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Delsarte System of Oratory by Various

V >> Various >> Delsarte System of Oratory




1. To understand the general law which controls the movements of the
organs;

2. To apply this general law to the movements of each particular organ;

3. To understand the meaning of the form of each of these movements;

4. To adapt this meaning to each of the different states of the soul.

The fundamental law, whose stamp every one of these organs bears, must
be kept carefully in mind. Here is the formula:

The sensitive, mental and moral state of man are rendered by the
eccentric, concentric or normal form of the organism.[1]

Such is the first and greatest law. There is a second law, which
proceeds from the first and is similar to it:

Each form of the organism becomes triple by borrowing the form of the
two others.

It is in the application of these two laws that the entire practice of
the art of oratory consists. Here, then, is a science, for we possess a
criterion with which all phenomena must agree, and which none can
gainsay. This criterion, composed of our double formula, we represent in
a chart, whose explanation must be carefully studied.

The three primitive forms or genera which affect the organs are
represented by the three transverse lines.


GENUS. SPECIES.
1 3 2

II. Conc. 1-II 3-II 2-II
Ecc. Conc. Norm. Conc. Conc. Conc.

III. Norm. 1-III 3-III 2-III
Ecc. Norm. Norm. Norm. Conc. Norm.

I. Ecc. 1-I 3-I 2-I
Ecc. Ecc. Norm. Ecc. Conc. Ecc.


The subdivision of the three genera into nine species is noted in the
three perpendicular columns.

Under the title _Genus_ we shall use the Roman numerals I, III, II.

Under the title _Species_ we employ the Arabic figures 1, 3, 2.

I designates the eccentric form, II the concentric form, III the normal
form.

The Arabic figures have the same signification.

The normal form, either in the genus or the species, we place in the
middle column, because it serves as a bond of union between the two
others, as the moral state is the connecting link between the
intellectual and vital states.

Thus the first law relative to the primitive forms of the organs is
applied in the three transverse columns, and the second law relative to
their compound forms is reproduced in the three vertical columns.

As may be easily proven, the eccentric genus produces three species of
eccentric forms, marked in the three divisions of the lower transverse
column.

Since the figure 1 represents the eccentric form, 1-I will designate the
form of the highest degree of eccentricity, which we call
_eccentro-eccentric_.

Since the figure 3 represents the normal form, the numbers 3-I will
indicate the _normo-eccentric_ form.

Since the figure 2 designates the form which translates intelligence,
the figures 2-I indicate the _concentro-eccentric_ form as a _species_.
As the species proceeds from the genus, we begin by naming the species
in order to bring it back to the genus. Thus, in the column of the
eccentric genus the figure 1 is placed after the numbers 3 and 2, which
belong to the species. We must apply the same analysis to the transverse
column of the normal genus, as also to that of the concentric genus.

Following a diagonal from the bottom to the top and from left to right,
we meet the most expressive form of the species, whether eccentric,
normal or concentric, marked by the figures 1-I, 3-III, 2-II, and by the
abbreviations _Ecc.-ecc. (Eccentro-eccentric), Norm.-norm.
(Normo-normal), Conc.-conc. (Concentro-concentric)_. It is curious to
remark how upon this diagonal the organic manifestations corresponding
to the soul, that is to love, are found in the midst, to link the
expressive forms of life and mind.

This chart sums up all the essential forms which can affect the
organism. This is a universal algebraic formula, by which we can solve
all organic problems. We apply it to the hand, to the shoulder, to the
eyes, to the voice--in a word, to all the agents of oratorical language.
For example, it suffices to know the _eccentro-eccentric_ form of the
hand, of the eyes; and we reserve it for the appropriate occasion.

All the figures accompanying the text of this work are only
reproductions of this chart affected by such or such a particular organ.
A knowledge of this criterion gives to our studies not only simplicity,
clearness and facility, but also mathematical precision.

In proposing the accord of nine formed by the figure 3 multiplied into
itself, it must be understood that we give the most elementary, most
usual and least complicated terms. Through natural and successive
subdivisions we can arrive at 81 terms. Thus multiply 9 by 3; the number
27 gives an accord of 27 terms, which can again be multiplied by 3 to
reach 81. Or rather let us multiply 9 by 9, and we in like manner obtain
81 terms, which become the end of the series. This is the alpha and
omega of all human science. _Huc usque venies, et ibi confringes
tumentes fluctus tuos._ ("Thus far shalt thou come, and here shall thy
proud waves be stayed.")

It is well to remark that this criterion is applied to all possible
phenomena, both in the arts and sciences. This is reason, universal
synthesis. All phenomena, spiritual as well as material, must be
considered under three or nine aspects, or not be understood. Three
genera and nine species; three and nine in everything and everywhere;
three and nine, these are the notes echoed by all beings. We do not fear
to affirm that this criterion is divine, since it conforms to the nature
of beings. Then, with this compass in hand, let us explore the vast
field of oratorical art, and begin with the voice.

NOTE TO THE STUDENT.--Do not go on without a perfect understanding of
this explanation of the criterion, as well as the exposition of our
method which closes the preface.




Chapter II.

Of The Voice.



The whole secret of captivating an audience by the charms of the voice,
consists in a practical knowledge of the laws of sound, inflection,
respiration and silence. The voice first manifests itself through sound;
inflection is an intentional modification of sound; respiration and
silence are a means of falling exactly upon the suitable tone and
inflection.

Sound being the first language of man in the cradle, the least we can
demand of the orator is, that he speak intelligently a language whose
author is instinct. The orator must then listen to his own voice in
order to understand it, to estimate its value, to cultivate it by
correcting its faults, to guide it--in a word, to dispose of it at will,
according to the inclination of the moment. We begin the study of the
voice with _Sound;_ and as sound may be viewed under several aspects, we
divide this heading into as many sections.



_Compass of the Voice--Organic Apparatus of the Voice._


This apparatus is composed of the larynx, the mouth and the lungs. Each
of these agents derives its value from mutual action with the others.
The larynx of itself is nothing, and can be considered only through its
participation in the simultaneous action of the mouth and lungs.

Sound, then, is formed by a triple agent--projective, vibrative and
reflective.

The lungs are the soliciting agent, the larynx is the vibrative agent,
the mouth is the reflective agent. These must act in unison, or there is
no result. The larynx might be called the mouth of the instrument, the
inside of the mouth the pavilion, the lungs the artist. In a violin, the
larynx would be the string, the lungs the bow, the mouth the instrument
itself.

The triple action of these agents produces phonation. They engender
sounds and inflections. Sound is the revelation of the sensitive life to
the minutest degree; inflections are the revelation of the same life in
a higher degree, and this is why they are the foundation and the charm
of music.

Such is the wonderful organism of the human voice, such the powerful
instrument Providence has placed at the disposal of the orator. But what
avails the possession of an instrument if one does not know how to use
it, or how to tune it? The orator, ignorant of the laws of sound and
inflection, resembles the debutant who places the trumpet to his lips
for the first time. We know the ear-torturing tones he evolves.

The ear is the most delicate, the most exacting of all our senses. The
eye is far more tolerant. The eye resigns itself to behold a bad
gesture, but the ear does not forgive a false note or a false
inflection. It is through the voice we please an audience. If we have
the ear of an auditor, we easily win his mind and heart. The voice is a
mysterious hand which touches, envelops and caresses the heart.



_Of the Voice in Relation to Compass._


All voices do not have the same compass, or the same range. By range we
mean the number of tones the voice can produce below and above a given
note on the staff, say A, second space of the treble clef.

There are four distinct kinds of voices: Soprano, alto, tenor and bass.
There are also intermediate voices, possessing the peculiar quality of
the kind to which it belongs, for example: Mezzo-soprano, with the
quality of the soprano and only differing from the soprano in range, the
range of this voice being lower than the soprano and a little higher
than the alto. Then comes the alto or contralto.

In the male voice we have the tenor robusto, a little lower than the
pure tenor and more powerful; next the baritone, a voice between the
tenor and bass, but possessing very much the quality of the bass.

The tones in the range of every voice can be divided into three
parts--the lower, medium and higher. Thus we would say of a performer,
he or she used the lower or higher tones, or whatever the case may be.
This applies to every kind of voice.

The soprano voice ranges generally from the middle C, first added line
below on the treble clef, upwards to A, first added line above the
staff. Contralto voices range generally from G, below middle C in the
treble clef, up to F, the upper line of the clef.

The tenor voice ranges from C, second space of the F clef, to D, second
space in the treble clef.

The bass voice ranges from lower F, first space below of the F or bass
clef, to D, second space above of this clef.[2]

The first perception of the human voice imperatively demands, 1. That
the voice be tried and its compass measured in order to ascertain to
what species it belongs. Its name must be known with absolute certainty.
It would be shameful in a musician not to know the name of the
instrument he uses. 2. That the ear be trained in order to distinguish
the pitch upon which one speaks.

We should be able to name a sound and to sound a name. The Orientals
could sing eight degrees of tone between C and D. There may be a whole
scale, a whole air between these two tones. It would be unpardonable
not to know how to distinguish or at least to sound a semitone.

There is a fact proved by experience, which must not be forgotten. The
high voice, with elevated brows, serves to express intensity of passion,
as well as small, trivial and also pleasant things.

The deep voice, with the eyes open, expresses worthy things.

The deep voice, with the eyes closed, expresses odious things.



_The Voice in Relation to Vowels._


As already stated, the vocal apparatus is composed of the lungs, the
larynx and the mouth; but its accessories are the teeth, the lips, the
palate and the uvula. The tip and root of the tongue, the arch of the
palate and the nasal cavities have also their share in perfecting the
acoustic apparatus.

In classifying the different varieties of voice, we have considered them
only in their rudimentary state. Ability to name and distinguish the
several tones of voice is the starting point. We have an image more or
less perfect, leaving the mould; we have a canvas containing the design,
but not the embroidery--the mere outline of an instrument, a body
without a soul. The voice being the language of the sensitive life, the
passional state must pass entirely into the voice.

We must know then how to give it an expression, a color answering to the
sentiment it conveys. But this expressive form of the voice depends
upon the sound of its vowels.

There is a mother vowel, a generative tone. It is _a_ (Italian _a_). In
articulating _a_ the mouth opens wide, giving a sound similar to _a_ in
_arm_.

The primitive _a_ takes three forms. The unaccented, Italian _a_
represents the normal state; _a_ with the acute accent (') represents
the eccentric state; _a_ with the grave accent (`) represents the
concentric state.

These three _a_'s derived from primitive _a_ become each in turn the
progenitor of a family with triple sounds, as may be seen in the
following genealogical tree:


A
A A A
---------------------------
e o e

e au eu

i ou u

Eccentric. Normal. Concentric.


This is the only simple sound, but four other sounds are derived from
it. The three _a's_ articulated by closing the uvula, give the nasal
_an_. Each family also gives its special nasal sound: _in_ for the
eccentric voice, _on_ for the normal state, _un_ for the concentric. All
other sounds are derived from combinations of these. The mouth cannot
possibly produce more than three families of sounds, and in each family
it is _a_ united with the others that forms the trinity.

The variety of sounds in these three families of vowels arises from the
difference of the opening of the mouth and lips in articulating them.
These different modes of articulation may be rendered more intelligible
by the subjoined diagrams:

_a_ is pronounced with the mouth very wide open, the uvula raised and
the tongue much lowered.

---------------------
O O
---------------------

_e, e, i_ and _in_ are articulated with the lips open and the back part
of the mouth gradually closed.

/
/
/
\
\
\

_a, au, ou_ and _on_ are articulated with the back of the mouth open and
the lips gradually closed.

\
\
\
/
/
/

_e, eu, u_ and _un_ are articulated with the back of the mouth and the
lips uniformly closed.

---------------------
---------------------

The voice takes different names, according to the different sounds in
each family of vowels: the chest-voice, the medium voice and the
head-voice.

These names imply no change in the sort of voice, but a change in the
manner of emission. The head, medium or chest-voice, indicates only
variety in the emission of vowels, and may be applied to the high as
well as the deep and medium voice. Thus the deep voice may produce
sounds in the head-voice, as well as in the medium and chest voices.

The head-voice is produced by lowering the larynx, and at the same time
raising the uvula. In swallowing, the larynx rises by the elevation of
the uvula, without which elevation there can be no head-tones.



_Practical Conclusions._


1. It is highly important to know how to assume either of these voices
at will. The chest-voice is the expression of the sensitive or vital
life, and is the interpreter of all physical emotions. The medium voice
expresses sentiment and the moral emotions. The head-voice interprets
everything pertaining to scientific or mental phenomena. By observing
the laugh in the vital, moral and intellectual states, we shall see that
the voice takes the sound of the vowel corresponding to each state.

We understand the laugh of an individual; if upon the _i_ (_e_ long), he
has made a sorry jest; if upon _e_ (_a_ in _fate_), he has nothing in
his heart and most likely nothing in his head; if upon _a_ (_a_ short),
the laugh is forced. _O, a_, (_a_ long) and _ou_ are the only normal
expressions. Thus every one is measured, numbered, weighed. There is
reason in everything, even when unknown to man. In physical pain or
joy, the laugh or groan employs the vowels _e, e, i_.[3]

2. The chest-voice should be little used, as it is a bestial and very
fatiguing voice.

3. The head-voice or the medium voice is preferable, it being more noble
and more ample, and not fatiguing. In these voices there is far less
danger of hoarseness. The head and medium voices proceed more from the
mouth, while the chest-voice has its vibrating point in the larynx.

4. The articulation of the three syllables, _la, mo_ and _po_, is a very
useful exercise in habituating one to the medium voice. Besides
reproducing the tone of this voice, these are the musical consonants
_par excellence_. They give charm and development to the voice. We can
repeat these tones without fatiguing the vocal chords, since they are
produced by the articulative apparatus.

5. It is well to remark that the chest, medium and head voices are
synonymous with the eccentric, normal or concentric voice.

6. It is only a hap-hazard sort of orator who does not know how to
attain, at the outset, what is called the white voice, to be colored
afterward at will. The voice should resemble the painter's pallet, where
all the colors are arranged in an orderly manner, according to the
affinities of each. A colorless tint may be attained in the same way as
a pure tint. It may be well to remark here, although by anticipation,
that the expressions of the hand and brow belong to the voice. The
coloring of the larynx corresponds to the movements of the hand or
brows.

Sound is painting, or it is nothing. It should be in affinity with the
subject.




Chapter III.

The Voice in Relation to Intensity of Sound.



_What is Understood by Intensity of Sound._


The voice has three dimensions--height, depth and breadth; in other
terms, diapason, intensity and duration; or in yet other words,
tonality, timbre and succession.

Intensity may be applied alike to the voice and to sound. The voice is
strong or weak, according to the mechanism of the acoustic apparatus.
The strength or weakness of sound depends upon the speaker, who from the
same apparatus evolves tones more or less strong. It is the _forte,
piano_ and _pianissimo_ in music. Thus a loud voice can render weak
tones, and a weak voice loud tones. Hence the tones of both are capable
of increase or diminution.



_Means of Augmenting the Timbre of the Voice._


1. A stronger voice may be obtained by taking position not upon the heel
or flat of the foot, but upon the ball near the toes--that attitude
which further on we shall designate as the third. The chest is
eccentric; that is, convex and dilated. In this position all the muscles
are tense and resemble the chords of an instrument whose resonance is
proportional to their tension.

2. There are three modes of developing the voice. A voice may be
manufactured. A natural voice is almost always more or less changed by a
thousand deleterious influences.

1. _In volume_, by lowering the larynx, elevating the soft-palate and
hollowing the tongue.

2. _In intensity._--A loud voice may be hollow. It must be rendered
deep, forcible and brilliant by these three methods: profound
inspiration, explosion and expulsion. The intensity of an effect may
depend upon expulsion or an elastic movement. Tenuity is elasticity. It
is the rarest and yet the most essential quality of diction.

3. _In compass._--There are three ways of increasing the compass of the
voice:

1. By the determination of its pitch;
2. By practicing the vocal scale;
3. By the fusion of the registers upon the key-note.

The first of these methods is most effective. The second consists in
exercising upon those notes which are near the key-note. Upon this
exercise depends in great measure the homogeneity of the voice. Taking
_la_ for the diapason, the voice which extends from the lowest notes to
upper _re_ is the chest-voice, since it suffers no acoustic
modification. From _mi_ to _la_ the voice is modified; it is the medium
voice, or the second register, which gives full and supple tones. The
head or throat-voice, or the third register, extends from _si_ to the
highest and sharpest notes. Its tones are weak, and should be avoided
as much as possible. There are then only four good notes--those from
_mi_ to _la_, upon which the voice should be exercised. By uniting the
registers, an artificial, homogeneous voice may be created, whose tones
are produced without compression and without difficulty. This being
done, it is evident that every note of the voice must successively
indicate the three registers--that is, it must be rendered in the chest,
medium and head voices.

There is also a method of diminishing the voice. As the tone is in
proportion to the volume of air in the lungs, it may be weakened by
contracting the epiglottis or by suppressing the respiration.



_Rules for Intensity of Sound._


1. The strength of the voice is in an inverse ratio to the respiration.
The more we are moved, the less loudly we speak; the less the emotion,
the stronger the voice. In emotion, the heart seems to mount to the
larynx, and the voice is stifled. A soft tone should always be an
affecting tone, and consist only of a breath. Force is always opposed to
power. It is an error to suppose that the voice must be increased as the
heart is laid bare. The lowest tones are the best understood. If we
would make a low voice audible, let us speak as softly as we can.

Go to the sea-shore when the tempest rages. The roar of the waves as
they break against the vessel's side, the muttering thunders, the
furious wind-gusts render the strongest voice impotent. Go upon a
battle-field when drums beat and trumpets sound. In the midst of this
uproar, these discordant cries, this tumult of opposing armies, the
leader's commands, though uttered in the loudest tones, can scarce be
heard; but a low whistle will be distinctly audible. The voice is
intense in serenity and calm, but in passion it is weak.

Let those who would bring forward subtle arguments against this law,
remember that logic is often in default when applied to artistic facts.

A concert is given in a contracted space, with an orchestra and a
double-bass. The double-bass is very weak. Logic would suggest two
double-basses in order to produce a stronger tone. Quite the contrary.
Two double-basses give only a semitone, which half a double-bass renders
of itself. So much for logic in this case.

The greatest joy is in sorrow, for here there is the greatest love.
Other joys are only on the surface. We suffer and we weep because we
love. Of what avail are tears? The essential thing is to love. Tears are
the accessories; they will come in time, they need not be sought.
Nothing so wearies and disgusts us, as the lachrymose tone. A man who
amounts to anything is never a whimperer.

Take two instruments in discord and remote from each other. Logic
forbids their approach lest their tones become more disagreeable. The
reverse is true. In bringing them together, the lowest becomes higher
and the highest lower, and there is an accord.

Let us suppose a hall with tapestries, a church draped in black. Logic
says, "sing more loudly." But this must be guarded against lest the
voice become lost in the draperies. The voice should scarce reach these
too heavy or too sonorous partitions, but leaving the lips softly, it
should pulsate through the audience, and go no farther.

An audience is asleep. Logic demands more warmth, more fire. Not at all.
Keep silent and the sleepers will awaken.

2. Sound, notwithstanding its many shades, should be homogeneous; that
is, as full at the end as at the beginning. The mucous membrane, the
lungs and the expiratory muscles have sole charge of its transmission.
The vocal tube must not vary any more for the loud tone than for the low
tone. The opening must be the same. The low tone must have the power of
the loud tone, since it is to be equally understood. The acoustic organs
should have nothing to do with the transmission of sound. They must be
inert so that the tone may be homogeneous. The speaker or singer should
know how to diminish the tone without the contraction of the back part
of the mouth.

To be homogeneous the voice must be ample. To render it ample, take high
rather than low notes. The dipthong _eu_ (like _u_ in muff), and the
vowels _u_ and _o_ give amplitude to sound. On the contrary, the tone
is meagre in articulating the vowels _e_, _i_ and _a_. To render the
voice ample, we open the throat and roll forth the sound. The more the
sound is _circumvoluted_, the more ample it is. To render the voice
resonant, we draw the tongue from the teeth and give it a hollow form;
then we lower the larynx, and in this way imitate the French horn.

3. The voice should always be sympathetic, kindly, calm, and noble, even
when the most repulsive things are expressed. A tearful voice is a grave
defect, and must be avoided. The same may be said of the tremulous voice
of the aged, who emphasize and prolong their syllables. Tears are out of
place in great situations; we should weep only at home. To weep is a
sure way of making people laugh.