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Various - "Punch, Or The London Charivari, Vol. 99., October 11, 1890"

Archibald Lampman - "Among the Millet and Other Poems"

W.W. Jacobs - "Odd Charges"

L. Becq de Fouquieres - "L'art de la mise en scene"

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Delsarte System of Oratory by Various

V >> Various >> Delsarte System of Oratory




That accent touched all hearts. What visible grief and what a sense of
suppressed tears when in her grave, slow tones she uttered the phrase:

"You leave me, Rinaldo! Oh, mortal pain!"

The master soon obtained from this marvellous aptness, what is rarely
acquired, even after long years of study: dramatic effects free from all
hint of charlatanism. The distinguishing point between Madame Pasca and
Madame Barbot is, that the latter, while observing all the rules of the
method avoided servile imitation.

Delsarte was all the more delighted at his success, because he had
revealed to his scholar her true calling. Madame Pasca came to him for
singing-lessons, but her large, strongly-marked voice had little range.
She was directed toward the art which she afterward practiced, and began
her studies with tragedy. Some idea of what she did in this field may be
formed from the effect which she produced in pathetic scenes, where the
comedy allowed her serious voice to show its power and penetrating tone.

I need not speak of Madame Pasca's success at the Gymnase and abroad. It
is known and undoubted. Still she lacks the consecration of the stage
where Mars and Rachel shone. When this artist left the school to enter
upon her career, Delsarte said to her:

"My dear child, you will spend your life in atoning for the crime of
being my pupil."

He was right, for Madame Pasca has no place at the Francais yet.

I can speak from hearsay merely, of the lessons in elocution and
declamation intended for preachers--particularly for the fathers of the
Oratory,--never having been present at them. I only know that Father
Monsabre and other famous ecclesiastics took lessons from Francois
Delsarte.




Chapter XV.

Delsarte's Musical Compositions.



Delsarte paid but little attention to musical composition; still his
musical works prove that he would have succeeded here as elsewhere, had
he devoted himself particularly to the task.

To say nothing of six fine vocal exercises and a number of songs which
had their day, his "Stanzas to Eternity" were highly popular. A mass by
him was performed in several churches; but his "Last Judgment,"
especially, ranks him among serious composers.

This setting of the _Dies Irae_ is touching and severe; the melody is
broad, sombre, threatening; the accompaniment reminds one of the dull
rattling of the skeletons reassuming their original shape. One seems to
hear the uneasy hum of voices roused from long sleep.

One incident showed the importance of this work. Various pieces of
concerted music were being rehearsed one night at the church of St.
Sulpice, for performance during the solemnity of "the work of St.
Francis de Xavier." A close circle formed around the musicians; private
conversation added a discordant note to the harmony; the church echoed
back the footsteps of people walking to and fro.

The _Dies Irae_ came! The music at first imitates the angel trumpets
which, according to Christian belief, are to be heard when _time shall
end_. The summons sounded four times.

This mournful chant of reawakening generations instantly silenced every
voice and every step; all were motionless; and the solemn melody alone
soared to the vaulted roof.

A touching story is told of this work. At a large and miscellaneous
gathering, M. Donoso-Cortes, a well-known Spanish publicist, then
ambassador to Paris, begged Delsarte to sing his _Dies Irae_. A space
was cleared in the music-room.

The score of the symphony for voice and piano, made by Delsarte himself,
retains all his intentions and effects, to which his striking voice
added greatly.

Delsarte began:

"Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum sybilla."

The whole assembly were taken captive. M. Donoso-Cortes was particularly
moved. His eyes filled with tears. He was not quite well that night.

A week later the newspapers invited the friends of the illustrious
stranger to meet at St. Philippe-du-Roule, to witness his funeral rites.
Delsarte was present; the church was so hung with black that the
choristers were alarmed for the effect of their motets.

The artist recalled the request made him the previous week by the
Spanish ambassador. He felt as if that same voice came from the bier and
begged him for one more hymn to the dead. In spite of his emotion, he
offered to sing the _Dies Irae_.

To obviate the lack of resonance, Delsarte sang--according to his theory
in regard to the laws of acoustics,--without expenditure of sound,
almost _mezza voce_.

No one was prepared. The listeners were all the more overcome by those
tones in which the friend's regrets pervaded, with their sweet unction,
the masterly diction of the singer.

When his oldest daughter grew up, Delsarte seemed to take a fancy to a
different style of composition. He would not give that young soul the
regular repertory of his pupils, all passion and profane love. He wrote
for Marie words and music--couplets which were neither romance nor song;
nor were they quite canticles, although religion always lay at the base
of them.

I know none but Madame Sand who can be compared to Delsarte in variety
of feeling and simplicity even unto grandeur. I have often observed a
likeness and, as it were, a kinship between these great minds. And yet
these two great souls, these two great spirits, never exchanged ideas.
The artist never received the plaudits of the distinguished writer. Both
regretted it.

Delsarte said: "I lack that sanction," and Madame Sand wrote, when he
had ceased to live: "I knew Delsarte's worth; I often intended to go
and hear him, and some circumstance, beyond my control, always
prevented."

The world owes a debt to Delsarte for collecting under the title
"Archives of Song," the lyric gems of the XVI, XVII, and XVIII
centuries. And also the songs of the Middle Ages, the prose hymns and
anthems of the church, arranged conformably to the harmonic type
consecrated by the oldest traditions.

"All these works," he wrote in his announcement of the work, "faithfully
copied, arranged for the piano and transposed for concert performance,
will finally be arranged and classified in separate volumes, to suit
various voices, ages, styles, schools, etc., thus affording subject
matter for a complete course of vocal studies."

I do not think that death allowed Delsarte to complete this vast plan,
but it was partly finished. In the collection, we find the scattered
treasures of an eminently French muse: old songs picked up in the
provinces, in which wit and naive sentimentality dispute for precedence.
All this still exists, but who can sing as he did the song beginning: "I
was but fifteen," or "Lisette, my love, shall I forever languish?" and
so many others!

To explain the inexpressible charm which distinguished Delsarte from all
other singers, a songstress once said: "His singing contrives to give us
the _soul of the note_. The others are _artists_, but _he_ is _the
artist_."




Chapter XVI.

Delsarte's Evening Lectures.



In Francois Delsarte's school there were morning classes and evening
classes. The former were more especially devoted to the theory, to
lessons. Those of which I shall speak might be compared to lectures, to
dramatic and musical meetings. A choice public was always present. Among
them were:

The composers Reber and Gounod;

Doctor Dailly, Madame de Meyendorf--a great Russian lady, the friend of
art;

The Princess de Chimay and the Princess Czartoriska, who glided modestly
in and took the humblest place;

Madame Blanchecotte, whose charming verses were crowned by the Academy;

Countess d'Haussonville, a familiar name;

M. Joly de Bammeville, one of the exhibitors at the Exhibition of
Retrospective Arts, in 1878;

Doriot, the sculptor; Madame de Lamartine, Madame Laure de Leomenil, a
well-known painter; Madame de Blocqueville, daughter of Marshal Davout,
and author of his biography; a throng of artists, men of letters and
scientists; certain original figures of the period.

On one occasion we were joined by a man of some celebrity--the
chiromancist Desbarolles. Delsarte had the courtesy to base his theory
lesson upon the latter's system; he pointed out its points of relation
with the sum total of the constitution of the human being. It was a
lesson full of spirit and piquant allusions; one of those charming
impromptus in which Delsarte never failed.

From time to time certain persons in clerical robes appeared in the
audience; the austerity of their habit contrasting somewhat strangely
with the attire of the elegant women, men of fashion and young actors in
their apprenticeship around them; but matters always settled themselves.
One evening one of these priests was in a neighboring room, the doors of
which were open into the drawing-room. If the songs seemed too profane,
he kept out of sight; but so soon as the word _God_ was pronounced or a
religious thought was mingled with a romance, or operatic aria, the
servant of the altar appeared boldly, rejoiced at these brief harvests
which allowed him to enjoy the whole picture.

To give a correct idea of one of these evenings, I will copy an account
which I have just written under the heading of "Recent Memories."

By half-past eight, almost all the guests have assembled. A stir is
heard in the next room. "He is coming ... it is he!" is whispered on
every hand. The master enters, followed by his pupils. Almost at the
same instant a young woman glides up to the piano. She is to accompany
the singers; she enters furtively, timidly, as if she were not the
mistress of the house. She is beautiful, but she does not wish this to
be noticed; she has much talent, but she disguises it by her calm and
severe style of playing, which does not prevent critical ears from
noting her exactitude and precision, combined with that rare spirit of
abnegation which is the accompanist's supreme virtue.

Delsarte takes his place by the piano; his attentive gaze traverses the
assembly; he exchanges a smile, a friendly gesture with certain of the
audience who are always much envied. At this moment he is grave,
serious, and as it were, penetrated by his responsibility to an audience
who hang devoutly on his lips.

The professor begins by developing some point in his system; he gives
the law of pose or of gesture; the reasons for accent, rhythm or some
other detail connected with the synthesis which he has evolved. He
questions his scholars.

The first notes of the piano serve to mark the change to practical
instruction. The pupils sing in turn. The master listens with the
concentrated attention peculiar to him; the expression of his face
explains the nature of the remarks he is about to make, even before he
utters them. He points out mistakes, he illustrates them.

Little by little, however, his dramatic genius is aroused. Achilles
seems to seize his weapons or Agamemnon his sceptre. The scholar is
pushed aside, Delsarte takes his place.

Then the artist is seen to the utmost advantage. There, dressed in the
vast, shapeless coat which drapes itself about him as he gesticulates,
his neck free from the cravat which puts modern Europeans in the
pillory, and allowing himself greater space than at his concerts--there,
and there alone, is Delsarte wholly himself.

The piano strikes the opening notes of the prelude, and before the
artist has uttered a word, he is transfigured. If he is singing serious
opera, the oval of his face lengthens, the lines become more fixed, his
cheeks shrink, his forehead is lighted up and his eye flashes with
inspiration; the pallor of profound emotion pervades his features, the
somewhat gross proportions of his figure are disguised by the firmness
of his pose and the juvenile precision of his gesture.

The part of _Robert the Devil_ is one of those in which Delsarte best
developed the resources and suppleness of his genius. _Robert_ is the
son of a demon, but his mother was a saint. He loves with sincere love;
but even this love is subject to the influence of the evil spirit;
hence, these outbursts followed by such tender remorse, that heart which
melts into tears after a fit of rage. _Robert_ is jealous, less so than
_Othello_ possibly, but _Robert's_ jealousy is stimulated by infernal
powers and must differ in its manifestation. It was in these shades of
distinction that Delsarte's greatness was apparent to every eye.

Then came those indescribable inflections--words which pierced your
heart, cold as a sword-blade: "Come, come!" says _Robert_, striving to
drag _Isabella_ away, ... and that simple word was made frantic,
breathless, by the accent accompanying it. No one who has not heard
Delsarte utter the word _rival_ can conceive of all the mysteries of
hate and pain contained in the word.

In the trio from "William Tell," after the words, "has cut an old man's
thread of life," Arnold feels that Gessler has had his father murdered.
A first and vague suspicion dawned on the artist's face. Little by
little, the impression became more marked, a clearer idea of this
misfortune was shown by pantomime; his eye was troubled, it kindled,
every feature questioned both William and Walter; the actor's hand,
trembling and contracted, was stretched toward them and implored them to
speak more clearly. He was horror-stricken at the news he was to hear,
but uncertainty was intolerable; and when, after these touching
preparations, Arnold himself tore away the last shred of doubt, when he
uttered the cry: "My father!" there was not a heart--were it bathed in
the waters of the Styx--which did not melt from the counter shock of
such violent despair.

The effects of rage, hate, irony, the terrors of remorse, the bitterness
of disappointment, were not the only dramatic means in the possession of
that artist whom Madame Sontag proclaimed as "the greatest known
singer." None could express as did Delsarte, contemplation, serenity,
tenderness--the dreams of a sweet and simple soul, and even the divine
silliness of innocent beings. Wit and malice were equally easy for him
to render.

In the duet from "Count Ory:"

"Once more I'll see the beauty whom I love,"

he was quite as apt at interpreting the hypocritical good-nature of the
false hermit as the sentimental playfulness of the love-lorn page.

In his school the comic style bore an impress of propriety and
distinction, because it resulted from intellectual perceptions rather
than it expressed the vulgar sensations manifested by exaggerated
caricature and grimace.

Delsarte thus put his stamp upon every style which he attempted; he
renovated every part. He restored Gluck to life; he revealed Spontini to
himself. The latter--the illustrious author of "Fernando Cortez"--was at
a musical entertainment where Delsarte, whom he had never known, sang.
He had drunk deep of the composer's inspiration: he showed this in the
very first phrase of the great air:

"Whither do ye hasten? Oh, traitorous race!"

He sang with such vigorous accent, such great _maestria_, that--in the
mouth of Montezuma--the words must have sufficed to rally the Mexican
army from its rout. He gave the cantabile:

"Oh country, oh spot so full of charm!"

with indescribable sadness; desolation and despair seemed to fill his
soul, and when the conquered man invoked the spirits of his ancestors:

"Shall I say to the shadows of my fathers,
Arise--and leave your gloomy tomb!"

it seemed--so powerful was the adjuration--as if the audience must see
the sepulchre open on the spot which the singer and actor indicated by
his gesture and his gaze.

Such profound knowledge, sublime talent, terrifying effects and
contrasts so skilfully managed, and yet so natural in their transition,
strongly moved the composer.

"Do you know that you made me tremble?" Delsarte said to him after he
had sang.

"Do you know that you made me weep?" replied Spontini, charmed to see
his work raised to such proportions.

Delsarte was always master of himself, however impassioned he appeared.

Often, in his lessons, when every soul hung upon his accents, he would
stop abruptly and restore the part to his pupil. Then, as if a magic
wand had touched him, all the attributes of the personage who had lived
in him, vanished. His face, his form, his bearing resumed their usual
appearance. The artist disappeared, and the professor quietly resumed
his place, without seeming to notice that the audience--still shaken by
the emotions they had felt--blamed him for this too prompt
metamorphosis.

Yet Delsarte was as agreeable a teacher as he was a marvelous artist.
His instruction was enlivened by countless unexpected flashes; his
sallies were as quick as gunpowder.

"_I die!_" languidly sang a tenor.

"You sleep!" said the master.

"_Come, lady fair!_" exclaimed another singer.

"If you call her in that voice, you may believe that she will never
come!"

"Don't make a public-crier of your Achilles," said the master to some
one with a rich organ, given over to its own uncultivated power.

All three smiled. The one tried to die more fitly; the other to call his
lady fair in more seductive accents. The petulant outburst of the master
taught them more than many a long dissertation.

Delsarte made great use of his power of imitating a defect; he even
exaggerated it so that the scholar, seeing it reflected as in a
magnifying-glass, more readily perceived his insufficiency or his
exaggeration.

If this mode of procedure was somewhat trying to sensitive vanity, it
was easy to see its advantages. The master's censure, moreover, was of
that inoffensive and kindly character which is its own justification. It
was a criticism governed by gaiety. Delsarte laughed at himself quite as
readily as at the ridiculous performances which he caricatured, if
opportunity offered. And if by chance any pupil less hardened to these
assaults was intimidated or distressed, consolation was quick to follow.

I remember that a young girl gave rise to one of these striking
imitations. Delsarte put such an irresistible comedy into it, that the
audience was seized with an uncontrolable fit of mirth. The master's
mimicry had far more to do with this than the poor girl's awkwardness.
But she did not understand this. Her heart sank at this harsh merriment
and tears rushed to her eyes.

"What is the matter," asked Delsarte; "why are you so disturbed? Among
the persons whose laughter you hear, I do not think there is one who
sings as well as you do! I exaggerated your mistake to make you aware of
it; but you did your work in a way that was very satisfactory to all but
your teacher."

Speaking of this irony tempered by mercy, I recollect that Delsarte,
after a great success, was once complimented by the singer P., whose
popularity far exceeded that of the "lyric Talma."

"And yet you have given me lessons," said Delsarte, emphasizing the word
_yet_. Well! in such circumstances Delsarte showed neither the pride nor
the malicious spirit which might be imputed to him; his mind seized a
contrast which amused him, and his face interpreted it, but his voice
remained soft and friendly; for, in spite of his biting wit and cutting
phrases, his feelings were easily touched and his heart was truly rich
in sympathy.

Delsarte sang a great deal during his lessons; and perhaps he gained,
from the point of view of the voice, by confining himself to fragments;
seizing the opportune moment, and his voice not having had time to be
tired, he could give, for a relatively long space, the clear, ringing
tones necessary for brilliant pieces. Then his vocalization--which has
only a mechanical value with most singers--became sobs, satanic
laughter, delirium, and terror.

Then, too, thanks to proximity, the most delicate tones could be heard
to the extreme limits of the _smorzando_, still preserving that slightly
veiled timbre unique in its charm, the mysterious interpreter of
infinite sweetness and unspeakable tenderness.

One might perhaps have made a complete analysis of Delsarte from hearing
him sing some dramatic song, but let him give Eleazar's air from "The
Jewess:"

"Rachel, when the Lord,"

or that of Joseph:

"Paternal fields, Hebron, sweet vale,--"

let the artist give this in a quiet style, as putting a mute upon his
voice, and the observer forgot his part; he followed the entrancing
melody as far as it would lead him into the realms of the ineffable
whence he returned with the fascination of memory and the sorrow of
exile.

Let no one cry that this is hyperbole! One of the most remarkable
accompanists in Paris, an attache of the Opera Comique, M. Bazile, was
once so overcome by emotion in accompanying Delsarte that for some
seconds the piano failed to do its duty.

I might recount numberless proofs of admiration equal to mine. One
evening, at a lecture, the lesson turned upon a song from "William
Tell:"

"Be motionless, and to the ground
Incline a suppliant knee."

For stage effect, Delsarte called in one of his children, about eight or
nine years old.

The subject is well known: William has been condemned to strike from a
distance, with the tip of his arrow, an apple placed on the head of his
child.

William bids the child pray to God, and implores him not to stir.
Reversing the action of all actors whom we usually see, the artist
recited the fragment in a wholly concentric fashion; he did not declaim;
he made no gesture toward the audience; but what emotion in his voice,
and how his gaze hovered over and around the dear creature who was
perhaps to be forever lost to him! He called the child to him, he
pressed him to his heart; he laid his hands on that young head. His
caresses had the lingering slowness of supreme and final things, the
solemnity of a last benediction.

"This point of steel may terrify thine eyes!"

says the text, and the tragedian, enlarging the meaning of the words by
inflection and accent, showed that this precious life hung on a thread
and depended on the firmness of his hand.

At the last phrase:

"Jemmy, Jemmy, think of thy mother,
She who awaits us both at home!"

his voice became pathetic to such a degree that it was difficult to
endure it. The child, who had restrained himself during the tirade,
began to sob. All eyes were full of tears. One lady fainted.

At concerts his triumph was the same on a larger scale. I will give but
one anecdote. A man of letters, who was also a skilled physician, said
to Delsarte:

"Do you know, sir, that I made your acquaintance in a very strange way?
I was at the Herz Hall, at your concert. Your voice and singing so
agitated me that I was forced to leave the room, feeling oppressed and
almost faint."

This impressionable listener referred to a day memorable in the annals
of the master. Delsarte--he sang certain airs written for women in
Gluck's operas--had selected Clytemnestra's song:

"A priest, encircled by a cruel throng,
Shall on my daughter lay his guilty hand."

Just as this maternal despair reached its paroxysm, the artist raised
both hands to his head and remained in the most striking attitude
possible to overwhelming grief. Loud applause burst from every part of
the hall; there was a frenzy, a delirium of enthusiasm. At the same
time, a violent storm burst outside; the roaring thunder, the rain
beating in floods upon the windows, the flashing lightning which turned
the gas-lights pale, formed a tremendous orchestra for Gluck's music,
and a fantastic frame for the sublime actor. Then, as if crushed by his
glory, he prolonged that marvelous effect, and stood a moment as if
annihilated by the frantic and tumultuous shouts of the audience.




Chapter XVII.

Delsarte's Inventions.



Delsarte always had his father's propensity to devote himself to
mechanics that he might apply his knowledge of them to new things. When
he felt his artistic abilities, not growing less, but their plastic
expression becoming more difficult, owing to the cruel warnings of his
departing youth, this tendency toward occupations more especially
intellectual, became more marked.

It may be helpful here to note that a _machine_--that positive and most
material of all things--is the thing whose creation requires force of
understanding in the highest degree.

The brain, that living machine, lends its aid to the intellect; it
represents the physical side; it is the spot where the work is carried
on. Feeling has no part in the intellectual acts which work together in
mechanical production,--mathematics playing the principal part,--it has
no other share, I say, but to inspire certain persons with a passionate
taste for abstract studies, which leads them toward useful and glorious
discoveries.

Thus, this thought of Delsarte and Pierre Leroux seems to be justified:
that, in no case, can man break his essential triplicity.

Delsarte, moreover, by changing the direction of his faculties, or
rather by displacing the dominant, affirmed his freedom of will. If he
did not always class himself with the strong, he still loved to reign
over himself in the omnipotence of his will.