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Delsarte System of Oratory by Various

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Thus the value of our ideas is expressed by figures. We have only to
reckon on our fingers. We might beat time for the pronunciation of the
consonants as for the notes of music. Let the pupil exercise his
fingers, and attain that skill which allows the articulation of a
radical consonant only after he has marked with his finger the time
corresponding to its figure. If difficulties present themselves at
first, so much the better; he will only the more accurately distinguish
the value of the words.




Chapter V.

French and Latin Prosody.



_French Prosody._


Prosody is the rhythmic pronunciation of syllables according to accent,
respiration, and, above all, quantity.

In the Italian there are no two equal sounds; the quantity is never
uniform. Italian is, therefore, the most musical of languages. Where we
place one accent upon a vowel, the Italians place ten.

There is a euphonic law for every language; all idioms must have an
accent. In every language there are intense sounds and subdued sounds;
the Italians hold to this variety of alternate short and long sounds.
Continuous beauty should be avoided. A beautiful tone must be introduced
to relieve the others. Monotony in sounds as well as in pronunciation,
must be guarded against. Harmony lies in opposition.

There is but one rule of quantity in French pronunciation. Here is the
text of this law:

_There are and can be only long initial or final vowels_--whence we
conclude:

1. Every final is long and every penultimate is final, since _e_ mute is
not pronounced.

2. The length of initial vowels depends upon the value of the initial
consonants which they precede.

A word cannot contain two long vowels unless it begins with a vowel. In
this case, the vowel of the preceding word is long, and prepares for the
enunciation of the consonant according to its degree.

Every first consonant in a word is strong, as it constitutes the radical
or invariable part of the word.

The force of this consonant is subordinate to the ruling degree of the
idea it is called to decide. But every vowel which precedes this first
consonant is long, since it serves as a preparation for it. But to what
degree of length may this initial vowel be carried? The representative
figure of the consonant will indicate it.

Usually, the first consonant of every word is radical. Still there might
be other radical consonants in the same word. But the first would rise
above the others.

The radical designates the substance of being, and the last consonant
the manner.

The whole secret of expression lies in the time we delay the
articulation of the initial consonant. This space arrests the attention
and prevents our catching the sound at a disadvantage.



_Latin Prosody._


1. The final of a word of several syllables is usually short.

2. In words of two syllables, the first is long. In Latin words of two
syllables, the first almost always contains the radical.

3. In words of three and more syllables, there is one long syllable:
sometimes the first, sometimes another. We rest only upon this, all the
others being counted more or less short.

In compound words no account need be made of prefixes; There are many
compound words; and, consequently, it is often the last or next to the
last consonant which is the radical.

The last consonant represents always, in variable words, quality,
person, mode or time. The radical, on the contrary, represents the sum
and substance.

4. Monosyllables are long, but they have, especially when they follow
each other, particular rules, which result from the sense of the
phrases, and from the mutual dependence of words.




Chapter VI.

Method.



_Dictation Exercises._


A subject and text being given, notes may be written under the nine
following heads:

1. Oratorical value of ideas.

2. The ellipse.

3. Vocal inflections.

4. Inflective affinities, or relation to the preceding inflections.

5. Gestures.

6. Imitative affinities.

7. The special rule for each gesture.

8. The law whence this rule proceeds.

9. Reflections upon the portrayal of personal character.




Chapter VII.

A Series of Gestures for Exercises.



_Preliminary Reflections._


We know the words of Garrick:

"I do not confide in myself, not I, in that inspiration for which idle
mediocrity waits."

Art, then, presents a solid basis to the artist, upon which he can rest
and reproduce at will the history of the human heart as revealed by
gesture.

This is true, and it is as an application of this truth that we are
about to consider the series, which is an exposition of the passions
that agitate man, an initiation into imitative language. It is a poem,
and at the same time it lays down rules through whose aid the
self-possessed artist can regain the gesture which arises from sudden
perturbation of the heart. It is a grammar which must be studied
incessantly, in order to understand the origin and value of imitative
expressions.

The development of the series is based upon the static, the semeiotic
and the dynamic.

The static is the life of gesture; it is the science of the equipoise of
levers, it teaches the weight of the limbs and the extent of their
development, in order to maintain the equilibrium of the body. Its
criterion should be a sort of balance.

The semeiotic is the spirit and _rationale_ of gesture. It is the
science of signs.

The dynamic is the action of equiponderant forces through the static; it
regulates the proportion of movements the soul would impress upon the
body. The foundation and criterion of the dynamic, is the law of the
pendulum.

The series proceeds, resting upon these three powers. The semeiotic has
given the signs, it becomes aesthetic in applying them. The semeiotic
says: "Such a gesture reveals such a passion;" and gesture replies: "To
such a passion I will apply such a sign." And without awaiting the aid
of an inspiration often hazardous, deceitful and uncertain, it moulds
the body to its will, and forces it to reproduce the passion the soul
has conceived. The semeiotic is a science, the aesthetic an act of
genius.

The series divides its movements into periods of time, in accordance
with the principle that the more time a movement has, the more its
vitality and power; and so every articulation becomes the object of a
time.

The articulations unfold successively and harmoniously. Every
articulation which has no action, must remain absolutely pendent, or
become stiff. Grace is closely united to gesture; the manifold play of
the articulations which constitutes strength, also constitutes grace.
Grace subdues only because sustained by strength, and because strength
naturally subdues. Grace without strength is affectation.

Every vehement movement must affect the vertical position, because
obliquity deprives the movement of force, by taking from it the
possibility of showing the play of the articulations.

The demonstration of movement is in the head. The head is the primary
agent of movement; the body is the medium agent, the arm the final
agent.

Three agents in gesture are especially affected in characterizing the
life, mind and soul. The thumb is the index-sign of life; the shoulder
is the sign of passion and sentiment; the elbow is the sign of humility,
pride, power, intelligence and sacrifice.

The first gesture of the series is the interpellation, the entrance upon
the scene. The soul is scarce moved as yet, and still this is the most
difficult of gestures, because the most complex. It must indicate the
nature of the interpellation, its degree and the situation of the giver
and receiver of the summons in regard to each other.

A study of the signs which distinguish these different shades will teach
us the analysis of gesture.

Aside from simple interpellation, the series passes successively from
gratitude, devotion, etc., to anger, menace and conflict, leaving the
soul at the point where it is subdued and asks forgiveness.

The passional or fugitive type forms the constant subject of the study
of this series.



The Series of Gestures Applied to the Sentiments Oftenest Expressed by
the Orator.


First Gesture. _Interpellation._


Interpellation embraces five steps:

The first consists in elevating the shoulder in token of affection. If
the right shoulder, as in figure 2 with the right leg weak.

The second step consists in a rotary movement of the arm, its object
being to present the epicondyle (elbow-joint) to the interlocutor. For
this reason the epicondyle is called the eye of the arm.

The third stage consists in substituting the articulation of the wrist
for the epicondyle. In making the forward movement of the body, the
epicondyle must resume its natural place.

The fourth step consists in extending the hand toward the speaker in
such a way as to present to him the extremities of the fingers.

The fifth step is formed by a rapid rotation of the hand.



Second Gesture. _Thanks--Affectionate and Ceremonious._


This gesture consists of six steps:

1. Consists in lifting the hand and lowering the head.

2. Consists in raising the hand to the hip.

3. The head inclines to one side, and the elbow at the same time rises
to aid the hand in reaching the lips.

4. In this, the head resumes its normal position, while the elbow is
lowered to bring back the hand to the same position.

5. In this, the hand passes from the horizontal to the vertical
position, rounding toward the arm.

6. In this, the arm is developed, and then the hand.




Third Gesture. _Attraction._


In this gesture there are three steps:

1. The hand turns toward the interlocutor with an appealing aspect.

2. The hand opens like a fan with the little finger tending toward the
chest.

3. The elbow is turned outward, and the hand passes toward the breast.




Fourth Gesture. _Surprise and Assurance._


1. This consists in elevating the shoulders, opening the eyes and mouth
and raising the eyebrow; the whole in token of surprise.

2. Raise the passive hand above the chin, making it turn around the
wrist.

3. The hand still passive, is directed toward the person addressed, the
elbow being pressed against the body.

4. The arm is gradually extended toward the person addressed, while the
hand is given an opposite direction; that is, the palm of the hand is
toward him.



Fifth Gesture. _Devotion._


This gesture embraces seven movements:

1. This consists in raising the passive hand to the level of the other
hand, but in an inverse direction.

2. This consists in turning back the hand toward one's self.

3. This consists in drawing the elbows to the body, and placing the
hands on the chest.

4. This is produced by taking a step backward, and turning a third to
one side; during the execution of this step, the elbows are raised, and
the head is lowered.

5. This consists in drawing the elbows near the body, and placing the
hands above the shoulders.

6. This consists in developing the arms.

7. This consists in developing the hands.



Sixth Gesture. _Interrogative Surprise._


This surprise is expressed in two movements:

1. This is wholly facial.

2. This is made by advancing the hand and drawing the head backward.

Seventh Gesture. _Reiterated Interrogation._


This gesture signifies: I do not understand, I cannot explain your
conduct to me. It embraces five steps:

1. This consists in placing both hands beneath the chin, and violently
elevating the shoulders.

2. This consists in bringing the hands to the level of the chest, as if
in search of something there.

3. This consists in extending both hands toward the interlocutor, as if
to show him that they contain nothing.

4. This consists in extending one hand in the opposite direction, and
letting the head and body follow the hand.

5. This consists in turning the head vehemently toward the interlocutor,
and suddenly lowering the shoulders.



Eighth Gesture. _Anger._


This gesture is made in three movements:

1. This consists in raising the arm.

2. This consists in catching hold of the sleeve.

3. This consists in carrying the clenched hand to the breast, and
drawing back the other arm.



Ninth Gesture. _Menace._


This gesture consists of a preparatory movement, which is made by
lowering the hand while the arm is outstretched toward the
interlocutor, then the finger is extended, and the hand is outstretched
in menace.

The eye follows the finger as it would follow a pistol; this occasions a
reversal of the head proportional to that of the hand.



Tenth Gesture. _An Order for Leaving._


This is executed:

1. By turning around on the free limb.

2. By carrying the body with it.

3. By executing a one-fifth sideward movement--the right leg very weak.
All these movements are made by retaining the gesture of the preceding
menace. Then only the menacing hand is turned inward at the height of
the eye, at the moment when it is about to pass the line occupied by the
head; the elbow is raised to allow the hand a downward movement, which
ends in an indication of departure. In this indication the hand is
absolutely reversed, that is, it is in pronation. Then only does the
head, which has hitherto been lowered, rise through the opposition of
the extended arm.



Eleventh Gesture. _Reiteration._


1. The whole body tends toward the hand which is posed above the head.
The right leg passes from weak to strong.

2. The head is turned backward toward the interlocutor.

3. It rises.

4. The arm extends.

5. The hand in supination gives intimation of the order.



Twelfth Gesture. _Fright._


The right hand pendent. The left hand rises. Tremor.

The first movement is executed in one-third; the body gently passes into
the fourth, and as the fifth is being accomplished, the arm is thrust
forward as if to repel the new object of terror.

At this moment a metamorphose seems to take place, and the object which
had occasioned the fright, seems to be transfigured and to become the
subject of an affectionate impulse. The hands extend toward this object
not to repel it, but to implore it to remain; it seems to become more
and more ennobled, and to assume in the astonished eyes of the actor, a
celestial form--it is an angel. Therefore the body recoils anew
one-fourth; the hands fall back in token of acquiescence; then, while
drawing near the body, they extend anew toward the angel (_here a third
in token of affection and veneration_). Then a prayer is addressed to
it, and again the arms extend toward it in entreaty. (_Here the orator
falls upon his knees._)

The series can be executed beginning with the right arm or the left,
being careful to observe the initial and principal movement, with the
arms at the side where the scene opened. This gives the same play of
organs only in an inverse sense.



_Important Remarks._


Should any student despair of becoming familiar with our method, we give
him three pieces of advice, all easy of application:

1. Never speak without having first expressed what you would say by
gesture. Gesture must always precede speech.

2. Avoid parallelism of gesture. The opposition of the agents is
necessary to equilibrium, to harmony.

3. Retain the same gesture for the same sentiment. In saying the same
thing the gesture should not be changed.

Should the student limit himself to the application of these three
rules, he will not regret this study of the

Practice of the Art of Oratory.




Appendix.

The Symbolism of Colors Applied to the Art of Oratory.



We close this book with an appendix which will serve for ornament.
Before delivering up a suite of rooms, we are wont to embellish them
with rich decorations. Architects usually color their plans. We also
wish to give color to our criterion, by explaining the symbolism of
colors.

SPECIES.
GENUS.
1 3 2

1-II 3-II 2-II
II
Ecc.-Conc. Norm.-Conc. Conc.-Conc.
Concentric.
Violet-blue. Green-blue. Indigo.

1-III 3-III 2-III
Normal.
Ecc.-Norm. Norm.-Norm. Cone.-Norm.
III
Red-yellow. Yellow. Green-yellow.

1-I 3-I 2-I
Eccentric.
Ecc.-Ecc. Norm.-Ecc. Conc.-Ecc.
I
Red. Yellow-red. Violet-red.

In the literary world, color gives forms of speech consecrated by
frequent usage. Thus we very often say: a florid style, a brilliant
orator. This figurative language signifies that in order to shine, the
orator must be adorned with the lustre of flowers. And as one flower
excels others and pleases us by the beauty of its colors, so the orator
must excel, and please by the brilliant shades of his diction. It is as
impossible to give renown to a monotonous and colorless orator as to a
faded, discolored flower. Would you give to the phenomena of your
organism this beautiful corolla of the flower of your garden, throw your
glance upon nature.

Nature speaks to the eye through an enchanting variety of colors, and
these colors in turn teach man how he may himself speak to the eyes. The
whole man might recognize himself under the smiling emblem of colors.
Imagine him in whatever state you will, a color will give you the secret
of his aspirations. And so it has been easy for us to show you the
orator imaged in this colored chart, and we shall have no trouble in
justifying our choice of colors.

Since man, as to his soul, presents himself in three states: the
sensitive, intellectual and moral; and in his organism in the eccentric,
concentric and normal states; _a priori_, you may conclude that nature
has three colors to symbolize the three states, and experience will not
contradict you.

In fact, red, yellow and blue are the primitive colors. All others are
derived from these three rudimentary colors.

Why have we painted the column that corresponds to the life red? Because
red is the color of blood, and the life is in the blood. But life is the
fountain of strength and power. Hence red is the proper symbol of
strength and power in God, in man and in the demon.

Why blue in the column of the concentric state, the mind? Because blue,
from its transparency, is most soothing to our eyes.

Why yellow in the column of the soul? Because yellow has the color of
flame; it is the true symbol of a soul set on fire by love. Yellow is,
then, the emblem of pure love and of impure flames.

Why not use white in our chart? Because white is incandescence in the
highest degree. We say of iron that it is at a red or a white heat. But
in this world it is rare to see a heart at a white heat. Earthly
thermometers do not mark this degree of heat.

It cannot be denied that red, yellow and blue are the three elementary
colors, whose union gives birth to all the varieties that delight our
eyes. We have proof of this in one of nature's most beautiful
phenomena--the rainbow.

The rainbow is composed of seven colors. Here we distinguish the red,
yellow and blue in all their purity; then from the fusion of these three
primary colors, we have violet, orange, green and indigo.

This is the order in which the seven colors of the rainbow appear to
us:

Violet (_red_}, orange (_yellow_), green (_blue_), indigo. Orange is
composed of yellow and red. Yellow mixed with blue, produces green. Blue
when saturated, becomes indigo. Upon closer investigation, we may easily
find the nine shades which correspond perfectly to the nine operations
of our faculties, and to the nine functions of angelic minds.

By complicating and blending the mixture of these colors, we shall have
all the tints that make nature so delightful a paradise.

The seven notes of music sound in accord with the seven colors of the
rainbow. There is a brotherhood between the seven notes and the seven
colors.

The voice-apparatus, with that of speech and gesture, is for the orator
a pallet like that upon which the painter prepares and blends those
colors which, under the brush of a Raphael, would at once glow forth in
a masterpiece.

Delsarte's criterion is true; still more, it is beautiful, especially so
with its brilliant adornment of the colors of the rainbow.

We verify our judgment by an explanation of the colored chart.

As may be seen, this chart is an exact reproduction of the criterion
explained at the beginning of this book, only we have adorned it with
colors analogous to the different states of the soul that art is called
upon to reproduce.

Beginning with the three transverse columns corresponding to the
_genus_, we have painted the lower column red, the middle column yellow,
and the upper one blue. These are the three colors that symbolize the
life, soul and mind, as well as the genera.

Passing to the vertical columns which correspond to species, we have
painted the first column red, the second yellow, and the third blue,
passing from left to right. The blending of these colors produces the
variety of shades we might have in this representation.

Blue added to blue gives indigo; blue with yellow gives a deep green;
with red, violet. Yellow passed over to the middle column, gives bright
green upon blue; pure yellow, when passed upon yellow, and orange upon
red.

Thus pure red will be the expression of the sensitive state or the life.
Orange will render soul from life, and violet will be the symbol of mind
from life.

Applying this process of examination to the two other columns, we shall
know by one symbolic color, what the soul wishes at the present hour,
and these same colors will, besides, serve to regulate the attitude of
our organs.

Honor and thanks to the genius which gives us this criterion, where is
reflected the harmony of all worlds!




Epilogue.



In this rational grammar of the art of oratory, I have given the rules
of all the fine arts. All arts have the same principle, the same means
and the same end. They are akin, they interpenetrate, they mutually aid
and complete each other. They have a common scope and aim. Thus, music
needs speech and gesture. Painting and sculpture derive their merit from
the beauty of attitudes. There is no masterpiece outside the rules here
laid down.

It is not enough to know the rules of the art of oratory. He who would
become an orator, must make them his own. Even this is not enough for
the free movement of the agents which reveal the mind, the soul and the
life. The method must be so familiar as to seem a second nature. Woe to
the orator if calculation and artifice be divined in his speech! How
shun this quicksand? By labor and exercise. The instruments and the
manner of using them are in your hands, student of oratory. Set about
your work. Practice gymnastics, but let them be gymnastics in the
service of the soul, in the service of noble thoughts and generous
sentiments--divine gymnastics for the service of God.

Renew your nature. Lay aside the swaddling-bands of your imperfections,
conform your lives to the highest ideals of uprightness and truth.
Exercise your voice, your articulation and your gestures. If need be,
like Demosthenes, place pebbles in your mouth; repair like that great
orator to the sea-shore, brave the fury of the billows, accustom
yourself to the tumult and roar of assemblies. Do not fear the fracture
or dislocation of your limbs as you seek to render them supple, to
fashion them after the model, the type you have before your eyes. _Labor
omnia vincit._

In any event, be persevering. Novitiate and apprenticeship in any
profession, are difficult. In every state the bitterness of trial is to
be expected. To arrive at initiation has its joys, to arrive at
perfection is a joy supreme. Beneath the rind of this mechanism, this
play of organs, dwells a vivifying spirit. Beneath these tangible forms
of art, the Divine lies hidden, and will be revealed. And the soul that
has once known the Divine, feels pain no longer, but is overwhelmed with
joy.

Art is the richest gift of heaven to earth. The true artist does not
grow old; he is never too old to feel the charm of divine beauty. The
more a soul has been deceived, the more it has been chastened by
suffering, the more susceptible it is to the benefits of art. This is
why music soothes our sorrows and doubles our joys. Song is the
treasure of the poor.

Return, then, with renewed enthusiasm to your work! The end is worth the
pains. The human organism is a marvelous instrument which God has given
for our use. It is a harmonious lyre, with nine chords, each rendering
various sounds. These three chords for the voice, and three for both
gesture and speech, have their thousand resonances at the service of the
life, the soul and the mind. As these chords vibrate beneath your
fingers, they will give voice to the emotions of the life, to the
jubilations of the heart and the raptures of the mind. This delightful
concert will lend enchantment to your passing years, throwing around
them all the attractions of the Good, the True, and the Beautiful.