — Affirmation — Suspense — Decla- 
 ration. - - - 107 
 
CONTENTS. 
 
 CHAPTER XIV. 
 
 GESTURE {Continued). 
 
 PAGE. 
 
 The Departure and Altitude of Gesture — Gamut of Fav- 
 orable Conviction — Gamut of Unfavorable Conviction. 112 
 
 CHAPTER XV. 
 
 Gestures of the Head. 
 
 116 
 
 CHAPTER XVI. 
 
 Final Remarks. 
 
 118 
 
MY MIND TO ME AN EMPIRE IS 
 WHILE GRACE AFFORDETH HEALTH.'' 
 
THE DELSARTE SYSTEM 
 
 OF 
 
 PHYSICAL CULTURE. 
 
 CHAPTER I. 
 APPAREL. 
 
 It may be well to mention at the beginning the sort of apparel most 
 suitable to wear while exercising, for it is of the utmost importance that the 
 dress shall not hamper the movements in any way. We would not be under- 
 stood to decry the corset, since there are few female figures that can do 
 without some support for the bust, unless the form be sufficiently slight to be 
 independent of waist or corset. A stout woman cannot look otherwise than 
 vulgar without a support for her figure, and a moderately plump one certainly 
 needs such support to give a symmetrical contour to the waist. 
 
 ~- ~£ut above all things, w ear a flexible corset that will not destroy the > 
 natural curves of the form ; and wear it sensibly, by which we mean, wear it 
 in such a manner that it will not in any way interfere with the actions of 
 the body. In fact, the corset should be so adjusted that it may be worn 
 without the slightest discomfort from morning till night ; and if the wearer 
 wishes to lie down during the day, it should cause no more inconvenience in 
 a reclining posture than the dress waist. The woman who is compelled to 
 remove her corset the moment she reaches home certainly does not wear it 
 sensibly. It is a great mistake on the part of any woman to suppose that by 
 drawing in her waist she lessens her apparent size. She simply accentuates the 
 fulness of her bust and hips by making her waist unnaturally small, and she 
 presents in consequence a larger appearance than she would if she simply wore 
 her corset as a mould or support upon which to dispose her outer clothing. 
 
 Having arranged the corset or under-bodice comfortably, the next requisite 
 is a full-sleeved waist of blouse form, belted so as not to hide the contour 
 of the figure, and having sufficient fulness between the waist and arms'-eyes 
 to admit of raising the arms above the head with perfect freedom of action. 
 An easy and graceful motion of the lower limbs is assured by wearing a 
 plain, round, slightly full skirt. 
 
16 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 '=pr^he instructor frequently has a hard struggle with pupils to induce them 
 to wear sensible shoes ; and we may state here that these exercises cannot 
 possibly be properly performed in shoes having high heels and pointed 
 toes, nor can anyone become graceful while wearing such foot-coverings. 
 Many people tell us they cannot possibly wear that which is ordinarily 
 known as the "common-sense" shoe; shoemakers, too, say there are persons 
 whose feet are so shaped that they cannot wear low heels, and we will- 
 ingly accept the statement ; but our feet reach that condition by develop- 
 ment, and not by actual formation. The feet are trained to the wearing of 
 unnatural foot-gear at a sacrifice of the correct, healthful poise of the body, 
 and consequently at a sacrifice of health to a greater or less extent. It has 
 been our experience to discover that the habitual wearer of high heels in- 
 variably suffers from nervousness in one form or another, a weak or painful 
 back, head-aches, or some affection of the nerves of the eyes ; and we have 
 also found that when, through proper training, the body finds its correct 
 equipoise, the sensible foot-covering not only becomes comfortable, but grows 
 to be a necessity for general utility in outdoor walking. 
 
 The same suggestions in regard to suitable apparel also apply to men ; 
 the clothing must be arranged so as not to hamper the movements in any 
 way. Therefore we suggest the Summer outing shirt or tennis blouse, trousers 
 simply belted at the waist, and shoes with low, broad heels, and having plenty 
 of room at the toes for the exercise of the muscles of the feet. 
 
 CHAPTER II. 
 POISE. 
 
 As It is necessary to stand to do the greater part of our work, and as 
 it is very important to learn the art of poise with relation to perfect balance, 
 It IS wholly reasonable to begin by learning to stand or poise correctly, the 
 exercises being designed to give the muscles of the lower Hmbs strength and 
 flexibility and thus afford a true foundation for the work to follow. 
 
 EXERCISE I. 
 
 SIDE-TO-SIDE POISE; FOR ^^ ^^^ ^^^^ place stand straight, with the hips 
 
 STRENGTH, HARMONY,' AND '!!'^T "^'^ ^^^^' ^^^ ""^^'^ ^'^^ ^"^ "°* '^'^'''^^' 
 
 the head drawn back upon the spine without tilt- 
 
 GRACE OF MOVEMENT. j^g ^he chin, the toes placed on a parallel line, the 
 
 feet set somewhat farther apart than would be the 
 
 case when standing naturally, and the weight resting equally upon both legs. 
 
 Now center the mind upon the left hip, and move the latter in a direct 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 17 
 
 line as far over to the left as possible, until the right leg is entirely relieved of 
 the weight of the body. If this is properly done, the shoulders will be found 
 to lean well over to the right side, to provide a balance for the action. (See 
 figure No. i.) 
 
 Next center the mind upon the right hip, and with the same action move 
 the hip as far as possible to the right side, freeing the left leg entirely of 
 weight, and causing the shoulders to lean toward the left side. Repeat these 
 movements a number of times, being careful that the knee of the leg bearing 
 
 Figure No. 1. — Female. 
 
 Figure No. 1. — Male. 
 
 the weight of the body is held firm and straight, while the other is naturally 
 and easily bent without the slightest strain upon the muscles. In performing 
 all these exercises make the movements as slowly as possible, in order to give 
 full strength and elasticity to the muscles and bring them under perfect control. 
 After this side-to-side poise has been practised until a steady, easy move- 
 ment has been acquired, with perfect opposition between the hips and shoul- 
 ders, the second part of the exercise should be taken up. 
 
18 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 SIDE-TO-SIDE POISE,WITH 
 HARMONIC ARM ACTION ; 
 TO PRODUCE BALANCE AND 
 HARMONY OF MOVEMENT 
 BETWEEN ALL ACTIVE 
 PARTS. 
 
 carry the left arm down 
 
 EXERCISE II. 
 
 Repeat the movements just described ; but as the 
 hip is moved to the left side raise the left arm 
 directly from its normal position at the side to the 
 side of the head, with the elbow straight and firm, 
 the hand pendent from the wrist and the fingers 
 pointed outward to the side, as shown at figure 
 No. 2. Then move the right hip to the right, 
 carry the right arm up to the side of the head in 
 the manner just described, and at the same time 
 to its normal position at the side. Be sure to keep 
 
 Figure No. 2.— Female. 
 
 Figure No. 2. — Male. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 19 
 
 the elbows straight throughout the movement and to allow the hands to follow 
 the wrists — that is, when the wrist is moving upward the hand should point 
 downward, and when the wrist is moving downward the hand should point 
 upward, as illustrated at figure No. 3. In this way the wrists and hands will 
 be found to move in opposition, which is one of the great laws upon which 
 the Delsarte System is based. 
 
 By this combined action of the hips, arms and shoulders the head will 
 
 Figure No. 3. — Female. 
 
 gradually be taught to unconsciously follow the strong hip, or, in other 
 words, the hip bearing the weight of the body ; because as the arm is carried 
 to either side of the head, the latter must move from right to left, or vice 
 versa, to rest against the arm. Thus, by diligent practice we finally produce 
 a smooth, even movement between the hips, arms, shoulders and head, called 
 
20 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 harmonic poise. All the members must move in unison. The arms, having 
 a longer distance to travel than the hips, must move faster than the latter ■ 
 and the head, having the shortest distance to move, must go more slowly than 
 
 FiGunE No. 3.— Male. 
 
 either the hips or the arms. This exercise must be practised until it becomes 
 one harmonious movement, all the members acting at the same time 
 
 In beginning the movements be not discouraged if the knees tremble, 
 the muscles ache because they have been in such sad disuse, and the action 
 IS tottery generally. The hips will insist on going in any direction but the 
 nght one, and the shoulders will show an inclination to follow the hips with 
 the result that at first the figure will be all awry, somewhat as shown at 'figure 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 21 
 
 No. 4. The elbows will not remain straight, the hands will not move cor- 
 rectly, and altogether the result of the attempt will be most discouraging ; 
 but persevere, for by diligent practice the desired end may certainly be at- 
 
 FiGUBE No. 4.— Female. 
 
 FiGUBE So. i. — Male. 
 
 tained. Stand before a mirror, and see that every member is doing its work 
 correctly. Use the brain properly, and the machinery will gradually become 
 oiled and move so much more smoothly with every trial that in a month 
 or so the improvement will be surprising. 
 
 This exercise having been fairly well mastered, let us take up the next. 
 
22 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 EXERCISE III. 
 Stand with the weight well poised or resting upon 
 the left leg and with the right foot advanced as if 
 about to take a step. As in the previous exercise,^ 
 keep the hips well drawn back, the chest expanded 
 and the head easily resting at the top of the spine; 
 and center the mind as before upon the hips. Think now of moving the. 
 
 OBLIQUE POISE; FOR 
 STRENGTH, HARMONY, AND 
 GRACE OF MOVEMENT. 
 
 Figure No. 5.— Female. 
 
 Figure No. 5. — Male. 
 
 right hip in an oblique line forward toward the toe of the right foot. Do not 
 bend the knee of the right leg in moving forward, as there may be an in- 
 clination to do, but keep it strong and straight when bearing the weight of 
 the body. When the hip has been thrust as far forward as possible the 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 23 
 
 shoulders should be leaning well back toward the left leg, obliquely opposed 
 to the right hip, and the left foot should be resting easily upon the floor 
 without any strain upon the leg. (See figure No. 5.) 
 
 Now reverse the movement by thinking of drawing the left hip obliquely 
 backward until the weight is fully poised upon the left leg, the knee of 
 which should be perfectly straight, while the right leg should be entirely 
 free from the weight of the body, the shoulders leaning well over toward the 
 right leg, which should be resting easily in front, as indicated at figure No. 6. 
 
 Figure No. 6. — Female. 
 
 Figure No. 6. — Male. 
 
 Repeat this exercise a number of times, being very careful not to twist the 
 body while performing the transition from one leg to the other, but keeping 
 the members throughout the movement in the same relation to one another 
 as they occupied in the beginning. 
 
24 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 OBLIQUE POISE, WITH 
 
 EXERCISE IV. 
 
 When practice has made the previous movement 
 thoroughly familiar, use the arm-s with the same 
 HARMONIC ARM ACTION. ^^^j^^^ ^^ ^j^^^ described for the first exercise, ex- 
 cept that the right arm must be carried obliquely 
 forward (instead of to the side) as the right hip is moved forward, and that 
 when the action is finished the right temple should be resting against the 
 arm, the elbow should be quite straight and the fingers should point obliquely 
 forward. As the straight left arm is raised at the back the fingers should 
 
 point obliquely backward, with the palm 
 toward the ground ; and at the close of the 
 movement the head should be resting against 
 the left arm back of the left eat. Observe 
 the same opposition of the wrists as that pre- 
 viously described. 
 
 Repeat the exercise many times; then place 
 the left foot forward in the same relation to 
 the right as the right has previously borne 
 toward the left, and exercise the hips, and 
 afterward the arms, in the same manner. In 
 all these movements, whether to the side or in 
 the oblique, be very careful to keep the shoul- 
 ders balanced upon their own side in opposi- 
 tion to the hips and head; and above all, do 
 not settle upon the hips — that is, do not finish 
 a movement with a jerk or bounce, but keep 
 . the intercostal muscles (lying between the 
 ribs) firm and straight on the side bearing the 
 weight of the body. 
 
 EXERCISE V. 
 
 HEEL-TO-TOE POISE;. TO 
 ESTABLISH EQUILIBRIUM, 
 AND TO TEACH THE BODY 
 REPOSE OF ACTION. 
 
 Stand with the 
 weight equally pois- 
 ed upon both feet, 
 the toes on a par- 
 allel line, but not 
 turned too far out- 
 FiGURB No. 1. ward, the hips well drawn back, the chest pre- 
 
 dominating, and the head resting easily back 
 upon the apex of the spine. (Refer to figure No. 7.) Now carry the weight 
 slowly and easily forward until it rests entirely upon the balls of the feet 
 (do not raise on the toes), being very careful while making the transition not 
 to bend at the knees or at the waist, or to thrust the head forward to keep 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 25 
 
 --'J. . 
 
 the balance. The posture is indicated by the dotted lines at figure No. 7. 
 The movement must simply- be in the ankles. Now, still preserving the same 
 careful poise of the body, draw the weight slowly back upon the heels. 
 Do not sway the shoulders back, but draw the body back as though it were 
 one firm, unbending mass, until 
 the entire weight is resting upon 
 the heels, confining the action 
 to the ankles as before. In 
 practising these movements avoid 
 such postures as are shown by 
 the dotted lines at figure No. 8. 
 At the beginning, when per- 
 forming this backward action, 
 the student should feel a very 
 strong tension of the muscles 
 in the calves of the legs, and 
 should also feel as though she 
 were trying to bend the knees 
 backward. By looking over her 
 shoulder into a mirror, she will 
 see that she moves a greater 
 distance than she at first sus- 
 pected, and that she has the ap- 
 pearance of moving on rollers, 
 provided, of course, she is per- 
 forming the exercise correctly 
 and does not bend any part of 
 the body but the ankles. Re- 
 peat this forward and backward 
 movement a number of times 
 at each practice, going through 
 with it very slowly, as described 
 for the other poises. 
 
 When the above movements 
 have been accomplished with 
 steadiness and ease, as the body 
 moves forward raise the chin 
 slightly, and as it moves back- 
 ward slightly lower the chin, just enough to give balance to the action and 
 preserve the graceful opposition between the head and body. 
 
 This exercise will be found to give a person greater equilibrium in the 
 movements and more repose of manner in the actions of daily life. It is 
 moreover, soothing to the nerves, as it takes the mind from the cause of 
 nervousness by • concentrating the attention upon the- special feat of keeping 
 the balance ; and the subtile movement produces a very soothing effect. 
 
 Figure No. 8. 
 
M 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 EXERCISE VI. 
 
 Stand exactly as in the previous exercise, and with 
 the same movement carry the weight to the balls 
 of the feet; then slowly raise upon the toes to the 
 highest point attainable without losing the balance, 
 and as slowly carry the weight down again in a 
 straight line until it rests once more on the balls 
 of the feet, but without allowing the heels to touch the floor. (See figures 
 
 Nos. 9 and lo.) Repeat this 
 movement from three to five 
 times, as the strength will permit. 
 The pupil will doubtless be 
 
 TOE POISE; TO GIVE 
 STRENGTH, SPRING AND 
 FLEXIBILITY TO THE MUS- 
 CLES OF THE FEET. 
 
 Figure No. 9. 
 
 FiGUHE No. 10. 
 
 glad to seek a chair after this exercise, for it 
 is quite tiresome, especially if the ankles are 
 not very strong; but she will find it extremely 
 beneficial if persevered in. It strengthens the 
 muscles of the fore-leg and ankle, gives active 
 spring to the foot and development to the 
 instep, and is decidedly necessary to enable 
 one to walk well. Practise this movement 
 with the others every day, and at about the 
 third practice endeavor to increase the num- 
 ber of times of rising and lowering on the 
 toes without losing the balance or touching 
 the heels. 
 
 If these exercises are carefully performed, 
 it will be found that the muscles of the lower 
 limbs become much firmer and stronger, that 
 the hips and head perform their oppositions 
 to the shoulders in a smooth, even movement 
 from side to side or obliquely, as the case 
 may be, and that the arms work harmoni- 
 ously with the body, with correct movements 
 of the hands and a strong, straight elbow. 
 
 When these results have been fully attained, there shouM be a continual 
 inclination to poise the weight when standing upon one leg, whether right or 
 
 Figure Kg. 11. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 2T 
 
 left ; but the beginner is likely to fall into a bad habit at this point, if not 
 very careful. This is the fault of carrying the mechanical exercise, which is 
 only for the purpose of strengthening the muscles of the lower limbs, of giving 
 flexibility to the hips and of teaching correct poise of the shoulders, hips and 
 head, into the manner of standing when in repose, by thrusting the hip too 
 far out at the side or inclining the head too much tov/ard the strong leg, or 
 
 Figure :fo. 12.— Female. 
 
 FiGDEE No. 12. — Male. 
 
 both. (See figure No. ii.) When a person stands correctly, a plumb-line 
 dropped from the middle of the forehead should touch the heel of the foot 
 bearing the weight of the body, as represented at figure No. 12. This law 
 was well understood by the old Greek sculptors arid was followed by them 
 in all statues of figures standing in repose. 
 
28 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 CHAPTER III. 
 RELAXING EXERCISES. 
 
 To gain repose, which can only be acquired through perfect control of 
 the muscles, and to be able to move the individual members of the body ac- 
 cording to the will and not by a particular uncontrollable nervous force con- 
 tained in the muscles themselves, we must take up a series of exercises in 
 relaxation, in order to remove all tension in the muscles throughout the dif- 
 ferent members of the body, and so save the vital energy by permitting the 
 muscles to rest when not called upon to act. By so doing, we gain com- 
 mand of the muscles and make them plastic and capable of responding to the 
 artistic dictates of the mind. 
 
 In our study of relaxation we always begin at the extremities and work 
 inward toward the center, learning to relax each set of muscles in turn. It 
 may be as well to mention here that it is not advisable to begin at the hands 
 and practise relaxing all the muscles of the arms, one set after another, with- 
 out immediately afterward taking up an exercise to control the muscles and 
 bring them back to their normal condition, devoid of all nervous tension ; and 
 the same is true of all parts of the body, except when relaxing the muscles 
 to induce sleep. As it is impossible for the writer to know the needs 
 and defects of the individual pupil, it is well for everyone to study his or her 
 own special characteristics. 
 
 If naturally very much relaxed in all the joints, do not increase the 
 looseness by practising relaxing exercises, but rather endeavor to acquire 
 control of the muscles by the performance of controlling exercises ; for 
 too much relaxation of the body is a graver fault than stiffness or angu-, 
 larity, as it denotes physical and, sometimes, mental weakness, and it is 
 much more difficult to put life and activity into relaxed muscles than to 
 release stiff ones. On the other hand, if the joints are stiff, practise the 
 relaxing exercises a great deal, until the joints can be relaxed with ease; 
 and do not neglect the controlling exercises, because they develop the mus-. 
 cles equally and give grace to the natural movements. j 
 
 HANDS AND FINGERS. 
 
 First to be considered are the hands and fingers ; so while in a sitting ; 
 posture raise the right fore-arm from the lap straight up in front, simply bend- 
 ing the arm at the elbow until the wrist is level with the chest, and allowing: 
 the hand to hang utterly relaxed from the wrist ; then by a strong action of 
 the fore-arm up and down, toss the relaxed hand, without the slightest energy 
 or appearance of life in the hand. Be very careful not to assist the move- 
 ment by an unconscious action in the hand muscles, allowing only the muscles 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 29 
 
 in the fore-arm to toss the hand. By the same action toss the hand from 
 side to side and in a circle, as well as up and down. 
 
 Go through the same exercise with the other arm ; and when the fingers 
 and hands have been released from all sense of will, so that they will flap 
 about as if simply attached by strings, try both hands together. If this exercise 
 cannot be accomplished at the first attempt, do not despair, but try many times ; 
 for it is often difficult to relax the muscles, especially if one is naturally of 
 a nervous temperament or very energetic. Treat the hands as though they 
 were simply attached to the wrists by strings and could only be moved by 
 some action of the arms. 
 
 ANKLES. 
 
 Relax the muscles of the right ankle so that the foot will hang quite 
 limp ; then by a strong action of the muscles of the fore-leg (the part from 
 the knee to the ankle) toss the foot about in the same manner as practised 
 with the hand or the fore-arm. Do the same with the left foot. This exercise 
 may be performed either sitting or standing. The pupil will soon learn to 
 know by the sensation when she has released any member from all sense 
 of will, and will be able to distinguish just where she is exercising control 
 if any nervous force is left in the member she is trying to relax. 
 
 WRISTS. 
 
 Now stand and endeavor to attain full relaxation of the wrists. This is a 
 "very beneficial exercise. It develops the muscles of the upper arm and ex- 
 'pands the chest, while accomplishing its purpose of r'elaxing the muscles of 
 sthe wrists. Stand with the weight equally poised upon both legs, the heels 
 mearly together and the hips drawn back ; then raise the arms straight out 
 ;;at the sides until level with the shoulders, with the palms downward and 
 khe hands hanging utterly relaxed. Be sure the elbows are straight. By a 
 strong action of the arm muscles only from the shoulders to the wrists toss 
 ithe relaxed hands up and down, at first slowly, then more rapidly, being 
 icareful to keep all sense of will out of the hands. Do nqt forget the idea of 
 the string attachment. 
 
 This will prove very fatiguing at first, because the muscles are all so 
 weak and unaccustomed to this kind of action ; and the pupil will doubtless 
 be glad to take the first shoulder exercise. 
 
 i SHOULDERS. 
 
 > 
 
 ; The shoulders are usually the most difficult portion of the body to relax, 
 probably from the fact that from early childhood we have been made conscious 
 of them by being continually begged or ordered by relatives and teachers to 
 hold them back, which is wholly erroneous. It is, therefore, necessary in many 
 
30 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 instances to employ three sets of exercises to release the shoulder muscles from 
 
 all sense of will. 
 
 Exercise I. — Raise the arms from the sides as if they were almost too 
 heavy to lift, until they reach the altitude of the shoulders ; then release them 
 from all will power and allow them to drop to the sides as if paralyzed— per- ] 
 fectly dead weights from the shoulders to the tips of the fingers, being careful 
 not to hold them at the shoulders after they fall. Perhaps they will fall in a 
 relaxed condition, but after they reach the sides they will very likely rebound 
 as if mounted on wires, so the exercise should be repeated a great many 
 times, especially if the shoulders are inclined to be stiff. 
 
 ' Exercise II. — Stand with the weight equally disposed upon both feet and 
 the heels nearly together or normally placed. Then by a swaying action from 
 the ankles only, first to the right and then to the left, toss the relaxed arms 
 about the body, being extremely careful that there shall be no unconscious 
 assistance in the movement from the muscles of the shoulders. The arms 
 must hang as if they were simply attached by strings and could only be tossed 
 about by the action of the body from the ankles. Be a child again, and give 
 up the entire will to the enjoyment of the action. It is so restful to be able 
 to relax these stiff muscles that the arms will feel better after the very first 
 trial of the exercise. 
 
 Exercise III. — Stand in poise upon the right leg, and advance the left 
 foot slightly in front of the right, being careful to keep an easy balance ; then i 
 bend the body at the waist toward the left side, raise the left arm heavily, i 
 straight out at the side, until level with the shoulder, remove all sense of will 
 from the arm, and allow it to drop to the side as if paralyzed. Be careful j 
 not to allow any nervous force to creep into the arm after it falls ; it should | 
 hang wholly relaxed ani should swing for a few seconds from the force of 
 the fall. Repeat the dropping of the arm several times. Then by a pivotal 
 or twisting action of the body from the right ankle, swing the relaxed arm 
 backward and forward, with no more feeling than if it were attached to the 
 shoulder by a string. Poise upon the left leg, and exercise the right arm in 
 the same manner. 
 
 ELBOWS. 
 
 Exercise I. — Next we learn to relax our stiff elbows. This may be 
 found rather difficult, but the exercise is just as necessary as any of the 
 others to give a free, graceful movement to the arms. The elbows are fre- 
 quently very aggressive in appearance, standing out at the sides, (see figure 
 No. 13), and giving a very angular and ungraceful contour to the arms; but 
 when one has learned to relax the shoulder and elbow joints, the arms will 
 hang easily in their proper position, as shown at figure No. 14. A very slight 
 tension in the shoulder will throw the arms out of their proper range. To 
 relax the right elbow, stand with the weight resting upon the right leg, the 
 right hip well thrown out to the right side and the elbow joint upward on 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 31 
 
 a level with the shoulder, in which position the palm of the hand should 
 face backward. Then drop the fore-arm, wholly relaxed, and allow it to 
 swing for a few moments from the natural vibration caused by the fall. 
 
 Figure No. 13. 
 
 Figure No. 14. 
 
 Repeat this action a number of times, and then poise upon the left side and 
 exercise the left arm in the same manner. 
 
 Exercise II.— Having learned to drop the fore-arm, endeavor by a for- 
 ward-and-backward and a rotary action of the upper arm from the shoulder 
 to swing the fore-arm in an utterly relaxed condition from the elbow joint. 
 This is very difficult to do, but it can be accomplished by practice and per- 
 severance. Do not attempt this action until the dropping of the arm from 
 the elbow has been thoroughly mastered. 
 
32 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 KNEES. 
 
 Sit upon an ordinary chair, place both hands under the thigh 
 midway between the hip and the knee of the right leg, and with them raise 
 the leg sufficiently to leave the foot swinging a few inches above the floor; 
 slowly raise the foje-leg until it is on a line with the hip and knee directly 
 in front of the body, making the knee as straight as possible ; then let go 
 the muscles of the fore-leg completely, and allow it to fall at the knee in 
 a relaxed condition, swinging like a pendulum by its own weight. Repeat 
 this movement at least nine times, and then exercise the left leg in the same 
 manner. Persons obliged to sit a great deal will find an occasional practice 
 of this exercise to afford decided relief from the strain of holding the knees 
 a long time in one position. 
 
 HIPS. 
 
 Stand on the right foot on a slight elevation, such as a stool, hassock, pile 
 of books or anything that will raise the person a few inches above the floor. 
 Stand near enough to the edge to allow the left foot to hang over the side 
 unobstructed, and rest the right hand on the back of a chair for support, lest 
 in the endeavor to keep the balance an unconscious will power be thrown into 
 the leg that is being relaxed. By a swaying, backward-and-forward action of 
 the hip, swing the left leg directly from the hip like the pendulum of a clock, 
 without exerting the slightest will power in it. Occasionally stop the swaying 
 movement on the right side, but allow the left leg to continue swinging in its 
 perfectly relaxed condition. It will be found of great assistance in the proper 
 performance of this exercise to carefully stand in correct poise, with the shoul- 
 der, head and hips well balanced, not leaning the shoulder toward the right 
 side. 
 
 Exercise the right leg in the same manner by poising the weight upon the 
 left side. This exercise is intended to give full freedom of motion in the hip, 
 preparatory to teaching the leg to swing easily forward in the action of walk- 
 ing correctly and gracefully. 
 
 NECK. 
 
 Sit upright upon an ordinary high chair. Relax the muscles of the neck 
 and throat so that the head will sink forward upon the chest, and the full 
 weight of the head will be sustained by the muscles at the back. Sway the 
 body to the left so that the head will roll over to the left side and hang over 
 the left shoulder, the strain being felt by the muscles on the right side. Sway 
 the body from the left side backward and allow the head to hang back, thus 
 bringing the strain upon the muscles in front. From this position sway the 
 body to the right until the head falls over the right shoulder and strains the 
 muscles of the left side. Then sway the body forward until the head fallsij, 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 33 
 
 over the chest as at the start. Afterward reverse the movements by rolHng 
 the head in the opposite direction. 
 
 If the exercise causes a sense of dizziness, do not repeat it too often ; but 
 do not allow a slight discomfort of this sort to prevent the practice of the 
 exercise, because when one is able to relax the muscles of the neck fully and 
 to cause the head to roll simply by the swaying of the body and not by an 
 unconscious action of the neck, the movement will no longer produce dizzi- 
 ness. The exercise is designed to relieve the neck of stiffness and the throat 
 of the tension frequently caused by an improper use of the voice. Be careful 
 not to jerk the head about so as to injure the cords of the neck, but practise 
 slowly and evenly as directed for all previous movements. 
 
 FACIAL MUSCLES. 
 
 While studying so thoroughly each distinctive portion of the body, we 
 must not forget that very important part, the face ; for we see many facial 
 defects and mannerisms acquired through habit, such as crooked mouths, set 
 lips, stiff jaws, blinking eyes, crow's-feet, wrinkled and frowning brows and 
 innumerable other faults which might be remedied if the afflicted individuals 
 only knew how. 
 
 The face is by nature the least active portion of the whole body, for 
 which reason it should be mechanically exercised to keep the blood in proper 
 circulation, to prevent wrinkles, to make the muscles firm and to ward off the 
 traces of age. If blemishes of the skin appear, they are usually upon the face, 
 where the pores have become stopped through lack of exercise. The friction 
 of the clothing keeps the skin beneath it in a healthy condition, while the 
 hands are always active and receive frequent washings and rubbings with the 
 towel. 
 
 First Action. — Relax the jaw and allow it to drop by its own weight. 
 
 Second Action. — Shake the head so as to toss the relaxed jaw from side 
 to side. These two exercises are designed to soften the lower portion of the 
 face and place it under the control of the will, and also to correct manner- 
 isms of the chin often acquired through incorrect methods of speech. 
 
 Third Action. — Raise and lower the brows without wrinkling the forehead. 
 If this prove difficult, use the fingers to push the forehead in the given direc- 
 tion, until a mechanical control of the muscles is gained. 
 
 Fourth Action. — Move the brows inward and outward, or, in other words, 
 contract and expand them. 
 
 Fifth Action. — Raise and lower the inner corners of the eyebrows. 
 
 Sixth Action. — Raise and lower the outer corners of the eyebrows. If 
 this and the preceding movement prove 'difficult, use the fingers as described 
 for the brows. 
 
 Seventh Action. — Drop the upper lids heavily over the eyes, as if you 
 were falling asleep and the lids were too heavy to hold up. Do not raise 
 the lower lids. 
 3 
 
84 THE DELSARTE SYSTEM OF PHYSICAL Cl/LTURE. 
 
 Eighth Action. — Raise and lower the lower lids, giving to the eyes the 
 appearance of scrutiny. 
 
 Ninth Action. — Raise and lower the muscles of the nose. 
 
 Toith Action. — Expand the nostrils. 
 
 Eleventh Action.— ^a.\%t and lower the corners of the mouth. 
 
 Twelfth Action. — Expand and contract the lips. 
 
 Repeat each of these actions a number of times. They should be prac- 
 tised before a mirror to make sure the movements are correctly taken. 
 
 After exercising the face as above, rub with the forefinger the small 
 muscles about the eyes, especially those at the outer corners, upward, down- 
 ward, outward, inward and with a circular motion. Then with all the fingers 
 rub the cheeks upward and downward and with a circular motion ; and also 
 the forehead, upward and downward, and outward and inward. If the fric- 
 tion seems too severe for the skin, moisten the fingers slightly with some 
 cooling lotion before commencing the rubbing process. 
 
 These exercises, practised every night before retiring, or once or twice 
 daily, cannot fail to improve the general appearance, by adding expression to 
 the face, by giving flexibility to the muscles and firmness and clearness to the 
 skin, and by smoothing away the creases and wrinkles, and thus counteracting 
 the ravages of time. Try the process for a month and discover how much 
 can be done for the face by these simple relaxing exercises. 
 
 BODY. 
 
 First Action. — Stand with the weight equally disposed upon both legs, the 
 heels being almost together ; then sway forward from the ankles as far as 
 possible, keeping the knees straight, until obliged to take a step forward in 
 order to keep from falling. 
 
 Second Action. — With the same order of action sway the body backward 
 as far as possible, until obliged to take a step backward to retain the 
 balance. 
 
 Third Action. — Sway to the right side as described above, until obliged 
 to cross the left foot over the right to take a step, in order to retain the 
 balance. 
 
 Fourth Action. — Sway to the left side with the same order of movement \ 
 as that described for the right. i 
 
 Repeat each action several times. 
 
 Fifth Action. — Stand with the weight upon the retired left foot, with 
 the right foot advanced as if about to take a step ; then sway the weight 
 in a circle from the heel of the left foot to the ball, then from the ball 
 of the left foot to the ball of the right, then from the ball of the right 
 foot to the heel of the right, and lastly from the heel of the right to the 
 heel of the left. Repeat the circle several times ; and then stand upon 
 the right foot with the left advanced, and repeat the exercise in the reverse 
 direction. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 35 
 
 CHAPTER IV. 
 CONTROLLING MOVEMENTS. 
 
 RADIATIONS. 
 
 Now that we have learned to release all the muscles of the arms, we 
 must next study how to use them easily and gracefully. Very few people, 
 unless they have been taught to do so, use the arms from the shoulders, action 
 usually beginning from the extremities (the hands) and extending about to 
 the elbows, where it stops ; so that we have such angular movements as those 
 shown at figures Nos. 15 and 16. Conventionality ties down our elbows and 
 takes away all freedom of movement and, consequently, all grace. While the 
 
 PiecEE No. 15. 
 
 FlGdRE No. 16. 
 
 elbows should not be aggressive, all broad actions shpuld begin in the upper 
 
 ;: arms and should reach the hands last. (Observe figures Nos. 17 and 18.) 
 
 The hghter and more deHcate movements should begin in the wrist, with simply 
 
 an easy, untrammelled action of the elbow responsive to the action of the wrist. 
 
 To accomplish this, every portion of the arm must be taught to move 
 
 r independently of every other part, and with this in view we enter upon the 
 
 i following series of movements. 
 
 STRAIGHT RADIATION. 
 
 , Exercise i.— Stand with the weight equally disposed upon both legs, the 
 
 feet upon a parallel line and the arms hanging normally at the sides. 
 
36 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 First Action. — Turn the fore-arms upon the elbows until the palms face 
 directly forward. 
 
 Second Action. — Bend the wrists until the palms face upward, being careful 
 not to bend the elbows. 
 
 Third Action. — Bend the elbows, without thrusting them out at the sides, 
 so the tips of the fingers will touch the forward part of the shoulders. 
 
 Fourth Action. — Keeping the fingers in the same relation to the shoulders, 
 raise the elbows out at the sides until level with the shoulders. 
 
 Fifth Action. — Carry the fore-arms outward until the shoulders, elbows 
 and wrists are on a 
 straight line, the wrists 
 being still turned in- 
 ward, with the palms 
 facing the body. 
 
 Sixth Action. — Turn 
 the wrists outward until 
 the hands are straight ^^""^^^ 
 
 FiGDRE No. 17. 
 
 and level with the 
 arms, the palms facing 
 forward. 
 
 Then perform the 
 reverse movement as 
 follows : 
 
 First Action. — Bend 
 the wrists inward, so 
 that the palms will face the body ; do not bend the elbows. 
 
 Second Action. — Bend the elbows without lowering them from the level cf 
 the shoulders, so that the tips of the fingers will touch the forward part of 
 the shoulders. 
 
 Third Action. — Carry the elbows to the sides, keeping the fingers in the 
 same relation to the shoulders. 
 
 Fourth Action.~T\irn the fore-arms down to the side, straightening the 
 elbows, but keeping the wrists bent so the palms turn upward. 
 
 Fifth Actimi. — Turn the hands downward so that the palms face directly 
 forward 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE, 
 
 87 
 
 Sixth Action. — Turn the arms at the elbows to the normal position, with 
 the palms facing the body. 
 
 Practise these exercises until each movement seems to blend into the next. 
 Do not jerk any portion of the arm from one position into a following one, 
 but let the movements be smooth and even throughout the entire exercise. 
 Repeat the actions a number of times until they have been fairly well learned ; 
 then take up the second exercise. 
 
 Exercise II. — Stand with the weight equally disposed upon both feet, the toes 
 on a parallel line, as in the previous exercise, and the arms normally at the sides. 
 First Action. — Raise the elbows level with the shoulders, and simply allow 
 the fore-arms to hang relaxed upon the elbows. In practising this movement 
 be very careful not to thrust the shoulders upward. Let the action be entirely 
 in the upper arms, and in raising the elbows do not thrust them backward, 
 but keep them upon a straight line with the shoulders. 
 
 Second Action. — Curve the fore-arms outward until the wrists are upon a 
 straight line with the shoulders and elbows ; but the wrists should still be 
 turned inward so that the palms of the hands face the body. 
 
 Third Action. — Turn the wrists outward until the hands are straight and 
 level with the arms, the palms facing forward. 
 
 Fourth • Action. — Turn the straight arms from the shoulders until the 
 under portions of the wrists face downward, the palms face outward from the 
 sides and the finger-tips point upward. 
 
 Fifth Action. — Carry the arms downward to the sides, keeping the elbows 
 
 straight, and not altering 
 the position of the hands. y^ 
 
 Sixth Action. — Drop 
 the hands easily to the 
 sides in a normal position. 
 
 SPIRAL RADIATION. 
 
 Stand in easy poise 
 upon the left leg, with 
 the right arm hanging at 
 the right side in normal 
 position, as at figure No. 8. 
 
 First Action. — Turn 
 the right fore-arm at the 
 elbow until the palm of 
 the hand faces directly 
 forward. (See figure 
 No. 19.) 
 
 Second Action. — Bend 
 the wrist until the palm faces upward, being careful 
 not to bend the elbow. (See figure No. 20.) 
 
 PiGUHE No. 19. 
 
 Figure No. 20. 
 
38 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Figure No. 22. 
 
 This is illustrated at figure 
 
 FlOURE No. 21. 
 
 Third Action. — Bend the elbow, without thrusting it out at the side, so 
 that the tips of the fingers will touch the forward part of the shoulder as 
 
 shown at figure No. 21. 
 Fourth Action. — Raise 
 
 the elbow to a level with 
 
 the shoulder, without 
 
 thrusting the latter up- 
 ward ; and at the same 
 
 time turn the fore-arm 
 
 until the hand falls pen- 
 dent at the wrist, as if 
 
 the raising of the elbow 
 
 had caused the hand to fall. 
 
 No. 22. 
 
 Fifth Action. — Lower the elbow to the side, but keep 
 
 the wrist level with the shoulder ; and while lowering the 
 
 elbow, permit the hand to turn upon the wrist until the 
 
 fingers point directly forward from 
 
 the shoulder, with the palm facing 
 
 downward. (See figure No. 23.) 
 Sixth Action. — Straighten the arm 
 
 out in front exactly level with the 
 
 shoulder, and at the same time 
 
 twist the fore-arm upon the elbow, 
 
 keeping the fingers pointed forward, 
 
 until the palm of the hand faces 
 
 straight upward, as seen at figure 
 
 No. 24. 
 
 Now reverse the movement as 
 
 follows : 
 
 First Action. — Lower the elbow 
 close to the side, without thrusting it outward ; and while performing this 
 action, twist the fore-arm upon the elbow and keep the fingers pointed 
 straight forward until the palm of the hand faces downward, the wrist being 
 level with the shoulder, as at figure No. 23 in the previous movement. 
 
 Second Action. — Raise the elbow until level with the shoulder, and at the 
 same time allow the fore-arm to turn until the hand hangs pendent from the 
 wrist, with the finger tips pointing downward, as pictured at figure No. 22 of 
 the previous movement. 
 
 Third Action. — Lower the elbow to the side ; and while doing so turn 
 the fore-arm upon the elbow until the tips of the fingers touch the forward 
 part of the shoulder. This position is represented at figure No. 21 of the' 
 previous movement. 
 
 Fourth Action. — Lower tjie fore-arm to the side until the elbow is straight, 
 but do not drop the hand at the wrist. 
 
 FionEE No. 23. 
 
 FiGunK No. 24. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 39 
 
 Fifth Action. — Turn the hand downward until the palm faces directly 
 forward. 
 
 Sixth Action. — Turn the hand to the body, taking the normal position, as 
 at figure No. 8. 
 
 CURVED RADIATION. 
 
 Exercise I. — This exercise is a curved movement of the arm to teach 
 an easy ^.ction from the shoulder. Stand in correct poise, with the weight 
 resting upon the left leg, and the right arm hanging at the side in normal 
 position. 
 
 First Action. — Turn the right straight arm toward the left side in front 
 without twisting the body to the left, until the palm pf the hand faces outward 
 to the right side, 
 keeping the arm 
 as close as possi- 
 ble to the body, 
 and being care- 
 ful not to thrust 
 the elbow out- 
 ward. (See fig- 
 ure No. 25.) 
 
 Second Action. 
 — Raise the fore- 
 arm from the 
 elbow across the 
 chest until the 
 
 Figure No. 26. 
 
 Figure No. 25. 
 
 pendent hand is level with the left 
 shoulder, as shown at figure No. 26. 
 Third Action. — Curve the wrist 
 obliquely to the right until the 
 whole arm is in 
 
 a straight line 
 
 facing forward 
 
 from the right 
 
 shoulder, with 
 
 the palm turned 
 
 upward. (See 
 
 figure No. 27.) 
 Fourth Action. 
 
 — T urn the 
 
 whole arm over 
 from the shoulder until the palm of the 
 hand faces forward. (See figure No. 28.) 
 
 Fifth Action. — Carry the arm down to the side, with 
 the wrist bent upward, as illustrated at figure No. 29. 
 
 Figure No. 2T. 
 
 Figure No. 28. 
 
 Figure No. 29. 
 
40 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Sixth Action. — Drop the hand to the normal position at the right side. 
 
 Repeat these movements a number of times, and exercise the left arm 
 with the same order of action ; also exercise both arms together, curving one 
 over the other in the second movement. 
 
 Exercise II. — The second curved exercise is performed as follows : 
 
 First Action. — Simply turn the arm forward from the shoulder until the 
 palm faces directly backward. 
 
 Second Action. — Raise the arm in front until level with the shoulder, with 
 the elbow slightly curved, the hand hanging pendent at the wiist, and the 
 palm facing downward. 
 
 Third Action.—Curwc the wrist outward to the side until the whole arm 
 is upon a straight parallel line from the shoulder, with the palm of the hand 
 facing upward. 
 
 Fourth Action. — Turn the whole straight arm over from the shoulder until 
 the palm faces downward. 
 
 Fifth Action. — Lower the arm to the side, keeping the wrist turned upward. 
 
 Sixth Action. — Drop the hand to its normal position. 
 
 Repeat the movement a number of times, and exercise the other arm, and 
 then both arms together. Practise all the above-mentioned exercises until the 
 arms move with perfect grace and ease and with a feeling of freedom in each 
 section of them. If the joints move 
 stiffly or jerkily, do not neglect the re- 
 laxing exercises. 
 
 If these exercises are practised faith- 
 fully, together with the relaxing move- 
 ments, there will be found many more 
 joints in the arms than were ever thought 
 possible before. 
 
 We would again remind the student 
 that all these movements must be per- 
 formed simply as exercises and not car- 
 ried into the ordinary daily actions to 
 produce affectation and artificiality, which 
 are to be most strenuously avoided. If 
 the motions are practised faithfully from 
 one to two hours daily, general grace of 
 action will be acquired unconsciously, 
 without any effort _to produce effect. 
 
 GENERAL CONTROLLING EXER- 
 CISE FOR THE CHEST AND TORSO. 
 
 First Action. — Sit normally erect upon 
 an ordinary chair without leaning either 
 forward or backward, with the arms 
 
 Figure No. 30. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 41 
 
 hanging naturally at the sides, as shown at figure No. 30. Mechanically 
 thrust the chest as far forward as possible, without altering the position of 
 the shoulders, as indicated by the dotted lines in 
 figure No. 30. 
 
 Second Action. — From this fully expanded posi- 
 tion draw the chest inward and backward as far 
 as possible, wholly relaxing the chest during the 
 transition. (See figure No. 31.) 
 
 Third Action. — Raise the body off the hips, 
 and stretch the muscles upward between the waist 
 and arm-pits, without mechanically thrusting the 
 
 shoulders upward, 
 
 as at figure No. 32. 
 Fourth Action. — 
 
 Gradually relax the 
 
 muscles between 
 
 the ribs, and allow Figure No. 31. 
 
 Figure No. 32. 
 
 the body to sink as low as possible 
 upon the hips. (See figure No. 33.) 
 
 Fifth Action. — Raise the body to nor- 
 mal position. 
 
 Sixth Action. — Lean the body forward 
 slightly, as at figure No. 34; then sway 
 
 the shoulders in a semi-circle as far as possible to the right, and at the same 
 time turn the head over the left shoulder, with the face turned upward, as 
 pictured at figure No. 34 A. Now sway the. shoulders . in a semi-circle in 
 
 Figure No. 33. 
 
42 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 front as far as possible to the left, and turn the head over 
 with the face turned upward, as shown by the dotted lines 
 Repeat several 
 times, and let 
 the action of the 
 head and shoul- 
 ders be simulta- 
 neous. 
 
 These exer- 
 cises are design- 
 ed to help es- 
 tablish control 
 and flexibiUty of 
 the body ; and 
 
 the 
 
 at 
 
 right 
 figure 
 
 shoulder, 
 No. 34 A, 
 
 Figure No. 34. 
 
 FiGBEE No. 34 A. 
 
 FiGUKB No. 35. 
 
 the mechanical action is also necessary to teach 
 expression from an active heart-center. It me- 
 chanically prepares the channels of expression 
 by making them facile and ready to respond 
 to impression, and, as a mere gymnastic exer- 
 cise, is valuable because it produces flexibility 
 of the trunk and, consequently, more freedom 
 of movement. 
 
 GENERAL EXPANSIVE EXERCISE. 
 
 In order to promote still greater freedom and 
 activity of the body and extremities, let us again 
 stand in easy poise, with the weight upon the 
 backward leg and the other leg advanced slight- 
 ly, as at figure No. 3 5. 
 
 First Movement. — Carry the weight upon the 
 hip of the advanced leg, the knee of which 
 should be straight ; and at the same time ex- 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 43 
 
 pand the chest, raise the head, and throw the 
 arms back, with the palms facing forward. 
 (See figure No. 36.) 
 
 Second Movement. — Sink slowly back until 
 the weight is poised upon the retired leg, and 
 
 Figure No. 38. 
 
 Figure No. 36. 
 
 at the same time relax the chest, carry 
 
 the arms and hands to their original 
 
 position at the sides, and lower the 
 
 head (figure No. 37) until the body has 
 assumed its nor- 
 mal position. 
 
 Third Move- 
 ment. — Advance 
 
 the forward leg with a very firm, straight knee ; 
 and carry the weight upon it, with the chest and 
 arms raised higher, with a fuller expansive movement 
 than before, and with the head well thrown back. 
 (See figure No. 38.) 
 Fourth Movement. — Sink back slowly as before, 
 Figure No. 37. until the weight of the body is poised upon the 
 
44 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 FmuEE No. 39. 
 
 carry the weight 
 throw the head 
 ed before, but 
 higher and give 
 sion to them 
 (See figure No. 
 Sixth Move- 
 upon the retired 
 before, but bend 
 ly, and make 
 more contracted 
 arms and hands 
 the head lower, 
 chest and draw- 
 more. (Shown at 
 
 retired leg, ,the 
 knee of which 
 should be straight; 
 wholly relax the 
 chest, sink the; 
 head lower, and 
 clasp the hands 
 in front of the 
 body. (Refer to 
 figure No. 39.) 
 
 Fifth Move- 
 ment. — Place the 
 advanced foot 
 forward, with the 
 knee slightly bent; 
 
 Figure No. 40. 
 
 FlQUKE No. 41. 
 
 forward, and 
 back as describ- 
 raise the arms 
 a wider expan- 
 and to the chest. 
 40.) 
 
 ment. — Sink back 
 leg as described 
 the knee slight- 
 t h e movement 
 by drawing the 
 closer, sinking 
 and relaxing the 
 ing it in still 
 figure No. 41.) 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE, 
 
 45 
 
 Seventh Movement.— Throw the weight upon the advanced leg as far as 
 possible. The knee must be deeply bent, the head well thrown back, and the 
 
 arms and chest at their widest 
 expansion, the arms being al- 
 most as high as the shoulders. 
 (See figure No. 42.) 
 
 Eighth Movement. — Draw the 
 weight back ■ upon the retired 
 
 FiGDEE No. 42. 
 
 i'lGCRE No. 43. 
 
 leg, with a deeply bent knee ; close the arms and chest still more closely, 
 and sink the head as low as possible upon the chest. (See figure No. 43.) 
 
 Reverse the eighth movement until the body and limbs have again 
 assumed their normal position. Then place the other foot forward and 
 practise the movements as just described. This is a most healthful exercise 
 and, if well practised, will relieve the body of all tendency to contraction. 
 In trying the movements it will be observed that two are forward and two 
 back upon the straight knee, and two are forward and two back upon the 
 bent knee. The movements should be so gauged that each will be more 
 expanded or contracted than the previous one, until the body and extremi- 
 ties have reached their widest range of expression. The exercise will be 
 diflScult of accomplishment unless the pupil has been prepared for it by repeti- 
 
46 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 tion of former exercises; but practise faithfully for full, expansive and flexi- 
 ble movement of the chest and free, expansive action of the limbs and neck. 
 
 SWAYING OF THE SHOULDERS, FOR FLEXIBILITY OF THE 
 
 WAIST MUSCLES. 
 
 This is an exercise, similar to the one described before in a sitting pos- 
 ture, to produce a more general freedom and flexibility of the waist muscles 
 and more complete sway of the shoulders. Stand with the weight equally 
 disposed upon both feet. Bend the body slightly forward at the waist, then 
 sway the shoulders with a semi-circular action to the right, and at the same 
 time convey the weight upon the right hip. Do not alter the position of the 
 feet, but simply free the left leg from the weight of the body, and allow the 
 foot to rest easily upon the floor. During the transition the head should turn 
 slowly until it faces over the left shoulder. Repeat this swaying movement 
 from side to side, with the opposing motion of the head; and gradually 
 expand the action of each sway of the body, and give more abandon to the 
 rolling of the head. The action of the body and head must be simulta- 
 neous, as if the mechanical movement of the former caused the rolling of 
 the latter. 
 
 Having performed this exercise, repeat the same order of action with a 
 backward sway of the shoulders, being particular to observe the same opposi- 
 tion of the head. 
 
 HARMONIC EXPANSION OF THE HAND. 
 
 We have harmonic poise or expansion of the fingers as well as of the 
 lower limbs. Many find this exercise of the hands a most interesting study, 
 because by diligent practise so much expression can be given to even an ugly 
 hand; and, besides, the movements may be so readily practised during 
 moments that would otherwise be idle. Exercise one hand at a time so as to 
 
 give full attention to the motions. 
 
 Drop the hand (either right or left) 
 
 at the wrist, and allow it to hang 
 
 wholly relaxed. In this position 
 
 the thumb should directly face the 
 
 index or first finger, as we see it in 
 
 fine statuary. (Observe figure No. 
 
 44.) The thumb should always 
 
 bear this relation to the fingers, 
 
 whether in an active or a passive 
 
 state. The second joint at the 
 base of the thumb should never be prominent, as shown at figure No. 45. 
 This is a very common defect. The uncontrolled action of this joint will 
 alter the character of the whole hand. 
 
 Fl&ORE No. 44. 
 
 PmuRE No. 45. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 47 
 
 FiGCEE XO. 46. 
 
 Figure No. 47. 
 
 Figure No. 48. 
 
 To teach the hand to be artistic, we must first learn to move the second 
 joint of the thumb without bending it. To do this, practise moving the 
 
 thumb as far as 
 
 possible inward 
 
 and outward with- 
 out bending the 
 
 second joint. (See 
 
 figures Nos. 46 and 
 
 47.) Next move 
 
 the tip of the thumb 
 
 up and down upon 
 
 the first joint, with- 
 out bending the 
 
 second, as shown 
 
 at figure No. 48. 
 To acquire poise 
 and perfect control of the fingers: Place the thumb against the two middle 
 fingers and the fore-finger and little finger on each side of the thumb, as at 
 figure No. 49. From this position 
 slowly expand the fingers and 
 thumb in perfect opposition, keep- 
 ing the first finger, little finger and 
 thumb in the relation of the points 
 of an equilateral triangle, until the 
 hand has reached its widest ex- 
 pansion, illustrated at figure No. 
 50. Then reverse the movement, 
 gradually curving the fingers until 
 they meet the thumb in the orig- 
 inal position shown at figure No. 
 49. Repeat this exercise a num- 
 ber of times at each practice, 
 until the fingers are well under 
 control, without the slightest strain 
 upon them. 
 
 To acquire delicacy of touch : 
 Curve the thumb and fore-finger 
 until their tips meet, being careful 
 to keep the thumb facing the fin- 
 ger, without thrusting the second 
 joint outward. (See figure No. 51.) 
 Curve each finger in turn until it 
 touches the tip of the thumb, and 
 then gently expand the fingers from the thumb in direct opposition, as shown 
 at figure No. 52. Remember to perform all these exercises with both hands. 
 
 Figuee No. 49. 
 
 Figuke No. 50. 
 
 Figure No. 51. 
 
 Figure No. 52. 
 
48 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 CHAPTER V. 
 WALKING. 
 
 This exercise may prove a little trying at first, but the lower limbs 
 should by this time be well strengthened and prepared for the work by 
 the practice of the previous exercises. 
 
 Steady practice of the three exercises will certainly improve the gait. 
 The faults observed in walking are numerous. Some persons bend the knees 
 too much, while others hold the body back upon the hips and allow the lower 
 limbs to do all the work. In many cases the feet are lifted too high, and 
 in, perhaps, an equal number of instances they are not lifted high 
 enough. Then we have the waddling, side-to-side motion ; and there are 
 a variety of other defects too numerous to mention at present. In order to 
 v/alk well, it is necessary, first, to pay strict attention to the deportment. 
 Draw the hips well back, hold the chest high, but no'; in a strained 
 position, and draw the chin well in without straining, so tha the head rests 
 easily at the apex of the spine. This attitude the pupil should find easy 
 to assume and retain after properly practising the first exercise for walking. 
 
 TO ACQUIRE EXCELLENT 
 CARRIAGE OF THE BODY. 
 
 EXERCISE I. 
 
 The first requisite toward a graceful gait is the 
 ability to hold the upper portion of the body 
 well off the hips. To learn to do this, stand in 
 easy poise, with the weight well balanced upon 
 
 the right leg (see figure No. 53) and the 
 
 chest well raised, but not strained, being 
 
 particular not to 
 raise the shoul- 
 ders. Lift the 
 entire body well 
 off the hips, so 
 that the lower 
 limbs may be 
 moved freely, 
 without disturb- 
 ing the poise of the body from the hips 
 
 upward. Lift the left foot, and carry it 
 
 five times in a straight line from the 
 
 farthest point right, to the farthest point 
 
 left, in front. This is illustrated at figures 
 
 Nos. 54 and 55. 
 
 PiauEE No. 53. 
 
 Figure No. 55. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 49 
 
 For the next movement, carry the left foot five times in a straight line 
 from the farthest point front to the farthest point back, as represented at 
 figures Nos. 56 and 57; then carry the foot five times in a straight line 
 from the farthest points from left to right at the back (figures Nos. 57 and 
 58); and lastly carry the foot five times from the farthest point possible to 
 the right in front in a semi-circle to the farthest point to the right 
 at the back (see figures Nos. 54 and 58), being very careful throughout 
 the movements not to disturb the equilibrium of the body, which should be 
 
 Figure No. 56. 
 
 Figure No. 5T. 
 
 Figure No. 58. 
 
 held so steady that if the pupil were standing before a mirror where the 
 body could be seen only from the hips upward, there would be no evidence 
 of the movements of the leg in a swaying or twisting action of the body, 
 It is well to practise this exercise before a mirror. 
 
 After exercising the left leg as above directed, poise the weight upon 
 it, and carry the right leg through the same order of movements. When 
 able to do so, increase the number of times of moving the leg from side 
 to side, forward and back, etc., from five to seven, and then to nine. 
 
 TO ACQUIRE A FREE 
 ACTION IN THROWING THE 
 LEG FROM THE HIP. 
 
 EXERCISE II. 
 
 Stand in poise upon the right leg forward, with 
 the shoulders well balanced, so that they will be 
 in opposition to the head and the right hip, and 
 rest the toe of the left foot on the floor at the 
 farthest point straight behind (figure No. 59); 
 then without disturbing the poise of the body or throwing the weight for- 
 ward, raise the left leg at the thigh, and throw it straight iii front, allowing 
 the heel and ball of the foot to strike the floor simultaneously, as at figure 
 No. 60. The knee should be easily straight, but not stiff, when the foot 
 strikes the floor. Raise tha thigh and bend the knee slightly to throw the 
 4 
 
50 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 foot back to its former position on the toe at the tack, being careful to 
 carry it in a perfectly straight line in both movements. Repeat this ac- 
 
 FlGUHE No. 59 
 
 i<'lGnRE No. 60. 
 
 tion nine times ; then poise upon the left leg by throwing the weight 
 forward, and exercise the right leg in the same manner. 
 
 EXERCISE III. 
 
 TO GIVE SPRING TO THE 
 FEET. 
 
 Figure No. 61. 
 
 Stand in proper poise, 
 with the left foot ad- 
 vanced as if about to 
 take a step, and the 
 weight upon the right leg behind. Raise the right 
 foot from the heel to the ball, and from the ball 
 to the toe (figure No. 6i), just enough to throw 
 
 the weight forward 
 
 in easy poise upon 
 
 the left leg, the 
 
 kn ee of which 
 
 should be straight 
 
 when bearing the 
 
 weight of the 
 
 body, while the 
 
 knee of the right 
 leg should rest at ease. From this attitude sink 
 back to the first position by simply lowering the 
 heel of the right foot to the floor, being careful 
 at the same time to keep a correct poise. Repeat 
 the movement nine times ; then poise the weight 
 forward upon the left leg, throw the right foot for- 
 ward, and repeat the exercise nine times, raising and 
 lowering the left foot as described for the right one. 
 The first step should be taken with the free 
 or advanced foot. This assumes that the learner 
 now stands in correct poise, with the weight upon 
 one leg and the other slightly advanced, as in figure No. 62. Throw the 
 advanced leg forward in a straight line from the hip, as in figure No. 6;^; 
 
 Figure No. 62. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 51 
 
 and almost simultaneously raise the foot 
 at the back (as in figure No. 59), to 
 carry the weight upon the forward leg. 
 At the same time carry the chest for- 
 ward, as if the body had received an 
 impulse by being pressed forward be- 
 tween the shoulder-blades. Now throw 
 the back foot forward as described in 
 ITiGUEE No. 63. *^^ second exercise, and repeat the 
 
 movement of raising the foot behind. 
 Continue in this way until the room has 
 been traversed several times. Practise very frequently (especially the me- 
 chanical exercises, which are of the utmost importance), until a graceful, 
 easy gait is acquired. 
 
 CHAPTER VI. 
 TRANSITIONS. 
 
 TRANSITIONS OF THE FEET. ' 
 
 We have studied many exercises for the lower limbs, but have still to 
 learn how to use the feet easily in making a transition from one place or 
 position to another. Much awkwardness proceeds from a lack of readiness in 
 the use of the feet when called upon to act. When we learned in a previous 
 lesson to perfectly balance the weight upon one leg, we found that one free 
 foot was always ready for action. Whether the weight be poised forward, 
 backward or on either side, any transition or action must first be made with 
 the foot not bearing the weight of the body, or, in other words, the free foot. 
 An attempt to move in any other way must prove ungraceful or awkward. So, 
 too, when we learned to walk gracefully, we found it necessary to take the 
 first step with the free or advanced foot. 
 
 We have two transitions of the feet — the transition toward the free leg, 
 and the transition toward the strong leg, or the one bearing the weight of 
 the body. Thus, if a person were standing with the weight balanced upon 
 the right leg and were to turn toward the left, we should call the movement 
 transition toward the free leg ; but if a person were standing in the same 
 poise and were to turn to the right, the movement would be called transition 
 toward the strong leg. 
 
 With these transitions we also include an exercise for the eyes and neck. 
 In fact, we simply learn to do artistically that which we really do naturally 
 when we make a movement, /. e. : turn the eyes and head in the direction in 
 
52 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 which we wish to move. But to produce perfect grace and repose of action, 
 each member must be taught to move independently and successively. Many 
 persons in taking up this exercise will discover that the eyes never move 
 any considerable distance to the side without the assistance of the neck, 
 while others will find that the help of the entire body is needed to move the 
 
 head. In either condition the movements cannot be 
 
 easy or graceful. 
 
 TRANSITION OF ATTENTION TOWARD 
 THE FREE LEG. 
 
 In performing this exercise it is well for the stu- 
 dent to stand in front of a mirror until familiar with 
 the movements, after which he 
 or she should endeavor as soon 
 as possible to get along without 
 the aid of the mirror. 
 
 First Movement. — Stand in 
 easy poise, with the weight 
 borne by the left leg, the right 
 foot advanced in normal po- 
 sition, and the right side of 
 the body obliquely disposed 
 toward a mirror (see figure 
 No. 64), so that the body and 
 head face directly toward the 
 frame of the glass, the posi- 
 tion being such that, by turn- 
 ing the eyes as far as possible 
 to the right, the student can, 
 without moving the head, just 
 see the reflection of the eyes 
 in the glass. (See figure No. 
 65.) 
 
 Second Movement. — Center 
 the eyes upon their own re- 
 flection in the mirror, and 
 turn the head, without mov- 
 ing the eyes or any other part of the person, until 
 the eyes and face are centered straight forward, 
 facing the image in the mirror. (See figure No 
 66.) 
 
 Third Movement. — Lift the right foot, which is free, 
 and place it obliquely backward several inches from 
 the heel of the foot bearing the weight of the body. Figure No. 66. 
 
 FiauBE No. 64. 
 
 Figure No. 65. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 53 
 
 with the toe of the free foot pointed in the same 
 direction as the head and eyes, as shown at figure 
 No. 67. 
 
 Fourth Movement. — Sway the weight of the body 
 
 with a semi-circular 
 movement upon the right 
 leg. (See figure No. 68.) 
 Fifth Movement. — Lift 
 the left foot, which has 
 just been freed from the 
 weight, obliquely for- 
 ward, with the heel fac- 
 ing the instep of the 
 
 i'lGURE Nu. 
 
 right foot in normal po- 
 sition. This is shown 
 at figure No. 69. 
 
 The student should 
 now be standing in cor- 
 rect normal position, 
 with the body, face and 
 
 eyes facing directly toward the reflection in the 
 mirror. 
 
 TRANSITION OF ATTENTION TOWARD 
 THE STRONG LEG. 
 
 Stand in front of the mirror in the same oblique 
 position as that described for the other exercise, 
 
 FlQUUE No. 69. 
 
54 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 but with the weight resting upori the right leg 
 instead of the left. The right shoulder should still 
 be toward the mirror. (See figure No. 70.) 
 
 First Movement. — Turn the eyes slowly to the 
 right until they meet their own reflection in the 
 
 glass, as at figure No. 
 65. Be careful not to 
 move the head. 
 
 Second Movement. — 
 Turn the head, without 
 turning the body, until 
 the eyes and face are 
 centered straight for- 
 
 ward, facing the reflec- 
 tion in the mirror, as at 
 figure No. 66. 
 
 Third Movement. — 
 Lift the heel of the left 
 (free) foot, and throw it 
 outward to the left side, 
 
 until the toe points in the same direction as 
 head and eyes. (See figure No. 71.) 
 
 Fourth Movement. — Sway the weight with a semi- 
 circular movement upon the left leg, as shown at 
 figure No. 72. 
 
 Fifth Movement. — Lift the heel of the right foot, 
 
 FrauRT? No. 12. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE, 
 
 55 
 
 just freed from the weight, and carry it inward until it faces the instep of 
 the left foot. (See figure No. 73.) 
 
 Having performed these movements before the 
 mirror until perfectly familiar with them, the stu- 
 dent should practise concentrating the gaze and 
 making the turn just as accurately without the aid 
 of a glass. Turn in a circle and make the transi- 
 tions alternately ; also learn to make them upon 
 either side. Practise the feet movements without 
 the actions of the head and eyes ; and walk about 
 the room, making the turns easily and naturally, 
 without thinking of them as an exercise. 
 
 With all our previous important exercises for the 
 arms and hands, we have still to learn artistic 
 poise of the wrist in order to gain lightness, elas- 
 ticity and dexterity in the use of the hand upon 
 the wrist. 
 
 All actions of the hand requiring assistance from 
 the arm should begin in the wrist. The latter 
 should lead and the hand follow, not in an affected 
 or artificial manner, but simply, gracefully and 
 directly. To acquire this action naturally, we take 
 up the following exercises : 
 
 TRANSITIONS OF THE ARMS. 
 
 First Exercise. — Stand in easy poise upon the 
 left leg, with the right arm hanging normally at 
 
 FiGUEB No. 13. 
 
 the side. Raise the arm 
 straight in front, with 
 the wrist leading, the 
 hand pendent, palm 
 
 downward, and the elbow straight and firm, 
 until the tip of the middle finger is on a 
 straight line with the right shoulder. Keeping 
 the finger-tip on a straight line with the shoul- 
 der, sink the wrist below the level of the fin- 
 
 FlGUEE No. 74. 
 
56 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 ger-tip, without bending the elbow joint, and without throwing the hand 
 upward in order to carry the wrist downward. (See figures Nos. 74, 75 
 
 and 76.) Then allow 
 the arm to descend 
 slowly, only bending it 
 at the wrist. (See fig- 
 ure No. 77.) Be careful 
 
 FiGnHE Xo. 75 
 
 Figure No. 76. 
 
 in raising the arm slowly to its former position 
 opposite the shoulder to observe the same order 
 of movement, by first raising the wrist above 
 the level of the tip of the middle finger, which 
 should be fixed until the transition is made 
 (figure No. 78) ; then carry the arm upward, 
 being sure to keep the elbow straight and strong 
 throughout the movement. 
 
 Repeat this action three times in front and 
 three times out at the side ; and then practise 
 the left arm in the same manner. 
 
 Second Exercise. — Observing the same order of 
 action as in the first exercise, raise and lower 
 each arm in front and at the side, with the 
 pa»m facing upward. 
 
 Third Exercise. — Practise the same movements 
 with the outer edge of the hand (where the 
 palm and back meet) facing downward. 
 
 Fourth Exercise. — Practise all the movements 
 with both arms together. 
 
 Fifth Exercise. — With the outer edges of the 
 hands facing downward, slowly carry the arms 
 
 FiGUEB No. 77. 
 
 Figure No. 78. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 5T 
 
 upward, with the wrists leading, until they are level with the shoulders, as 
 at figure No. 79 ; then, keeping the elbows straight and firm, carry the 
 
 Figure No. 79. 
 
 wrists inward (figure No. 80) and outward (figure No. 81), being careful 
 to fix the tips of the middle fingers while performing the transition from 
 the inner to the outer movements. Repeat this exercise three or more times. 
 
 FlStTEE No. SO. 
 
 Figure No. 81. 
 
 Sixth Exercise. — With the same action as in the previous exercise carry 
 the arms inward and outward, with the palms facing downward. Repeat three 
 or more times. 
 
-,8 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Practise these movements daily until complete control is gained over the 
 wrists, and until they move with elasticity, firmness and grace. Also fix the 
 tip of the middle finger, and simply move the wrist upward, downward, inward 
 outward and in a circle, without the broad sweep of the arm ; and turn the 
 hand into the several positions mentioned in the former exercises (that is, 
 palm downward, palm upward and outer edge downward) while performing 
 the transitions of the wrist. To acquire this action of the wrist, it is well at 
 first to have some one hold the tip of the middle finger until the student 
 understands the sensation of moving the wrist without the aid of the hand. 
 These exercises muct be practised very diligently in order to obtain the neces- 
 sary control over the muscles, so that the wrists will perform their function 
 without strain or nervous tension in the hands. 
 
 TRANSITIONS OF THE HEAD. 
 
 These are designed to produce an easy action in moving the head in all 
 directions. The following movements must all be given with a controlled 
 action of the neck : 
 
 First^ Action. — Incline the head forward upon the chest. 
 
 Second Action. — From normal position thrust the chin forward. 
 
 Third Action. — From normal position incline the head backward. 
 
 Fourth Action. — From normal position draw the chin inward. 
 
 Fifth Action. — From normal position incline the head to the right side. 
 
 Sixth Action. — From normal position draw the chin to the right side. 
 
 Seventh Action. — From normal position incline the head to the left side. 
 
 Eighth Action. — From normal position draw the chin to the left side. 
 
 JVinth Action. — From normal position incline the head with a semi-circular 
 movement to the right side, until the face is turned upward over the right 
 shoulder. 
 
 Tenth Action. — From the last position to the right incline the head with a 
 semi-circular movement to the left side, until the face is turned upward over 
 the left shoulder. 
 
 Eleventh Action. — With a semi-circular movement incline the head from 
 side to side at the back, until the face turns downward. 
 
 Twelfth Action. — From normal position turn the chin over the right 
 shoulder. 
 
 Thirteenth Action. — From normal position turn the chin over the left 
 shoulder. 
 
 All the foregoing movements must be accomplished by the action of the 
 neck alone, and not by any- unconscious motion of the body. 
 
 Each transition has a distinct meaning, as explained and illustrated farther 
 on in the chapter on Altitudes, but it is exceedingly important to acquire 
 mechanically an easy action of the muscles of the neck so that they will respond 
 readily to the impulses of the mind and afford easy movement to the head 
 in opposition to other members of the body. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 59 
 
 CHAPTER VII. 
 OPPOSITIONS. 
 
 We have almost finished the purely mechanical and physical exercises 
 and are standing upon the threshold of expression ; although the instructor 
 personally supervising the exercises which have previously been given should 
 from the beginning endeavor to place a meaning behind each mechanical 
 ■movement — to give sensibility even to physical work. So closely allied is the 
 inner emotional being to that of the outer, active self that, while cultivating 
 the one, it is well to educate the other to gain complete mastery of the 
 work. It has been the sole idea in formulating a set of physical exercises, to 
 so mould the outer form as -to give true artistic expression to the inner being_ 
 
 We have now learned through various exercises perfect freedom and con- 
 trol of all the muscles of the body, and have thereby attained two strong ele- 
 ments of grace; hut pfrace cannot be wholly acquired without perfec t hirmonv - 
 and to obtain harmony we must have balance or opposition of movement. 
 
 / 
 
 BETWEEN HEAD AND ARMS. 
 
 Principal oppositions occur between centers and extremities, and minor 
 oppositions between extremities. We have already studied or acquired opposi- 
 tion of different parts in repose, as the balance of 
 the various portions of the body in the first poises; 
 and afterward we have learned opposition of the 
 body and arms in the general expansive exercises^ 
 and also opposition of the head and trunk in the 
 general freeing exercise for the muscles of the waist. 
 By the term opposition we mean a simultaneous 
 action made by two or more members of the body 
 in opposite directions, whether toward or away from 
 each other. 
 
 We have three sides of the head corresponding 
 with the three sides of the hand. They are, first, 
 the face, corresponding with the palm or face of 
 the hand ; second, the rim or side of the face, corre- 
 sponding with the rim or side of the hand ; and 
 third, the back of the head, corresponding with the 
 back of the hand. 
 
 If we raise the hand, palm upward, the head must 
 
 be carried downward as if to meet the hand, with the 
 
 face turned toward the palm. (See figure No. 82.) In the same way, when 
 
 we carry the hand downward, with the palm upward, the head must be 
 
 Figure Xo. 82. 
 
60 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 carried upward, with the face still turned toward the 
 palm, as at figure No. 83. 
 
 But if the hand is carried upward, with the palm 
 facing upward, and we turn the palm forward, as 
 the hand turns the head must turn in the opposite 
 direction, until the hand and face are opposing, rim 
 
 to rim, as illustrated at 
 figure No. 84. Now if 
 we carry the hand down- 
 ward, with the palm facing 
 downward, and at the same 
 time turn the head over 
 
 Figure No. 84, 
 
 Figure No. 83. 
 
 the opposite shoulder, 
 we have the opposi- 
 tion back to back, 
 pictured at figure No. 
 
 85- 
 
 Let us first study 
 opposition between 
 the extremities as 
 used in the simpler 
 
 actions. For practice we will take up 
 series of movements in opposition ; for if 
 there is a right and a wrong way of doing 
 
 a thing, we, according to contrary human Pigdee No. 85. 
 
 nature, will generally manage to do it the 
 wrong way. Thus, all members will move in 
 
 the same direction when they should oppose, unless one be laboring under a 
 strong emotion and entirely forgetful of self, in which event the actions are 
 natural and expressive ; but then at such a time one does not consider the 
 grace of a movement. We would here remark that there are certain actions 
 m which all members do move in the same direction, but these are made 
 successively. Thus, for example, we turn the head to greet a friend, the 
 body moves forward in the same direction, and the hand is extended in 
 greeting. In this case the members move in the same direction, but suc- 
 cessively ; for we must first see, then move toward, and finally greet. So 
 we find that all parallel movements must be successive, while all simultaneous 
 actions must be in opposition. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 61 
 
 Stand in easy har- 
 monic poise, with the 
 arms resting at the 
 sides. 
 
 First. — Carry the 
 right arm upward in 
 front directly above 
 the head, with the 
 elbow straight but not 
 strained, and with the 
 palm facing down- 
 ward ; and at the 
 same time lower the 
 head. (See figure 
 No. 86.) 
 
 Second. — Wave the 
 arm from side to side 
 
 Figure No. 87. 
 
 FiGUBE No. 86. 
 
 four times, making the first 
 movement to the left ; and each 
 time oppose with the head. This 
 
 Figure No. 89. 
 
 PiGnEE No, 
 
 is clearly shown at figures Nos. 87 and 88. 
 Third. — Carry the arm downward until level with 
 the shoulder, and at the same time raise the head 
 to artistic normal position, letting it rest easily 
 at the apex of the spinal column, as shown at 
 figure No. 89. 
 
62 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Fourth. — Wave the arm from side to side, opposing with the head 
 as directed for the second exercise. 
 
 Fifth. — Carry the arm below the waist-line, 
 keeping the elbow normally straight, and with 
 the palm facing downward ; and at the same 
 time raise the head high in complete opposi- 
 tion to the arm. (See figure No. 90.) 
 
 Sixth. — Wave the arm from side to side, 
 opposing with the head. 
 
 Note.— In waving the arm from side to 
 side control the forearm easily at the elbow, 
 and also control the hand to act freely upon 
 the wrist. We give this caution because the 
 forearm is frequently allowed to flap about 
 like a flail, with no attempt at control or 
 meaning behind the action. 
 
 Seventh. — Raise the arm, with the rim of 
 the hand upward ; and go through the same 
 order of movement as that executed with the 
 palm downward, not forgetting to oppose 
 
 Figure No. 90. 
 
 the head and hand, rim to 
 rim. (See figures Nos. 86 to 
 90.) 
 
 Eighth. — Raise the arm, 
 with the palm of the hand 
 facing upward; and bend the 
 head to meet the palm, as 
 shown at figure No. 82. 
 
 Ninth. — Turn the hand 
 until the palm faces forward, 
 and at the same time turn 
 the head until it directly op- 
 poses the hand, rim to rim. 
 (Refer to figure No. 84.) 
 
 Tenth. — Carry the arm 
 straight out at the right side 
 
 level with the shoulder, with the palm facing outward; and turn the head over 
 the hft shoulder in direct opposition to the arm, as shown at figure No. 91. 
 
 Figure So. 91. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 63 
 
 FiGDRE No. 92. 
 
 Figure 
 
 FiGDEE No. 93. 
 
 Eleventh. — Carry 
 
 the arm forward, 
 
 gradually turning 
 
 the hand and head 
 
 toward each other 
 
 until they are op- 
 posing obliquely, 
 
 face to face. (See 
 
 figure No. 92.) 
 Twelfth. — Bend 
 
 the face obliquely 
 
 forward, and curve 
 
 the forearm toward 
 
 the head until the 
 
 hand rests upon the 
 
 top of the head, as 
 
 pictured at figure 
 
 No. 93. 
 
 Thirteenth. — Raise 
 
 the head, turn the 
 
 face straight for- 
 ward, and allow 
 
 the hand to sink 
 
 to the chest, as 
 
 illustrated at figure 
 
 No. 94. 
 Fourteenth. — Raise 
 
 the hand and low- 
 er the head until 
 
 they meet, rim to 
 
 rim, as at figure 
 
 No. 95. 
 
 Fifteenth. — Carry 
 
 the arm downward 
 
 and, the head up- 
 ward until both 
 
 are resting in 
 
 normal position. 
 Exercise the left arm with the order of movements just described. 
 Practice with some meaning back of each movement, and not as if the 
 opposition were a mere senseless mechanical motion. 
 
 When we make a direct movement of the arm, the opposition of the head 
 must be correspondingly direct ; and similarly, when we make a curved move- 
 ment, the action of the head must be curved to correspond with the move- 
 ment of the arm. The opposition between two members must begin and end 
 
 Figure No. 95. 
 
64 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 simultaneously. If the arm or hand moves quickly, so must the opposing 
 member move ; and if either proceeds slowly, the same law of correspondence 
 must be observed. The student should endeavor to create for herself as 
 many different oppositions as possible. 
 
 BETWEEN ARMS AND LEGS. 
 
 Stand in easy poise upon the advanced right leg, with the left foot rest- 
 ing upon the toe behind. 
 
 First Action. — Simultaneously throw the left 
 leg and right arm forward, as at figure No. 96, 
 Second ^f//(?7z. — Simultaneously throw the left 
 leg and right arm 
 backward, as at 
 figure No. 97. Re- 
 peat these move- 
 ments several times. 
 Third Action. — 
 Sway the weight of 
 the body upon the 
 left leg forward, 
 with the toe of the 
 right foot resting 
 behind. Then with 
 a simultaneous ac- 
 tion throw the right 
 leg and left arm 
 forward. 
 
 Fourth Action. — 
 Simultaneously 
 throw the right leg 
 and left arm back- 
 ward. Repeat these 
 movements also 
 several times. 
 
 Fifth Action. — 
 
 Balance the weight 
 
 upon the right leg 
 
 forward ; swing the 
 
 left leg and right 
 
 arm forward; transfer the weight to the left 
 
 foot; swing the right leg and left arm forward; 
 
 and continue to alternate the movements until 
 
 the length of the room has been traversed several times, and the action can 
 be accomplished with ease. 
 
 Figure No. 96. 
 
 Figure No. 97. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 65 
 
 PRINCIPAL OPPOSITIONS BETWEEN THE BODY AND ARMS. 
 
 First. — Stand in easy poise, with the right foot advanced and the weight 
 upon the retired left foot. Throw the body forward, transferring the weight 
 
 upon the advanced leg, and throwing 
 the arms backward, with the palms 
 facing forward, as seen at figure 
 No. 98. 
 
 Second. — Throw the body backward, 
 transfer the weight to the retired 
 
 FiGCRE No. 98. 
 
 leg, and at the same time throw the Figure Ko. 99. 
 
 arms forward, with the palms facing 
 outward. (See figure No. 99.) 
 
 r/?«>^.— Simultaneously throw the 
 body forward and the arms backward, with the palms facing backward. 
 This action is accurately illustrated at figure No. 100. 
 
66 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Fourth. — Simultaneously throw the body backward upon the retired leg, 
 and the arms forward, with the palms facing the body, as depicted at figure 
 No. loi. 
 
 Fifth. — Carry the body forward upon the advanced leg, and draw the 
 arms inward, folding the hands upon 
 the chest. (See figure No. 102.) 
 
 Sixth. — Raise the arms above the 
 head, with the palms facing down- 
 ward ; and at the same time lower 
 
 Figure No. 101. 
 
 the head, keeping the weight forward, 
 as seen at figure No. 103. 
 
 Seventh. — Lower the arms, with the 
 palms facing downward ; and simul- 
 taneously raise the chest and head, 
 (See figure No. 104.) 
 Eighth. — With the right foot still 
 advanced^ and the weight upon it, turn the head to the right and move 
 This movement is shown at figure No. 101;. 
 
 Figure N"o. 100. 
 
 the arms to the left. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 67 
 
 Ninth. — Simultaneously throw the arms to the right, turn the head over 
 the left shoulder, and transfer the weight of the body to the left leg, being 
 careful to make the transition at the hip and not at the shoulder. This pro- 
 duces an attitude very clearly expressive of repulsion. (Refer to figure 
 
 No. io6.) 
 
 Tenth. — Retaining the same posi- 
 tion, lower the head and raise the 
 arms, as represented at figure No. 
 107. 
 Eleventh. — Simultaneously throw the 
 
 Figure No. 102. 
 
 body obliquely forward upon the 
 
 right leg, direct the arms obliquely 
 
 backward and downward to the Figure No. 103. 
 
 left, and turn the head obliquely 
 
 forward to the right, with the face 
 
 upward. (See figure No. 108.) 
 
 rK/^////J.— Retaining the same position, lower the head and raise the arms, 
 
 as at figure No. 109. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Thirteenth. — Simultaneously throw the body obliquely backward upon the 
 left leg and the arms obliquely forward and downward, and turn the head 
 
 over the left shoulder, with the face 
 upward. (See figure No. no.) 
 
 Fourteenth. — Slowly carry the weight 
 obliquely forward upon the right leg, 
 and at the same time raise the right 
 hand, and curve the head obliquely 
 downward toward the right side until 
 the hand meets the brow, while the 
 left arm moves in a semi-circle to the 
 
 Figure No. 104 
 
 left, with the palm facing down- 
 ward, until it is in a position 
 obliquely opposed to the right 
 hand and at right angles with 
 the left shoulder. (See figure No. yi^^^^ No. io5. 
 
 III.) 
 
 Fifteenth. — Sway the body in a 
 semi -circle to the left until the 
 
 weight rests upon the left leg, facing obliquely backward. This movement 
 will leave the right foot resting upon the toe, with the sole of the foot 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 69 
 
 turned obliquely forward at the right. With this movement simultaneously 
 
 raise the left arm, and turn the head with the body until the rim of the 
 
 left hand and the brow meet, while 
 
 the right arm curves downward to 
 
 the side until it forms a right angle 
 
 with the shoulder, obliquely opposed 
 
 to the left arm. (Refer to figure 
 
 No. 112.) 
 
 Sixteenth. — Simultaneously carry the 
 body forward upon the right leg, 
 throw the head backward, and bring 
 
 Figure No. 107. 
 
 the hands together, clasping them 
 behind the head, as represented at 
 figure No. 113. 
 
 Seventeenth. — Carry the body, arms 
 and head to normal position. 
 Figure No. 106. Very many more examples of op- 
 
 position could be presented, but we 
 trust the hints and illustrations here 
 given will prove of sufficient practical 
 service to enable the student to create a number of movements for herself, 
 for the more work she can accomplish in this way the greater will be the 
 
70 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 advantage derived. We cannot too strongly emphasize the importance of the 
 practise of opposition. It is one of the most necessary factors of the artistic 
 expression, and without it one cannot possibly be graceful or correct. We 
 
 Figure No. 108. 
 
 FlGUIiE No. 109. 
 
 should advise the learner to practise opposition of different members of the 
 body until the law becomes a ruling habit. Patience and honest application 
 will certainly produce this result. 
 
 CHAPTER VIII. 
 GENERAL DEPORTMENT. 
 
 Before entering upon the study of attitude and gesture, let us pause for 
 a few moments to consider those small courtesies of everyday life which go 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 ri 
 
 so far toward making our domestic and social relations harmonious. Children 
 are too often left totally uninstructed in such matters until they frequently 
 contract ungainly personal habits, such as stooping the shoulders or stiffen- 
 ing the elbow and knee joints ; and these faults grow with their years, 
 until, in some instances, they become positive deformities. But the question 
 naturally arises, why is this, when it is to children that we look especially 
 for free, untrammelled movements ? Up to a certain age the young are 
 naturally graceful in their motions, but children are imitative, and soon 
 begin unconsciously to learn bad mannerisms from some of their elders. 
 
 Figure No. 110. 
 
 Figure No. 111. 
 
 Then, too, it is to be feared that in America we do not pay sufficient 
 attention to the deportment of our children during their period of growth, 
 but allow them to sit and stand awkwardly, and even to loll about, with- 
 
72 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 out correction. Our school teachers, also, have much to answer for in pro- 
 ducing stiff, ungraceful men and women. It is wholly wrong to compel chil- 
 dren to sit with their arms behind them or folded in front. The former 
 position throws the shoulders forward and has a decided tendency to con- 
 tract the chest, besides causing the head to be thrust forward ungracefully, 
 
 Figure No. 112. 
 
 Figure No. 113. 
 
 the result in many cases being rounded shoulders and a very angular action 
 of both the neck and shoulders ; and the folding of the arms in front con- 
 tracts the chest, and also induces a habit of stooping the shoulders. Neither 
 position is natural. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. /^3 
 
 When children are growing all actions should be discouraged which tend 
 to contract the movements. The clothing should be of such a nature as 
 to allow perfect freedom of motion, and the little ones should be taught to 
 assume graceful and natural attitudes. They should be taught almost from /. 
 infancy to be polite, to enter and leave a room properly, to respect their 
 elders, to remove their hats (if they are boys) when they enter a house, to 
 seat themselves quietly instead of throwing themselves boisterously upon 
 chairs or lounges, to close doors gently, and to do many other things 
 naturally and politely which they now do awkwardly and rudely, simply be- 
 cause they have never been instructed otherwise. 
 
 If dumb animals can be taught to perform many attractive tricks and 
 trained to understand perfectly what is expected of them, how much easier 
 should it be to teach children, with their superior mental powers, to con- 
 form their actions to certain simple rules and to restrain the natural exuber- 
 ance of their spirits under certain circumstances? *'|f short time ago the 
 writer heard a woman remark that she had too mai^y household cares to 
 find time to teach her children to be polite ; and dodbtless there are many 
 others who hold the same view. Yet a little time idevoted each day to this 
 most excellent work will surely bring an ample "return in the end — will, 
 in fact, bear good fruit from the very beginning, since a child who is being 
 taught to be polite is at the same time learning consideration for others, 
 and so is cultivating unselfishness of character ; and in the same way a child 
 who is encouraged to be orderly — to do little offices for itself, such as fold- 
 ing up its clothes or putting a hat or toy in its proper place, is not only 
 mastering one of the most valuable of lessons, but is also saving the mother 
 or some other older person many weary steps in the present, and heartaches 
 in after years. 
 
 And what is the cost of such training? A little watchfulness on 
 the part of the mother, a few timely words from day to day from the 
 period of babyhood until maturity is reached. But the gain is out of 
 all proportion to the cost, since this simple attention will produce a 
 generation of polished, graceful-mannered young people who hold their 
 elders . in respect and consideration and are a joy to their parents and 
 friends. 
 
 The mother who walks after her children, picking up their clothes and 
 toys, hanging up their hats, folding their napkins and performing other little 
 duties for them which they should attend to themselves, does them a grievous 
 wrong ; for she is sowing in their breasts the seeds of selfishness, which never 
 can be wholly eradicated. Teach a young child to wait upon itself and 
 upon its parents. Let it bring father his slippers, cane, hat or gloves, and 
 mother her work-basket, thimble or book. Encourage it to perform any little 
 offices that come within its powers as a tiny child. It will be proud to 
 execute these small commissions, and as it grows older it will form a fixed 
 habit of considering the wants and feelings of others. These remarks may 
 at first appear to the reader as a digression from our original subject, but 
 
74 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 we, cannot consider them quite in this light, since Delsarte in his work 
 strove to teach ideal naturalness, and it is very much more difficult to 
 reach an ideal if from childhood the body and mind have been left prac- 
 tically untrained. 
 
 Mind and physique are closely allied. Noble impulses, high aspirations 
 and unselfish character are indicated by a high chest, well poised head 
 elastic footstep and expansive movements, while the opposite qualities are 
 denoted by a sunken chest, protruding chin, heavy step and general con- 
 traction of movement. So, if the body is allowed to grow misshapen, it is 
 apt to deform the mind, while improvement of the character is likely to 
 make the body more beautiful. Let us, therefore, cultivate in our children 
 from infancy beauty both of mind and physique, and there will not be the 
 same great need of "physical culture in later years. As we take up the sub- 
 ject of general deportment, we would impress upon the young mother, whose 
 interest in this topic is most keen, that while trying to improve herself by 
 the study of physical culture and deportment, she has no right to forget 
 her children, but must study their movements and tendencies even more 
 closely than her own, and take time to teach them to be polite and orderly 
 in their habits while their natures have the pliableness of extreme youth. 
 Let her do this, and her reward will be both great and certain. 
 
 ENTERING AND LEAVING ^"/ '^"'' """. ^" '^'^ ^'"^ r^?,^r^ io the correct 
 
 mode of entermg a room, except that the manner 
 ^ "''OM. should be natural, easy and gracious, and the car- 
 
 riage erect. It is much easier to enter than to 
 leave a room properly. Very few people understand the art of making a 
 thoroughly graceful exit. One should never leave a room with the back 
 turned toward the occupants; yet to be able to walk to a door, turn easily, 
 and back naturally and gracefully out of the room is an accomplishment 
 that cannot usually be acquired without some practice. 
 
 If the door is closed and the handle is on the right side, grasp the 
 knob with the left hand, open the door, pass out, catch the outside knob 
 with the right hand, and clos2 the door. This method will turn the face 
 toward the occupants of tha room while the door is being closed. If the 
 handle i.s on the left side, reverse the order of movement. 
 
 When a door is open, walk directly toward it, and when within one or 
 two steps of it, turn easily with a pivotal step backward, take as many 
 backward steps as are necessary to cross the threshold (two or, at most, 
 three should be sufficient), and then proceed in the desired direction. 
 Many people will require practice to perform this action naturally and well, 
 for unless the turn is made easily and without a pause, and just far enough 
 from the threshold, it will appear awkward or affected. 
 
 This method of making an exit should be followed on a platform as 
 well as m the home. A speaker or singer should never leave the stage or 
 platform with his or her back to the audience. This fault is one of the 
 most glarmg indications of the amateur. Many persons, and especially singers, 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 75 
 
 impair an excellent impression by an ungainly and oftentimes uncouth exit. 
 No one has a right to appear upon a platform for public recognition with- 
 out paying as much attention to general deportment as to the talent under 
 cultivation. Half the battle for a successful public career may be won by 
 first gaining the attention of the audience by a pleasing, gracious personality, 
 and a graceful, self-possessed deportment, both of which may be cultivated 
 by anyone. 
 
 When one is, for the time being, the cynosure of all eyes, a good car- 
 riage is a matter of prime necessity. Cultivate the habit of looking straight 
 at your audience from the moment you step into view upon the platform ; 
 wear a pleasant, smiling countenance ; and acknowledge your audience with 
 two or three gracious inclinations of the head, such as you would use on 
 being presented to two or three persons occupying different positions. When 
 ready to leave the platform, bow graciously, as you would in taking leave 
 of a friend ; walk easily to the exit ; turn naturally, always keeping the face 
 toward the audience ; and then back gracefully off the stage or platform. 
 By the injunction to keep the face continually toward the audience is meant, 
 that if the exit is at the left side, the performer must make the turn to 
 the right by applying one or the other of the transitions of the feet ; while 
 if the exit is at the right, the turn must be made toward the left. This 
 may seem very easy to do, but it is nevertheless seldom accomplished with 
 ease, at least by amateurs, being really an art which can only be acquired 
 by careful study and practice. 
 
 The proper management of this portion of the 
 
 gown of ceremony requires considerable skill, which 
 
 TRAIN. unfortunately is not always possessed by those 
 
 who assume trained toilettes. We can only offer 
 a few suggestions upon the subject, because one can only acquire grace in 
 guiding and handling the train through familiarity with its use ; and we 
 would, therefbre, advise any woman setting out to gain public honors, to 
 become thoroughly accustomed to the long, trailing gown before appearing in 
 one upon the stage or platform. Never kick the train, for nothing can be 
 more ungraceful or unladylike. A slight sway of the body, with a gliding, 
 semicircular action of the foot not bearing the weight, is generally all that 
 is necessary to remove the train from one's path; but if this is not sufficient, 
 raise the train gracefully with one hand. To prevent the train switching at 
 every step, always take the first step with the free or advanced foot in the 
 manner described for walking. A gown intended for platform wear should 
 be cut considerably longer in front than one designed for the ball-room. 
 It should just escape the floor. 
 
 If all the exercises heretofore presented have been faithfully learned and 
 practised, the way will be comparatively smooth to a perfection of deport- 
 ment, so that only general suggestions will be required ; but we must never 
 forget that strength and control of the muscles are the foundation of graceful 
 movement even in the ordinary actions of daily life. 
 
76 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 TO SIT GRACEFULLY. 
 
 Learn to lo- 
 cate the seats 
 in a room 
 without appearing to do so. Observe a 
 chair or sofa before walking to it, and 
 do not look at it before sitting down; 
 but place the leg bearing the weight 
 
 Figure Xo. 115. 
 
 Fl&UEE No. 114. 
 
 firmly against the front edge of the 
 seat (see figure No. 114), bend, the 
 body slightly forward and the head 
 back, allow both knees to bend, and 
 sink easily into the center of the 
 seat, as illustrated at figures Nos. 
 115 and 116. 
 
 Figure No. 11 6. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 77 
 
 Never sit with the feet upon a straight parallel line ; one foot should 
 
 always be in advance of the other. The most elegant attitude in which a 
 
 woman can sit is with the feet (not the 
 
 legs) crossed; but each foot must rest 
 
 with the ball upon the floor. A man 
 
 should sit with both feet upon the floor, 1^ \\^ 
 
 one in advance of the other, as shown \^ ^ ^] 
 
 at figure No. 117. 
 
 Draw the re- 
 TO RISE GRACEFULLY. ^.^^^ j^^ ^^^^ 
 
 close to the 
 chair, bend the body forward and the 
 head back (see figure No. 118), throw 
 all the weight upon the retired foot, 
 and rise by the force of the muscles 
 in the legs and feet alone. Step out 
 with the advanced, free foot. Do not 
 
 Figure No. 117. 
 
 place the hands upon the knees, 
 upon the arms of the chair or upon 
 anything else to assist you in rising. 
 The action should be confined wholly 
 to the lower limbs, with an imper- 
 ceptible upward spring of the body. 
 It will readily be seen how necessary 
 it is to cultivate strength and flex- 
 ibility in the muscles of the lower 
 limbs, in order to acquire ease and 
 grace of movement in performing 
 the most ordinary actions of our 
 daily life. Without strength we cannot have grace, since strength is the 
 foundation of grace. Therefore, cultivate the muscles assiduously. 
 
 Figure No. 118. 
 
T8 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 TO ASCEND STAIRS. 
 
 Hold the body 
 erect and the head 
 well poised, with 
 the chest predominating ; and breathe deeply. 
 Place the advanced, free foot upon the first 
 step, raise the heel of the retired foot, and 
 so spring the weight upon the advanced foot, 
 at the same time 
 straightening the knee 
 of the advanced leg. 
 (Refer to figure No.- 
 119.) Place the re- 
 tired foot, just released 
 from the weight, upon 
 
 FiGDRE No. 120. 
 
 the ne::t step, repeat the 
 
 action just described, 
 
 and continue to use the 
 
 feet in alternation until 
 
 the top of the stairs is 
 
 reached. Be careful not 
 
 to bend forward at the 
 
 shoulders or waist, as seen at figure No. 120, but 
 
 keep the body erect. This manner of ascending 
 
 stairs is not injurious, and is far less fatiguing than 
 
 when the body is bent nearly double with the effort 
 
 of climbing. 
 
 As in seeking a seat, learn 
 to locate the stairs without 
 apparently looking for them. 
 
 Hold the body perfectly erect, throw the straight, 
 
 TO DESCEND STAIRS. 
 
 Figure No. 121. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 79 
 
 TO ACKNOWLEDGE AN 
 
 free leg forward from the hip directly over the first step, as in figure 
 121 ; and then bend the knee of the leg bearing the weight until, first 
 ball of the advanced foot and then the heel, strikes the step (see figure 
 122), at the same time transferring the weight upon 
 the advanced leg. Repeat the action with the other 
 foot, and so alternate to the bottom of the stairs. 
 
 Incline the body for- 
 ward from the waist, 
 INTRODUCTION. .jvith the chest predom- 
 
 inating and with a very 
 slight bend of the advanced knee, keeping the 
 eyes upon the face of 
 the person being pre- 
 sented. (Refer to fig- 
 ure No. 123.) This ac- 
 tion is more gracious 
 and graceful than it 
 would be to incline the 
 head with the body, as 
 at figure No. 124; and 
 
 No. 
 the 
 No, 
 
 Figure No. 122. 
 
 Figure jSTo. 124. 
 
 it is correct, since it 
 
 preserves the opposition 
 
 between the head and 
 
 trunk. 
 
 »»n»-n-r To execute 
 CORRECT 
 
 a correct tor- 
 FORMAL ^^1 ^„^ ^ 
 
 BOW. man should 
 always make 
 a decided movement of 
 the feet, no matter what 
 his relative pofition may 
 be toward the individ- 
 ual to whom he bows. 
 Thus, if his weight is 
 resting upon the right 
 leg, with the left foot 
 free, he should take a 
 step backward, forward or to the side, turning 
 the toe toward the individual, and should at 
 the same time transfer the weight to the left 
 leg; he should then immediately draw the right 
 foot just freed from the weight close up to 
 
80 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 the left, with the heels touching, and should simul- 
 taneously incline the body forward at the hips, 
 without bending the knees, and keeping the eyes 
 upon the face of the individual, unless the obeis- 
 ance be one of very deep respect. This is clearly 
 piptured at figure No. 125. 
 
 One should not shake hands 
 TO SHAKE HANDS. at all, unless prompted to 
 
 do so by a warm feeling 
 of friendship ; but when hand-shaking becomes 
 necessary, the 
 
 FlODBE No. 125. 
 
 other person's 
 hand should be 
 grasped with one 
 warm clasp not 
 higher than the 
 chest, and the 
 action should 
 be downward. 
 Never shake 
 hands as though 
 ringing a bell, 
 and never make 
 a side-to-side 
 motion, either 
 action being in- 
 dicative of lack of cultivation or of familiarity 
 with those little refinements which play so 
 large a part in social life. 
 
 This is an action which 
 TO STOOP. ^g generally see done as 
 illustrated at figure No. 
 126, which is very awkward and requires 
 much more exertion than the correct 
 method. To pick up an article from the 
 floor, bend the knee of the forward leg, 
 and sink upon the knee of the retired one 
 near the object. This enables one to reach 
 the floor with the hand without an effort 
 and with only a slight and graceful bend 
 of the body. (See figure No. 127.) 
 
 Throw the weight upon the 
 forward leg, and straighten 
 into standing position, being 
 careful to preserve the balance. 
 
 TO RISE. 
 
 Figure No. 126. 
 
 Figure No. 127. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE, 
 
 81 
 
 Figure No. 128. 
 
 chest equality, and below 
 
 the chest line superiority. 
 
 A waiting- 
 THE 
 
 maid's cour- 
 
 COURTESY. tggy is per- 
 formed by 
 placing one foot behind 
 the other, bending both 
 knees, and rising with- 
 out any inclination of 
 the body. (See figure 
 No. 129.) The ordi- 
 nary courtesy used in 
 dancing, obeisance, etc., 
 is made thus : Stand 
 'with the feet in the 
 position illustrated at 
 figure No. 130; pass the 
 free or advanced foot 
 in a semicircle .to the 
 bark until it rests upon 
 the toe and ball, as at 
 figure No. 131, and at 
 the same time bend the 
 knee, of the strong leg 
 in front, incline the 
 
 TO PRESENT 
 AND ACCEPT. 
 
 upward; 
 
 Always present an 
 article to a person 
 with the palm of 
 the hand turned 
 and receive anything pre- 
 sented in the same man- 
 ner. The upward turn- 
 ing of the palm is a 
 courteous action ex- 
 pressing acceptance, 
 while turning the palm 
 downward expresses re- 
 jection and is ungra- 
 cious. (See figure No. 
 128.) An article pre- 
 sented above the level 
 of the chest implies hu- 
 mility, on a line with the 
 
 FISUKE No. 129. 
 
 Figure No. 130. 
 
 Figure No. 131. 
 
82 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 FieuEE No. 132. 
 
 TO RISE. 
 
 body forward and the head back, gradually 
 transfer the weight, and sink with bent knee 
 upon the retired leg, simultaneously straight- 
 ening the leg in front, but not stiffening it. 
 This is illustrated at figure No. 132. 
 
 Straighten the retired leg bear- 
 ing the weight, and gradually 
 draw the advanced foot to its 
 correct normal position, as at figure No. 133. 
 Be careful when rising not to throw the 
 weight upon the ad- 
 vanced leg. A deep 
 courtesy is made in 
 the same manner, 
 except that the free 
 foot is placed as far 
 back as possible, and 
 the head is inclined 
 
 as the courtesy is finished. The depth of 
 the courtesy is always regulated by the plac- 
 ing of the free foot. A courtesy cannot be 
 graceful unless one has perfect control of 
 the lower limbs, and a great deal depends upon the flexible bending of 
 the knee joints. If these joints do not bend easily, the hip is thrown 
 out, and the courtesy becomes a very awkward movement. 
 
 Figure No. 133. 
 
 CHAPTER IX. 
 ATTITUDES. 
 
 THE FEET. 
 
 To complete our work on the fundamental principles of gymnastics and 
 expression we will now take up the study of attitudes. 
 
 There are nine direct positions of the feet that form the 
 basis of an innumerable variety of expressions. When we 
 are physically and mentally strong the lower limbs assume 
 a weak attitude, with the weight borne upon one leg, showing a conscious 
 equilibrium and balance of body and mind ; but when the physical or 
 mental condition is weak, the lower limbs assume a strong attitude, with 
 the weight borne equally upon both legs, thereby showing a lack of mental 
 or physical equilibrium or balance. To illustrate this principle we present 
 the first three positions, which we will entitle weak attitudes. In calling 
 
THE DELSARTE SYSTEM OF PHYs\ 
 
 -TURE. 
 
 83 
 
 Figure No. 134. 
 
 them thus we must be understood to apply the\ wholly to the state 
 
 of the being and not to the physical form of the .on ; and the same is 
 
 true in speaking of th strong attitudes. 
 
 First Attitude. — Stand with the toes upon 
 a parallel line, the heels normally apart, as 
 shown at figure No. 134, and the weight 
 equally disposed upon the heels and balls of 
 both feet. This attitude is an expression of 
 old age and infirmity, and denotes a lack of 
 physical strength and balance to poise the 
 weight from one leg to the other, so that the 
 step becomes labored and slow, with the 
 weight equally disposed upon both feet. The invalid also feels the same 
 physical weakness ; and the little child taking its first steps, being timid 
 and lacking confidence in itself, travels along at a very rapid pace, with the 
 weight equally borne upon both feet, to preserve its balance. Thus, in the 
 same attitude we have the expression of old age, invalidism and infan<;y. 
 
 With the feet in the same position, but with 
 the heels together and the weight resting upon 
 the heels, as depicted at figure No. 134 A, we 
 have a respectful or conventional attitude, de- 
 noting inferiority or respect. So would stand 
 a servant in the presence of his master, a sol- 
 dier before a superior officer, or a gentleman in 
 making respectful salutation. 
 
 Second Attitude. — Stand with the toes upon a 
 parallel line, as in the preceding exercise, but 
 
 with the feet placed farther apart (see figure No. 135), and with the weight 
 equally balanced upon the heels and balls of both feet. This is an attitude 
 more particularly associated with men, but one which is vulgar and only 
 permissible when a man is in the presence of other men or within the 
 
 precincts of his family circle, 
 where he may occasionally relax 
 the strict, formal rules under a 
 sense of fatigue without disre- 
 spect to his family, although it 
 is within the home circle that 
 the social laws of respect and 
 politeness should primarily exist. 
 Such an attitude assumed by an 
 inferior before a superior be- 
 comes an expression of inso- 
 lence. A drunken man, feeling 
 his inability to maintain his equilibrium, falls into this posture ; and the 
 less level the head, the wider the basic attitude. 
 
 Figure No. 134 A. 
 
 Figure No. 135. 
 
84 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Third Attitude. — Stand with one foot advanced, as in the correct normal 
 
 position, but with the weight equally borne upon the balls of both feet, as 
 
 illustrated at figure No. 136. In the 
 first two attitudes, not including the 
 conventional, we express actual physical 
 weakness, but in this one we indicate a 
 form of mental weakness or lack of 
 will. We hesitate concerning some ac- 
 tion ; we are undecided whether or not 
 to take a contemplated step. The atti- 
 tude expresses uncertainty and, conse- 
 quently, weakness. 
 
 In the following three attitudes the 
 weight is borne upon the retired leg ; 
 
 and the action denotes a command of self, except when weakened by the 
 
 bending of the knee, and shows a reasonable or rational state of the being. ■ 
 Fourth Attitude. — Stand upon the straight 
 
 retired leg, with the weight equally disposed 
 
 upon the heel and ball of the retired foot, 
 
 the free foot slightly advanced, and the free 
 
 leg resting easily but not perceptibly bent at 
 
 the knee. (See figure No. 137.) This is the 
 
 normal attitude of repose and is calm. 
 
 Figure No. 136. 
 
 PlQUEE No. 137. 
 
 thoughtful and dignified, denoting a 
 thorough control of self. 
 
 Fifth Attitude. — Stand upon the straight 
 retired leg, with the weight resting more 
 upon the ball of the retired foot than 
 upon the heel, and with the free leg 
 energetically advanced with straight 
 knee and the foot firmly placed upon 
 the ground, being careful not to place 
 any weight upon the advanced leg. 
 (Refer to figure No. 138.) This attitude 
 denotes an antagonistic state of the being, full of action; but so long as 
 the weight is held upon the retired leg passion is well under control. 
 
 Figure No. 138. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 85 
 
 Sixth Attitude. — Throw the weight a little 
 more upon the heel than upon the ball of 
 the retired foot ; the knee of the retired 
 leg should be well bent and the free leg 
 advanced, with the knee straight but not 
 stfained or stiff, as shown at figure No. 
 139. By this attitude v/e express physical 
 and mental prostration. In mental pros- 
 tration the head is thrown back, as in 
 ..despair; in physical prostration it falls for- 
 ward or to the side, indicating weakness or 
 inability to hold it erect. We also show 
 timidity and defend ourselves in this back- 
 ward attitude. 
 
 Note. — Practise retreating with the bent 
 knee, by placing the free foot back and 
 
 FietTHE No. 139. 
 
 transferring the weight in poise alternately 
 from one leg to the other. Be careful while 
 making the transition not to raise and 
 straighten the leg bearing the weight ; but 
 alternate the movement in one smooth, con- 
 tinuous line backward, and keep the poise 
 correct between hip, shoulders and head. 
 Practise before a mirror. 
 
 In the next three attitudes, the last of the 
 series, the weight is borne upon the advanced 
 foot, and the position thus becomes active in 
 nature. 
 
 Seventh Attitude. — Stand upon the straight. 
 
 Figure No. 140. 
 
 firm, forward leg, with the weight 
 supported by the heel and ball of 
 the forward foot, and with the free 
 foot behind and the free leg rest- 
 ing at ease, containing no active 
 will power. This is clearly pictured 
 at figure No. 140, and expresses an 
 animated state of the being — inter- 
 est, attention, mild excitement, 
 passion, sentiment, or tenderness 
 toward an object. 
 
 Eighth Attitude. — Throw the 
 weight upon the ball of the ad- 
 
 FlGURE No. 141. 
 
86 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 FlGUEE No. ]42. 
 
 vanced foot, with the knee of the advanced leg well bent forward; and 
 place the free leg behind, with the knee straight and the foot resting 
 
 upon the toe, as represented at figure No. 
 141. This is a posture indicative of ve- 
 hemence, of passion beyond control or of 
 wildest excitement ; and it also expresses 
 exaltation or heroic, fearless attack. It is 
 an attitude of greatest activity. 
 
 Ninth Attitude. — Stand with the weight 
 borne upon the heel and ball of the for- 
 ward foot, and with the knee of the for- 
 ward leg straight, and place the free foot 
 out at the side, with the toe on a parallel 
 line with the instep of the foot bearing 
 the weight. (See figure No. 142.) This is 
 a pivotal attitude of transition from one 
 expression to another, and it also denotes 
 a state of suspense. These attitudes and 
 their meanings should all be committed to memory, and the postures should 
 be faithfully practised with a constant regard for the motive or sentiment 
 underlying each. 
 
 We have both attitudes and gestures of the hand. , The 
 
 THE HAND. attitudes express the particular state of the being, and so 
 
 become partly permanent in action, while the gestures are 
 
 but fleeting outward expressions of thoughts or emotions. There are nine 
 
 attitudes of the hand, corresponding with those of the feet. 
 
 First Attitude. — Allow the thumb to be relaxed and to fall across the 
 palm, where it must be held by force of will, as it will only assume this 
 position in insensibility or death, when all nervous force will have left the 
 thumb ; otherwise it will naturally assume a normal position. Wholly relax 
 the hand and fingers. (See figure 
 No. 143.) This attitude denotes 
 complete physical prostration, somno- 
 lence, unconsciousness or death. JUie 
 Jjmmb— io a -Btc ong inde x of r^arg/=± aj:— 
 Throu gh its a^titurl p we mny disrovffr 
 much regarding thf tpmppramprit^ 
 f orce of charact e r and in trlligp"^^;. of 
 the individual. A thumb carried 
 close to the palm is never indicative 
 Figure No. 143. of an energetic nature. Figure No. 144. 
 
 Second Attitude. — Completely relax 
 the entire hand, and allow it to remain 
 in normal condition, as illustrated at figure No. 144. This is the normal, re- 
 poseful attitude of the hand and indicates a calm or indifferent state of mind. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 sr 
 
 ■ Figure No. 145. 
 
 FiGDRE JTO. 146. 
 
 Third Attitude. — Raise the thumb high opposite the first finger, and open 
 the hand wide, with the fingers close together, as shown at figure No. 145. 
 
 This is a very positive 
 attitude of the hand 
 and expresses earnest- 
 ness and zeal. It is 
 natural to many pub- 
 lic speakers and is 
 frequently used. 
 
 Fourth Attitude. — 
 Raise the thumb high, 
 drawing it ,well away 
 from the fingers ; and expand the fingers normally, as represented at figure 
 No. 146. By this position is indicated interest, activity and animation, and 
 also tenderness and a desire to caress. 
 
 Fifth Attitude. — Open the hand wide, fully extend the fingers, raise the 
 thumb high, and strain it well away from the fingers, as shown at figure No. 
 
 147. This denotes that passioYi is 
 beyond control, and is also expres- 
 sive of great vehemence and ex- 
 citement. 
 
 Sixth Attitude. — Open the hand 
 in the manner described for the 
 fifth attitude, and contract the 
 ends of the fingers and thumb, as 
 depicted at figure No. 148. This 
 is an attitude indicative of in- 
 tense passion, extreme nervousness 
 or avariciousness, and it is also used in denunciation 
 
 Seventh Attitude. — Open the hand wide, but contract the fingers and 
 
 ■ thumb into the palm, as at figure No. 149. Agony of mind, convulsion, 
 
 violence and insanity may be expressed by this attitude. 
 
 Eighth Attitude. — Lightly place the fin- 
 gers in the palm, and similarly place the 
 thumb beside the first or index finger. 
 •This is illustrated at figure No. 150. 
 It expresses confidence and authority, 
 repose in action, and a calm concentra- 
 tion of the mind. The hand often as- 
 sumes such an attitude when we reflect. 
 Ninth Attitude. — Place the fingers 
 firmly in the palm and the thumb vigorously across the 
 first two fingers, as shown at figure No. 151. The 
 si'-^nificance of this attitude is intense concentration of 
 ^he mind, resolution, or passion well under control. 
 
 FiGtntE No. 147. 
 
 FlGUUE No. 148. 
 
 or execration. 
 
 Figure No 150. 
 
 Figure No. 149. 
 
 Figure No. 151. 
 
88 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Combine as many of the hand attitudes as possible with the different 
 attitudes of the feet. Do not make them mere mechanical forms, but seek 
 to throw the proper expression into each. It is of the utmost importance 
 for the student to commit all these attitudes to memory, as well as the 
 attitudes and gestures that follow. 
 
 CHAPTER X. 
 
 ATTITUDES.-(CoNTiNUED.) 
 
 FlGUBB So. 152. 
 
 OFTHEHAND 
 IN RELATION 
 TO THE BODY. 
 
 FiGVRE No. 154. 
 
 First. — The 
 hand placed 
 upon the ab- 
 domen indi- 
 cates physical 
 pain, and is also an appeal 
 to the appetites or to the 
 vulgar, baser side of the na- 
 ture. (See figure No. 152.) 
 
 Second. — The hand placed 
 upon the heart indicates 
 pain, physical or emotional, 
 and is an appeal to the 
 affections. (Shown at figure 
 No. 153.) 
 
 Third. — The hand placed 
 upon the chest is an appeal 
 to the emotional nature, and 
 to the nobility, honor or man- 
 hood, as pictured at figure 
 No. 154. 
 
 Fourth. — Placing the hand 
 upon the chin or about the 
 mouth produces a reflective 
 attitude, appealing more par- 
 ticularly to the senses. (Re- 
 fer to figure No. 155.) 
 
 i^z/Z/i.— The hand placed 
 upon the cheek indicates 
 physical pain, a direct appeal 
 to the sympathies, or senti- 
 
 FlGUKB No. 153. 
 
 Figure No. 155. 
 
 *'4 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 89 
 
 Figure No. 156. 
 
 Figure No. 158. 
 
 Figure No. 160. 
 
 mental reflection. (Il- 
 lustrated at figure No. 
 iS6.) 
 
 Sixth. — The hand 
 placed upon the fore- 
 head indicates pain, 
 physical or mental, in- 
 tense thought, or an ap- 
 peal to the perceptions. 
 (See figure No. 157.) 
 
 Seventh. — The fore-fin- 
 ger placed beside the 
 nose, or moved up and 
 down with a caressing 
 action, denotes a con- 
 sciousness of self or 
 reflection particularly re- 
 lating to self, as shown 
 at figure No. 158. 
 
 Eighth. — The hand 
 placed at the base of 
 the brain indicates re- 
 flection that is wholly 
 vital in character, or is 
 an appeal to the brutal 
 instincts of the nature. 
 (See figure No. 159.) 
 
 Ninth. — The hand 
 placed at the back of 
 the ear and moved up 
 and down with a ca- 
 ressing action of the 
 fingers, indicates treach- 
 ery and craftiness or 
 reflection of a selfish 
 nature, as depicted at 
 figure No. 160. 
 
 Tenth. — The hand 
 placed upon the top of 
 the head near the fore- 
 head indicates physical 
 pain, mental agony, or 
 an appeal to the con- 
 scientious instincts. (See 
 figure No. 161.) 
 
 Figure No. 157. 
 
 Figure No. 159. 
 
 Figure No. 161. 
 
90 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 THE ARMS. 
 
 First. — The arms normally 
 at the sides express repose. 
 (See figure No. 162.) 
 Second. — The arms at the sides, with the 
 elbows drawn inward, denote humility, ser- 
 vility, timidity or fear, 
 as illustrated at No. 
 163. \ 
 
 Third. — The arms " ' 
 entirely relaxed at 
 the sides, with the '; ' 
 elbov/s inward indicate ?J 
 
 general prostration. 
 (Refer to figure No. 
 164.) 
 
 Fourth. — The arms 
 at the sides, with 
 the elbows thrown 
 outward, express as- 
 sertion or excitement. 
 This attitude is illustrated at figure No. 165. 
 
 Fifth. — The arms at the sides, with the hands 
 on the hips and the elbows simply thrown nor- 
 
 Fijsdre No. 164. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 91 
 
 malWr^ outward, indicate vulgar ease 
 
 or* vulgar assertion, as seen at figure 
 
 ■^0. 1 66. 
 
 ^ Sixth. — The arms at the sides, 
 with the hands on the hips and the 
 elbows thrown forward, indicate ag- 
 gressive assertion or insolence, , as 
 shown at figure No. 167. 
 
 Seventh. — The arms placed behind 
 the back express indifference or a 
 calm state of the being, as shown 
 at figure No. 168. 
 
 FlGTlBE No. 165. 
 
 Figure No. 166. 
 
 Eighth. — The arms carried forward 
 denote attention, action, excitement 
 6x animation. (See figure No. 169.) 
 
 Ninth. — The arms quietly folded in 
 front express calm reflection, thought- 
 fulness or self control, as pictured at 
 figure No. 170. 
 
 Tenth. — The arms folded, tensely 
 or firmly across the chest signify 
 passion well under control, or inten- 
 sity of feeling. (Refer to figure No. 
 171.) 
 
 Eleventh. — The arms thrown over 
 
/ 
 
 92 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 the head indicate extreme fatigue or an active demonstration of eise. 
 (Shown at figure No. 172.) 
 
 CHAPTER XI. 
 
 ATTITUDES.-(CoNTiNUED.) 
 
 THE TRUNK OR BODY. 
 
 The action of the trunk has everything to do 
 with true expression, for if the trunk is not in 
 correct attitude, any attempt at expression • be- 
 comes forced and artificial, while if the action of the body is true, it will 
 to a very great degree properly regulate all other expressive members and 
 
 Figure No. 167. 
 
 Figure No. ]68. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 93 
 
 jive true and expressive coloring to the voice. This stands to reason, 
 ince the body is the seat or center of the emotions, and to produce a 
 rae artistic expression of an emotion or impulse, the body certainly must 
 )e in perfect sympathy with the emotion as shown by its attitude. So it 
 
 FiGUBt No. 169. 
 
 Figure No. 170. 
 
 pi'ill readily be seen how very important it is to become thoroughly ac- 
 quainted with the different actions or attitudes of the body. 
 
 The trunk expan.d s-ioa'ia^^ in action and attention and when the mmd 
 s filled with the brighter emotions, and it contracts in reaction and when 
 he mental powers are under the influence of the darker emotions. It rises 
 •0 denote exaltation of the spirit and vitality, and sinks or collapses when 
 
94 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 we experience grief, fatigue or prostration ; while attraction toward an object 
 through the medium of the affections finds expression in a side action lead- 
 ing from the emotional center. 
 
 The body in repose has two expressions, the passive normal and the 
 active normal. 
 
 First Attitude. — The passive normal is expressed when one is sitting in 
 
 Figure No. lYl. 
 
 Figure No. 172. 
 
 repose, with the back either supported or unsupported, the muscles between 
 the ribs relaxed, and the chest wholly inactive. This position is restful, and 
 quite correct in a sitting posture. 
 
 Second Attitude. — The active normal corresponds with the active position 
 of standing. As the act of standing compels activity of the lower limbs,' 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 95 
 
 so the body should be in sympathy with that activity ; therefore, a passive 
 normal of the body is never correct when one is standing in repose, but 
 the body must assume an activity, as expressed by a normally expansive 
 chest raised to normal activity through firmness of the muscles between the 
 ribs, in harmony with the active attitude of the lower limbs. This is pic- 
 
 .FlGURB No. 173. 
 
 FlGUKE No. 114. 
 
 tured at figure No. 173. The same attitude of the trunk in a sitting posture 
 would signify interested attention. By assuming the passive normal of the 
 body in the standing position, one may observe how incorrect and mhar- 
 monious the action becomes (see figure No. 174) ; and yet how many we 
 see who habitually stand in this incorrect attitude. 
 
96 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Third Attitude. — The muscles between the ribs 
 raised with firmness and activity, and the chest 
 raised high, but not strained, will produce an 
 attitude expressive of nobility, manliness, cour- 
 age and the exalted sentiments of the being, 
 
 as pictured at figure 
 No. 175. 
 
 Fourth Attitude. — 
 The muscles between 
 the ribs being active- 
 ly raised, and the 
 chest thrust forward 
 and the shoulders 
 
 backward according 
 to the strength of 
 the feeling actuating 
 the being, the result- 
 ing attitude expresses 
 activity, excitement 
 or vehemence. (See 
 figure No. 176.) 
 
 Fifth Attitude. — Actively raise the muscles 
 between the ribs, hold the chest normally erect, 
 and raise the shoulders ; the attitude will then 
 denote excessive pride, assertion or splenetic 
 temper, as pictured at figure No. 177. 
 
 FiQUEE No. 177. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 97 
 
 Sixth Attitude. — The same attitude of the 
 trunk and shoulders, with the latter thrust 
 forward, denotes aggressive assertion, as shown 
 at figure No. 178. 
 
 Seventh Attitude. — Raise the muscles normally 
 between the ribs and 
 draw the chest inward 
 slightly, to signify 
 suspense. A stronger 
 action of the chest 
 
 inward would denote Z^,;;,-* ;0^ 
 
 repression, of self, or 
 
 FiauRE No. 180. 
 
 suppressed feeling, as 
 pictured at figure No. 
 179. 
 
 Eighth Attitude. — 
 Slightly relax the 
 muscles between the 
 ribs to the passive 
 normal, suppress the 
 chest very slightly, 
 raise the shoulders and incline them for- 
 ward ; this attitude will denote patience or 
 endurance. (See figure No. 180.) 
 
98 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Ninth Attitude. — Wholly relax the muscles between the ribs and in the 
 shoulders and chest, allowing the ribs to sink downward, and the shoulders 
 
 downward and forward, more or 
 less, according to the feeling inspir- 
 ing the attitude, which denotes fa- 
 tigue, indolence, prostration or im- 
 becility. (Shown at figure No. i8i,) 
 
 PiGCRE No. 181. 
 
 „ , ^ FlQCEE Ko. 182. 
 
 Tentii Attitude. — The chest drawn 
 inward and the abdomen thrust for- 
 ward will produce an attitude ex- 
 pressive of sensuality or the animal 
 
 nature, and an added aggressiveness of the shoulders will signify thorough 
 baseness as expressed in the meaner passions. (Refer to figure No. 182.) 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 99 
 
 CHAPTER XII. 
 
 ATTITUDES.— (Concluded.) 
 
 FietJKB No. 184.— Pros- 
 tration. 
 
 First Attitude. — While the head rests easily and naturally 
 
 THE HEAD. ^^o\i. the neck centrally poised between the shoulders, 
 
 with the chin neither raised, lowered nor thrust to one 
 
 side, it is in its normal or reposeful attitude. (See figure No. 183.) 
 
 Second Attitude. — The head 
 hung forward upon a relaxed 
 neck, with the chin resting 
 upon the chest, denotes a 
 weak or prostrated condition 
 of the being, as shown at 
 figure No. 184. 
 
 Third Attitude. — The head 
 bowed forward, with a con- 
 trolled action of the neck, 
 indicates a thoughtful, con- 
 centrated state of the mind, 
 and also respect, shame, hu- 
 mility or servility. (Action 
 shown at figure No. 185.) 
 
 Fourth Attitude. — When the 
 chin is thrust straight for- 
 ward, with a controlled action 
 of the neck, it expresses 
 activity, eagerness, curiosity, 
 scrutiny, perspicacity, and also 
 the baser passions of the 
 being. (Action shown at fig- 
 ure No. 186.) 
 
 Fifth Attitude. — The head 
 inclined forward and to one 
 side, with a controlled curved 
 action of the neck, expresses 
 tenderness, affection, senti- 
 ment or coquetry. (Action 
 shown at figure No. 187.) 
 
 Sixth Attitude. — By drawing 
 the head back, straining the 
 musc'es of the neck and holding the chin well inward, we express pride, 
 arrog-ance or repulsion. (Action shown at figure No. 188.) 
 
 Figure No. 185. — Reflec- 
 tion. 
 
 Figure No. 186. — Eager- 
 ness, Scrutiny. 
 
 Figure No. 187.— Senti- 
 ment. 
 
 FiGDEB No. 188. — Arro- 
 gance. 
 
100 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 fiGUKB No. 191.— Careless 
 Abandon. 
 
 FiGUBE No. 193. — Distrust. 
 
 Fi&URE No. 190. — Intense 
 Excitement. 
 
 Figure No. 195.— Atten- 
 tion. 
 
 Seventh Attitude. — The head 
 thrown back upon a relaxed 
 neck indicates mental pros- 
 tration or despair. (Action 
 shown at figure No. 189.) 
 
 Eighth Attitude. — The head 
 thrown back upon a strained 
 neck signifies intense mental 
 excitement or passion. (Ac- 
 tion shown at figure No. 190.) 
 
 Ninth Attitude. — When the 
 head is thrown back and in- 
 chned to one side, with a 
 curved action of the neck, 
 the attitude expresses aban- 
 don, carelessness or indiffer- 
 ence, or sensuality. (Action 
 shown at figure No. 191.) 
 
 Tenth Attitude. — The head 
 simply inclined to one side 
 upon a relaxed neck denotes 
 indolence or fatigue. (Action 
 shown at figure No. 192.) 
 
 Eleventh Attitude. — By draw- 
 ing the chin to one side and 
 inclining the top of the head 
 to the opposite side, -we sig- 
 nify distrust or suspicion, as 
 shown at figure No. 193. 
 
 Twelfth Attitude.— '^'^^Vi. the 
 chin is thrown upward and 
 the head raised high upon a 
 well controlled neck, the at- 
 titude expresses the higher 
 passions, exaltation, courage, 
 noble pride or excited demon- 
 stration. (See figure No. 194.) 
 
 Thirteenth Attitude. — The head in the normal atti- 
 tude upon an active neck, and turned from side to 
 side with a pivotal movement, indicates suspense, 
 uneasiness or negation ; and when the head ii\ held 
 stationary in this attitude, it denotes listenitE or 
 attention. (Action shown at figure No. 195.) 
 
 The relation of the eye to the movement oi^the 
 head determines the outward meaning of the ac 
 
 Figure No 192.— Fatigue. 
 
 Figure No. 194.— Exal- 
 tation. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 101 
 
 THE EYEBALL. 
 
 First Attitude. — The eyeball centrally poised between 
 the inner and outer corners and the upper and lower 
 lids denotes the normal reposeful condition of the 
 being, br calm contemplation, as shown at figure No. 196. 
 
 Second Attitude. — The eyeball turned toward the outer corner, centrally 
 poised between the upper and lower lids and turned toward an object, signifies 
 simple personal regard, attention, attraction or interest, as shown at figure No. 197. 
 Third Attitude. — The eyeball turned to the side, centrally poised between the 
 upper and lower lids, and directed away from an object, expresses simple imper- 
 sonal attention or interest, or consideration. (Action shown at figure No. 198.) 
 Fourth Attitude. — The eyeball turned downward and centrally poised be- 
 tween the inner and outer corners, without particularly regarding an object, de- 
 notes calm concentration, reflection or thoughtfulness, as shown at figure No. 199. 
 Fifth Attitude. — The eyeball turned downward and to the side toward 
 
 Figure No. 196. 
 
 Figure No. 19T. 
 
 Figure No. 198. 
 
 ^^S^ 
 
 Figure No. 199. 
 
 '•^::^. 
 
 Figure No. 200. 
 
 ^^117 
 
 Figure No. 201. 
 
 Figure No. 202. 
 
 Figure No. 203. 
 
 Figure No. 204. 
 
 an object signifies personal disapproval, repulsion, distrust, suspicion, or exal- 
 tation of one's-self over an inferior, as shown at figure No. 200. 
 
 Sixth Attitude.— The eyeball turned downward and to the side, away 
 from an object, expresses impersonal disapproval, or distrust, suspicion, or 
 exaltation of the inner being over an inferior, as shown at figure No. 201. 
 
 Seventh Attitude.— Ihe eyeball turned upward and centrally poised between 
 the inner and outer corners indicates exaltation, and nobler passions, or a 
 subjection of our inner being to a superior, as shown at figure No. 202. 
 
 Eighth Attitude.— i:\ie eyeball raised and turned to the side in the direc- 
 tion of an object denotes personal regard, affection, tenderness or sentiment. 
 (Action shown at figure No. 203.) 
 
 Ninth Attitude.— The eyeball raised and turned to the side, away from 
 an object, expresses impersonal or subjective regard, affection, tenderness 
 or sentiment. (Action shown at figure No. 204.) 
 
102 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Practise looking at an object with a personal gaze, distinctly seeing the 
 object. Then direct the gaze impersonally at the object without seeing it, the 
 gaze being apparently turned inward or backward in introspection. Practise 
 moving the eyeball without turning the head, first slowly from side to side 
 then upward and downward, and lastly in a circle. If this is at first found 
 difficult of accomplishment, follow the point of the finger with the gaze from 
 the farthest point at which it can be seen on one side to the corresponding 
 point on the opposite side, without moving the head ; and repeat the move- 
 ment several times. In the same way follow the point of the finger with 
 the gaze from the farthest point downward to the farthest point upward 
 at which it can be seen, without moving the head from its normal position. 
 
 Endeavor as soon as possible to control the movements of the eyeball 
 without the aid of the finger. Practise fixing the eyes, and gradually con- 
 centrate the gaze, slowly opening the lids to their widest capacity, and then 
 
 ^> 
 
 FiauKB No. 205. Figure No. 206. 
 
 Figure No. 201. Figure No. 208. 
 
 contracting them, without removing the gaze from a given point. These ex- 
 ercises are of benefit in teaching control of the muscles of the eyes and in 
 cultivating a repose and concentration of the gaze. 
 
 ^"^^ ^i'^'zVwfl',?.— The correct normal attitude of the 
 EYELID. uppgj. jj(j pjg^^gg jj^g g^gg one-third below the top 
 
 of the iris. This expresses repose and calm con- 
 templation. (See figure No. 205.) 
 
 Second ^////z^afe.— Indifference is denoted by dropping the edge of the 
 upper lid half-way over the upper iris, as displayed at figure No. 206. 
 
 Third Attitude.— Inixo^^tction is expressed by dropping the edge of the 
 upper lid to the top of the pupil, as shown at figure No. 207. 
 
 Fourth Attitude.— T)ro-p^mg the edge of the upper lid half-way across 
 the pupil signifies somnolence and fatigue. (See figure No. 208.) 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 103 
 
 Fifth Attitude. — Prostration is expressed by dropping the upper lid over 
 the pupil, completely concealing it. (Refer to figure No. 209.) 
 
 Sixth Attitude. — Sleep or death ' is denoted by dropping the upper lid 
 down to the edge of the lower hd, thus completely closing the eye, as at 
 figure No. 210. 
 
 Seventh Attitude. — Animation, earnestness and extreme interest are indi- 
 cated by raising the upper lid to the upper edge of the iris, as seen at 
 figure No. 21 1. 
 
 Eighth Attitude. — Exaltation is expressed by raising the upper lid to the 
 upper edge of the iris and showing a line of white just below the eye- 
 ball, as pictured at figure No. 212. 
 
 Ninth Attitude. — Frenzy, madness, horror and wild excitement are denoted 
 
 Figure Iso. 209, 
 
 FiauEE Ko. 210. 
 
 Figure No. 211. 
 
 Figure No. 212. 
 
 Figure No. 213. 
 
 by raising the upper lid to the highest possible point, thus distending the 
 
 eye. (See figure No. 213.) 
 
 The lower lids resting at ease, neither raised nor 
 THE LOWER LIDS. lowered, express the normal reposeful condition of 
 
 the being, or indifference. 
 Death is indicated by a depression of the lower lids. 
 The lower lids are raised in scrutiny, inquisitiveness, pain and secretive- 
 ness, and also in the expression of the baser passions. 
 
 Practise attitudes of the eyeballs with attitudes of the lids and brows 
 by combining them as given; also create other meanings by combining the 
 different actions in all possible ways to produce a variety of expressions. 
 
104 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE 
 
 First Attitude. — A calm and unruffled brow forming a 
 THE EYEBROW. smooth arch above the eye expresses the normal repose- 
 
 ful condition, and indifference. (Shown at figure No. 214.) 
 Second Attitude. — Brows drawn downward at the inner corners denote con- 
 centration of facuhy, serious thoughtfulness, sensibility. (See figure No. 215.) 
 Third Attitude. — Stupidity or lack of imagination is indicated by 
 
 PiQDRE No. 214. 
 
 Figure Xo. 215. 
 
 FiGTJEB No. 216. 
 
 throwing the inner corners of the brows upward, as at figure No. 216. 
 
 Fourth Attitude. — Drawing the inner corners of the brows upward and 
 the outer corners downward expresses suffering, despair or agony. (Repre- 
 sented at figure No. 217.) 
 
 Fifth Attitude. — By depressing or lowering the brows into almost a 
 straight line above the eyes we express intense concentration of faculty or 
 keenness of perception. (Refer to figure No. 218.) 
 
 Sixth Attitude. — Brows depressed near the inner corners, with a ten- 
 dency of these corners to raise, and the outer arch raised, indicate fury, 
 madness or uncontrolled passion. (Shown at figure No. 219.) 
 
 Seventh Attitude. — Brows raised high above the eyes express imagina- 
 tion, excitement of mind, surprise or exaltation. (See figure No. 220.) 
 
 z 
 
 \ 
 
 Figure No. 211 
 
 Figure No. 218. 
 
 Figure No. 219. 
 
 Eighth Attitude. — Brows raised high above the eyes, with a tendency of 
 the inner corners to contract inward toward the nose, and the outer arch 
 raised very high, signify extreme fear, terror or horror. (See figure No. 221.) 
 
 Ninth Attitude. — Drawing the inner corners of the brows upward with a 
 shght contraction and quivering action expresses timidity, perplexity or re- 
 flection. (See figure No. 222.) 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 105 
 
 When the nostrils are normal — that is, neither drawn down- 
 THE NOSE. ward nor expanded, they express the calm, normal condition 
 of the being. 
 Nostrils drawn downward and inward indicate sensuousness, cruelty, 
 harshness. 
 
 Expanded nostrils express excitement, nervousness or extreme passion. 
 
 s5*"^V 
 
 Figure No. 220. 
 
 Figure No. 221. 
 
 Figure No. 222. 
 
 When the nostrils are drawn upward and the upper portion of the nose 
 contracted into wrinkles, the expression denotes contempt, scorn, hatred or 
 passion, in a vulgar or baser degree. 
 
 Nostrils expanded, and drawn upward without wrinkling the nose, ex- 
 press scorn and contempt or extreme disapproval. 
 
 To express repose, calmness, suspense, indifference or the 
 THE JAW. normal state of the being, the jaw drops a little, with no 
 
 tension in its muscles and the teeth slightly apart. 
 To denote resolution or determination, the jaw should be firm and the 
 teeth tightly closed. 
 
 To indicate activity, extreme excitement, hatred or aggression, the jaw 
 should be thrust forward, either more or less, according to the emotion. 
 
 .iS«»~«.^ 
 
 Figure No. 223. Figure No. 224. Figure No. 225. Figure No. 226. Figure No. 227. 
 
 To signify prostration or stupor, the jaw should be fully dropped or 
 
 In expressing horror or extreme terror the jaw falls downward and 
 
 inward. , , . . , 
 
 When pain, grief, fear or despair is to be expressed, the jaw is drawn 
 
 downward and inward. 
 
106 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 THE LIPS. 
 
 Figure No. 228. Figure No.229. FigcreNo. 230. 
 
 When the lips simply rest together without contraction they 
 signify repose or indifference, as shown at figure No. 223. 
 Lips closed tightly and compressed express resolution and 
 firmness, as shown at figure No. 224. 
 
 Lips held slightly apart and relaxed signify surprise or wonder, as shown- 
 at figure No. 225. 
 
 By holding the lips apart, and drawing the corners of the mouth down- 
 ward, more or less, according to the 
 strength of the emotion, we denote 
 sadness, dejection, grief or despair, as 
 shown at figure No. 226. 
 
 When the lips are closed, and the 
 corners of the mouth are drawn 
 downward, more or less, according to 
 the emotion, the expression indicates 
 disapproval, discontent, pride, stubborn- 
 ness, repulsion, as shown at figure No. 
 227. 
 
 Lips well apart and relaxed, and 
 the corners of the mouth dropped downward, express horror and extreme 
 terror, as shown at figure No. 228. 
 
 The lips are relaxed and the corners of the mouth slightly raised 
 to denote happiness, joy and brightness, as shown at figure No. 
 229. 
 
 By closing the lips and raising the corners of the mouth' we express 
 satisfaction, approval or contentment, 
 as shown at figure No. 230. 
 
 Lips held well apart and the cor- 
 ners of the mouth raised, express 
 laughter, joyousness or pleasurable 
 excitement, as shown at figure No. 
 ?3i. 
 
 The lips resting together and 
 drawn inward denote intense concen- 
 tration, physical pain or secretiveness, 
 as shown at figure No. 232. 
 
 The lips resting together and 
 thrown outward denote petty rejection, as illustrated at figure No. 233. 
 True facial expression can only be learned by a study of ourselves 
 and of human nature and by assiduous attention to the mirror. Learn to 
 expand and to contract the face at will. Study faces as you see them in 
 daily life ; analyze the characteristics under certain emotions, and teach your 
 own face to mirror the different passions. In our private life, if all the 
 exercises heretofore given are faithfully and correctly practised, the facial 
 muscles will readily respond to the ordinary emotions. 
 
 FiGnRBN'o.231. FigdreNo. 232. FiGnHENo.23:i. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 107 
 
 CHAPTER XIII. 
 GESTURE 
 
 The art of gesture is a difficult one to teach on paper, for it includes 
 so much. A mere action of the arm and hand without the participation of 
 some other part or parts of the being is meaningless and inanimate ; a glance 
 of the eye, an expression of the face, an inclination of the head and an 
 action of the body, either separately or successively, are all needed to give 
 life and meaning to gesture, which does not signify simply a movement of 
 the arm and hand, but includes the whole outward being, taken in its 
 various parts or as a whole. 
 
 Gesture always commences before speech, either by suggestion or by 
 actual departure and finish. Sometimes it begins and reaches its climax 
 before the tongue utters a word, the design then being to create a very 
 marked effect. Again, gesture is begun before the speech and reaches its 
 climax at the end of the sentence or at the most emphatic portion of it. 
 
 A gesture should always be held until the thought or idea which gave 
 rise to it has been finished ; otherwise the breaking of the gesture will jar 
 upon the listener's sensibilities, and the naturalness and charm will be 
 destroyed. In fact, the picture which the gesture is designed to portray 
 more clearly than words alone have power to do will be marred. Each 
 gesture, no matter how small or apparently insignificant, must have a finish. 
 That is, there must be some point where the action ends, if but for a 
 moment, before the member returns to its normal attitude ; otherwise the 
 gesture would become a senseless wave of the arm or a meaningless action 
 of whatever part contributes the gesture. Thus, the eye rolled to one side, 
 without stopping at a given point of indication before returning to its pomt 
 of departure, would convey no meaning ; and the same would be true of the 
 head or any other active part. 
 
 If a speaker attempts to describe a picture without having its features 
 very clearly fixed in his mind, his gestures will not bring the scene clearly 
 before his hearers. When, beautiful, lofty or exalted ideas are depi cted, the 
 palm faces upward and the arms naturally rise above a medium levgt; on 
 the other hand, baser or lower passions and ideas are expressed with a 
 downward-turned palm and the arms below a medium level ; while everything 
 of an ordinary nature tending toward equality receives its gesture from a 
 medium or central level, with the palm upward or downward or with the 
 rim upward, according to the nature of the thoughtV 
 
 When a thought is strictly emotional, the~~tTa;nd seeks the chest or 
 emotional center and takes its departure from that point ; when it is strictly 
 mental, the hand seeks the head and takes its departure from that point ; 
 and when it is neutral, physical and unemotional, the hand takes its departure 
 
108 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 from the side below the waist-line, the point which represents the physical 
 being. All descriptive gestures also take their departure from the normal 
 position at the side. 
 
 As before mentioned in the study of opposition between the 
 THE HAND. head and hand, we have three sides to the hand. First, 
 th ere is the palm, which convevs to us the truth and invites 
 our confidence. We somehow believe in a person who naturally and fre- 
 quently shows us the palms of his hands in conversation. S econd, there i s 
 
 t he back of the hand, which is mys- 
 t eriou s i n - natur e . T«- Vi^ps ^"^ sf 
 
 cretes and als o rejects. We do not 
 spontaneously confide in a man who 
 constantly hides his palms. The third 
 side of the hand is the rim, which is 
 definitive and assertiv e in character. 
 "When one of these three sides is 
 dominant in a gesture, it has its own 
 l)eculiar significance according to 
 the direction taken by the hand. 
 
 Figure No 234. 
 
 Let us first study the hand with 
 the palm facing upward, in which 
 position we have four movements. 
 
 First. — With the palm facing up- 
 ward, an upward action of the fore- 
 arm in opposition to a downward 
 action of the head produces a gesture 
 of acceptance, whether of an object 
 or of an idea. (Example shown at Figuhb No. 235. 
 
 figure No. 234.) 
 
 Second. — With the palm facing up- 
 ward, a downward action of the forearm or hand in opposition to an 
 upward action of the head constitutes a gesture of salutation. (Example 
 shown at figure No. 235.) 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 109 
 
 FlGCEE No. 236. 
 
 Third. — With the palm facing up- 
 ward, and with an inward action 
 (toward the body) of the forearm 
 or hand in opposition to a forward 
 action of the head or body, we make 
 a gesture of invitation or speak of 
 things relative to ourselves. (Exam- 
 ple shown at figure No. 236.) 
 
 Fourth.— ^\\h the palm facing up- 
 ward, an outward sweep of the hand 
 and forearm in direct opposition to a 
 
 Figure No. 238. 
 
 Figure No. 237. 
 
 backward action of the head is a 
 gesture of distribution, either of ob- 
 jects or of ideas. (Example shown 
 at figure No. 237.) 
 
 We will next take up four move- 
 ments with the palm facing down- 
 ward. 
 
 First. — With the palm facing down- 
 ward, an upward action of the fore- 
 arm or hand in opposition to a down- 
 ward action of the head means active 
 demonstration covering a widely com- 
 prehensive field of expression. (Ex- 
 ample shown at figure No. 238.) 
 
110 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Second.— yvith. the palm facing downward, and with a downward action 
 of the arm and hand in opposition to an upward action of the head and 
 body, we express domination 
 (Example shown at figure No. 
 
 239-) 
 
 Third. — With the palm facing 
 
 downward, an inward action of 
 
 the hand and arm in opposition 
 
 to an outward action of the 
 
 head or body denotes timidity 
 
 Figure No. 239, 
 
 PlGTJEE No. 240. 
 
 or apprehension. (Example shown at 
 figure No. 240.) 
 
 Fourth. — With the palm facing down- 
 ward, and with an outward action of 
 the hand or arm in direct opposition to 
 the head or body, we denote negation 
 or rejection and define negatively. (Ex- 
 ample shown at figure No. 241.) 
 
 The next four movements are made 
 with the rim facing upward. The rim, it will be remembered, is that 
 part of the hand, beside the thumb, where the palm and back meet. 
 
 FlQURE No. 241. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Ill 
 
 First. — With the rim facing upward, an upward action of the hand and 
 arm, generally in opposition to a downward action of the head, is construed 
 
 as a gesture of as- 
 sertion. (Example 
 shown at figure No. 
 242.) 
 
 Second. — With the 
 rim of the hand fac- 
 ing upward, and with 
 a downward action 
 
 of the hand or arm 
 in opposition to an ^igdhe No. 243. 
 upward action of the 
 head, we define posi- 
 .tively and affirm. (Example pictured at figure 
 
 No. 243.) 
 
 Third.— ^\\h. the rim turned upward, an m- 
 ward action (toward the body) of the hand and 
 
 Figure No. 244. 
 
 Figure No. 245. 
 
 arm in opposition to an outward movement of the head or body signifies 
 suspense, secretiveness or reflection. (Example shown at figure No. 244.) 
 
112 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Fourth. — With the, rim turned upward, and with an outward movement of 
 the hand and arm in direct opposition to the head or body, we make a 
 declaration. (Example shown at figure No. 245.) 
 
 Combine as many as possible of the gestures of the hands with each 
 hand attitude, and suit the action of the gesture to the attitude, making it 
 strong or weak, as the attitude would suggest. Create gestures, also, and 
 quicken or retard the action according to the thought expressed. In all 
 descriptive gesticulation the first or index finger should be straight, and 
 advanced slightly beyond the other fingers ; and to be artistic the hand 
 should show a depression at the knuckles when making simple gestures. 
 
 In the foregoing expressions opposition is given as an accompaniment of 
 each movement of the hand, but it simply represents a form of practice, 
 since a gesture may often be made just as correctly with a successive form 
 of action, all the members moving in the same direction. We must not lose 
 sight of the fact that all the attitudes and gestures here given simply illus- 
 trate the underlying principle of an infinite variety of expressions. The 
 student should carefully go over the studies in opposition and combine them 
 with these later studies in attitude and gesture. 
 
 CHAPTER XIV. 
 
 THE DEPARTURE AND ALTITUDE OF 
 
 GESTURE. 
 
 It is interesting to note that, according to 
 the degree with which we are convinced of a 
 fact, so we vary the altitude to which we 
 raise the arm, and from which it takes its 
 departure to express the sentiment in gesticu- 
 lation. The hand and arm carried upward 
 through the gamut of expression, with the 
 palm facing upward, indicate the various 
 degrees of favorable conviction ; while the 
 hand and arm carried downward, with the 
 palm facing downward, indicate the various 
 degrees of unfavorable conviction. 
 
 «......- »- _. First. — When we con- 
 
 GAMUT OF FAVOR- , ^. .,.,., 
 
 sider the possibihty 
 
 ABLE CONVICTION. of a thing, and the 
 
 possibility is • ex- 
 pressed by a gesture, the hand is simply 
 
 FiGUEE No. 246. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 113 
 
 Figure No. 247. 
 
 tomimically, "It is probable." 
 (Refer to figure No. 247.) 
 
 Third. — The hand raised to 
 the chest and carried outward, 
 with the palm facing upward, 
 expresses belief or trust in 
 the individual addressed, pan- 
 
 carried outward on a level with the 
 thigh, with the palm facing forward. 
 We thus say pantomimically, " It is 
 possible." (See* ^figure No. 246.) 
 
 Second. — When the conviction becomes 
 a probability the hand seeks a higher 
 level, being passed outward at the dia- 
 phragm or waist-line in a gesture, with 
 the palm facing upward; this says pan- 
 
 FlGDRE No. 248. 
 
 FiGUEE No. 249. 
 
 tion, assurance or confidence. It de- 
 clares pantomimically, "I am convinced 
 of it," as pictured at figure No. 249. 
 
 ^yr/^—The hand carried outward on 
 a level with the brow expresses full 
 faith or evidence in the conviction, 
 pantomimically saying, "I have every 
 evidence of it." (See figure No. 250.) 
 8 
 
 tomimically saying, " I believe in 
 you," or "I trust you." This 
 is illustrated at figure No. 248. 
 Fourth. — The hand carried in 
 an outward gesture from the 
 level of the chin expresses a 
 still greater degree of convic- 
 
 FlGURE No. 250. 
 
1.14 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 Figure No. 251. 
 
 Sixth.— Tht 
 arm and hand 
 carried through 
 the whole gamut 
 of expression 
 from the level 
 of the thigh to 
 a level above 
 the head ex- 
 presses the full- 
 est certainty in 
 the conviction, 
 pantomimically 
 saying, " It is 
 absolutely and 
 unconditionally 
 true,'' as shown 
 at figures Nos. 
 251 and 251 A. 
 Be very careful in performing these 
 movements not to make them stiff or 
 strained ; let the hand rise easily from 
 
 its position to the attitude desired without apparent mechanism back of it 
 caused by a too direct indication of the departure and finish of the gesture. 
 
 First — The hand raised to the level of the 
 brow and carried outward in a gesture, with 
 the palm facing downward, expresses lack of 
 faith or evidence, pantomimically saying, " I have 
 no faith in it." (See figure No. 252.) 
 
 Second. — The hand carried outward from the level of the chin, with 
 
 Figure No. 25 LA. 
 
 GAMUT OF UNFAVOR- 
 ABLE CONVICTION. 
 
 Figure No. 252. 
 
 Figure No. 253. 
 
 the palm facing downward, expresses lack of assurance or confidence, pan- 
 tomimicallv saying, " I have no assurance of it," as shown at figure No. 253. 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 115 
 
 Third. — The hand carried outward from the level of the chest, with the 
 palm facing downward, indicates lack of trust or belief in the individual, 
 ■declaring pantomimically, " I 
 cannot trust you." (See fig- 
 ure No. 254.) 
 
 Fourth. — The hand carried 
 outward from the level of Rigp*'- 
 
 the diaphragm, with the palm 
 facing downward, expresses 
 improbability, pantomimically 
 
 Figure Xo. 25a. 
 
 saying, ' It is improbable," as shown 
 at figure No. 255. 
 
 Fifth. — The hand at the side and 
 carried outward and backward on a 
 level with the thigh, with the palm 
 facing downward, expresses impossi- 
 bility, pantomimically saying, "It is 
 impossible," as represented at figure 
 No. 256. Carried directly outward 
 at the side on a level with the 
 thigh, it indicates denial or rejection. 
 
 Sixth.— T\vQ arm carried through the whole gamut of expression from a 
 level above the head to a point as far as possible back of the thigh, with the 
 
 Figure Xo. 236. 
 
116 
 
 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 palm facing downward, expresses utter impossibility or denial, pantomimically 
 saying, "It is absolutely untrue or impossible," as pictured at figures Nos. 
 257 and 257 A. 
 
 Throughout the gamut of either favorable or unfavorable conviction, 
 
 ?XGURB No. 25T. 
 
 Figure No. 257 A. 
 
 careful attention must be paid to the oppositions between the head and 
 hand and the expressions of the face, or the actions will be meaningless. 
 
 CHAPTER XV. 
 THE HEAD. 
 
 With attitudes of the head we have also gestures, of which it will be 
 well to speak, as they must not be confused with attitudes. A gesture, 
 which is always transient in action, has an entirely different significance 
 from the more permanent attitude. Gesticulation with the head is some- 
 thing which must be used very judiciously, and it must be carefully guarded 
 agamst where there is a tendency toward mannerism in this respect. Such 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 117 
 
 gesticulation is allowable when the thought or emotion to be expressed is 
 not sufficiently strong to warrant action in the other extremities, or when 
 the feeling or idea must find expression by an action in the head as well 
 as in the hand to be complete. Hand and head must never act simul- 
 taneously, except through the law of opposition. Further than this, gesture 
 of the head is allowable only when the emotion is one of controlled 
 passion, where any gesture of the other extremities would imply weakness. 
 All attitudes of the head become gestures when the movement is only transi- 
 tory, and this fact must always be borne in mind when endeavoring to 
 interpret expression. 
 
 First. — By throwing the head straight upward with but a momentary 
 action, we execute a gesture of assertion. 
 
 Second. — The head inclined forward with a momentary action makes an 
 affirmative gesture, and a movement up and down gives excited or impatient 
 affirmation. 
 
 Third. — The head pivoted to one side with a momentary action gives a 
 gesture of disapproval or rejection, while a pivotal action from side to side 
 is a gesture of negation. 
 
 Fourth. — The head erect in normal position and inclined from side to 
 side denotes vacillation or an assumption of carelessness or impatient heed- 
 lessness. 
 
 The above gesture may be made either in a subjective or objective 
 sense, while the two which follow have a more distinctly subjective relation, 
 by which we mean a direct relation to an individual or object. 
 
 Pifth. — The head pivoted to one side away from the individual or 
 object, and then tossed upward and obliquely forward toward the individual 
 or object, with quick, momentary action, executes a gesture of contemptuous 
 or vulgar rejection. 
 
 Sixth. — The head pivoted to one side toward an individual or object, 
 and then tossed upward and obliquely backward away from the individual 
 or object, with a momentary action, describes a gesture of familiar or vulgar 
 
 invitation. 
 
 It is important to cultivate the powers of observation by studying people 
 as we meet them. If closely observed, the numerous unconscious but ex- 
 pressive attitudes assumed and gestures made by a person in animated con- 
 versation will often convey more meaning than the words he utters ; for 
 by these signs we are enabled to discover something of the emotions or 
 state of being beneath the surface. 
 
 By carefully studying the foregoing models and by applying our know- 
 ledge to our daily surroundings, we learn with surprising rapidity to read 
 human nature in the natural use of the hand, the turn of the head, the 
 expression of the features or the carriage of the body, and to devote this 
 intelligence to artistic work. This is because we possess the key to the 
 natural tendency of the character to find expression in spontaneous out- 
 ward attitudes and gestures. 
 
118 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 CHAPTER XVI. 
 FINAL REMARKS. 
 
 We havf now concluded the physical portion of our work. We have 
 learned the proper ^ttitudes of the different members of the body, and correct 
 deportment, and have also studied the underlying principles of gesture ; and 
 the question is asked, what more have we to learn ? If the student leads a 
 quiet private life and has taken up this training simply as an accomplishment, 
 as a form of physical culture or cultivation of grace, her work was finished 
 before we began the study of attitudes. But if, on the other hand, she intends 
 entering upon a public life where any form of expression is required, or if she 
 enjoys the study of psychological facts, she has only begun, has simply laid the 
 foundation of her work, by learning the principles which must be applied to 
 artistic expression. 
 
 What is expression ? The dictionary tells us that it is " the peculiar 
 manner or utterance suited to a subject or sentiment," and also that it is "the 
 lively or vivid representation of sentiment, feeling or emotion, look or appear- 
 ance as indicative of thought or feeling." If we have taken time to analyze 
 the m.eaning ourselves, our ideas, if compared, might find utterance in a variety 
 of definitions ; and, as the word really covers a broad field, we might all be 
 correct. Expression is certainly a giving out of ourselves, a showing upon the 
 surface of the thoughts and emotions of the inner being. Conventionality 
 teaches us to conceal or repress our feelings ; so that, if our lives have always 
 been conventional, it is much more difficult to learn to be expressive. It is 
 undoubtedly a fact, although there is no real necessity for it, that the higher 
 the social standing, the greater the tendency to entirely obliterate individuality, 
 all being shaped in the same mould according to the dictates of fashion or the 
 laws of etiquette. 
 
 The refined actor, of either sex, possesses for us an infinite charm and 
 fascination, not only on account of the halo of romance which surrounds the 
 stage and the natural curiosity we may feel to learn what an actor is like in 
 private life, but also because of the individual's easy, unaffected, expressive 
 manner, free from all conventional restraint. Actors live so continually out of 
 themselves, and self becomes such a secondary matter of thought, except from 
 an artistic standpoint, that when we thus meet them, we for the time being 
 live in the charm of an unconscious originality of feeling, fearlessly and 
 naturally expressed ; and we are attracted by the light and shade of their 
 forceful manner, and feel the same glow of satisfaction and delight that we 
 experience when we turn from contemplating a cold, colorless landscape to one 
 full of exquisitely delicate light and shade, in which we can almost feel the 
 warmth of the coloring. 
 
 Of course, we only speak thus of the truly refined actor who is master of 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 119 
 
 his art ; and we would not be understood to advocate the idea that we should 
 live wholly upon the surface. We should, however, be so far forgetful of self 
 that what we do give out will be of the best, and will be offered in an uncon- 
 strained, expressive way that will awaken a spark of sympathy in those sur- 
 rounding us. In fact, it should be our aim to be simply our honest, cultivated 
 selves, without that constant repression of feeling so evident in many individuals. 
 
 We must not, on the other hand, become effusive. It is as grave an error 
 to exaggerate our outward expression as it is to continually conceal our feelings. 
 Here, too, we have only to be true to ourselves; fori; vvfrare honest, we will 
 never be effusive. If the reader has ever paused to consider what may con- 
 stitute fascination in a person irrespective of an attractive outward appearance 
 (we mean simply the charm of a magnetic personality), she has invariably found 
 an entire naturalness of manner and consequent forgetfulness of self as the 
 foundation of magnetism or fascinating influence. This quality is generally 
 combined with an intense physical vitality, a thorough appreciation of life, and 
 an interest in all surroundings. Consequently, we generally find in the fascin- 
 ating man or woman a good listener, and possible sympathizer in whatever 
 subject may arise, and especially in all our pet hobbies. This of itself would 
 prove a fascination to most persons, for it is based upon a true unselfishness 
 of character. 
 
 In the study of expression the young learner generally makes a con- 
 stant examination of his own actions under certain emotions or conditions. 
 This is well up to a certain point, for we must become cognizant of our 
 feelings and of the physical changes which take place in the being under 
 the control of the different emotions and moods, but we must not take 
 our own imperfect habits and mannerisms, which we misname Nature, as a 
 model to express the perfection of a sentiment. The student frequently 
 describes what he would do himself under certain circumstances to express 
 a particular sentiment or passion, and cannot at once be convinced that 
 some other method than his own could be acceptable ; and herein lies a 
 very common mistake. It is seldom a matter of what we would do our- 
 selves, but of what the character we are impersonating would do. 
 
 We must study out the chief points of the character and imitate an 
 ideal as far as lies within our power. Juliet expresses her love for Romeo 
 in a very different manner from that which the modern belle of society 
 would employ ; and in the same way the nature of Shylock is invested 
 with many characteristics which few ever experience. So we can only call 
 upon our imagination and observation to supply the various moods and 
 passions that are so far removed from our own nature, and can by no 
 means depend upon our feelings as they move us in daily life to portray 
 such a character. We should only study and think of ourselves so far as 
 to give a true artistic physical effect to the meaning we wish to convey, 
 while the inner mental and emotional being must be wholly subservient to 
 the spirit of our work, to the entire obliteration of our own ordinary feelings. 
 
 The sentiment or passion which an actor portrays is nothing more than 
 
120 THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 
 
 physical form. The body and all the parts are mechanically brought under 
 the same muscular physical condition that they would naturally assume 
 under the actual emotion ; and so, when the physical form is correct, the 
 voice assumes its proper coloring and expression, and the actor physically 
 feels his part and is enabled to lend all his mental and ' emotional being 
 to the artistic rendering of the lines and thought of the autho;r. The stage 
 Othello, when he kills Desdemona, certainly has not murder in his heart, 
 else he would really kill her ; but through his imagination he assumes the 
 physical condition he supposes the Moor must have felt under such a 
 passion. Many an accomplished actor will deny that this is the case. He 
 will declare that he feels the real emotion, but we think, if he stopped to 
 analyze his feeling, he would in the end accept the fact that it is purely 
 a muscular or physical emotion combined with his own artistic imagination 
 and imitative powers — not a real feeling. If the actor actually felt the true 
 emotion, he would be so lost in himself that he would forget his audience, 
 and so cease to be artistic. The study and aim of the artistic actor is to 
 make the audience feel, not to be lost in his own emotions. 
 
 We have studied the meaning of every movement of the head and all 
 parts of the face and body taken separately ; it remains for us to combine 
 the actions to produce a variety of expressions. This study may be made 
 wonderfully interesting by working out and creating for one's-self and dis- 
 covering how many expressions may be produced with the human face. If 
 the meaning of each individual part is known and has been thoroughly 
 memorized, it will not be difficult to make combinations which will give 
 true expression to emotions or instincts ; but it is most important that great 
 attention should be given to this mechanical work, as, no matter how ex- 
 pressive the face and body may be under natural conditions, they frequently 
 fail to respond when called upon to indicate sentiments emanating from 
 another brain than our own. 
 
 Do not be afraid of all this preliminary mechanical work. It is highly 
 necessary, even to the genius. No art can be acquired without paying strict 
 attention in the beginning to the mechanism ' and technique. What singer 
 would dare to stand before the public and expect to be recognized as an 
 artist, until he had spent years in practising his voice upon the most 
 mechanical kind of exercises ? So, too, with the musician ; no matter how 
 great his genius, the technical part must be learned and each finger must 
 be taught by mechanical exercise to perform its own particular function 
 with the utmost skill. The artist, also, begins by learning to draw straight 
 lines, triangles, squares, curves, etc. In fact, a natural talent for any art 
 must be guided and cultivated, and the technical part of the art must be 
 carefully and patiently learned. 
 
 Why, then, should people have the presumption to suppose, as some do, 
 that acting, one of the highest arts, may be mastered without the same hard 
 work required by all other artistic or professional callings ? There are many 
 thousands of people who appear before the public upon the stage or platform, 
 
THE DELSARTE SYSTEM OF PHYSICAL CULTURE. 121 
 
 yet how few among the number rise to celebrity or even to any degree of 
 distinction. Counting over those whom we know to be the most prominent 
 artists of the present day, we find their number to be very small, while our 
 celebrities may, perhaps, be counted on one hand, certainly on two. Surely 
 this must mean that neither acting nor public speaking of any kind is an easy 
 art to learn. 
 
 Therefore, do not be carried away with the idea that, because you have a 
 very great desire for a public life and a very small degree of ability, you have 
 only to be told what to do and you can do it. The road to success in this 
 line is a particularly rugged one, and only a few reach the goal, which cannot 
 be attained save by very hard work. So do not be afraid of the mechanical 
 means by which all true art must be gained ; although, of course, we must 
 study beyond mechanism to reach perfection. Too many stop in the middle 
 of it, and there remain. When called upon to do an artistic piece of work, by 
 all means lay aside the mechanism lying behind the art. 
 
 As previously stated, we must not, when studying the purely physical part 
 of our work, carry the practice of the exercises into the movements of daily 
 life; and it is the same -with expression. Leam to gain perfect control of 
 each active part, and teach it to perform its expressive function, either inde- 
 pendent of any other, or else in combination with some other part, as may be 
 desired. If we study and practise all the expressions separately and mechani- 
 cally, the physical nature will unconsciously respond, when called upon to act, 
 by giving ideal outward expression to the sentiment or feeling ; because we are 
 constantly training our own nature to the ideal, and in time learn to know no 
 other expression. Without this mechanical practice, we simply depend upon 
 our own imperfect habit or idea to portray the ideal, and, therefore, fail ; or, 
 if we attempt to use our knowledge without the actual practice, the artistic 
 effect is ruined by the conscious consideration of the physical being, and 
 becomes grotesque because wholly unnatural. 
 
MIRTH. 
 
REPOSE. 
 
APPREHENSION. 
 
ANTAGONISM. 
 
ACCUSATION. 
 
REPULSION.