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Various - "Tiger and Tom and Other Stories for Boys"

Sir Harry Lauder - "Between You and Me"

Various - "Punch, or the London Charivari, Vol. 153, Nov. 14, 1917"

William Eleroy Curtis - "Modern India"

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Delsarte System of Oratory by Various

V >> Various >> Delsarte System of Oratory




/ Inherent form of sentiments . . . . . . AEsthetics.
|
Art. < Metaphysical form of the principles . . Ontology.
|
\ Organic form of signs . . . . . . . . . Semeiotics.

The object of art, therefore, is to reproduce, by the action of a
superior principle (ontology), the organic signs explained by
semeiotics, and whose fitness is estimated by aesthetics.

Semeiotics is the science of the organic signs by which aesthetics must
study inherent fitness.

AEsthetics is the science of the sensitive and passional manifestations
which are the object of art, and whose psychic form it constitutes.

If semeiotics does not tell us the passion which the sign reveals, how
can aesthetics indicate to us the sign which it should apply to the
passion that it studies? In a word, how shall the artist translate the
passion which he is called upon to express?

AEsthetics determines the inherent forms of sentiment in view of the
effects whose truth of relation it estimates.

Semeiotics studies organic forms in view of the sentiment which produces
them.

It is thus that _wisdom_ and _reason_ proceed in inverse sense from the
principle to the knowledge which is the object of both. Wisdom, in fact,
studies the principle in its consequences, while reason studies the
consequences in the principle, hence it comes that wisdom and reason are
often at war with each other; hence also the obscurity which generally
prevails as to the distinction between them. Let us say that _wisdom_
and _reason_ are to intelligence what aesthetics and semeiotics are to
art. Let us add to this parallel that _wisdom_ and _reason_ are to
intelligence what aesthetics and semeiotics are to ontology; that is:--

1. If, from a certain organic form, I infer a certain sentiment, that is
_Semeiotics_.

2. If, from a certain sentiment, I deduce a certain organic form, that
is _AEsthetics_.

3. If, after studying the arrangement of an organic form whose inherent
fitness I am supposed to know, I take possession of that arrangement
under the title of methods, invariably to reproduce that form by
substituting my individual will for its inherent cause, that is _Art_.

4. If I determine the initial phenomena under the impulsion of which the
inherent powers act upon the organism, that is _Ontology_.

5. If I tell how that organism behaves under the inherent action, that
is _Physiology_.

6. If I examine, one by one, the agents of that organism, it is
_Anatomy_.

7. If, amid these different studies, I seek by means of analogy and
generalization for light to guide my steps toward my advantage, that is
_System_.

8. If I make that light profitable to my material and spiritual
interests, that is _Reason_.

9. If I add to all this the loving contemplation of the Supreme Author
in His work, that is _Wisdom_.

Let us now leave the abstractions to which you have kindly lent your
attention. I cannot here avoid casting a rapid glance at those sources
of science and art, the sources whence I desire to draw applications
which I am assured will interest you as they interest me. May they
afford you the same delight!

By listening to me thus far you have passed through the proofs requisite
for your initiation into science as well as art; into science, whose
very definition is unknown to the learned bodies, since they have never
studied aught of it but its specialties; into art, whose very
fundamental basis is unsuspected by the School of Fine Arts, as I have
elsewhere demonstrated. Therefore, I now desire in the course of these
lectures to set aside the terms of a technology which I could not avoid
at the outset, and by the recital of my labors and my researches, my
disappointments and my discoveries, to show you the painful birth of a
science, whose possession entitles me to the honor of addressing you
to-day.



Definition of Form.



Form is the garb of substance. It is the expressive symbol of a
mysterious truth. It is the trademark of a hidden virtue. It is the
actuality of the being. In a word, form is the plastic art of the Ideal.

We have to consider three sorts of form: The form assumed by the being
at birth and which we will call _constitutional_ form. Under the sway of
custom forms undergo modifications: We will call these forms _habitual_
forms. Then there are the _fugitive_ forms, modifications of the
constitutional form, which are produced under the sway of passion. These
forms, which we will call _accidental, passional_ or _transitory_, are
fugitive as the things which give them birth.




On Distinction and Vulgarity of Motion.



Motion generally has its reaection; a projected body rebounds and it is
this rebound which we call the reaection of the motion.

Rebounding bodies are agreeable to the eye. Lack of elasticity in a body
is disagreeable from the fact that lacking suppleness, it seems as if it
must, in falling, be broken, flattened or injured; in a word, must lose
something of the integrality of its form. It is, therefore, the reaection
of a body which proves its elasticity, and which, by this very quality,
gives us a sort of pleasure in witnessing a fall, which apart from this
reaection could not be other than disagreeable. Therefore, elasticity of
dynamic motions is a prime necessity from the point of view of charm.

In the vulgar man there is no reaection. In the man of distinction, on
the contrary, motion is of slight extent and reaection is enormous.
Reaection is both slow and rapid.




Gesture.



The artist should have three objects: To _move_, to _interest_, to
_persuade_. He interests by _language_; he moves by _thought_; he moves,
interests and persuades by _gesture_.

Language is the weakest of the three agents. In a matter of the feelings
language proves nothing. It has no real value, save that which is given
to it by the preparation of gesture.

Gesture corresponds to the soul, to the heart; language to the life, to
the thought, to the mind. The life and the mind being subordinate to the
heart, to the soul, gesture is the chief organic agent. So it has its
appropriate character which is persuasion, and it borrows from the other
two agents interest and emotion. It prepares the way, in fact, for
language and thought; it goes before them and foretells their coming; it
accentuates them.

By its silent eloquence it predisposes, it guides the listener. It makes
him a witness to the secret labor performed by the immanences which are
about to burst forth. It flatters him by leading him to feel that he
partakes in this preparation by the initiation to which it admits him.
It condenses into a single word the powers of the three agents. It
represents virtue effective and operative. It assimilates the
auxiliaries which surround it, and reflects the immanence proper to its
nature, the contemplation of its subject deeply seen, deeply felt. It
possesses them synthetically, fully, absolutely.

Artistic gesture is the expression of the physiognomy; it is
transluminous action; it is the mirror of lasting things.

Lacordaire, that spoiled child of the intellect, spoke magnificently. He
interested, he aroused admiration, but he did not persuade. His organism
was rebellious to gesture. He was the artist of language. Ravignan,
inferior intellectually, prepared his audience by his attitude, touched
them by the general expression of his face, fascinated them by his gaze.
He was the artist of gesture.

Thus, if we sing, let us not forget that the prelude, the refrain, is
the spiritual expression of the song; that we must take advantage of
this exordium to guide ourselves, to predispose our hearers in our
favor; that we must point out to them, must make them foresee by the
expression of our face the thought and the words which are to follow;
that, in fact, the ravished spectator may be dazzled by a song which he
has not yet heard, but which he divines or thinks that he divines.



_Definition of Gesture._ (Compare Delaumosne, page 43.)


Gesture is the direct agent of the heart. It is the fit manifestation of
feeling. It is the revealer of thought and the commentator upon speech.
It is the elliptical expression of language; it is the justification of
the additional meanings of speech. In a word, it is the spirit of which
speech is merely the letter. Gesture is parallel to the impression
received; it is, therefore, always anterior to speech, which is but a
reflected and subordinate expression.

Gesture is founded on three bases which give rise to three orders of
studies; that is, to three sciences, namely: The _static_, the _dynamic_
and the _semeiotic_.

What are these three sciences, and, first of all, what are they in
relation to gesture? The semeiotic is its mind; the dynamic is its soul;
the static is founded on the mutual equilibrium or equipoise of the
agents.

The dynamic presents the multiple action of three agents; that is to
say, of the constituent forces of the soul.

The semeiotic presents to our scrutiny a triple object for study. It
sets forth the cause of the acts produced by the dynamic and the static
harmonies. Moreover, it reveals the meaning of the types which form the
object of the system. It offers us a knowledge of the formal or
constitutional types, of the fugitive or accidental types, and, finally,
of the habitual types.

The triple object of the dynamic are the _rhythmic, inflective_ and
_harmonic_ forms. Dynamic rhythm is founded upon the important law of
mobility, inversely proportionate to the masses moved. Dynamic
inflections are produced by three movements: Direct movements, rotary
movements and movements of flexion in the arc of a circle.

Dynamic harmony is founded on the concomitance of the relations existing
between all the agents of gesture. This harmony is regulated by three
states, namely: The tonic or eccentric state, the atonic or concentric
state, and the normal state. It, therefore, remains for us to fix the
three vital conditions of the static part of gesture. The vital
condition of the static is based upon the knowledge of the nine
stations. The spirit of the static entails the study of scenic planes
which embrace three conditions: The condition of the personage in
relation to the scenic centre or to the interlocutor whom he addresses;
in the second place, his situation; and, finally, the direction assumed
by his body in regard to the conditions already indicated.

The soul of the static is in the harmonic opposition of the surfaces
moved.

The most powerful of all gestures is that which affects the spectator
without his knowing it.

From this statement may be deduced the principle that: Outward gesture,
being only the echo of the inward gesture which gave birth to it and
rules it, should be inferior to it in development and should be in some
sort diaphanous.




Attitudes of the Head.



The head, considered in its three direct poses, presents three
conditions or states. When facing the object contemplated, it presents
the normal state; bent forward and in the direction of the object, it
presents the concentric state; raised and considering the object from
above, it presents the eccentric state. [Compare Delaumosne, page 65.]

If, now, we consider each of its attitudes in connection with a double
lateral inclination of which they are capable, we have the following
nine:

1. The first is normal. The head is neither high nor low, the glance
being direct.

2. The second is characteristic of tenderness. This attitude consists in
bending the head obliquely toward the interlocutor. The body, in this
attitude, should not face the object; thus the head, in bending toward
it, bends sidewise in relation to the body.

3. The third attitude is characteristic of sensuality. This attitude is
marked by an inclination quite the reverse of the second; that is to
say, away from the interlocutor. Naturally, in this attitude, as in the
preceding one, the glance is oblique; the head being bent forward and
backward, is here placed obliquely.

4. The fourth is characteristic of scrutiny, reflection. The head in
this attitude is bent forward as we said in concentration, and the eye,
from the effort to lower the head, is thrown up to inspect the object.

5. The fifth is characteristic of veneration. This attitude offers the
same inclination as the second; but here, as the head must be lowered,
the eye is directed both obliquely and upward.

6. The sixth is characteristic of suspicion. This attitude offers the
same inclination as the third, with the concentric modifications
indicated for the preceding one.

7. The seventh is characteristic of exaltation, passion. This attitude
is eccentric and direct, as we have already said.

8. The eighth attitude is characteristic of abandonment, extreme
confidence. This attitude presents the inclination of the second and the
fifth, with this difference, that here the head is thrown back and the
eye, instead of being bent directly upon the object as in the second and
upward as in the fifth, here gazes downward.

9. The ninth attitude is characteristic of pride. This last attitude
takes the inclination of the sixth and eighth attitudes, with the
differences in gaze indicated in the foregoing.

Thus, to sum up what we have already said, we see that the first, fourth
and seventh attitudes are directly toward the object; that the second,
fifth and eighth bend obliquely toward the object; and, finally, that
the third, sixth and ninth are the result of an oblique inclination away
from the object.

NOTE.--It is to be understood that the various attitudes of the head are
asserted only in regard to the direction taken by the eye. Thus it is
not absolutely true to say that the head is in the eccentric state
because it is raised; for it may be that, raised as it is, the direction
of the eye may be even higher than it, and, in that case, the head
might, although raised, present the aspect of the concentric state. Then
it would be true to say that the head presents the concentric state in a
high direction.




Attitudes of the Hands.



The hands, like the legs, have three kinds of attitudes. They open
without effort and present the normal state; they close and present the
concentric state; then they open forcibly and present the eccentric
state. These three kinds of attitudes produce nine forms.

1. The first is characteristic of acceptance. In this the hand is
presented open without effort, the fingers close together and the palm
up.

2. The second is characteristic of caressing. In this attitude the palm
of the hand faces the object considered and gently follows its forms.

3. The third is characteristic of negation. This attitude is executed in
the following fashion: The arm and hand are placed as in caressing; but,
instead of following the form of the object, the hand rids itself of it
by a rotary movement, thus placing the palm in a lateral direction.

4. This attitude is executed with the closed fist, the arm hanging
naturally, that is, without any action determined by the will.

5. The fifth is characteristic of will. This attitude consists in
carrying the fist forward, the back up.

6. The sixth attitude is characteristic of menace. This attitude is
effected by an outward rotary movement compressed in the fist, so that,
contrary to the will, the back of the hand is down.

7. The seventh is characteristic of desire. The hand, in this attitude,
moves forward as in the first, but with the difference that here the
fingers are spread apart, this spreading signifying "I do not possess,"
expresses desire. There is, by the fact of the advance of the hand,
aspiration and not possession.

8. The eighth is characteristic of imprecation. It consists in
stretching the palm of the hand toward the object as in a caress, but
with this difference, that the fingers are spread apart, thus offering a
repulsive aspect.

9. The ninth is characteristic of refusal, repulsion. It consists in
carrying the hand obliquely as in negation, observing the spreading of
the fingers which characterizes this species.



_Affirmation--The Hand._


To make the demonstration of the different affirmations of the hand more
clear, we employ the cube which, as is well known, has six faces, eight
angles, and twelve edges.

When the hand is placed upon a flat surface the affirmation is simple;
when the hand is placed upon an angle the affirmation is triple or
common to three faces or surfaces. There are three directions in the
cube: Horizontal, vertical and transverse. So, too, there are three
directions possible for the hand in relation to the body:

1. Abduction--which removes,
2. Adduction--which brings close, and
3. The normal direction.

There are three sorts of adduction, three sorts of abduction, and three
sorts of normal direction.

There are three horizontal, three vertical and three transverse
directions; hence nine terms applicable to the nine modes of presenting
the hand in connection with the cube, which are:

[Illustration:

+---------------------------------------------+
/| /|
/ | / |
/ | / |
/ | / |
/ | UPPER SURFACE. / |
/ | / |
/ | To hold. / |
/ | / |
+---------------------------------------------+ |
| | | O |
| I | | U |
| N | | T |
| W | | W |
| A | | A |
| R | FRONT SURFACE. | R |
| D T | | | D |
| o | To retain. | | T |
| L | | L o |
| A w | Limit. -- | A |
| T i | | T b |
| E t | Obtain. | | E e |
| R h | | | R l |
| A d | BACK SURFACE. | A o |
| L r | | | L n |
| a | | To maintain. | g |
| S w | | | | S . |
| U . | Contain. | | U |
| R | | | R |
| F | | F |
| A | | A |
| C | | C |
| E | | E |
| . | | . |
| +------------------------------------+--------+
| / | /
| / LOWER SURFACE. | /
| / | /
| / To sustain. | /
| / | /
| / | /
| / | /
|/ |/
+---------------------------------------------+

Table of the Normal Character of These Nine Attitudes.

/ 2. Concentric . . Conflict.
|
2. Concentro.< 3. Normal . . . . Power.
|
\ 1. Eccentric . . Convulsion.

/ 2. Concentric . . Prostration.
|
3. Normo. < 3. Normal . . . . Abandon.
|
\ 1. Eccentric . . Expansion.

/ 2. Concentric . . Execration.
|
1. Eccentro. < 3. Normal . . . . Exaltation.
|
\ 1. Eccentric . . Exasperation.

These nine physiognomies of the hand modify those of the face, often
supply their place and sometimes even contradict them. When they are
appropriate to the hand and face alike, there is homogeneity. The
expression of the hands results from the cooeperation of three orders of
phenomena. The first order comprises the intrinsic physiognomies assumed
by the hand under the influence of the passions. The second order
comprises the attitudes assumed by the hand toward the object of the
passion. The third order comprises the evolutions impressed upon the
hand by the body, fore-arm and shoulder. These evolutions are so many
inflections.

We know the nine attitudes appropriate to the hand, and the nine
attitudes designated by the nine modes of presentation of the hand in
regard to the cubic surfaces. We must examine the nine inflections which
arise in the first instance from the three directions, antero-posterior,
vertical and transverse.

These inflections again include three movements of three kinds: Direct
movements, circular movements and oblique movements. These movements
are produced by three sorts of action: Sectional action, rotary action
and translative action.

To recapitulate: These physiognomies, attitudes and inflections form by
their combination the multifarious expressions of which the hand is
capable, as are all parts of the body.

Having spoken of the affirmations of the hand, we must speak of its
degree of certainty of which the arm is the thermometer. This
affirmation varies with the angle formed by the fore-arm with the arm.
All these modes of affirmation may be applied to negation.




Attitudes of the Legs.



1. The first attitude is normal; it consists of an equal balance of the
weight of the body on the two legs. This attitude is that of the soldier
carrying arms, without the stiffness assumed by the wilful regularity of
rigid discipline. It is also that attitude taken by a man in the act of
salutation; it is also characteristic of the weakness of a child or of
old age; it is the sign of respect. [Compare Delaumosne, p. 100.]

2. The second attitude is characteristic of repose in strength. The
weight of the body is thrown upon one hip, the free leg being carried
forward. This change should be effected without tension or stiffness.
This attitude is also characteristic of certain concentric passions
hidden under seeming calm.

3. This attitude is characteristic of vehemence, of which it is the
type. It is preeminently the eccentric attitude. It consists in carrying
the whole weight of the body forward, the backward leg extended in equal
proportion to the forward poise of the torso.

4. This attitude is characteristic of the weakness which follows
vehemence. It is the type of concentration; it is also in character as
in species the antipodes of the third attitude, since it is its resolute
expression. This attitude consists in throwing the whole weight of the
body backward, contrary to the preceding attitude where the body was
brought forward, and in bending the leg which bears the weight of the
body, which is also the reverse of the preceding attitude, where the leg
is extended. This attitude is nearly that of the fencing-master; it
differs, however, in the position of the backward foot, which, in
fencing, is turned outward. The regularity of this attitude may be
verified by kneeling, which is its paroxysm. If the attitude is well
done it leads to it naturally.

5. The fifth attitude serves as a preparation for oblique steps; it is
also colorless, transitive, suspensive. It ends all the angles formed by
walking. We may define this attitude as a third transversal; that is to
say, the free leg, instead of being behind as in the third, is
impassive, so that the body, instead of being advanced, should be
slightly inclined to one side.

6. The sixth attitude is an attitude of pomp and ceremony. It is only
assumed in the presence of kings, princes, or persons for whom we have
great respect. We will define this attitude as a third crossed
proceeding from the fifth; that is to say, the free leg of the fifth
becomes the strong leg moving sidewise and slightly forward, thus
crossing the back leg.

7. The seventh attitude is an attitude characteristic of absolute
repose. It is the strongest attitude, and, consequently, that assumed by
intoxication to resist a lack of equilibrium. It is the attitude of
vertigo, or of extreme trust.

Do not be surprised by the bringing together of these very different and
opposite terms in one and the same attitude. It is a sufficient
explanation to say that the strong attitude is sought out by weakness as
a weak attitude is sought by strength. This attitude consists in the
division of the weight of the body between both legs, which are spread
wide apart in parallel directions. This attitude would be improper in a
parlor.