system on which probably his fame will ultimately rest. His _cours_ for instruction in the principles of art was first opened in 1839. From the outset he was appreciated by the highly cultivated few, nor was it long before the circle extended and the new master won a European reputation. Some of his pupils were destined for a professional career; but many, men and women of rank and fortune, sought to learn from him the means of rendering their brilliant _salons_ yet more attractive. Members of most of the reigning families of Europe were numbered among his pupils, and his apartments in Paris were filled, when I saw them, with pictures, photographs, and other souvenirs of esteem and friendship, from the highest dignitaries of Europe. When he consented, on one occasion, to appear at a _soirée_ at the Tuileries, Louis Philippe received him at the foot of the grand staircase, as if he had been his peer, and bestowed on him during the evening the same attentions he would have accorded to a fellow-sovereign. The citizen king recognized the royalty of art. And it may be noted that Delsarte would not have appeared on this occasion, except on the condition that no remuneration should be offered to him for the exercise of his talents.
Malibran, whose kind word in the courtyard of the Conservatoire had revived Delsarte’s fainting hopes, attended his early course of lectures. I have already mentioned Rachel and Macready as his pupils. I now recall the names of Sontag, of the gifted Madeleine Brohan, of Carvalho, Barbot, Pasca (who owed everything to Delsarte), and Pajol. He was the instructor in pulpit oratory of Père Lacordaire, Père Hyacinthe, and the present abbé of Nôtre Dame.
Notwithstanding the labor exacted by his great specialty, he has done much good work in various other directions. Among his mechanical inventions are a sonotype, a tuning instrument by means of which any one can tune a piano accurately, an improved level, theodolite and sextant, a scale for measuring the differences in the solidity of fluids, etc.
Of the conscientiousness with which he works, it may be mentioned that he devoted five years to the study of anatomy and physiology, to obtain a perfect knowledge of all the muscles, their uses and capabilities,–a knowledge of which he has utilized with remarkable success.
It is now time to give some idea of his system, which can be done most satisfactorily, perhaps, through the medium of an article which appeared in the _Gazette Musicale_, from the authoritative pen of A. Guéroult. After having analyzed the maestro’s theory of vocal art, he says:
“The study of gesture and its agents has been subjected by M. Delsarte to an analysis no less profound. Thus he recognizes in the human body three principal agents of expression, the head, the torso and the limbs, which perform each a distinct part in the economy of a character. Gesture, sometimes expressive, sometimes excentric, and sometimes compressive, assumes in each case special forms, which have been classified and described by M. Delsarte with a care and perspicuity which make his labors on this subject entirely new, and for which I know no equivalent anywhere. Permit me to explain more fully the utility of this study, to cite an application, for examples are always more eloquent than generalities. In the play of the physiognomy every portion of the face performs a separate part. Thus, for instance, it is not useless to know what function nature has assigned to the eye, the nose, the mouth, in the expression of certain emotions of the soul. True passion, which never errs, has no need of recurring to such studies; but they are indispensable to the feigned passion of the actor. How useful would it not be to the actor who wishes to represent madness or wrath, to know that the eye never expresses the sentiment experienced, but simply indicates the object of this sentiment! Cover the lower part of your face with your hand, and impart to your look all the energy of which it is susceptible, still it will be impossible for the most sagacious observer to discover whether your look expresses anger or attention. On the other hand, uncover the lower part of the face, and if the nostrils are dilated, if the contracted lips are drawn up, there is no doubt that anger is written on your countenance. An observation which confirms the purely indicative part performed by the eye is, that among raving madmen the lower part of the face is violently contracted, while the vague and uncertain look shows clearly that their fury has no object. It is easy to conceive what a wonderful interest the actor, painter, or sculptor must find in the study of the human body thus analysed from head to foot in its innumerable ways of expression. Hence, the eloquent secrets of pantomime, those imperceptible movements of great actors which produce such powerful impressions, are decomposed and subjected to laws whose evidence and simplicity are a twofold source of admiration.
“Finally, in what concerns articulate language M. Delsarte has assumed a yet more novel task. We all know the power of certain inflections; we know that a phrase which accented in a certain way is null, accented in another way produces irresistible effects upon the stage. It is the property of great artists to discover this preëminent accentuation; but never, to my knowledge, did anyone think of referring these happy inspirations of genius to positive laws. Yet, whence comes it that a certain inflection, a certain word placed in relief, affects us? How shall we explain this emotion, if not by a certain relation existing between the laws of our organization, the laws of general grammar, and those of musical inflection? There is always, in a phrase loudly enunciated, one word which sustains the passionate accent. But how shall we detach and recognize it in the midst of the phrase? How distribute the forces of accentuation on all the words of which it is composed? How classify and arrange them in relation to that sympathetic inflection, without which the most energetic thought halts at our intelligence without reaching our heart? M. Delsarte has had recourse to the same method which guided him in the study of gesture. He did not study declamation on the stage, but in real life, where unpremeditated inflections spring directly from feeling; then, fortified by innumerable observations, he rearranged grammar and rhetoric from this special point of view, and has obtained results as simple in their principles as they are fertile in their application.
“If I wished to classify the nature and value of M. Delsarte’s labors in relation to what has been spoken or written up to this time on the art of singing or acting, I should say that the numerous precepts which have been formulated on dramatic art have had hardly any object other than the manner in which each character ought to be conceived. Ingenious and multiplied observations have been employed to bring forth the delicacies of the part and its unpcrceived features. The intellectual strength of the actor or vocalist has been directed to the author’s conception. He has been told to be pathetic here, menacing there; here to assume a slight tinge of irony transpiercing apparent politeness, or, again, to make his gesture a seeming contradiction of his words. Such an analysis of the poet’s work is certainly imperative, but how far from adequate! And what an immense distance there is from the intelligence which comprehends to the gesture which translates, from the song which moves to the inflection which interprets! It is with the new purpose which M. Delsarte has embraced that, without neglecting an understanding of the author, he says to the actor: ‘This is what you must express. Now, how will you do it? What will you do with your arms, with your head, with your voice? Do you know the laws of your organization? Do you know how to go to work to be pathetic, dignified, comic, or familiar, to represent the clemency of Augustus or the drunkenness of a coachman?’ In a word, he teaches the vocalist or actor the laws of this language, of this eloquence which nature places in our eyes, in our gestures, in the suppressed or expansive tones of our voice, in the accent of speech. He teaches the actor, or, to speak more properly, the man, to know himself, to manage artistically that inimitable instrument which is man himself, all of whose parts contribute to a harmonious unity. Hence, aware of the gravity of such an assertion, I do not hesitate to proclaim here that I believe M. Delsarte’s work will remain among the fundamental bases; I believe that his labors are destined to give a solid foundation to theatric art, to elevate and to ennoble it; I believe that there is no actor, no singer, however eminent, who cannot derive from the acquirements and luminous studies of M. Delsarte, positive germs of development and progress. I believe that whoever makes the external interpretation of the sentiments of the human soul his business and profession, whether painter, sculptor, orator, or actor, that all men of taste who support them will applaud this attempt to create the _science of expressive man_; a science from which antiquity seems to have lifted the veil, and what appears willing to revive in our days, in the hands of a man worthy by his patient and conscientious efforts to discover some of its most precious secrets.”
* * * * *
Delsarte has sought neither fame nor wealth. He could easily have secured both by remaining on the stage as an actor, after he had lost his power as a vocalist. He preferred to surrender himself in comparative retirement to the study of science and art, and the instruction of those who sought his aid in mastering the principles of the latter. To the needy this instruction was imparted gratuitously, and more than one successful actress has been raised from penury to fortune by the benevolence of her teacher.
It would be easy to cite many illustrations of the goodness and tenderness of this man. Religious fervor has largely influenced his life and is the key-note of his character; but his faith is not hampered by bigotry. Like all minds of high rank, he holds that science and art are the handmaids of religion.
I have said that this remarkable man did not seek fame; it has come to him unsought. Pages might be filled with voluntary tributes to his genius from the foremost minds of France,–Jules Janin, Théophile Gautier, Mme. Emile de Girardin. Lamartine pronounced him “a sublime orator.” Fiorentino, the keen, delicate, and calm critic, spoke of him as “this master, whose feeling is so true, whose style is so elevated, whose passion is so profound, that there is nothing in art so beautiful and so perfect.”
If we hazarded an intrusion into the domestic circle of Delsarte, we should find one of those pure and happy family groups, fortunately for France by no means rare even in her capital; one of those French homes the existence of which nearly all Englishmen and many Americans deny. We should find a bond of sympathy and a community of talent uniting father and mother, two fair daughters, and three brave sons. Or, rather, we should have found this happy gathering, for the iron hand of war has broken the charmed ring. The dear old home on the Boulevard de Courcelles is deserted. Father, mother, and daughters were compelled to seek refuge in the North of France, the sons to march against the Prussians. Let us trust that long ere this they have reached home unwounded, and that the grand old maestro has no further ills in store for his declining years.
Delsarte’s Method for Tuning Stringed Instruments Without the Aid of The Ear.[11]
By Hector Berlioz.
Do you hear, you pianists, guitarists, violinists, violoncellists, contra-bassists, harpists, tuners, and you, too, conductors of orchestras–without the aid of the ear! What a vast, incomparable, nay, priceless discovery, especially for the rest of us wretched listeners to pianos out of tune, to violins and ‘cellos out of tune, to harps out of tune, to whole orchestras out of tune! Delsarte’s invention will now make it your positive duty to cease torturing us, to cease making us sweat with agony, to cease driving us to suicide.
Not only is the ear of no use in tuning instruments, but it is even dangerous to consult it; it must by no possible chance be consulted. What an advantage for those who have no ear! Hitherto, it has been just the opposite, and we forgave you the torments that you inflicted on us. But in future, if your instruments be out of tune, you will have no excuse, and we shall hand you over to public vengeance. Without the aid of the ear, mark you–aid so often useless and deceptive.
Delsarte’s discovery holds good only for stringed instruments, but this is much; this is an enormous gain. Hence, it follows that in orchestras directed and tuned without the aid of the ear, there will be no more discords, save between the flutes, hautboys, clarionets, bassoons, horns, cornets, trumpets, trombones, kettle-drums and bass drums. The triangle might, at a pinch, be tuned by the new method; but it is generally acknowledged that this is not necessary, just as with bells, a discord between the triangle and the other instruments is a good thing; it is popular in all lyric theatres.
And the singers, whom you do not mention, someone may ask, will it be possible to make them sing true, to put them in tune? Two or three of them are naturally in tune. Some few, by great care and exactness, may be brought very nearly into tune. But all the others were not, are not, and will not be in tune, either individually, or with each other, or with the instruments, or with the leader of the orchestra, or with the rhythm, or with the harmony, or with the accent, or with the expression, or with the pitch, or with the language, or with anything resembling precision and good sense.
Delsarte has made it especially easy to tune the piano, by means of an instrument that he calls the phonopticon, which it would take too long to describe here. Suffice it to say, that it contains an index-hand that marks the exact instant when two or more strings are in perfect unison. It may be added that the invariable result is so absolutely correct, no matter who may try it or under what conditions, that the most practiced ear could not possibly attain to similar perfection. Acousticians should not fail to examine this invention at once, the use of which cannot be long in becoming universal.
Index.
A.
Abdominal centre, the, life,
Accent,
Accord of nine, the,
Actors, bad,
Adjective, the,
Adverb, the,
Ãsthetic division, chart of,
Ãsthetic fact of first rank,
Ãsthetics,
course of, applied,
lay of,
Alto voice, the,
Anatomy,
Angelo, Michael,
Angels, the,
Anger,
Animals do not laugh,
Ankylosed limbs,
Apollo, the,
Appoggiatura,
Aquinas, St. Thomas,
Archimedean lever,
Architecture, application of the law to, Aristocrats lie,
Aristotle,
Arms, movements of the,
five million movements of the agents of the, division of,
three centres in the,
Art,
the true aim of,
all, has the same principle,
definition of,
how Delsarte considered,
religious sentiment in,
the death of,
elements of,
the plastic,
the grand,
the supreme,
dramatic, lyric and oratorical,
best conditions for a work of,
object of,
sources of fine,
not imitation of nature,
Article, the,
Articulate language, weakness of,
origin and organic apparatus of,
elements of,
Articulation, in the service of thought, Articulations, the,
Artificial breath,
Artistic personages, classification of, Artist, the proclivities necessary to an, Art-writings of the Greeks,
Attraction,
Attractive centres,
Attribute, the,
Attributes of reason, the,
Audience, an, different from an individual–the greater the numbers the less the intelligence,
B.
Bacchus, the,
Balzac,
Bambini, Father,
Barbier,
Barbot, Mme.,
Bass voice, the,
Baudelaire, Charles,
Baxile, M.,
Beautiful, the,
Beauty exists only in fragments,
moral and intellectual,
Belot, Adolphe,
Béranger,
Berlioz,
Bizet, George,
Blanchecotte, Mme.,
Blangini,
Body, the,
divisions of the,
retroactive movement of,
Boileau,
Bonnat,
Breathing
Brohan, Madeleine,
Brucker, Raymond,
Buccal (cheek) zone, the,
machinery (articulate speech), the language of the mind,
C.
Calculation and artifice, if detected, quicksands to the orator, Canova,
Captain Renard, fable of,
Captivating an audience, secret of, Caress, the,
Carvalho, Mme.,
Charts classifying celestial spirits, Charts list of,
Chastity, concave,
Chaudesaigues, Mlle.,
Chest, the,
the three attitudes of,
divisions of,
Chest, a passive agent
Chest-voice, the
the expression of the sensitive life should be little used
the eccentric voice
Chevé, M. and Mme.
Children, why are they graceful?
Chopin
Chorography
Chorre, Mother
Cicero
Circle, the, for exalting and caressing Colin
Colors, symbolism of
the primitive
the three that symbolize the life, soul and mind Color charts, the
Concentric state, the
Conjunction, the
the soul of the discourse
Consonants, musical
are gestures
the initial
variation in the value of
beat time for the pronunciation of every first, is strong
two things to be observed in
Contemplation and retroaction
Corneille
Costal breathing
Courier, Paul Louis
Cousin, Victor
Cries
Cros, Antoine
Czartoriska, Princess
D.
Dailly, Dr.
Darcier
Davout, Marshal
Death, the sign language of
De Bammeville, July
De Blocqueville, Mme.
De Chimay, Princess
Degrees, theory of
D’Haussonville, Countess
Déjazet
De Lamartine, Mme.
De la Madelène, Jules
Delaunay, Charles
Delivery, a hasty
De Leomenil, Mme. Laure
Delsarte, biographical sketch of
criterion of
method of
took much time in educating a pupil was he a philosopher?
lectures of
teachings of
the press on
the discoverer of the law
can never be reproduced
birth, death, name, early history of how he learned music
enters the conservatory
theatre and school of
becomes a teacher of singing and elocution history of the voice of
dramatic career of
recitations of
sings at the Court
marriage and family of
religion of
friends of
the “Talma of music”
anecdotes of
scholars of
“Stanzas to Eternity” of
“dear and last pupil” of
musical compositions of
an instance of the singing of
shapeless coat of
imitating defects
singing during lessons
inventions of
Berlioz’s treatment of
before the Philotechnic Association and the four professors
last years of
a concert of
character and merit of
“Episodes of a Revelator” of
America’s offer to
return to Paris of
last letter to the King of Hanover of struggles with his teachers
visit to the dissecting room
a pensioner of the conservatory
mystical or religious musings of
the way of making his discovery
is grateful because he had not written his book not spontaneous
on trueness in singing
Delsarte, Mme., maiden name of
beauty and talent of
Delsarte, Gustave
De Meyendorf, Mme.
Demosthenes
De Musset, Alfred
De Riancey, Henry
Desbarolles
Descartes
Deshayes, M.
De Staël, Mme.
Devotion
Diaphragmatic breathing
Dictation exercises
Discovery, dawn of Delsarte’s
Dissecting room, Delsarte’s visit to the Divine Majesty, reflection of the
Divine reason
Donoso-Cortes, M.
Donot
Dramatic singing
Dugrand, Delsarte’s struggles with papa Dupré
Duprez
Dynamic apparatus, its composition
harmony
wealth
E.
Ear, the most delicate sense
Eccentric state, the
E flat
Elbow, the
thermometer of the relative life
sign of humility, pride, etc.
Ellipsis
Eloquence holds first rank among the arts to be taught and learned
is composed of three languages
does not always accompany intellect Emotions, tender, expressed by high notes Emphasis, example of
E mute before a consonant
before a vowel
Epic, the
Epicondyle, the eye of the arm
Epigastric centre, the, soul
Epiglottis, contracting the
Epilogue
Episodes of a Revelator
Episode I
Episode II
Episode III
Episode IV
Episode V
Episode VI
Episode VII
Equilibrium, the laws of
Error must rest upon some truth
Etruscans, the
Evolutions, passional
Expiration, the sign of
Exclamations
Expression, very difficult
the whole secret of
Expressive centres
Eye, the tolerance of
Eyes, the
the nine expressions of
parallelism between the voice and the chart of the
Eyebrow, the
the thermometer of the mind
F.
Fables, recitation of
Face, divided into three zones
Fact, the value of a
Father, Son, and Holy Ghost
Fingers, the
Florentine
Force and interest consist in suspension Form, the vestment of substance
definition of
Fourier, Charles
Free-thinkers, blindness of
French prosody
French versification
Fright
Frontal (forehead) zone, the
G.
Galen
Garrick
Gautier, Théophile
Genal (chin) zone, the
Géraldon
Gesture, in general
is for sentiments
its services to humanity
reveals the inner man
the direct agent of the heart
the interpreter of speech
the interpreter of emotion
an elliptical language
division of
harmony and dissonance of
origin and oratorical value of
superior to the other languages
is magnetic
the laws of
must always precede speech
retroaction
joy and fright require backward movement equilibrium the great law of
the hirmonic law of
parallelism of
numbers of
lack of intelligence indicated by many duration of
the rhythm of
importance of the laws of
the semeiotic or reason of
the types that characterize
its modifying apparatus
the inflections of
delineation of
spheroidal form of
the sense of the heart
the spirit of
the inflection of the deaf
a series of, for exercises
the static the life of
the semeiotic the spirit and rationale of the series of, applied to the sentiments oftenest expressed the, of interpellation
the, of thanks, affectionate and ceremonious the, of attraction
the, of surprise and assurance
the, of devotion
the, of interrogative surprise
the, of reiterated interrogation
the, of anger
the, of menace
the, of an order for leaving
the, of reiteration
the, of fright
three important rules for
how produced
dilatory
difficulty in
object of
definition of
without a motive
Giraudet, Alfred
report of Delsarte’s lecture
Gluck
God, the spirit of, in all things
how He reveals things
a pretext for every Utopia
the archetype
Good, the
Gospel, the, directs investigation
Gounod
Grace
Great movements for exaltation of sentiment Greeks, the, had no school of æsthetics Groans
Guéroult, Adolphe
Guide-accord, the, of Delsarte
Gymnastics, the grand law of organic the practice of
H.
Habit
Halévy
Hand, the, another expression of the face expressions of the
its three presentations
criterion of the
chart of
the digital face
the back and the palmar face
the three rhythmic actions
the, in natural surprise
the, in death
attitudes of the
in affirmation
the nine physiognomies of
Handel
Harmony
Harmony, born of contrasts
is in opposition
Head, the, movements of
the occipital, parietal and temporal zones the primary agent of movement
action of, in surprise
which side is for the soul and which for the senses? attitudes of
Head voice, the
how produced
interprets mental phenomena
the concentric voice
Heart, when to carry the hand to the Hegel
Hervet
High head, small brain
Hippias
Hoffman
Horace
Hugo
Humanity is crippled
Human reason
Human science, the alpha and omega of Human triplicity, the
Human word composed of three languages
I.
Ideal, the
Imitation, the melody of the eye
uselessness of
Immanences, the
Impressionalism
Impressions and sensations
Individual type, how formed
Infant, the, has neither speech nor gesture Infinitesimal quantities
Inflection, a modification of sound their importance
illustrations of
rules of
must not be multiplied
special
life revealed through four millions of the melody of the ear
the gesture of the blind
differentiating the
high
life of speech
medallion of
Ingres
Inspiration, when allowable
the sign of
Interjection, the
Interpellation
Interrogative surprise
Intonations, caressing
Italian, no two equal sounds in
J.
Jacob, Mlle.
Jacotot
Jesus of Nazareth
Joncières
Joy, the greatest in sorrow
Joys, keen
K.
Kant
King of Hanover
Delsarte’s last letter to the
King Louis Philippe
Kreutzer
L.
Lablache
Laboring men, the ways of
Lachrymose tone disgusting
Lacordaire
La Fontaine
La Harpe
Lamaitre, Frederick
Lamartine
Lamentation
Language
Laocoon, the
Larynx, the
coloring of
lowering the
the thermometer of the sensitive life Larynxes, artificial
Latin prosody
Laugh, signification of the
its composition
Law, definition of
application of the, to various arts Legouvé
Legs, the, and their attitudes
Leibnitz
Leroux, Pierre
Liars do not elevate their shoulders Life, the sensitive state
principal elements of
the phenomena of
Light
Lind, Jenny
Literary remains of Delsarte
Literature, the law applied to
Littré’s Dictionary
Logic often in default
Longus
Louvre, false pictures in the
Love gives more than it receives
Lovers, the gaze of
Loyson, Father
Lucht, Auguste
Lully
Lungs, the
Lyric art
M.
Malherbe
Malibran
Man
the three phases of
either painter, poet, scientist, or mystic three types in
the object of art
a triplicity of persons
the agent of Ãsthetics
when a man shrinks
unfamiliar to himself
Marcello
Marie, Franck
Mars
Martellato
Massenet
Materialism
Measure
in oratorical diction
Medallion of inflection
Mediocrity
Medium voice, the expression of moral emotions the normal voice
Melody
Menace, the head and hand
Mengs
Mental or reflective state
Mercié
Mind, the intellectual state
Mode simpliste
Modest people turn out the elbow
Mohere
Monsabre, Father
Moral or affective state
Mother, the voice of the
Mother vowel, the
Motion, distinction and vulgarity of Mouth, the
no contraction of back part
openings of, for various vowels
a vital thermometer
Movements from various centres
flexor, rotary, and abductory
initial forms of
Mucous membrane, transmitter of sound Muscular machinery (gesture), the language of emotion Music, the seven notes of
a succession of sounds
Musset
N.
Napoleon III
Nasal cavities, the
Naturalism
Ninefold accord, the
Normal state, the
Nose, a complex and important agent nine divisions of
Nose, a moral thermometer
Notes, high, for tender emotions
Nourrit, Adolph
Number
O.
Occipital zone, the life
Ontology
Opposition of agents
Orator, the, should be a man of worth Oratorical sessions
Oratory, definition of
the science of, not yet taught
the essentials
the fundamental laws of
the criterion of
the student of, should not be a servile copyist three important rules for the student of symbolism of colors applied to
perseverance and work necessary to the student of Order for leaving, an
Organic chart
P.
Painter, how a, examines his work
Painting, application of the law to Palate, the
Pantomime, secrets of
Parietal zone, the soul
Particle, the
Pasca, Mme.
Passion
of signs
Passive attitude, the type of energetic natures Pasta, Mme.
People, vulgar and uncultured
Pergolesi
Phenomena, natural, contain lessons Phidias
Philotechnic Association
Physiology
Plato
Poe, Edgar A.
Poets are born, orators are made
Poise
lack of, in body
Powers, the
Praxiteles
Preacher, a, must not be an actor
Preposition, the
Pricette, Father
Principiants and principiates
Processional relations, theory of
reversal of
Professors, Delsarte and the four
Progressions
Pronoun, the
Pronunciation
Proudhon
Pythagoras
Q.
Quintilian
R.
R, cure of the faulty
Rachel
Racine
Rainbow, the
the colors of
Rameau
Random notes
Raphael’s picture of Moses, a fault in Ravignan
Reaction
Realism
Reason
a blind faculty
an act of faith
the attributes of
Reber
Reboul
Recitative
Reiterated interrogation
Reiteration
Respect, a sort of weakness
Respiration
suppressing the
and silence
three movements of
multiplied
to facilitate
vocal, logical, passional
Respiratory acts, their signification Retroaction
Reverence, the sign of
Reynaud, Jean
Rhythmus
Romagnesi
Rossini
Roulade
Routine
Royer, Mme., Clémence
S.
St. Augustine
St. Saens
St.-Simonism
St. Thomas
Salutation, the sign of
Sand, George
Schiller
Science, bases of the
and art
Scientists, cause of the failure of Sculptor, aims of the
Sculpture, application of the law to Semeiotics
of the shoulder
Senses, the
Sensibility, thermometer of
Sensitive nature betrayed by voice
Sensitive or vital state
Sensualism, convex
Sensuality
Sentiment
Shades and inflections
Shakespeare
Shoulder, the
thermometer of love
the sensitive life
the sign of passion
action of, in surprise
thermometer of emotions
semeiotics of
in the aristocratic world
Sigh, the
Signs of passion
Silence, the father of speech
the speech of God
the rule of
Simplisme
Sincerity intolerable
Singing
Sob, the
Societies, meeting of the learned
Socrates
Sontag, Mme.
Soprano voice, the
Sorbonne, the
Soul, the moral state
Souhe, Frederic
Sound, the first language of man
revelation of the sensitive life
is painting
should be homogeneous
every sound is a song
the sense of the life
reflection of divine image
Souvestre, Emile
Speech
the omnipotence of
inferior to gesture
anticipated by gesture
the sense of the intelligence
the three agents of
oratorical value of
soul of
visible thought
Spontini
Standard, value of a
Subject, the
Subjectivity in Ãsthetics
Substantive, the
Sue, Eugene
Sully-Prudhomme
Surprise and assurance
System
T.
Talma
Teachers, ignorance of the
Tears, accessory matters
to be shed only at home
Temporal region, the mind
Tenderness
Tenor voice, the
Thanks, affectionate and ceremonious Thermometers, the three
the articular arm centres called
Thermometric system of the shoulder Theresa
Thoracic centre, the mind
Threatening with the shoulder
Thumb, the thermometer of the will
has much expression
the sign of life
the, in death
living mimetics of
the thermometer of life and death
Thyrcis
Tone, position of
Tones, the lowest, best understood
prologation of
Torso, the,
divisions of
chart of
“Treatise on Reason”
Tremolo, the
Trinitarians, the
Trinity, the
the holy, recovered in sound
True, the
Trueness in singing
Truth, men are divided in regard to Types, the, in man
Typical arrangements
phrases
U.
Uchard, Mario
Ugly, the
Uprightness, perpendicular
Uvula, raising the
V.
Values, the law of
resume of the degrees of
Verb, the
Verdi
Véron, Eugene
Vertebrae, three sorts of
Vice, hideousness of
Vicious arrangements
Violent emotion, in, the voice stifled Virtues, the
Vision, three sorts of
Vital breath
Vocal cords, fatiguing the
Vocal music
Vocal organ, the
Vocal shades, law of
Vocal tube, the, must not vary for a loud tone Voice, the charms of
organic apparatus of
a mysterious hand
the kinds of
the registers of
meaning of the high and deep
the language of the sensitive life the chest, the medium, the head
the white
dimensions and intensity of
how to obtain a stronger
three modes of developing
method of diminishing
the less the emotion, the stronger the how to gain resonance
a tearful, a defect
the tremulous, of the aged
the rhythm of its tones
must not be jerky
inflections of
great affinity between the arms and the exercises for
the mixed
tenuity and acuteness of
shades of
definition of the
shading of the
pathetic effects in the
tearing of the
two kinds of loud
Voltaire
Volubility, too much
Vowels correspond to the moral state length of the initial
W.
Wartel
Weight
“What I Propose”
Will, the
Winkelmann
Wisdom
Wolf and the lamb, the fable of the Words, the value of, in phrases
dwelling on the final
Worlds, three, presented
Wrist, the
thermometer of the physical life
Writing, a dead letter
Z.
Zaccone, Pierre
Zeuxis
Zola, M.
Footnotes
[1] The sensitive is also called the vital, the mental, the reflective, and the moral the affective state. The vital sustains, the mental guides, the moral impels.–TRANSLATOR.
[2] The registers here given undoubtedly refer to the singing voice, as the range of notes in the speaking voice is very much more limited. Very frequently voices are found whose range in singing is very much greater than that which the author has given here; however, on the other hand, many are found with even a more limited range.–TRANSLATOR.
[3] The sounds here given are those of the French vowels.
_A_ has two sounds, heard in _mat_ and _far_. _E_ with the acute accent (é) is like _a_ in _fate_, _E_ with the grave accent (è) is like _e_ in _there_. _I_ has two sounds–the first like _ee_ in _reed_, the second like _ee_ in _feel_.
_O_ has a sound between that of _o_ in _rob_ and _robe_. _O_ with the circumflex (ô) is sounded like _o_ in _no_. The exact sound of _u_ is not found in English. _Ou_ is sounded like _oo_ in _cool_.
The nasal sound _an_ is pronounced nearly like _an_ in _want_. The nasal _in_ is pronounced somewhat like _an_ in _crank_. The nasal _on_ is pronounced nearly like _on_ in _song_. The nasal _un_is pronounced nearly like _un_ in _wrung_.
Consult some work on French pronunciation, or, as is far preferable, learn these sounds from the living voice of the teacher–Translator.
[4] From γá¼Î½ÎµÎ¹Î¿Ï , the chin.
[5] Many of these papers were entrusted by the family to a former pupil of Delsarte, who took them to America.
[6] Notes taken by his pupils, during the latter years of his lessons prove that the master touched upon this question. I do not copy them because, being somewhat confused, they might give rise to misunderstandings; neither do they in any way contradict anything that I have said above; they confirm, on the contrary, what remains in my memory of the interpretation of Delsarte, who never belied himself.
[7] The existence of the persons of the Trinity, the one in the other. These charts and diagrams are given in Part Fifth.
[8] For a fuller report of this lecture, see “Delsarte System of Expression,” by Genevieve Stebbins, second edition, $2. Edgar S. Werner, Publisher, 48 University Place, New York.
[9] “Delsarte System of Oratory” and “Delsarte System of Expression.”
[10] See page 549 for complete lesson.
[11] This extract shows that Delsarte was not unknown to Berlioz. Mme. Arnaud refers to the coldness with which Berlioz treated Delsarte. The article given here has been translated so as to preserve as nearly as possible the quaint, half sarcastic style of the author.–PUBLISHER.