Delsarte System of Oratory by Various
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Various >> Delsarte System of Oratory
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The nine primitive forms of the hand are, as is seen, undetermined.
+---------------------------------------------+
/| /|
/ | / |
/ | / |
/ | / |
/ | 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. | /
| / | /
| / | /
| / | /
|/ |/
+---------------------------------------------+
The hand is raised. Why? For what purpose? The presentation of the hand
upon the surfaces of the cube will decide and specify.
By this presentation the nine movements of the hand correspond with the
expressive movements of the arm.
Take any cube whatever,--a book, a snuff-box, or rather cast your eyes
upon the foregoing chart, and examine it carefully.
There are three directions in the cube: horizontal, vertical and
transverse. Hence there are six faces, anterior, superior, inferior,
interno-lateral and externo-lateral.
Of what use are angles and faces? All this is necessary for those who
would know the reason of the sentiments expressed by the hand. There are
twenty-seven sorts of affirmation. We give nine of them with the six
faces of the cube.
_The Digital Face._
To place the hand, whether eccentric, concentric or normal, upon the
upper face of the cube, is to hold, to protect, to control; it is to
say: "I hold this under my protection."
To place the hand upon the external side-face of the cube, signifies to
belong; it says: "All this belongs to me." It is the affirmation of the
man who knows, who has had the thing in dispute under his own eyes, who
has measured it, examined it in all its aspects. It is the affirmation
of the connoisseur.
To apply the hand to the inner side of the face is to let go. Here is
the sense of this affirmation: "You may say whatever you will, but I
affirm in spite of every observation, in spite of all objection; I
affirm whether or no."
_The Back Face._
There are three ways of touching the front face of the cube with the
hand.
A.--To touch it with the end of the fingers upward and the thumb inward,
is to obtain: "I have obtained great benefits, I do not know how to
express my gratitude." Or rather: "I keep the object for myself; I do
not care to let it be seen." This is the mystic face. Or yet again: "I
contemplate."
B.--To place the hand horizontally on the same face of the cube, is to
restrain, or bound. "Go no farther, if you please; all this belongs to
me."
C.--To place the hand upon the same anterior face of the cube, but with
the extremities of the fingers vertically downward, means to retain. It
says: "I reserve this for myself." Here, then, are three aspects for the
anterior face of the cube.
_The Palmar Face._
A.--To place the lower face of the cube in the hand, is to sustain. It
is to say: "I will sustain you in misfortune."
B.--To apply as much as possible the palm upon the same posterior face
of the cube, with the fingers downward, is to maintain: "I maintain what
I have said."
C.--To apply the hand upon the same face with the extremities of the
fingers upward, is to contain, is to show the object--it is to disclose:
"I affirm; you cannot doubt me; I open my heart; behold me!"
There are, then, nine affirmations, which are explained by a mere view
of the cube and its faces.
The twelve edges of the cube give a double affirmation; the angles, a
triple affirmation. Example for the edges: To place the hand on the back
edge, means: "I protect and I demonstrate."
There are three movements or inflections of the hand which must be
pointed out: to hover, to insinuate, to envelop.
The three rhythmic actions of the hand must not be passed over in
silence: to incline, to fall, to be precipitated.
The aspects of the hands would be simply telegraphic movements, were it
not for the inflections of the voice, and, above all, the expression of
the eyes. The expressions of the hand correspond to the voice. The hands
are the last thing demanded in a gesture; but they must not remain
motionless, as (if they were stiff, for instance) they might say more
than was necessary.
The hands are clasped in adoration, for it seems as if we held the thing
we love, that we desire.
The rubbing of the hands denotes joy, or an eager thirst for action; in
the absence of anything else to caress, we take the hand, we communicate
our joy to it.
There is a difference between the caress and the rubbing of the hands.
In the caress, the hand extends eagerly, and passes lightly,
undulatingly, for fear of harming. There is an elevation of the
shoulders.
The hand is an additional expression of the face. The movement must
begin with the face, the hand only completes and interprets the facial
expression. The head and hand cannot act simultaneously to express the
same sentiment. One could not say _no_ with head and hands at the same
time. The head commands and precedes the movement of the hand.
The eyes, and not the head, may be parallel with the hand and the other
agents.
The hand with its palm upward may be caressing, if there is an elevation
of the eyebrow; repellent with the eyebrow concentric.
The waving hand may have much sense, according to the expression of the
face.
The eye is the essential agent, the hand is only the reverberatory
agent; hence it must show less energy than the eye.
_Of the Fingers._
Each finger has its separate function, but it is exclusive of the great
expressions which constitute the accords of _nine_. These are
interesting facts, but they do not spring naturally from the fountain of
gesture. They are more intellectual than moral.
In a synthetic action all the fingers converge. A very energetic will
is expressed by the clenched fist.
In dealing with a fact in detail, as we say: "Remark this well," all the
fingers open to bid us concern ourselves only with the part in dispute.
This is analysis; it is not moral, it is intellectual.
If we speak of condensation we close the hand. If we have to do with a
granulated object, we test it with the thumb and index finger.
If it is carneous, we touch it with the thumb and middle finger.
If the object is fluid, delicate, impressionable, we express it by the
third finger.
If it is pulverized, we touch it with the little finger.
We change the finger as the body is solid, humid, delicate, or powdery.
The orator who uses the fingers in gesticulation, gives proof of great
delicacy of mind.
_Of the Legs._
The legs have nine positions which we call base attitudes.
We shall give a detailed description, summing up in a chart of the
criterion of the legs at the end of this section.
_First Attitude._--This consists in the equal balance of the body upon
its two legs. It is that of a child posed upon its feet, neither of
which extends farther than the other. This attitude is normal, and is
the sign of weakness, of respect; for respect is a sort of weakness for
the person we address. It also characterizes infancy, decay.
[Illustration]
_Second Attitude._--In this attitude the strong leg is backward, the
free one forward. This is the attitude of reflection, of concentration,
of the strong man. It indicates the absence of passions, or of
concentred passions. It has something of intelligence;
[Illustration]
it is neither the position of the child nor of the uncultured man. It
indicates calmness, strength, independence, which are signs of
intelligence. It is the concentric state.
_Third Attitude._--Here the strong leg is forward, the free leg
backward. This is the type of vehemence. It is the eccentric attitude.
[Illustration]
The orator who would appear passive, that is, as experiencing some
emotion, or submitting to some action, must have a backward pose as in
figure 2.
If, on the contrary, he would communicate to his audience the expression
of his will or of his own thought, he must have a forward poise as in
figure 3.
_Fourth Attitude._--Here the strong leg is behind, as in the second
attitude, but far more apart from the other and more inflected.
This is very nearly the attitude of the fencing master, except the
position of the foot, which is straight instead of being turned outward.
[Illustration]
This is a sign of the weakness which follows vehemence.
Natural weakness is portrayed in figure 1; sudden weakness in figure 4.
_Fifth Attitude._--This is necessitated by the inclination of the torso
to one side or the other. It is
[Illustration]
a third to one side. It is a passive attitude, preparatory to all
oblique steps. It is passing or transitive, and ends all the angles
formed by walking. It is in frequent use combined with the second.
_Sixth Attitude._--This is one-third crossed. It is an attitude of great
respect and ceremony, and is effective only in the presence of princes.
[Illustration]
_Seventh Attitude._--This is the first position, but the legs are
farther apart. The free limb is turned
[Illustration]
to one side; both limbs are strong. This denotes intoxication, the man
overwhelmed with astonishment, familiarity, repose. It is a double
fifth.
_Eighth Attitude._--This is the second, with limbs farther apart. It is
the alternative attitude. The body faces one of the two legs. It is
alternative from the fact that it ends in the expression of two extreme
and opposite sentiments; that is, in the third or the fourth. It serves
for eccentricity with reticence, for menace and jealousy. It is the type
of hesitation. It is a parade attitude. At the same time offensive and
defensive, its aspect easily impresses and leaves the auditor in doubt.
What is going to happen? What sentiment is going to arise from this
attitude which must have its solution either in the third or fourth?
[Illustration]
_Ninth Attitude,_--This is a stiff second attitude, in which the strong
leg and also the free one are equally rigid. The body in this attitude
bends backward; it is the sign of distrust and scorn.
[Illustration]
The legs have one aspect. If, in the second, the strong leg advances
slowly to find the other, it is the tiger about to leap upon his prey;
if, on the contrary, the free leg advances softly, the vengeance is
retarded.
The menace made in figure 3, with inclination of the head and agitation
of the index finger, is that of a valet who wishes to play some ill turn
upon his master; for with the body bent and the arm advanced, there is
no intelligence. But it is ill-suited to vengeance, because that
attitude should be strong and solid, with the eye making the indication
better than the finger.
[Illustration: Criterion of the Legs]
[Illustration. Criterion of the Legs]
Chapter VIII.
Of the Semeiotic, or the Reason of Gesture.
_The Types which Characterize Gesture._
The semeiotic is the science of signs, and hence the science of the form
of gesture. Its object is to give the reason for the forms of gesture
according to the types that characterize it, the apparatus that modifies
it, and the figures that represent it.
There are three sorts of types in man: constitutional or formal,
fugitive or passional, and habitual.
The constitutional type is that which we have at birth.
The passional type is that which is reproduced under the sway of
passion.
The habitual types are those which, frequently reproduced, come to
modify even the bones of the man, and give him a particular
constitution.
Habit is a second nature, in fact, a habitual movement fashions the
material and physical being in such a manner as to create a type not
inborn, and which is named habitual.
To recognize constitutional types, we study the movements of the body,
and the profound action which the habit of these movements exercises
upon the body; and, as the type produced by these movements is in
perfect analogy with the formal, constitutional types, we come through
this analogy to infer constant phenomena from the passional form. Thus
all the formal types are brought back to the passional types.
Passional types explain habitual types, and these last explain
constitutional types. Thus, when we know the sum of movements possible
to an organ, when we know the sense of it, we arrive at that semeiotic
through which the reason of a form is perfectly given.
_Of Gesture Relative to its Modifying Apparatus._
Every gesture places itself in relation with the subject and the object.
It is rare that a movement tending toward an object does not touch the
double form. Thus, in saying that a thing is admirable, we start from a
multitude of physical centres whose sense we are to determine. When this
sense is known, understanding the point of departure, we understand
still better that of arrival.
This division, which is not made at random, is reproduced in the
subjoined diagram.
1 represents the vital expression; 2, the intellectual; 3, the moral. We
divide the face into three zones: the genal,[4] buccal, and frontal.
The expression is physical, moral and intellectual.
In the posterior section of the head we have the occipital, parietal
and temporal zones. The life is in the occiput, the soul in the parietal
zone, and the mind holds the temporal region near the forehead as its
inalienable domicile.
[Illustration]
The chest is divided into the thoracic centre for the mind, into the
epigastric for the soul, and into the abdominal for the life.
The arm is divided into three sections: the deltoid, brachial and
carpal.
This division is a rational one. Let us suppose this exclamation: "It is
admirable!" Some say it starting from the shoulder, others from the
chest, others from the abdominal focus. These are three very distinct
modes. There is more intelligence when the movement is from the thoracic
centre. This concerns the honor, the dignity.
When the movement is from the epigastrium, it is moral in a high
degree. For example: "This is beautiful! It is admirable! I know not
why, but this gives me pleasure!"
The movement from the abdomen indicates sensuality, good nature, and
stupidity.
The movement is the same with the head. In emotion it proceeds from the
chin; it is the life movement, it is instinct. That from the cheeks,
indicates sentiments, the most noble affections.
Carrying the hand to the forehead indicates intelligence. Here we seek
relief from embarrassment, in the other head movements we do not seek
it. The one is a mental, the others are purely physical efforts. In the
latter case one becomes violent and would fain give blows with his fist.
An infinite number of movements proceed from these various seats.
We have now reached the semeiotic standpoint, that of these very clear
plans, the very starting point of gesture.
The articular centres of the arms are called thermometers: the wrist,
that of the organic physical life; the shoulder, that of the sensitive
life; and the elbow, that of the relative life.
The thumb has much expression; drawn backward it is a symbol of death,
drawn forward it is the sign of life. Where there is abundance of life,
the thumb stands out from the hand. If a friend promises me a service
with the thumb drawn inward, he deceives. If with the thumb in the
normal state, he is a submissive but not a devoted friend. He cannot be
very much counted upon. If the thumb stands outward, we may rely upon
his promise.
We still find life, soul and mind in each division of the body.
There are also a buccal, an occipital and an abdominal life.
The body of man, with all its active and attractive foci, with all its
manifestations, may be considered an ellipse.
These well-indicated divisions may be stated in an analytic formula:
+-- LIFE: Occipital. -+
|-- MIND: Temporal. |-
|-- SOUL: Parietal. -+
|-- MIND: Frontal. -+ --+
|-- SOUL: Buccal. |- |
|-- LIFE: Genal. -+ |
/ -- MIND: Thoracic. -+ |
Attractive centres.- -- SOUL: Epigastric. |- |
\ -- LIFE: Abdominal. -+ \
|-- LIFE: Shoulders. -+ - Expressive centres.
|-- SOUL: Elbows. |- /
|-- MIND: Wrists. -+ |
|-- LIFE: Thigh. -+ |
|-- SOUL: Knee. |- |
+-- MIND: Foot. -+ --+
This is the proper place to fix the definition of each division by some
familiar illustration.
Let us take an individual in a somewhat embarrassed situation. He is a
gentleman who has been overcome by wine. We see him touching the
temporal bone, or the ear, as if to seek some expedient: the strategic
mind is there.
Let us begin with the descending gamut, and let the hand pass over all
the divisions of the attractive centres.
At the occiput: Here is an adventure! I have really had too strong a
dose of them!
At the parietal bone: What a shame!
At the temporal bone: What will the people say of me?
At the forehead: Reason however tells me to pause.
At the buccal zone: How shall I dare reappear before those who have seen
me in this state!
At the genal zone: But they did serve such good wine!
At the breast: Reason long ago advised temperance to me.
At the epigastrium: I have so many regrets every time I transgress!
At the abdomen: The devil! Gourmandism! I am a wretched creature!
The same illustrations may be reproduced in the rising scale.
When the parietals are touched, the idea and the sentiment are very
elevated. As the foci rise, they become more exalted.
Let this be considered from another point of view. We shall reproduce
gratitude by touching all the centres.
They have been centres of attraction, we shall render them points of
departure.
"I thank you!" The more elevated the movements, the more nobility there
is in the expression of the sentiment. The exaltation is proportional to
the section indicated.
The posterior region is very interesting. There are three sorts of
vertebrae: cervical, dorsal and lumbar.
This apparatus may first be considered as a lever. But taking the
vertical column alone, we shall have twenty-four special and distinct
keys whose action and tonality will be entirely specific. From these
twenty-four vertebrae proceed the nervous plexi, all aiding a particular
expression; so that the vertebral column forms the keys of the
sympathetic human instrument.
If the finger is cut, there is a special emotion in one place of the
vertebral column.
If the finger is crushed by the blow of a hammer, the emotion will
affect a special vertebra.
The nose is one of the most complex and important agents.
There are here nine divisions to be studied. (See page 82.)
Chapter IX.
Of Gesture in Relation to the Figures which Represent It.
Gesture through its inflections may reproduce all the figures of
geometry. We shall confine ourselves to a description of the primary and
most usual imitative inflections.
These inflections comprise three sorts of movements affected by each
gesture, which usually unite and constitute a synthetic form. These
three movements agree with the three primary actions which characterize
the manifestations of the soul, the mind and the life. These are direct,
circular and oblique inflections.
The flexor movements are direct, the rotary movements circular, the
abductory movements oblique. The sum of these movements constitutes nine
co-essential terms, whose union forms the accord of nine.
There are rising, falling and medium inflections.
Gesture does everything that the voice does in rising. Hence there is
great affinity between the voice and the arms. Vocal inflection is like
the gestures of the blind; in fact, with acquaintance, one may know the
nature of the gesture from the sound of the voice.
We exalt people by a circle. We say that a thing is beautiful, noble,
grand--making circles which grew higher and broader as the object is
more elevated.
We choose the circle for exalting and caressing, because the circle is
the most agreeable form to touch and to caress. For example, an ivory
ball.
This form applies to all that is great.
For God there is no circle, there can be none. But we outline a portion
of an immense circle, of which we can touch but one point. We indicate
only the inner periphery of a circle it is impossible to finish, and
then retrace our steps.
When the circle is made small, we make it with one, two, three or four
fingers, with the hand, with the arm. If the circle is vast as can be
made with the arms, it is homogeneous.
But a small circle made with the arm will express stupidity. Thus we say
of a witty man: "This is a witty man," employing the fingers.
Stupidity wishing to simulate this, would make a broad movement.
Let us take the fable of _Captain Renard_ as an example of this view of
the circle.
I depict the cunning nature of this captain with my fingers. Without
this he would not be a captain; but at most a corporal.
--"He went in company
With his friend He-Goat of the branching horns.
The one could see no farther than his nose;
The other was past master in deceit."
As they go along, the fox relates all his exploits to the goat, and the
goat surprised, and wishing an end of the recital, sees fit to make a
gesture, as he says:
"I admire people full of sense like you."
In making the small circle, he employs not only the fingers, but the
arm, the shoulder, the whole body. He is an imbecile. He wastes too much
effort in making a small circle.
Let us take a situation from an opera. When Robert enters and sees
Isabella, he says of her:
"This peaceful sleep, this lull of every sense,
Lends a yet sweeter charm to this young face."
The gesture is in the form of a geometrical figure.
In another place, Robert says:
"Thy voice, proud beauty, few can understand."
Here a spheroidal and then a rectangular movement must be made. We close
the door. "Her voice will be understood by me, alone." He might say:
"Thy voice, proud beauty, will not be understood. It will be elevated
for me, and not for others."
Every sentiment has its form, its plastic expression, and as its form is
more or less elaborated, we may judge of the elevation of the speaker's
thought. If we could stereotype gesture, we might say: "This one has the
more elevated heart, that one the least elevated; this one in the
matter, that one in the spirit of his discourse."
All gestures may be very well delineated. An orator gesticulating before
the public, resembles a painter who pencils outlines and designs upon a
wall.
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