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Delsarte System of Oratory by Various

V >> Various >> Delsarte System of Oratory




There is great power in the menace communicated to the hand, a power not
found in the other movement. The head-menace is more physical, and the
hand-menace more intellectual; in the one the eye says a great deal,
while in the other it says nothing.

The orator cannot always make these gestures with facility. The menace
may be elliptical. Then it must be made by the head, and expressed
through the eyes. This is why the speaker gazes downward as he makes it.

It is the same downward or upward movement which is reproduced when the
menace is concentric or elliptical.

The menace may be made in yet another way. The speaker does not wish to
express his opinion, and for fear of compromising himself with his eyes,
he does not gaze at his interlocutor; he turns aside his glance, and the
menace is communicated to the shoulder. This has less strength, because
it is rendered by one of the sensitive agents.

The man who threatens with the shoulder is more passionate; but he is
not the agent, he is passive.

A simple menace may be made by the knee. The foot is susceptible of
great mobility. A slight movement quickly changes its significance; in
passing from one agent to another, it is modified by many ellipses.

Criterion of the Head Attitudes.

GENUS. SPECIES.

1 3 2

1-II 3-II 2-II
II Ecc. Conc. Norm. Conc. Conc. Conc.
_Stratagem or _Reflection_. _Veneration_.
cunning_.

1-III 3-III 2-III
III Ecc. Norm. Norm. Norm. Conc. Norm.
_Sensualism_. _Passive state_. _Affection_.

1-I 3-I 2-I
I Ecc. Ecc. Norm. Ecc. Conc. Ecc.
_Pride_. _Vehemence_. _Confidence_.

These attitudes, being wholly characteristic, cannot be transmitted.
They characterize the special role of the agent set in motion, while
inflection is universal.

The head alone expresses trouble, dejection.

Dejection is in the head, as firmness is in the reins and exaltation in
the shoulders.

All the movements of the head are communicated to all the active organs.
The head is always in opposition to the arms. The head must be turned
away from the leg which is advanced.

Men of small brain habitually carry their heads high. The head is
lowered in proportion to the quantity of intelligence.

Examine the criterion for the fixed attitudes of the head.



_Of the Eyes._


The eye, in common with all the other agents, has nine primary
expressions, three genera and nine species.

The eye contains three agents: The optic or visual, the palpebral or
pupil, and the eyebrow agent. Each of these has its peculiar sense, and
we shall show how they are united.

The optic agent has three direct or convergent glances. The eyes
converge toward the object they examine, at such a point that if the
object were there they would squint. A skilled observer can determine
the distance of the object, upon seeing the two eyes.

There is a revolving or divergent glance. If both eyes project in
parallel lines, they see double. A drunken man sees double because the
eyes do not converge.

Between these two glances there is the ecstatic or parallel vision; but
the object is not so far away that its distance may not be determined.
The convergence is not appreciable. This is the dreamy expression. We
shall here treat of one only, to which we refer the three others. Let us
take the direct glance, passing by the optic agent, since it is direct
in all the phenomena we have to consider.

There are three phenomena in the eyebrow: eccentric, concentric and
normal. From these we derive nine terms. If the eye is normal, it is a
passive expression which determines nothing. If, with the same eye, the
eyebrow is eccentric, there is a difference; one part of us tends
vehemently toward something, and the other says: "It is not worth the
trouble." The sensitive part aspires, while the intellect says, "This
amounts to nothing."

The concentric eyebrow indicates a mind disconcerted by fatigue or
_ennui_, a contention of one part of the nature with the other, which
resists, and says: "I do not wish to be troubled about this; it wearies
me."

The normal brow and the eccentric eye indicate stupor.

Here there is again contrariety. One part of the being ardently aspires
toward some object, while the other is powerless to aid it.

The eye is purely an intellectual agent, denoting the various states of
the mind.

The eccentric eye and the elevated eyebrow denote vehemence. This is an
active state that will become astonishment. Many phenomena will arise
and be subordinate to this movement; but it is vehemence _par
excellence_; it is aspiration.

If the brow lowers vehemently with the eyes open, it is not rage, but a
state of mind independent of everything the senses or the heart can say.

This is firmness of mind, a state of the will independent of every
outside influence. It may be attention, or anger, or many other things.

If the eye is concentric and the eyebrow in the normal state, it is
slumber, fatigue.

If the eyebrow is eccentric and the eye concentric, it will represent
not indifference only, but scorn, and after saying, "This thing is
worthless," will add, "I protest against it, I close my eyes."

If both the eye and eyebrow are concentric, there is contention of mind.
This is a mind which seeks but does not possess.

This explanation may be rendered more clear and easier to retain in mind
by the following resume:

E Concentric. Contention of mind.
Concentric eyebrow Y Normal. Bad humor.
E Eccentric. Firmness

E Concentric. Grief.
Normal eyebrow. Y Normal. Passiveness.
E Eccentric. Stupor.

E Concentric. Scorn.
Eccentric eyebrow. Y Normal. Disdain.
E Eccentric. Astonishment.

[Illustration: Criterion of the Eyes.]

The nine expressions of the eye correspond to each of the nine
movements of the head. Thus the eye may give nine types of affection,
nine of pride, nine of sensualism, etc. This gives eighty-one
expressions of the eye. Hence, knowing eighteen elements, we inevitably
possess eighty-one.

The nine expressions of the eye may be verified by the criterion.

As a model, we give the nine expressions of the eye in the subjoined
chart.

GENUS. SPECIES.

1 3 2
Eye eccentric. Eye normal. Eye concentric.

Eyebrow Firmness. Bad humor. Contention of
conc. mind.
II

Eyebrow Stupor. Passive state. Grief.
III

Eyebrow Inspiration. Disdain. Scorn.
I

For ordinary purposes it is sufficient to understand the nine primary
expressions. There are many others which we merely indicate. In sleep
there may be an inclination either way. The top of the eyebrow may be
lifted.

Thus in the concentric state, three types may be noted, and these go to
make twenty-seven primary movements. The lower eyelid may be contracted;
the twenty-seven first movements may be examined with this, which makes
2x27.

A movement of the cheek may contract the eye in an opposite direction,
and this contraction may be total, which makes eighty-one expressions
belonging to the normal glance alone.

This direct glance may also be direct on the inferior plane, which makes
2x81; for these are distinct expressions which cannot be confounded.

This movement could again be an upward one, which would make 3x81.

The movement may be outward and superior, or it may be simply outward;
it may also be outward and inferior. A special sense is attached to each
of these movements,--a sense which cannot be confounded with any of the
preceding movements.

By making the same computation for the three glances above noted, we
shall have from eight to nine hundred movements.

All this may appear complicated, but with the key of the primary
movements, nothing can be more simple than this deduction.

The above chart with its exposition of the phases of the eye explains
everything. A small eye is a sign of strength; a large eye is a sign of
languor. A small oblique eye (the Chinese eye), when associated with
lateral development of the cranium, and ears drawn back, indicates a
predisposition to murder.

The eye opens only in the first emotion; then it becomes calm, closing
gradually; an eye wide open in emotion, denotes stupidity.



_Of the Eyebrows._


There are three thermometers: the eyebrow is the thermometer of the
mind; the shoulder is the thermometer of the life; the thumb is the
thermometer of the will.

There is parallelism between the eye and the voice. The voice lowered
and the brow lifted, indicate a desire to create surprise, and a lack of
mental depth.

It is very important to establish this parallelism between the movements
of the brow and voice.

The lowered brow signifies retention, repulsion: It is the signification
of a closed door. The elevated brow means the open door. The mind opens
to let in the light or to allow it to escape. The eyebrow is nothing
less than the door of intelligence. In falling, the voice repels. The
efforts in repulsion and retention are equal.

The inflections are in accord with the eyebrows. When the brows are
raised, the voice is raised. This is the normal movement of the voice in
relation to the eyebrow.

Sometimes the eyebrow is in contradiction to the movement of the voice.
Then there is always ellipse; it is a thought unexpressed. The
contradiction between these two agents always proves that we must seek
in the words which these phenomena modify, something other than they
seem to say. For instance, when we reply to a story just told us, with
this exclamation: "_Indeed_!"

If the brow and voice are lowered, the case is grave and demands much
consideration.

If brow and voice are elevated, the expression is usually mild, amiable
and affectionate.

If the voice is raised and the brow lowered, the form is doubtful and
suspicious. With the brow concentric, the hand is repellent.

Both brow and hand concentric denote repulsion or retention; this is
always the case with a door.

Both brow and hand eccentric mean inspiration, or allowing departure
without concern.

There is homogeneity between the face, the eyebrow and the hand.

The degree and nature of the emotion must be shown in the face,
otherwise there will be only grimace.

The hand is simply another expression of the face. The face gives the
hand its significance. Hand movements without facial expression would be
purely automatic. The face has the first word, the hand completes the
sense. There are eighty-one movements of the hand impossible to the
face; hence, without the hand, the face cannot express everything. The
hand is the detailed explanation of what the face has sought to say.

There are expressions of the hand consonant with the facial traits, and
others dissonant: this is the beautiful.

The weak hand and the strong face are the sign of impotence.

The weak hand and the strong face are the sign of perfidy.

The tones of the voice vary according to the expression of the face. The
face must speak, it must have charm.

In laughing, the face is eccentric; a sombre face is concentric.

The face is the mirror of the soul because it is the most impressionable
agent, and consequently the most faithful in rendering the impressions
of the soul.

Not only may momentary emotions be read in the expression of the
features, but by an inspection of the conformation of the face, the
aptitude, thoughts, character and individual temperament may be
determined.

The difference in faces comes from difference in the configuration of
profiles.

There are three primitive and characteristic profiles, of which all
others are only derivations or shades. There is the upright, the concave
and the convex profile. Each of these genera must produce three
species, and this gives again the accord of _nine_.

These different species arise from the direction of the angles, as also
from the position of the lips and nose.

Uprightness responds to the perpendicular profile; chastity, to the
concave; sensualism, to the convex.

Let it be understood that we derogate in no way from the liberty of the
man who remains always master of his will, his emotions and his
inclinations.

A criterion of the face is indispensable to the intelligent
physiognomist, and as the lips and nose have much to do with the
expression of the face, we offer an unerring diagnosis in the three
following charts:

Criterion of the Profile of the Lips.

SPECIES. 1 3 2

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

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

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

Here the profile of the lower lip indicates the genus, and the profile
of the upper lip belongs to the species.

Criterion of the Profile of the Nose.

SPECIES. 1 3 2

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


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


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

For surety of diagnosis the lips must be taken in unison with the nose
and forehead, as may be seen in the following chart.




Chapter VI.

Of the Torso.



The torso includes the chest, and shares the shoulder movements with the
arms.

_The Chest._--There are three chest attitudes, eccentric, concentric and
normal.

1. If the chest is greatly dilated, this is the eccentric state--the
military attitude, the sign of energy.

2. The normal, when the chest is in a state more homogeneous, less
contentious, more sympathetic, as in the statue of Antinous.

3. The concentric, when the chest is hollow, with the shoulders elevated
and inclining forward.

The convex eccentric chest is the sign of the agent, or of him who
gives.

The convex concentric chest or the pathetic, is the sign of the
sufferer, or of him who receives.

The chest drawn in with the shoulders elevated, is the expression of the
sublime.

From these three positions, the eccentric, the concentric and the
normal, are derived nine degrees or species. Thus in each of these
genera, the torso is inclined toward the speaker, or away from him,
hence we have three times three, or nine, or the triple accord.

[Illustration: Criterion of the Face.]

The chest need not be lowered; it is here that all the energy
concentrates.

_The Shoulders._--Every sensitive, agreeable or painful form is
expressed by an elevation of the shoulders. The shoulders are the
thermometer of the sensitive and passional life. If a man's shoulders
are raised very decidedly, we may know that he is decidedly impressed.

The head tells us whether this impression is joyous or sorrowful. Then
the species belongs to the head, and the genus to the shoulder.

If the shoulder indicates thirty degrees, the head must say whether it
is warmth or coldness. The face will specify the nature of the sorrow or
joy whose value the shoulders have determined.

The shoulder is one of the great powers of the orator.

By a simple movement of the shoulder, he can make infinitely more
impression than with all the outward gestures which are almost always
theatrical, and not of a convincing sort.

The shoulder, we have said, is the thermometer of emotion and of love.
The movement is neutral and suited to joy as well as to sorrow; the eyes
and mouth are present to specify it.

The shoulder, like all the agents, has three and hence nine distinct
phases.

The torso is divided into three parts: the thoracic, the epigastric and
abdominal.

We shall state farther on, the role of these three important centres.

Liars do not elevate their shoulders to the required degree, hence the
truth or falsity of a sentiment may be known.

Raphael has forgotten this principle in his "Moses Smiting the Rock."
None of his figures, although joyous, elevate the shoulder.




Chapter VII.

Of The Limbs.



The limbs hold an important place in oratorical action.

The study of the role of the arms and limbs therefore deserves serious
attention.



_The Arms._


In the arms we distinguish the deltoid or shoulder movement, the
inflection of the fore-arm, the elbow, the wrist, the hand and the
fingers.


_Inflections of the Fore-Arm_.


We have treated of what concerns the shoulder in the chapter upon the
torso.

The arm has three movements: an upward and downward vertical movement,
and a horizontal one.

These movements derive their significance from the different angles
formed by the fore-arm in relation to the arm. Let us first represent
these different angles, and then we will explain the chart.

[Illustration]

All these different angles have their meaning, their absolute
significance in affirmation.

The movement at the right angle signifies: To be.

Lower: Perhaps.

Lower still: I doubt if it is so.

Lower: It is improbable.

Lower: It is not.

Lower: It is not possible.

Ascending: This is proven, I have the proof in my hand.

Higher: This is superlatively beautiful.

Higher: It is enchantingly beautiful.

The degree of certainty in the affirmation varies with, the angle which
the fore-arm forms with the arm.

All these modes of affirmation may be applied to negation. For example:

"It is impossible that this should not be. This cannot be."

Thus all states of being, all forms of affirmation, belong to the
acuteness or opening of an angle.

The hanging arm signifies depression. The two arms should never extend
the same way. If they follow each other, one should be more advanced
than the other. Never allow parallelism. The elementary gestures of the
arms are represented in the foregoing chart.



_Of the Elbow._


The elbow has nine movements, three primitive, as genera, and nine
derivative, as species. There are the forward and backward movements of
the normal state. There are three degrees of height, and finally the
forward and backward movements of extension.

The elbow movements are relational. The epicondyle is called the eye of
the arm.

Man slightly moves the torso, then the shoulder, and finally the elbow.

Among persons who would fain crush others, there is an elbow movement
which seems to say, "I annihilate thee, I am above thee."

The elbow turned outward signifies strength, power, audacity,
domination, arrogance, abruptness, activity, abundance. The elbow drawn
inward, signifies impotence, fear, subordination, humility, passiveness,
poverty of spirit.

Modest people have a slight outward movement of the elbow. The humble
make an inward movement. The elbow thrust forward or backward, indicates
a yielding character.

These movements should not be taken alone; they must be verified by the
torso and the head. The shoulder characterizes the expression of the
elbow movements, just as the elbow verifies marked exaltation, by the
elevation of the shoulder.

It is by these little things that we determine millions of movements and
their meaning. We finally determine and class precisely five million
movements of the different agents of the arm. This would seem enormous;
but it is nothing at all; it is childlike simplicity. The elements being
known, the process is always the same. Hence the advantage of possessing
a criterion. With this criterion, we have everything. If we possess
nine, we possess twenty millions, which are no more than nine.



_Of the Wrist._


The wrist is a directing instrument for the forearm and the hand.

The wrist has its three movements.

It is eccentric when the extensor muscles are in motion.

It is normal in the horizontal position.

It is concentric when the flexor muscles are in action.

In the concentric position the wrist is in pronation, for the thumb is
turned downward; this is the sign of a powerful will, because the
pronator muscles have more power than the flexors.

In the eccentric position the wrist is in supination; that is, the back
of the hand is downward; this is the sign of impotence.

The wrist has also forward and backward movements, either in pronation,
in supination, or the normal state. Thus there are nine phases for the
wrist.

It is through the aid of the wrist that the aspects of the hand, placed
upon the cube, receive, as we shall see, their precise signification.

The orator needs great suppleness in wrist movements to give grace to
the phases of the hand.



_Of the Hand._


Man is perforce painter, poet, inspired dreamer or mystic, and
scientist.

He is a painter, to reveal the phenomena of the sensitive life; a poet,
to admire the mysteries of grace; a scientist, to make known the
conceptions of the mind. Thus the hand has three presentations, neither
more nor less, to render that which passes in man in the sensitive,
moral or intellectual state.

Let us now examine the three presentations of an open hand: its palmar,
dorsal and digital aspect.

The same thing may be expressed by these three presentations, but with
shades of difference in the meaning.

If we say that a thing is admirable, with the palms upward, it is to
describe it perfectly. This is the demonstrative aspect.

If we say the same thing, displaying the back of the hand, it is with
the sentiment of impotence. We have an idea of the thing, but it is so
beautiful we cannot express it. This is the mystic aspect.

If we present the digital extremity, it is as if we said: "I have seen,
I have weighed, I have numbered the thing, I understand it from certain
knowledge; it is admirable, and I declare it so." These are the three
aspects: the palmar, dorsal and digital.

Each of these attitudes of the hand may be presented under three forms:
the eccentric, normal and concentric.

Each of these forms as genera, produces three species; this gives the
hand nine intrinsic attitudes, whose neutral signification will be
specified and determined by the presentation of the hand upon the cube.

Let us first take the normal state as genus, and we shall have the
normal hand as species in the normal genus. This will then be the
normo-normal attitude.

By presenting the hand in pronation or supination horizontally, without
spreading or folding the fingers, we shall have that attitude which
signifies abandon.

Let us now take the eccentric species, still in the normal genus.

Raise the hand somewhat with a slight parting of the fingers, and we
have the eccentro-normal hand, which signifies expansion.

Finally, let us consider the concentric species, still in the normal
state.

Present the hand lifeless and you have the concentro-normal attitude,
which signifies prostration.

Let us pass on to the concentric genus.

By closing the fingers with the thumb inward upon the middle one, we
shall have the normo-concentric hand, which signifies the _tonic_ or
power.

To close the hand and place the thumb outside upon the index finger,
signifies conflict. This is the concentro-concentric hand.

To bend the first joint with the fingers somewhat apart, indicates the
eccentro-concentric hand. This is the convulsive state.

Let us pass on to the eccentric genus.

The fingers somewhat spread, denote the normo-eccentric hand. This is
exaltation.

To spread the fingers and fold them to the second joint, indicates the
concentro-concentric hand. This is retraction.

To spread the fingers as much as possible, gives the eccentro-eccentric
hand. This is exasperation.

In the subjoined charts we can see an illustration of the different
attitudes of the hand.

[Illustration: Criterion of the Hand.]

Recapitulation


II +-- 2 +-- Concentro-concentric. Conflict.
| 3 --+ Normo-concentric. Tonic or power.
| 1 +-- Eccentro-concentric. Convulsive.
|
| 2 +-- Concentro-normal. Prostration.
III --+ 3 --+ Normo-normal. Abandon.
| 1 +-- Eccentro-normal. Expansion.
|
| 2 +-- Concentro-eccentric. Retraction.
| 3 --+ Normo-eccentric. Exaltation.
I +-- 1 +-- Eccentro-eccentric. Exasperation.