Gestures and Attitudes

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GESTURES AND ATTITUDES
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GESTURES AND ATTITUDES

f
AX EXPOSITION OF THE
DELSARTE PHILOSOPHY OF EXPRESSION

PRACTICAL AND THEORETICAL
BY
EDWARD
B.
WARMAN
A.M.
AUTHOR OF "THE VOICE HOW TO TRAIN

"
IT HOW TO CARE FOR IT"

PRACTICAL ORTHOEPY AND
TO READ RECITE AND IMPER-
PRINCIPLES OF PRONUNCIATION
CRITIQUE"
"HOW
" "
SONATE" "PHYSICAL TRAINING OR THE

CARE OF THE BODY" "CRITICAL
ANALYSIS OF POE'S RAVEN "
true artist never denies
God
DELSARTE
ONE HUNDRED AND FIFTY-FOUR ILLUSTRATIONS

BY MARION MORGAN REYNOLDS
BOSTON
LEE AND SHEPARD
10
MILK
ST.
PUBLISHERS
NEXT "THE OLD SOUTH MEETING HOUSE"
1892
,4-rsACopyright, 1891,
BY EDWARD
All
B.
WARMAN.
rights reserved.
Gestures and Attitudes.
X//I?
mntoetsitg
CAMBRIDGE.
JOHN WILSON AND SON,
PREFACE.
\\ 7E
do not know
of expression.
this
volume.
impossible;
it
all
that
is
We
known
never saw him.
of his philosophy
What we do know, of practical benefit, is in

What we do not know would probably make
An
a larger volume.
We
DELSARTE.
never studied with
We
is
exhaustive treatise
of this
subject
is
as boundless as the ocean.
present our readers with a plain, practical, and com-
prehensive idea of Delsarte's teachings. To make it comprehensive, we have stripped it of its technicalities.
Having
devoted an entire volume to the consideration of the voice
and of
its
and of
its
control,
we purpose
management
as
herein to
treat of the
body,
an instrument for the expression
of thought and sentiment.
by whomsoever written or under whatcontain many of the same sayings. It cannot be
All Delsarte books,
soever
title,
no exception. There are, neverthemany thoughts herein expressed which were not gleaned
otherwise.
less,
This book
is
from any book or taught to us by any instructor, yet they

are
purely
Delsartean.
We
herewith present
them
as
the
conclusions of an earnest and observing student never growing weary in applying the principles inculcated
master.
by the
great
Preface.
the line between what has been

impossible to draw
read and absorbed by us, and
taught to us, what has been
an
as
us
to
what has come
outgrowth from these combined
is
It
hence there
sources;
may
be some paragraphs not credited.
Having taught this philosophy for many years, we relied

not on books or manuscripts when ready "for dictation, but
we drew unreservedly from the Delsarte mental storehouse,
knowing that all goods placed therein had been labelled Delsarte, no matter from what corner of the globe they came.
We
desire not to exalt
credit
the
is
due.
late
Steel
James
To
the
Directly
Professor
Lewis
Mackaye, of
former,
self,
we
but gladly give credit to
B.
Monroe, of Boston,
New York
though
whom
are indebted to the teachings of
and
Mr.
city.
not a pupil
of Delsarte,
we
are
under lasting obligations, not only for a knowledge of the

philosophy, but also for a desire to keep it on the high
plane to which
it
belongs;
while others have endeavored to
degrade it, either from their ignorance of its grand teachings,

or from a desire that the servant should be greater than his
master.
So never-ending and all-absorbing
is
our interest
in
this
grand philosophy that something new, something unwritten,

will
come
to us ere this
printed page,
manuscript is telling its story on the

even
while it is on its way from our little
ay,
Hen to the publishers.
THE AUTHOR.
CHICAGO,
ILL., 1891.
CONTENTS.
We
to
have a right
mm'f
us,
to
by which
ask of a work of art by what method

side of
our character
it
intends to
it
claims
interest
and
fottrincf us.
DELSARTE.
LIST OF ILLUSTRATIONS.
PAO1
Portrait of
Fig.
i.
Author
/-Vo/
Delsarte
13
Figs. 2 to 23 inclusive.
"
24 to 29 inclusive.
Fig.
"
of Joints
Opposing Movements
31.
Incorrect Position
79
32.
Correct vs. Incorrect Position
81
33.
Correct vs. Incorrect Position
Figs. 34 to 44 inclusive.
"
45 to 49 inclusive.
50.
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
52.
"
53.
54.
55.
"
56.
"
57.
"
58.
"
Poising
Feather Movements
Gesture of Supporting
"51.
59.
Limiting
125
Presenting or Receiving
127
Defining
129
Maintaining
131
Withholding
133
Revealing
135
Revealing mystically
137
Gesture of Declaring
"
62.
64.
"
"
"
"
"
"
"
"
"
65.
"
66.
119
121
61.
63.
110-114
123
"
"
83
87-107
Defending
Affirmation vs. Negation

"
78
Protecting
60.
"
65-75
30.
"
"
36-61
Correct Position
"
Fig.
Freedom
139
141
Ignoring
143
Denying
'45
Rejecting
147
Secrecy
149
Soothing
151
List of Illustrations.
PAGE
Fig.
Fulness
Soothing
67.
Secrecy
68.
Exaltation
'->
Attitude of Meditation
Exultation
Delicacy
159
70.
Presenting or Receiving
161
: ,.
Exaltation (Part
163
I.)
(Fart II.)
-
73
"
"
>%
"
76.
77.
"
"
"
"
(Part III.)
" Defiance
"
" Re-action
"
"
96.
183
185
Appellation
187
189
"
" Feebleness
191
"
" Familiar
193
"
" Indecision
"
"
Repose (Vulgarity)
Suspense
" Transition
"
"
Anguish (No.
"
"
"
"
"
"
"
"
"
"
"
"
9&
"
"99-
"
"
"
"
"
"
195
.
"
97.
too.
197
199
i.)
201
(No.
2.)
203
(No.
3.)
205
Repression
207
Pleading
209
Attraction
211
Repulsion
213
Defending
215
"
Listening
217
'
219
22I
i.
102.
179
181
" Salutation
"
" Silence
90.
94-
"
89.
95.
177
.
"
87.
88.
175
(Part II.)
"
85.
86.
173
" Heroic
(Part I.)
"
83.
X4.
171
Ambush
in
79.
82.
169
...
Repose
Force
78.
Si.
167
" Exultation
75.
80.
165
(Part III.)
74.
'"'
153
153
223
General Attention
225
9
PAGl
Fig. 103.
"
"
'
104.
Attitude of Recognition
"
"
Salutation
105.
106.
107.
1
08.
"
"
" Invitation
"
"
Declaration
233
"
" Affirmation
235
"
" Protestation
"
"
Wonderment
23;
109.
"
231
237
no.
"
"
Re-affirmation
241
"
in.
"
" Reconciliation
243
"
112.
"
"
"
"
"
" Malediction
"
"
Remorse
251
"
"
Shame
253
"
" Grief
"
"
"
"
"
" Pathetic Benediction
"
113.
"
1
"
"
"
"
14.
115.
116.
117.
1 1
8.
"
119.
"
'
"
"
"
"
"
"
120.
Resigned Appeal
Accusation
245
247
249
255
Reproach
Tender Rejection
257
259
261
121.
Positive and Negative Assertions
269
122.
Facts of Expression relative to the Mind
273
123.
Bodily Subdivisions
275
124.
Subdivisions
125.
Face and Head Division
279
126.
Bodily Division
279
127.
Imperfect Profile
"
"
28 r
"128.
Man and
Beast
277
281
"
281
130.
Perfect Profile
281
"
"
129.
"
"
"
131.
Direction
132.
Imperfect Perceptions
133.
Perfect Perception
287
134.
Eye-profile
28 9
135.
Three-fold Love
29 T
136.
Vitality vs. Mentality
292
137.
Mentality vs. Vitality
138.
To
"
283
286
"
"
"
4 '
"
secure a Correct Position
2 93
.
PAGE
Incorrect Position
395
140.
Correct Position
397
Fig. 139.
141.
Poising
399
142.
Incorrect Position
401
403
143.
Correct Position
144.
Familiar Repose
405
145.
Sitting
407
"
411
u-S.
Bow
The Hearty Bow
The Society Bow
149.
Stooping
414
151.
Kneeling
417
152.
Self-Consciousness
146.
147.
The
409
Dignified
412
415
150-
"
:3.
Self-Assurance
419
.
420
"
154.
Timidity
421
The true
artist never
grows
old.
DELSARTE.
FRANQOIS DELSARTE.
I.
WHO WAS DELSARTE?

was Delsarte?
FRANCOIS DELSARTE, born Nov.
Solesmes, France, was a master of expresa greater never lived.

We do not dispute
II, 1811, at
sion than
whom
the fact that there have been other masters, but he was the
master.
Previous to his discovery,
art,
destitute of law
and
of science, had had none but chance successes.
Who
was Delsarte
The
who
"
Vive 1'Empereur
Vive Napoleon
when the allied troops were passing
his
town
after
native
the battle of Waterloo.
through
Who was Delsarte? The ragged, orphaned boy who dur?
child
cried
"
ing the severe winter of 1821 in Paris was obliged, owing to
extreme poverty,
his
one
to sleep in a
bitter cold night,
wretched
loft.
In his arms,
he held a younger brother; but when

amazement and
the morning light dawned, he found, to his
sorrow, that he was clasping a lifeless form.
hunger had so weakened his brother's

ance to the intense cold was impossible.
in
the potter's field, his sole mourner
brother,
who,
The pangs of
vital forces that resist-
He
was
hastily buried
being his heart-stricken
sinking almost senseless on the newly
grave, heard a strain
made
of music which awakened within him the
artist's soul.
the spot,
chiffonnier passing in that vicinity was lured to
him a
to
seemed
what
to enrich his treasures by
thinking
bundle of rags.
Stooping to secure his booty, he beheld
Who was
,6
form of
the prostrate
Delsarte?
half-starved
this
child.
Moved
with
the almost lifeless lad within his basket, and

pity, he placed
took him to his own miserable room. From this abode of
master of arts began his career as a ragsqualor the future

picker of Paris.
He
served
wanderings
in
capacity two years;
this
his soul feasted
but during
on the music of*the
all
his
itinerant vocal-
of the military band.

ists, or now and then on the playing
He gathered rags into his basket, but he gathered music
unto his soul.
From
the
street-arabs he
notes of the scale
became
and having
familiar with
the
seven
this foundation, his inventive
genius formulated a system of musical notation whereby he
could
preserve
the
beautiful
melodies to which he had
lis-
tened with such delight.
At twelve years of
age,
charmed by music
of the Tuileries, he was observed
in
the garden
by the then distinguished
professor of music,
Bambini, tracing strange figures in the

sand, which at the solicitation of the master the timid boy
translated into song.
"
origin, he replied,
Upon being interrogated concerning its

Nobody taught me, sir I found it out
;
myself."
Perceiving the genius of the lad, Bambini took
own home.
Thus the
child
rag-picker
left
him
the
to his
garden of
the Tuileries a recognized musician.
During the next two years Bambini's protege made such

rapid progress that Bambini became the pupil, Delsarte the
instructor.
He was now but fourteen years of age; and had every

assurance that the current of his life would run smoothly;
but
it
was suddenly interrupted by the death of
his
kind
Who was
Delsarte?
17
Fortunately, however, Bambini had secure*
protector.
admission into the Conservatory.

Again, with poverty staring him in the
sarte's
He was
face,
he was aloiu
and
friendless.
but,
on the contrary, was shown very little favor, because he

question the methods taught by those professors
not a favorite at the Conservatory,
dared to
having such a reputation. He was right, however, for in after

life he proved the methods to be incorrect and injurious.
In consequence of what they termed his audacity, he \\as
little
given very
opportunity for
public
singing;
the one occasion for which he longed did present

style
and manner were
at the
and when
itself,
so essentially different from that taught
Conservatory that the public were not prepared for
approval.
his
its
There were but two persons in that vast assembly

to appreciate him
but the opinion of these
who were competent
two outweighed a whole theatre of others.

Who were they?
Marie Malibran, the queen of song, and Adolphe Nourrit, the
These two noted personages, knowing full

well the value of words of encouragement, met him in the
king of tenors.
court-yard of the Conservatory, and assured him of the pleasure he had
doubt.
given them, and that his success was beyond a
Marie Malibran
in
was one of
after years
his
most
earnest followers, and attended his course of lectures.
In due time he
left
the Conservatory
but failing to secure
a position, he was forced to humiliate himself to such a de-
gree as to
obtain
ask the
employment
directors
at
for
one of the
diploma, that he
lyric
theatres.
might
This was
disdainfully refused, they remarking that such a genius should
have gravitated to his proper sphere without difficulty or

He nightly importunes the manager of
without assistance.
He had
the Opera House for just one chance to sing.
Who was Deharte?
even been denied the position of call-boy, and now asked

He, ever observfor so much as the privilege of singing.
manager eying him, and

because he was so
looking upon him with supreme contempt
" MonTouched to the very quick, he said
poorly clad.
ed
the
equally sensitive, saw
though
sieur,
my
clothes are poor,
my
art
is
The
genuine."
and thinkmanager, having been annoyed by his persistence,

him
ushers
the
upon
stage being to get rid of him, finally
In so doing,
during the presentation of an opera.
In five minutes the curtain will
he says to Delsarte: "Sing!
made
are
stuff
Show the
of; or if you ever appear
you
tween
acts,
have you arrested as a vagrant."

This beggar, with the manners of a prince, walked to the
With a sad smile and a
piano, jeered by the audience.
here again,
voice
full
will
of tears, he
sang.
of his
rang with bravos.
made
every heart-string was
He
utterances.
The
fires
The people were electrified

the house
he
and
was
recalled, until
again
Again
genius burst forth.
soulful
The long pent-up
left
to
the
vibrate
in
theatre
unison with
the
first
singer
his
of
was an engagement for one

That night, on
year at a salary of ten thousand francs.
bended knee in his wretched attic, the last night in that
Paris.
little
result of that singing
room where he had known more shadow than sunshine,
he poured forth his soul

the
fall
Tppointmcnt
rvatory to
at
the
inform
noteth even
Opera-Comique, he called at the

directors, who had refused him
the
diploma, that they were
ing true genius finding

it
Him who
Next morning, no longer clad in the

beggar, but neatly attired, and armed with
of a sparrow.
habiliments of a
prayer to
in
by showing them
his
its
right
in
their
proper sphere.
commission,
at the
remarks concern-
He
then verified
same time remark-
Who was
"
ing,
How
"
that
in
19
would not give me a recommend

but the public have awarded me this"
Gentlemen,
as a chorister,
Delsarte?
j/0>/
deeply impressed must he have been with the truth
All things
He
come
to
won
soon
him who
but wait
will
"
This was
European reputation; but his

broken by hardships and bad training, gave way, and
he was thus obliged to leave the lyric stage at the early
1830.
voice,
age of twenty-three years. Nevertheless, he was offered even

inducement to appear in tragedy with Rachel at the Theatre
Franâis, the
temporary.
manager thinking his vocal difficulties were but

But to him they seemed incurable; hence he
an actor and of a singer to assume the

It may be said that he
functions of a professor.
gave himrole of
gave up the
self
up
to poverty for the sake of constructing a system des-
tined to regenerate art,
music, sculpture, acting,
and to
He summoned up courage
formulate the science of expression.
to search into the laws of an art hitherto left to the
caprice
of mediocrity or the inspiration of genius.

"
After
of
years
unremitting
which took him by turns through

lums,
past
play
prisons,
genius
etc.,
patiently
and
labor
study,
hospitals,
the
unearthing
morgues, asysentiments
study which kept him watching
in the great
study
children
of
at
gardens, weighing humanity every-
public
where and every way,
he
succeeded
in
discovering
and
formulating the laws of aesthetical science."
He
studied
in
years
the construction of the
medical
the
human body.
colleges
He
to
understand
studied a lifetime
its
expression, to convey through the body
He
and
rhythmically the sentiments of the soul.
beautifully
to
formulate
died without arranging that life-work for publication.
Among
his
many
Macready, Barbot,
pupils
Pasca,
were
Rachel, Carvalho, Sontag.
Madelein
Brohan,
Pajol.
Jenny
Who was
20
Delsarte?
Lind took a long journey to hear him and to consult him

about her art.
Among the pupils of pulpit notoriety may
be mentioned such
daire
the latter, in
Hyacinthe and Pere Lacororder to preach a most effectual sermon
men
as Pere
on the crucifixion of the Saviour, erected a rude cross in the

To this cross he attached himself,
basement of his rectory.
and remained
He
thought, suspended eight hours.
in solitary
then passed directly to the sanctuary without rest or nourish-
ment, and delivered one of the most

discourses ever heard in Notre
As
neared
Delsarte
his
eloquent and
thrilling
and fortune
seemed
Dame.
fame
end,
He
was offered an annual salary of $20,000

The King of
found a conservatory in the United States.
within his grasp.

to
him the Guelph

town, Solesmes, was named in
Hanover, recognizing him as an
cross.
street in his native
artist,
sent
his honor.
was
It
1865 that Delsarte was
in
The meeting took
last time.
heard
in
for
public
the
place at the Sorbonne, where
the lectures of the Philotechnique Society were given.

Dur"
we
are
he
the
told
that
remarked, Many persons
evening
ing
feel
confident that they are to hear
ing of the sort, gentlemen

sing,
tell
because
you what
occasion,
we
you.
in
its
divine
more
is
know."
will
the absolute
Art
its
lasting,
shall
me
recite or sing.
not recite, and
show you what
Among many
"
quote but a few.
novelty
divine
things said
aim.
its
essence,
Ah! gentlemen,
upon
divine
shall
us.
There
is
Art
in
there are no
not
this
is
its
teach
divine
action,
pleasures
more noble, and more sacred than those of
Let us glance around
not
count on the novelty
of the things which
in
Noth-
shall
can do than to
the subject of this conversation.
principle,
in
desire less to
art.
a pleasure which
not followed by
disappointment or satiety;
is
not a joy which
Who was
Delsarte ?
does not entail some trouble
some
conceal
not
not an affection which
some
bitterness,
remorse.
21
grief,
and
some
often
Everything
disappointing to in, in.
Everything
about him changes and passes away.
Everything betrays
Even his senses, so closely allied to his being, and
him.
is
which he
to
tray
too
him
sacrifices
their
in
'
familiar,
everything, like faithless servant
turn,
and, to
use
an
'
They go on a
strike
now but
expression
and from that
In
strike,
gentlemen, they never return."

Before closing the sketch of the career of this remarkable
man, we desire
say just a word
to
companion and loving
In
children.
regard to his faithful
in
1833 Delsarte
married
Rosina Andrien, the daughter of the director of the Grand

Opera House. Mademoiselle Andrien was remarkably beautiful,
and only
fifteen
Her
of age.
years
talent as a
pianist
had already won her a first prize at the Conservatory. " She
was just the companion, wise and devoted, to counterbalance
the
flights
of imagination and the
herent in the temperaments of
many
family around
seven children were born to them.
sufficed
tion,
to
bring a
and that
briefly,
momentary
artists."
this
We
transports in-
few years
very young couple;

will
three of the children.
especially
reproduce with marvellous skill

were called the attitudes and physiognomic changes.
while very young, to
deleine delighted in
talent;
the features
making
caricatures,
men-
Marie learned,
what
Ma-
which showed great
of certain pupils and frequenters of the
lectures were plainly recognizable in these sketches made by

Gustave was a child of frank, open face
the childish hand.
and good physique.

father's footsteps,
He
to a certain degree followed in his
but passed away a few years after him, at

It was said of him that while he
the early age of forty-two.
Who was
22
Delsarte?
he had a most
could not approach his father as a dramatist,
heard that
once
had
When
you
Murvcllous quality of voice.
which was guided by his father's grand method, you
It haunted you,
never forgot its sincerity and melancholy.
and
to hear
you impatient
left
Paris with
left
iK-lsarte
his
it
again.
of the war of
refuge, until the close
Solesmes.
town,
Already
ill,
1870, taking
family Sept.îo,
he
1870-71,
was
the
his
in
more
native
and
sad
Nevertheless,
by the misfortunes of his country.
valuable
he
points in his
developed
knowing no idle moments,
methods. His intellect seemed to have lost none of its vigor,
.-rushed
though
his nature
had become more or
laurels,
he
shadowed.
he returned to Paris March
his voluntary exile,
After
less
had
Delsarte
gathered
so
10,
1871.
abundant a harvest of
Fate decreed that he had lived long enough.
reached his sixtieth year, he
trophy of the heart, which
He was no
left
After
was
attacked
When
by hyper-
his rich organization in ruins.
longer the artist of graceful, supple, expressive,
and harmonious movements, no longer the thinker with profound and luminous ideas; but in the midst of this physical
and
intellectual
strong, sweet
ruin
energy.
he had received
in
the
Christian's
believer
in
sentiment
the
retained
its
sacraments which
days of health, he asked for
them
in
the
hour of danger; and many times he partook of that sacrament of love whose virtue he had taught so well.
Finally,
after
life
ing,
having lingered for months in a state that was neither

nor death, surrounded by his pious wife and his weeppraying children, he surrendered his soul to God on the
20th of July, 1871."
Philosophy of Expression.
23
II.
WHAT
IS
MEANT BY THE DELSARTE PHILOSOPHY OK

EXPRESSION?
TT
the
is
means of expressing mental phenomena by the

the sum-total of rules and
play of the physical organs,

laws resulting from the
Expression
is
the
reciprocal action of
mind and body.
manifestation of emotion by natural forms
of motion.
The Delsarte system
is
the law of correspondence
founded on the great principle of

that
is,
every expression of the
every gesture, every posture of the body corresponds

is but the outward expression of, an inner emotion or
face,
or
to,
condition
ness.
of the mind, be
Though
before
and
it
one of beauty or one of ugliwere and will
after Delsarte there
be beings who
alone
rests
conform by intuition to his

the honor of its discovery and of
and of the
ing,
establishment
of the
law, with
its
science
first
him
teach-
upon strong
foundations.
Every movement a man makes

ter,
is
a betrayal of his charac-
an unconscious escape of the condition of his inner life.

There is a revelation in the curl of the
impressions.
the
lip,
the toss of the Kead, the stamp of the foot,
sions.
Movements
that
are
the expres-
jerky, deliberate, passionate, im-
have a language, and that language has found a true

Nowhere in the whole
interpreter in Francois Delsarte.
patient,
does he go contrary to natural laws,

range of his philosophy
but gives us a plain, practical guide, that we may understand
those laws and apply the philosophy to our own organism;
and, when necessary, apply our organism to the true philos-
Hence, when any one says he does not believe
ophy.
in
k-lsarte Philosophy of Expression, it is

equivalent to
believe in Nature's* laws.
saying that he does not
iKlsarte insisted strenuously on the value of the possession
i
of his discoveries;
the striking truth of which, he
The
had not been belied by forty years of experience.
condemned by those who
affirmed,
phi-
are
ignorant
losophy is frequently
of his methods or fail to grasp the breadth of his ideas.
To
understand this philosophy

that
triune state,
his
man must be
emotional, and
intellectual,
is,
considered
in
sensi-
and then must be considered the play of the organs

corresponding to those states. Man thinks, loves, and feels.
tive
Mind corresponds with the

emotional
state,
and
life
intellectual
with the
state,
sensitive
soul
with the
None
state.
of
separated from the two others

In the
they interpenetrate and correspond with each other.
the soul turns back upon itconcentric
intellectual state
three terms
self,
can be
and the organism obeys
tional state
has
relations with
eccentric
in
movement.
enjoys
hy oj^cxprcssion,
the outward agencies.
perfect tranquillity.
the
philosophy
revelation
itself;
These three forms
we elsewhere speak
mind, then, that Delsarte's
emo-
In the
the soul lives outside
the exterior world.
give us the trinity of which
Bear
this
soul
the
accentric
In the sensitive state

it
of the
in full.
is
the phi-
inward
by
Everything we produce isTinerely

t!i
what exists in* our mindl
Every stroke of the
formjof
artist's brush is made within ere it
glows on the canvas. In
25
the actor, every accent, every inflection, every gesture,
the outer reverberation of the
still
but
is
small voice within.
he-
']
from the object exists prior to the ol

and the outward work is but the material form,
the
idea as separate
itself,
effect of the
spiritual
idea or spiritual
form.
THK
\i
<
i
PRECEDES THE EFFECT.
.stop
by the
know the
_m must make
.0
ud not even
think
,hould be so thoroughly
Art
is
an act by which
life lives
again in that which in
itself
has no
life.
DELSARTE.
gi*
The above
Bear
:>hy
the
of
outward
a^
the form of what

artist's
note was found on Dakarte's desk after his death.
..
brush
is
made wu
Philosophy of Expression
27
III.
WHAT
THE OBJECT OF THE DELSARTE PHILOSOPHY
IS
OF EXPRESSION?
fHE
human body should be put under
such control that there
freedom of one's
is,
self
perfect control,
will be a genuine freedom

that
from one's self, that it may no
;
longer be a slave to any law, but that the law shall
h,i
becomes a part of the being.

Genuine freedom and power and originality in the practice
fully manifested
that
itself
it
of any art spring from a mastery of the principles that underlie
that
art,
the mastery of the
two kinds of freedom,
freedom
of
There are
root-ideas.
freedom of knowledge, and the

Ignorance is the curse of God
the
"
ignorance.
knowledge the wing whereon we
make you free."

The object of this philosophy
fly to
heaven."
"
The
truth
shall
which
the
will insure
to furnish
is
the true freedom.
principles of this
philosophy
First,
you that truth

you must master
second, there will
be a
period during which you will consciously apply those principles;
as
third,
the
result
of habitual application,
apply them spontaneously and unconsciously.

to
think of the
apparent mechanism.
rules of an art, but he
them
his
own.
of what he
is
you
Hence it
application,
The
doing.
divert
is
the
If
you
will
you stop
thought by the
not enough to
know
the
who would master them must make
actor or orator should
not even think
The method should be
so thoroughly
2%
make the action appear to flow forth sponta/mastered as to

a fountain. When before the public,
ncously, as water from
/
/
whether
stage,
recall
\
I
sacred
the
at
desk, or on
rostrum, or on the
the
or rather make no effort to

you should forget all rules,
Your motto there should be heart-work, not
them.
head-work.
You may ask, Why study art's rules and formulas? Because, as we have endeavored to show, much of your work
will
cling
to
"
you without conscious thought.
Inspiration
may be yours, without bodily power to express. Demosthenes and Talma were creators but we all know their struggles
;
Then, in the
conquer the bodily powers in expression."
"
words of Delsarte,
may we have a quick percepticm^jin
t<>
eager heart perfected by the
by the
body under the
powers."
The author
in
his
tion of the situation,
have
been
inner
inspiration
on
attained
to results
It
and
intellect,
direct
guidance
finely dealt with
of_J:hose
platform work can, with a
I,
passive
coming whence I know

had not aimed at."
full
apprecia-
My
best results
subject,
obeyed an
exclaim with Delsarte,
when
"
higher
not,
and urging me
should be the object and effort of the creature to repro-
duce the work of the Creator.
The
late Professor
Shoemaker,
of Philadelphia, aptly illustrated a principle of this philoso" When God

phy, and demonstrated its object, when he said,
made man he breathed
into
him the breath of
life,
and
in
was the germ of divinity; and in proportion as

man becomes invested with the divine breath,
in propor-
that breath
tion as
he has much of
God
within
canvas, the printed page, or the
may he hope
him,
breathe into his art divine breath, be
human
it
in
voice.
the
to
marble, the
And no
other
Philosophy of
power of
art will
so
divine
reflect
29
Ji.\-f>rcssion.
power
as
Thr
repose,
highest power is mastery, and the highest ma

mastery; and of self-mastery repose is the emblem.
orator,
next to
God
himself,
needs to
and to possess the world he must

hand, his
soul;
foot,
his
eye, his
his
itself
The
world;
his
himself,
first
breath,
then art shall have linked
possess
the
sc-lf-
body,
his
mind, his
with divinity."
During the most terrific storm upon the ocean we may

presume, and rightfully too, that notwithstanding the rolling
of the billows mountain high, down, deep
bosom
all
is
The
in old
quiet and in almost perfect repose.
on the wing requires more power

the poising
down
is
object,
a perfect
then,
emblem of
of this
The
eagle
to poise than to fly;
but
repose.
Delsarte
that perfect mastery bf self of
ocean's
philosophy is to gain
which repose is the emblem.
An
artist
shows no
effort.
DELSARTE.
31
IV.
WILL NOT THE DELSARTE PHILOSOPHY OF EXPRESSION

MAKE ONE MECHANICAL?
"TV/TAKE one mechanical?
ods
Why
No.
should
"All
it?
art
presupposes rules, procedures, mechanism, and methwhich must be known."

A man is never thoroughly
taught until he has forgotten
how he
how he
walks without thinking
learned
learned
to
just as a
walk, or
as
man
one
speaks correctly without stopping to parse every sentence he

Mechanism is never apparent in an artist.
utters.
"
Goethe
All art must be preceded by a certain me-
says,
chanical expertness."
that the
mechanism
It
will
is
in
proportion to
this
or will not be apparent.
expertness
Does
one's
We should not
knowledge of music make him mechanical?
take our standard from the many novices in the profession, but
from the few
artists.
One may study
every gesture and
study them
atti-
he can reproduce
volume,
them perfectly
but when upon the stage or rostrum he
be
should not
conscious of his gestures or his attitudes, but
tude given
in this
till
by
sufficient
control
he
preparatory work
may
express
After
as
The thought
itself
through
serious
taught
by
getting
his
body under
have the blessed assurance and sweet con-
sciousness that they are

est art.
in
all
will
when
flow into and
tested
fill
by the high-
the being, and
various agents.
its
on the philosophy of expression

how can one consider the system
reflection
Delsarte,
correct
j2
mechanical
in
"
result?
Do we
consider the
beauty of a rose mechanical because
into
hard
make
through which
soil
it
must force
the ground flexible for the
make the
to
its
clay,
of which we
are
we
blossoming
soften and sod the
itself into
being?
We
tender rootlets, as we aim
made,
plastic to the inner
The music of the spheres

emotion revelatory to the soul.
might be echoing in the soul of some inspired master; but
without
an
how could he convey
instrument,
its
wonderful
vibrations to his fellow-souls?

"
Beneath
the
rind
of
this
mechanism,
this
play of the
Beneath these tangible forms

hidden, and will be revealed." Consider,
organs, dwells a vivifying spirit.
of art the divine

then, that
finish
lies
mechanism
is
essential to acquire finish;
need not be mechanical.
but the
33
V.
WHY
\ \
DID DELSARTE NOT PUBLISH HIS PHILOSOPHY

OF EXPRESSION?
7"E will answer that question in his
* *
k
ever any one urged
When
am
old.'
me
own words:
to publish,
Old age has come, and
"
When-
invariably replied,
finds
me
less
still
disposed to publicity than ever."
To
his
as follows
"
:
am
more than one
for
than
or
very intimate friend the King of Hanover he wrote
in idea.
if I
The
shall
title
moment
at this
meditating a book, singular
reason, which will be no less novel in form
know
succeed
not what fate has
in
of this book
is
seeing
to
be
it
'
in store for this
in print
My
during
my
work,
lifetime.
Revelatory Episodes
or,
The History of an Idea Pursued for Forty Years.' "

He seemed to have a presentiment that he should not complete his work.
Toward the
Alas
the
close of the
dream of
his
life
was never realized
war of 1870-71, during his voluntary

two daughters wrote at his dicta-
exile in his native town, his
"
tion the manuscript entitled
Episodes of a Revelator." These
"
"
were
historic
the
summary of the progressive
Episodes
development of a vast work. He went to the fountain-head

whence the stream was freely flowing. In his preparation of
"
I cut short the preliminaries to set forth,
this work he writes,
plainly and simply, the final results of
At
this
my
observations."
point ends the book which Delsarte was destined
never to complete.
34
But what of his manuscript?
Is
it
not to be had?
Yes.
was carefully preserved by Madame Delsarte. It was written on sheets of paper, scraps of paper, and in many instances
It
on doors,
window-casements, and other objects.
chairs,
by the indefatigable
York
Werner, of New
city, who is ever
all
been
collected
mulgate Dclsartean truths.

title
of
"
Delsarte's
Own
This article
Words."
It
is
Edgar
publisher,
0^1
has
It
S.
the alert to pro-
appears
under
the
the only published
record of the writings of the founder of this grand philosophy.
Then, again, his sayings and theories and practices have

become known to us through the pen of some of his famous
Students of this philosophy versed in the French
pupils.
language have the privilege of reading his words in his native
Many
tongue.
their translation
Then
it
of his sayings, however, have been distorted in

into the English.
need not be said that Francois Delsarte did not leave

True, he did not leave a perfectly written
a perfect system.
system, but principles from which a perfect system
Are the teachings of Jesus Christ any

because Christ did not write them?
deducted.
may be
less
true
Jom of
Jon.
35
VI.
FREE GYMNASTICS FOR FREEDOM OF JOINTS.

r
I "M-IK
very
trol
first
step toward getting the
to acquire
is
Freedom of
body uiulu
Joints.
Precision, harmony, and ease, the three cK-mi

The body
cannot exist until this freedom is secured.
:
educating as well as the mind.

serve
how awkward
are
This
is
no
trivial
work.
<
movements of laboring-men
the
Rigidity and
consequence of stiffened joints.

no means synonymous terms.
Other
in
ar<
repose
things
the greater the freedom of the joints, the
)b-
being
equal,
more cultured
the
individual.
Strengthening the centres and freeing the circumference
is
one of the fundamental principles of the Delsarte philosophy.

As a current of water rushes through a channel uncloggi-d
which may be termed 'nervous

system; hence the necessjt;.
obstacles, so one's thought,
by
force,' rushes
having
all
the
accomplish
art
has
through the
its
channels
of
expression
laborious
period.
Days, weeks, months of daily
necessary ere one
will readily arrest the vital
practice
may be
force at
any given portion of the body.
freedom of any
at that joint,
Following
To
free.
But the perfection of every
requires labor.
this
perfectly
When
joint, the flow of vital force
seeking the
must be an
the wrist, elbow, shoulder, neck, hips, etc.

are
exercises,
fully
illustrated,
which,
if
]
tised daily, will give freedom to the principal joints of the

body. To these are sometimes added the eyelids and jaw.
Freedom of Joints.
FIG.
2.
EXERCISE.
FINGERS.
Place the arms as

force
in
the
shown
move
all
Rest.
in the illustration.
Put
sufficient
forearms and hands to differentiate the
while thrusting the hands
Take the
Thrust.
life
fingers
up and down.
so completely out of the ringers as to re-
rigidity therefrom.
Freedom of
FIG.
Joints.
37
3.
EXERCISE.
WRISTS.
Put* sufficient
from side to
force
side.
Thrust
in
the
in
and
out.
Rest.
forearms to
thrust
Arrest the vitality at the wrist.
the
hand<
Freedom of Joints.
FIG. 4.
EXERCISE.
WRISTS.
I'ut
Thrust up and down.
sufficient force in the
and down.
Rest.
forearms to thrust the hands up
Arrest the vitality at the wrist.
Freedom of
FIG.
Joints.
39
5.
EXERCISE.
WRISTS.
Put
inward.
lifeless,
sufficient
force
in
Whirl inward.
the
Rest.
forearms
Arrest the vitality at the wrists.

as if they
were
to
whirl
the
hands
Imagine the hands
tied to the wrists.
Freedom of Joints.
FIG.
6.
EXERCISE.
WRISTS.
Put sufficient force

ward.
lifeless,
in
Whirl outward.
the forearms to whirl the hands out-
Arrest the vitality at the wrists.

as
if
Rest.
tied to the wrists.
Imagine the hands
Freedom of
FIG.
Joints.
7.
EXERCISE.
ELBOW.
Bend the body

side.
Raise
the
Thrust backward and forward.
to
right
the
left,
arm
till
placing the
the
elbow
Rest.
left
is
to
The forearm and hand should hang
lifeless
the
even with the
Put strength in the upper arm, arresting the

the elbow, and move it backward and forward.
shoulder.
ity at
hand
vital-
from the elbow.
Freedom of Joints.
FIG.
8.
EXERCISE.
ELBOW.
Bend the body

side.
Raise the
shoulder.
ity at
Thrust backward and forward.
Rest.
to the right, placing the right

left
Put strength
the elbow, and
arm
in
till
the elbow
is
hand
to the
even with the
the upper arm, arresting the vital-
move
it
forearm and hand should hang
backward and forward.

lifeless
from the elbow.
The
Freedom of
FIG.
Joints.
43
9.
EXERCISE.
SHOULDERS
Take the
life
Impulse to the
left.
out of the entire arm,
Rest.
both arms.
Arrest
the vitality at the shoulders.
Put
the
sufficient
body
arms
to
strength in the chest and shoulders to twist
quickly,
sway
freely,
by one impulse,
to the
left.
Allow both
but bring the body back to position.
not repeat the impulse
till
the arms have ceased swaying.
Do
Freedom of
44
Joints.
FIG. 10.
EXERCISE.
SHOULDERS.
Take the
life
Impulse to the
right.
out of the entire arm,
Rest.
both arms.
Arrest
the vitality at the shoulders.
Put sufficient strength in the chest and shoulders to twist

the
body
quickly,
arms to sway
Do
by one impulse,
freely,
to the right.
Allow both
but bring the body back to position.
not repeat the impulse
till
the arms cease swaying.
Freedom of
Joints.
45
FIG. ii.
EXERCISE.
NECK.
Drop
the
Forward;
head forward
raise.
as
Backward;
raise.
low as possible,
the
lower
the better, for strengthening the muscles of the neck and for
giving ease to the various

the
firm
Keep
body
Drop the head backward
movements of the head.

the
exercises
in
all
as
low as possible.
for
Avoid
the
neck.
jerkiiu-s-
Freedom of Joints-
FIG.
12.
EXERCISE.
NECK.
Drop the head

and drop
it
Left; raise.
raise.
Right;
sidewise to the right;
sidewise to the
left.
sway or bend, or the head to
Do
turn.
then
raise
not allow the
it
slowly
body
to
Freedom of
Joints.
47
FIG. 13.
EXERCISE.
NECK.
Drop
Circle to the left
rest.
Circle to the right
the head forward as low as possible.
around, starting
it
toward the
left side.
Then
rest.
Roll
it
reverse
entirely
it.
Freedom of Joints.
FIG.
14.
EXERCISE.
NECK.
Turn
to the right
Turn the head very slowly
to the
left.
Front.
to the right until a perfect pro-
producing the same

Keep the head erect, the body immovable.
This stretching of the muscles gives great flexibility.
file
is
formed;
then to the
left,
result.
of Joints.
49
FIG. 15.
EXERCISE.
WAIST.
Stand
the
erect,
Forward
erect.
Backward
erect.
with the weight of the body on both
body forward and backward
muscles were powerless to sustain

or front of erect position.
from the waist

it
after
it
feet.
as
Drop
if
the
passes slightly back
Freedom of Joints.
FIG. 16.
EXERCISE.
WAIST.
Stand
the
Right side
erect, with the
body
erect.
Left side
feet.
from the waist
sidewise to the right and left
erect position.
erect.
weight of the body on both
the muscles were powerless to sustain
beyond
it
after
it
Drop
as
if
passes slightly
Freedom of Joints
FIG. 17.
EXERCISE.
WAIST.
Stand
erect.
right to left
and
Turn
Turn or
left
to the Right;
twist the
to right.
Do
left.
Right;
left.
body as far as possible from

move the feet.
not
Freedom of
Joints.
FIG. 18.
EXERCISE.
HIP.
Stand
Paw with
erect, with
Back;
up.
Front; drop
body on the
the weight of the
the right foot
by
first
drawing
it
far
left
back, then raising
the knee quite high and pushing the foot forward.
Take the
life
out of the limb and allow
it
to
foot.
drop heavily.
l-i-catom
of
FIG.
Joint*.
53
19.
EXERCISE.
HIP.
Stand
Paw
Back;
erect, with the
with the
left
foot
up.
Front; drop.
weight of the body on the right
by
first
drawing
it
far back, then
raising
the knee quite high and pushing the foot forward.
Take the
life
it
to
foot.
drop heavily.
Freedom of Joints.
54
EXERCISE;.
Fig. 20.
KNEE.
Stand
erect, with the
Raise the right knee
Take the
life
till
Up
drop.
Up
drop.
weight of the body on the
left foot.
the calf of the limb touches the thigh.
it
to
drop heavily.
FIG. 20.
Freedom of Joints.
56
EXERCISE.
Fig. 21.
KNEE.
Stand
foot.
the
erect,
Raise the
thigh.
with
left
Take the
drop heavily.
'u h
down.
the weight
knee
life
till
Up; down.
of the
body on the
right
the calf of the limb touches
out of the limb and
allow
it
to
FIG. 21.
Freedom oj Joints.
58
EXERCISE.
Fig. 22.
ANKLE.
Stand
erect, with the
Shake the
foot.
Rest.
weight of the body on the
left foot.
Raise the right foot from the floor, and put sufficient strength
in
the limb to shake the foot.
FIG. 22.
Freedom of Joints.
6o
EXERCISE.
Fig 23.
ANKLK.
Stand
left
foot.
Rest.
weight of the body on the right foot.

foot from the floor, and put sufficient strength
erect, with the
Raise the
in
Shake the
the limb to shake the foot.
FIG. 23.
All art must be preceded by a
certain mechanical expertness.
GOETHE
Opposing Movements.
63
VII.
OPPOSING MOVEMENTS.
"
I^HE
law of opposition
is
a very essential one in the con-
Much
sideration of gesture.
practice should be
i;ivcn
and rhythm of these movements.
to the time
The hand opposes
the head.
The forearm opposes the torso.

The upper arm opposes the legs.
When
the
movement
from the
When
the
movement
is
arm movement
from the neck.
elbow, the
bodily
arm movement
is
is
is
from the
When
movement
the
wrist,
bodily
arm movement
the
is
from
the
is
waist.
from the shoulder, the bodily
from the ankles.

be taken to make
Sufficient practice should
all
movements
of opposition perfectly simultaneous.
The law of opposition
enforced
will
produce
ease.
and
precision, harmony,
sufficiently
the three elements of grace,
The head and hand should move
simultaneously.
Bow
head toward the hand, and the hand toward the head.
the
64
Opposing Movements.
EXERCISE,
Fig. 24
HEAD AND RIGHT HAND

HEAD AND LEFF HAND
Erect; bow.
Erect; bow.
Erect; bow.
Erect, bow.
FIG. 24.
Opposing Movements.
66
EXERCISE.
Fig. 25.
HEAD AND RIGHT HAND.

HEAD AND LEFT HAND.
Turn the head

the back of the
turn back to
hand,
palm.
to the left
Face; turn.
Face
turn.
Face; turn.
Face
and the hand
turn.
to
the right
head opposes the back of the hand
position
till
the
face
till
then
opposes the face of the
FIG. 25.
Opposing Movements.
68
EXERCISE.
Fig.

HEAD AND LEFT HAND.
Combine
the
alternating them.
26
Erect; bow; up; turn; face.

Erect;
bow; up;
turn; face.
two movements of bowing and turning by
FIG. 26.
Opposing Movements.
EXERCISE.
Fig. 27.
HEAD AND HANDS.

Bring both hands
to the
in front
Erect; bow.
Erect; bow.
of the face
hands and the hands to the head.
and bow the head
FIG. 27.
Opposing Movements.
EXERCISE.
Fig. 28.

HEAD AND LEFT HAND.
Bow
the
Erect; bow; extend.
Erect;
bow;
head and hand simultaneously
extend.
then raise the
elbow to the height of the shoulder, at the same time depresthe wrist leading,
sing the wrist and pushing out the hand,
hand
erect.
the
nearly
FIG. 28.
Opposing Movements.
74
EXERCISE.
Fig. 29.
HEAD AND HANDS.

Place both
simultaneously.
hands
in
Keep
front,
Erect;
bow;
extend.
and bow the head and hands
the face to the front as the arms are
extended, but allow the body to sway backward.
FIG. 29.
7 rut
ease in acting comes from art, not chance.
POPE.
Correct
vs.
Incorrect J'osi,
VIII.
CORRECT
Î^HE
position
rise
is
vs.
INCORRECT POSITIONS.
perfect
if,
when standing
ward from the ankles or bending at the

Take a profile view of yourself before
and you
erect, yot
from your heels without swaying your both

waist.
a full-length mirror,
detect the slightest swaying
will
when you attempt
to rise.
were placed perpendicularly by the side of your

body when you are standing in a correct position, it would
indicate a direct line from the ear to the ankle, passing
If a stick
through the shoulder, elbow,
You
30 and
also
will
hip,
perceive that
and knee.
the stick, used as in Figures
31, forcibly illustrates Correct vs. Incorrect Position.
To SECURE CORRECT
Stand erect;
Do
incline
the
POSITION.
body forward
rather
than
back-
it from the ankle.

active chest, an
Remove and
Keep
rigidity.
Draw back the
raised and fixed, independent of the breath.
ward.
not bend the body, but incline
avoid
knees,
resting
and abdomen.
hips,
toward the
all
ball of cne foot,
upon
Throw the weight of the body

so much so that you are still
so
'/our heels, but bearing your weight
lightly
thereonXthat you would not hurt a child's fingers were they

placed underneath.
FIG. 30.
Correct.
FIG. 31.
Incorrect.
Correct
So
Incorrect Positions.
vs.
EXPLANATION.
Stand
against
shoulders,
When
tion,
and
the
wall,
head
against the wall

as
entirely
you
are
touching
draw
you
not
in
will
in
the
be
the
chin
heels,
toward
limbs,
the
hips,
chest.
an uncomfortable posicorrect one.

Free yourself
in
from the wall by swaying forward, not bending, mov-
ing only at the ankle-joints,

wall.
FIG. 32.
keeping the heels against the
FIG. 32.
Correct vs. Incorrect Positions.
EXPLANATION.
Place the
thumbs on the
hollow of the hips.
as
abdomen
You
erect
to
will
as
hip-joints,
Bend forward,
passes back far enough for
Stand
you
you
move too
far
position
this
upon
and the fingers
at the waist,
till
to see the toe of
can without
find
standing too heavily
FIG. 33.
the dress
each shoe.
the
allowing
in the
hips
or
forward.
uncomfortable,
the heels.
for
Sway your
forward from the ankle-joint, as in Fig. 33.
you
entire
are
body
FIG. 33.
as
shall become a second nature,
advance so far that art
to well-bred men.
polished manners
SCHILLER.
I hope to
Poising.
IX.
POISING.
/
>
Tr HE body
should be perfectly poised
When
the
in
all
of the
attitudes
of
transi
grace.
weight
body
from one leg to the other, it should seek that perfect poise
at
is
once.
When
one
loses
physical balance he
his
lose his mental balance, for the
An
calling
orator should
attention
make
to
consciousness of the
the
all
very likely to
moment.
the changes of position without
change,
act.
is
in
fact,
without
The body should be
his
own
subject
to
the thought being expressed, and should perfectly harmonize

in its
movements.
Poising.
EXERCISE.
Fig. 34-
POSITION.
Poise forward.
Correct normal position

foot.
is
When poising forward

Do not raise the
not bend.
the toes or heel.
POSITION.
Poise backward.
always over the centre of the

or
backward, the body should
feet
from the
floor,
either
at
FIG. 34.
gg
Poising.
EXERCISE.
Fig- 35-
POSITION.
Rise
down.
Rise
.<
If correct
position
is
fixed
down.
"
down.
><
attained, the rising
on the toes can
be accomplished without swaying the body forward,

Rise as high as possible.
test of correct position.
Do
lux-Is,
good
sway the body back, or sink heavily upon the

but touch them gently to the floor when descending.
not
Keep the weight of the body over the centre of the feet.
The word " fixed " signifies that the body should remain
poised some
little
time before passing "down."
FIG. 35.
Poising.
EXERCISE.
Fig. 36-
POSITION.
Right
left.
Right;
left.
"
balance.
Left, balance.
<(
Position.
Transfer the weight of the

so firmly as to give
full
Balance by taking
swaying the
as steadily as
feet.
body
if
body from
foot
action to the hips,
the free
to the
side,
foot
to foot, settling
harmonic poise.
from the
floor
without
and stand, a moment or
the weight of the
so,
body were borne by both
FIG. 36.
Poising.
92
EXERCISE.
Fig. 37-
POSITION.
Forward
with the right foot; raise the left heel.
Whether the weight of the body
is
cast
Position.
on one foot or
both, there should be a perfect poise of the body.
impulse
in
of honor.
of
lifting.
floor.
stepping should be
felt
from the chest,
The
first
the seat
There should be a sense of lightness of body,

Do not move the ball of the left foot from the
FIG. 37.
Poising.
94
EXERCISE.
Fig. 38-
Forward
POSITION.
When
the
raise the right heel.
stepping forward, do
foot
prominent.
move
left
indicates,
Do
not
but
not follow the
straight
allow the
Position.
forward.
abdomen
direction
Keep
to
the ball of the right foot from the floor.
lead.
the
that
chest
Do
not
Poising.
EXERCISE.
F'g- 39-
POSITION.
In
the
drop very
position
easily.
Forward
right
given
in
The
that
is,
drop the
this
left heel.
exercise,
Position.
the
heel
should
step should be a very short one,
so short as not to require

free leg;
the
removal of the foot of the
the leg bearing no weight.
FIG. 39.
Poising.
98
EXERCISE.
Fig. 40.
Forward
Drop
one,
foot
the
heel
so short
as
left;
drop the right
easily.
not to
The
step
heel.
Position.
should be a very short
require the
removal of the right
FIG. 40.
IOO
Poising.
EXERCISE.
Fig. 41.
POSITION.
The
foot
is
Forward
right
left
length of the step should

lifted
The
foot follow.
now be
and follows the advancing
into the position designated

there.
free
foot
rests
Position.
increased
foot.
by the dotted
lightly on the
floor.
the free
should drop
not be placed
It
lines,
FIG. 41.
102
Poising.
EXERCISE.
Fig. 42.
POSITION.
Be sure
at
Forward
left
right foot follow.
to feel a lifting sensation
Position.
from the chest.
Secure
once the perfect poise on the advanced foot, lifting the

and dropping it into the position designated by the
free foot
dotted
lines.
FIG. 42.
Poising.
104
EXERCISE.
Fig. 43-
Forward
POSITION.
As
this position
ing a
more
floor,
touch
perfect
almost a
length,
the
it
is
place
it
right
left
foot follow, free.
Position.
given, largely, for the practice of securpoise,
stride.
against
we
advise a step
of considerable
After removing the free foot from

the
leg in
advance, but do not
again to the floor until stepping
back to position.
FIG. 43-
io6
Poising.
EXERCISE.
FIG. 44.
POSITION.
Remove
leg in
Forward
the free
left
foot
right foot follow, free.
from the
advance, but do not touch
floor,
it
Position.
place
it
against the
again to the floor until
stepping back to position.
Keep
just as perfect a position with the
one foot removed
from the floor as though the weight of the body were on

both
feet.
FIG. 44.
All art
is
nature better understood.
POPE.
Feather Movements.
109
X.
FEATHER MOVEMENTS.
T) AISE
both arms straight
forty-five degrees.
that each arm, from the
Fancy
and that each hand
is
an angle of about
front to
in
The hands should be

elbow
a feather.
limp,
to the wrist,
As you
is
raise the
lift
a stick,
arms and
as
pass them gently down, the hands should float lightly,
as
and
would
a
feather on the end of a
gracefully
lightly
When
stick.
they reach the desired height, the hands should
move above
not
pressed
as
but the wrists
the wrists,
they again pass
down,
the
should be de-
hands
remaining
in
down by the wrists,

just as the atmosa
would
act
feather
if
so circumstanced.
upon
pheric pressure
When the hands move from side to side, the same caution
position
holds
in
till
good,
pulled
the wrists should
As
lead.
the hands
come
from the side movement the wrists should almost touch
each other.
When
they pass back, instead of down, as rep-
resented in the illustration, the palms are turned out as they
go from the body.

But few of the feather movements are given,
sufficient,
however, to show the benefit that may be derived from the
may be
practice.
Others
Plucking
imaginary
baskets, or
tiful
chosen, at the option of the pupil.
flowers,
weaving them
into
tossing
them
into
imaginary garlands,
imaginary
a beau-
is
and valuable exercise.
The designs may be magnified

with the taste of the pupil.
to
any
size,
in
accordance
Feather Movements.
10
Out
FIG. 45-
EXERCISE.
WAVE THE
HANDS.
HALF WAY
UP.
Out
Up; down.
;
in.
Out
Up; down;
back.
Up; down.
in.
half up.
Out;
in.
Feather Movements.
FIG. 46.
EXERCISE.
PLACE THE HAND.
Forward
circle
extend
toss.
Place the right hand against the chest, and raise the elbow
to the level
of the hand.
fingers following the
line
Move
the hand to the right, the
indicated.
The
side
of the wrist
palm of the hand is toward the earth. When

arm has almost unfolded, the tips of the fingers describe
small circle, which, when complete, will entirely unfold
leads as the
the
a
the arm.
is
up.
When
the circle
is
complete, the palm of the hand
The whole arm now moves
moves upward
as
to cast the object
if
to the right,
and the hand
holding an object, and then turns as
away.
if
Feather Movements.
12
FIG. 47-
EXERCISE.
PLACE THE HAND.
Place the
left
Forward;
hand against the
circle; extend; toss.
chest,
moving the arm
for-
ward as indicated by the line. Describe a small circle, extend the arm, and toss the hand as if to cast away an object
The small circle should be made by
it had been
holding.
the hand only, not
by a movement of the arm.
Feather J lavements.
FIG. 48.
EXERCISE.
PLACE THE HANDS.
Bring both hands

the
Forward
the
movement with each one
circle
extend
same position
separately.
when making
The arms will now
as
Move both hands
forward sim-
ultaneously, and follow the lines as designated.
The move-
necessarily cross at the wrist.
melt with the one hand should correspond exactly with the
molement
of the other.
-.
Feather Movements.
FIG. 49.
EXERCISE.
Neck
PLACE THE HANDS.
Bring both hands up in front as
When
at the required
bowl
in
Fig. 45, palms down.
45 degrees
height
base.
the hands
turn
quickly, so that the palms face each other, the hands almost
upright.
Move them
easily
and gracefully down the neck and around
the bowl of the urn, just as
palms.
When
the
if
lightly
touching
ing against the base.

little
with the
hands reach the base of the urn, they
now they move as if lightly pressThe whole movement ends with the
turn completely over, and
palms up, the
it
fingers touching each other.
OF
OKTURE
Free the avenues of expression from everything that interrupts
of thought, and then

scious
free the thought until
of your gestures and
attitudes.
the
you are totally uncon-
XI.
PRINCIPLES OF GESTURE.
r
-*
HE
majority of the gestures herewith given are
use
of an
imaginary cube;
each
b;.
requiring a
gesture
special side of the cube and a special action of the hand.
Other of the gestures are represented by the use of the

upright stick or the
tangible object
ture in a
is
manner
circle.
helpful
to
in
We
impressing the
words;
the
use
of the
form of the ges-
be the more readily retained.
Other things being equal, a picture

than
that
find
is
an impression through the
than through the ear.
longer
eye
remembered
more
lasting
n8
Principles of Gesture.
FIG. 50.
SUPPORTING.
The hand should be

the
case
of
flat,
supporting
and the fingers together,
heavy
object.
as
in
The arm, being
brought up toward the chest, the

pendant
As it reaches the chest the hand
back of the wrist leading.
turns over and gives the desired gesture.
at the side,
is
first
FIG. 50.
20
FIG. 51.
PROTECTING.
Bring the arm toward the chest, the back of the wrist leading; but instead of turning the hand over, it remains palm
down, and
in
this
form
is
placed over the cube, signifying
a covering, a shelter.
Raise the hand higher than the cube, and allow

scend to the required position.
it
to de-
FIG. 51.
I22
FIG. 52.
DEFENDING.
up from the
Bring the hand
The hand
line.
give
an
air
in
an almost straight
not brought to the front, as
of rejection
placed as a wall
is
is
side
when
carried
of defence, guarded
to
by
the
it
side.
the body.
would
It
a great difference between protecting and defending.
tection
is
much
the stronger term.
my
includes
the walls;
"roof.
may
house, or protect you under
walls of
but
the
walls
may
is
There
Pro-
defend you by the

its
The
roof
without
the
roof.
exist
FIG. 52.
124
FIG. 53.
LIMITING.
The cube
encompassed on two sides with the hand, inThe hand is brought up toward the
dicating limitations.
chest, and then in position, with the palm toward the side of
is
the cube, the fingers toward

to the earth.
the
front, the side
of the hand
FIG. 53.
126
FIG. 54.
PRESENTING OR RECEIVING.
The commonest form of gesture
is
the
one of receiving
/The hands should not be curved up in presThe fingers

entation, as a beggarly element is thus indicated.
or presenting.
should not
be
presentation.
separated,
We
deal
as
with
one
could
thoughts
not maintain
as
we
deal
the
with
Bring the hand up in the usual manner

it
over, but lowering the hand more than
directed, turning
tangible
in
objects.
supporting.
FIG. 54.
128
FIG. 55.
DEFINING.
You may
define
ing the cube.
one
finger.
It
Bring the hand to the front as usual; but
stead of turning
side.
will
Âll
any or all sides of the cube by turnmay be done with the entire hand, or with
the
it
completely over,
gestures
should
it
is
in-
turned only on the
ascend to such a point as
give an opportunity for the
gesture to
proper place, thus avoiding angularity.
descend to
its
FIG. 55-
Gesture.
Principles of
I30
FIG. 56.
MAINTAINING.
forward as usual, and turns over,
does not pass so low
it
descending lower than presenting;
the cube, just as we would
however, but that it can maintain
The hand
is
brought
maintain anything
we
affirm.
FIG. 56.
132
FIG. 57.
WITHHOLDING.
the one as
There are two forms of arrogant affirmation,
of
a
form
in
the
command
other
given below; the
(which
we give elsewhere). The hand is not turned over when
brought forward, but descends with the palm down, as though

withholding the
reasons
cube
in
is
withheld
like
for
making the
manner.
affirmation.
The
FIG. 57.
134
FIG. 58.
REVEALING.
The hand
from
its
back, so
placed
front,
is
now brought up above
position
that
there
holds
it
at the
side.
need not be
by the
wrist
It
should
lifted
to
depression.
the object plainly in view,
withholding nothing.
the
head,
pass
its
far
straight
enough
position, but
The palm,
be
facing
thus revealing
all,
FIG. 58.
136
FIG.
59-
MYSTICALLY REVEALING.
Bring the hand directly up from its position at the side;
and \vlien raised above the head, the hand turns, as if to conceal an object, or for the
is
entirely out of sigal.
purpose of mystifying.
The cube
FIG. 60.
AFFIRMATION
faces of the cube are
The
upright stick
no longer
an affirmation, we make that which coin-
cides with the divine law;
that
ing this idea.
any one
When we
violates
may
that law, he breaks
that
it
we
estab-
set
it
line.
perpendicular.
Rejection and
ignoring are
We
with the side of the hand,
as a feather.
is,
is
up; when
or knocks it down.
we
in a direct line,
mental.
matters; we throw them down: it

trivial matters; we toss them off,
out.
it,
it
words express-
all
reject with the palm of the hand,

emotive and
we ignore with the back of the hand,
elements of negation.
vital
upright,
etc., are
be illustrated by the standing up of a stick; that
All negation crosses
we deny
is
establish a law,
affirm a thing, I place
is, if I
it
is,
"State," "law," "statute,"
lished.
requisition, but the
in
used.
is
When we make
This
NEGATION.
vs.
We
deny simple
We
requires force.
as
reject
heavy
We
ignore
though they were
light
we
them
statements:
strike
Declaration also includes the element of negation

cross
the line of affirmation.
that
FIG. 60.
AFFIRMATION
vs.
NEGATION.
140
FIG. 61.
DECLARING.
As
affirmation should be
all
so
right,
ular line.
we would
everything opposed
As we would
made
in
a direct
line,
upshould cross the perpendic-
hurl an offensive object from us, so
hurl from us an unjust accusation, declaring
it
was
not so.
Bring the hand directly to the chest,
and carry
as
if
it
horizontally to the right,
the seat of honor,
exposing the palm,
exposing the charge preferred against you.
FIG. 61.
142
FIG. 62.
IGNORING.
We
desire
to
ignore the affirmation that has been
hence the back of the hand

upright
stick.
of rejection.
We
is
brought
This
toss off trifles.
in
is
made;
contact with the

the slightest form
Bring the hand to the chest as usual.
FIG. 62.
Gesture.
Principles of
FIG. 63
DENYING.
The
side of the
the
upright stick,
its
movement
is
now brought in contact with the

The force of the hand in
affirmation.
hand
very
denial of a statement.
chest as usual.
is
slight,
just
as
See Fig. 60.
one would use
in
the
Bring the hand to the
FIG. 63.
FIG. 64.
REJECTING.
The
stick that
law that
is
tions.
as
erected, the affirmation that
established,
to overthrow
service,
is
it
it.
is
very strong
The palm
of the
hand
requires strength to cast
See Fig. 60.
hence
is
it
is
made, the
requires
power
now brought
down heavy
in
obstruc-
Bring the hand to the chest as usual.
FIG. 64.
148
FIG. 65.
SECRECY.
Bring the hand
in front as usual.
fying secrecy, only the

It
moves from
a circle.
hand
is
In illustrating or signi-
required
in
the
side to side, as if describing the
See Fig. 67.
movement.
upper arc of
FIG. 65.
FIG. 66.
SOOTHING.
Soothing calls into action the affectionate nature; hence
are the most prominent
2d and 3d
the two middle fingers
in the giving of this gesture, as they are the agents of the
heart or emotional nature.
Bring the hand
in front,
and pass
the fingers lightly over the imaginary arc of a circle reversed
from the one representing the movement for secrecy.

Fig. 67.
See
FIG. 66.
FIGURES 67 AND
Face the
No.
i.
No.
2.
No.
3.
One
Secrecy.
hand, palm down.

"
"
Both hands, side down.

"
"
"
"
Fulness.
1
4.
No.
5.
Exaltation.
No.
6.
Exultation.
Exultation
One
"
radius.
palm leading.
the victory won, the hurrah.
signifies,
Short radius.
"
leading on to victory.
"
"
Once more unto
the breach, dear friends,
"
!
Example of Exultation:
When
hand, back leading.

"
signifies,
Example of Exaltation
once more
Long
Delicacy.
" Exaltation "
Short radius.
Soothing.
No.
"
each of the following movements -
for
circle
68.
giving No.
or intellectual delicacy
4, if
if
"
Hurrah
the hands
downward,
hurrah
move upward,
it is
the
victory
is
ours."
it is an expression of moral
an expression of physical delicacy.
FIG. 67.
FIG. 68.
I will knock
unceasingly at the door of facts.
I will
question
every.
phenomenon.
DELSARTE.
GESTURES AND ATTITUDES.
He who
in earnest studies o'er his
part
Will find true nature cling about his heart;
Up
to the
And
darts
sensation
face the quick
its
meaning from
flies,
the speaker's eyes,
Love, transport, madness, anger, scorn, despair,
And
all the passions, all the soul is there.
LLOYD.
XII.
GESTURES AND ATTITUDES.

TT
should
be distinctly understood that gestures and
tudes, as hereafter represented, are given but
many
forms
allowable;
therefore
let
no one
atti-
one of the
think
that
if
he has occasion to give any of them, he must restrict himthe one form given in this volume.
Nevertheless, in
self to
whatever form given,

the underMeditation, for instance,
hold
that
the
relative
is,
lying principles
good
position of
the head and body to each other, and of every member of
;
the
body
as regards the
meditative or reflective principle,
concentration and contraction.
Every dramatic expression

outgrowth
human
of
heart
these
may
is
represented herein, or
representations.
find
some of these
avenues.
everything that
will
Every
feeling
of
is
an
the
its
particular expression through

Free the avenues, therefore, from
interrupt the flow of thought, and
then
free your thongJit until you are totally unconscious of your
gestures or attitudes.
and
Gestures
Attitudes.
FIG. 69.
MEDITATION.
that is, many posiThere are many forms of Meditation,
while there is but one relative
hands and arms,
tions of the
position
of the
head
toward the body.
expressed by concentration
together, the brows knit, the lips close
As
the weight of the
and hands are brought

dropping of the head.
body
into
All
meditation
is
the hands or arms are brought
settles
more
firmly.
on the heel, the arms
position simultaneously with the
FIG. 69.
Gestures
160
and
Attitudes.
FIG. 70.
PRESENTING OR RECEIVING.
Pass from the attitude of Meditation into that of Presentation
or
extending
to
Receiving.
the arms
Step forward, raising

simultaneously.
the
the
As you
movement of
present your thought,

be the same as if presenting a tangible object.
head
step
and
forward
the hands will
FIG. 70.
Gestures
62
and
Attitudes.
FIG. 71.
EXALTATION.
PART
The
FIRST.
gesture and attitude of Exaltation
is
divided, for the
convenience of the pupil, into three sections.

Part First requires opposition of head and
hand.
the hand outward to the right simultaneously with
ment of the head
to the
left.
Turn
the move-
FIG. 71.
Gestures
and
Attitudes.
FIG. 72.
EXALTATION.
PART SECOND.
Opposition of the arm and body

sion.
the
is
required for this divi-
Step to the right simultaneously with the movement of
arm
as
shown
in
the
illustration
palm of the hand opposing each other.
the
face
and the
FIG. 72.
Gestures
and
Attitudes.
FIG. 73-
EXALTATION.
PART THIRD.
This movement completes the attitude by the opposition

of head and hand, and somewhat of the arm and body.
The hand
is
now
given a quick curve to the
acts simultaneously with the

left;
the
movement of
the
right,
which
head to the
back of the head and the back of the hand now
oppose each other.
An
heroic
impulse
is
felt
at the shoulders that causes
the
and as the right hand descends toward

the head, a strong impulse will be felt to extend to the left
foot and make strong the left leg, though bearing no weight
body
to rise slightly;
upon
it.
FIG. 73-
Gestures
and
Attitudes.
FIG. 74.
EXULTATION.
Opposition of head and hand changes Exaltation to Exul-
The hand, having made a small

now sweeps back on that same circle to
having turned to the left, now turns back
tation.
As
the
to the
left;
right,
the head,
to the right.
exultation cannot be photographed (being a continuous
movement of
The
circle
the hand), the position of exaltation
completion of ex#/tation
is
is
repeated.
the preparation of ex^/tation.
FIG. 74.
170
Gestures
and
Attitudes.
FIG. 75.
REPOSE.
Repose may be represented in various forms. The mind
and the muscles should be in a state of rest. The weight
of the body should
feet or foot.
be nicely poised over the centre of the
FIG. 75.
and
Gestures
172
Attitudes.
FIG. 76.
FORCE
The
tion,
attitude here
it
is
given
IN
is
AMBUSH.
expressive of very strong emo-
the volcano just previous to the eruption.
Back of the body the left hand clasps the right hand,
the thermometer
which is strongly contracted the shoulders
;
of passion
set;
rise; the lips
vital
slightly part, or are firmly
the brows lower, the upper lids
the breathing
is
labored.
rise,
the eyes protrude,
P'IG. 76.
Gestures
174
and
Attitudes.
FIG. 77-
HEROIC.
PART
The Heroic
three
ment,
Part
Turn
attitude, like that of Exaltation,
The same movement
parts.
save that
FIRST.
we change
the side
calls
the
hand
simultaneously.
for
to
right
each section,
to a forward
somewhat stronger
opposition
the
given in
movement
the Heroic calling for a

first
is
divided into
is
of
and
only
the
head
head
and
to
move-
situation.
hand.
the
left
FIG. 77.
Ges lures and Attitudes.
FIG. 78.
HEROIC.
PART SECOND.
Opposition of the arm and body

sion.
the
Step
hand
forward
and
arm
simultaneously
as
shown
in
is
required for this divi-
with
the
movement
the illustration,
and palm of the hand opposing each other.
the
of
face
FIG. 78.
and
Gestures
Attitudes.
FIG. 79.
HEROIC.
PART THIRD.
Heroic attitude, turn the hand quickly

curving it down and then up till the back of
To complete
to the right,
the
the
hand comes almost
head.
The head
to the right.
in
contact with
turns to the
left,
in
the
crown of the
opposition to the hand
Feel the opposition, spoken of in part third of
Exaltation, between the right
hand and the
left foot.
FIG. 79.
Gestures
So
and
Attitudes.
FIG. 80.
DEFIANCE.
Pass directly into the attitude of Defiance,
weight of the body up and back
ened without removing the

to a firm
is
position
till
the
by
casting the
leg
is
and the right leg

advance of the left;
foot,
slightly in
left
firm, manifesting the spirit of defiance.
straight-
is
brought
the chest
FIG. 80.
and
Gestures
182
Attitudes.
FIG. 81.
RE-ACTION.
The weight of the body

that
is
position
the
placed
is
such as to give
limb that
is
farthest back;
is
forward
the support of the
body
is
now cast wholly on the leg

but the knee is bent, and the
and immediately
placed farthest back, and takes
little
in the
support;
same weak way.
FIG. 81.
and
Gestures
Attitudes.
FIG. 82.
APPELLATION.
Bring the palm of your hand toward the face as
oning to some one at your

the person to
whom you
right.
beckon.
Keep
if
beck-
the eye fixed on
FIG. 82.
Gestures
86
and
Attitudes.
FIG. 83.
SALUTATION.
Pass directly from Appellation to Salutation,
hand down as
and the body
NOTE.
if
will
to
shake hands;
the
move backward very
The arm
is
by
head
casting the
will
move up
slightly.
the type of the whole
man
the hand
and wrist corresponding with the head and neck, the forearm and elbow with the torso and waist, the upper arm and
shoulder with the lee and ankle.
FIG. 83.
Gestures
88
and
Attitztdes.
FIG. 84.
SILENCE.
The
index-finger of the
and
of speech,
left
signifies
hand seeks the
lips,
the portal
thereby that they must be kept
closed.
The
hand represents repression, the arm extending

somewhat back, as if to silence a person standing behind or
right
at the side
of you.
FIG. 84.
Gestures
and
Attitudes.
FIG. 85.
FEEBLENESS.
One who
is
is
weak assumes strong
attitudes,
and one who
strong assumes weak attitudes.

When one is feeble or is seized with vertigo, the
separated, in
feet are
order to give greater support to the body.
FIG. 85.
Gestiires
and
Attitudes.
FIG. 86.
FAMILIAR REPOSE.
Place the feet wider apart than in feebleness.
tendency
the vest
is
There
is
protrude the abdomen, to put the thumbs in

The position
pocket, or to place the arms akimbo.
to
unrefined and exceedingly vulgar.
FIG. 86.
Gestures
194
and
Attitudes.
FIG. 87.
INDECISION.
Pass from Familiar Repose
divided on both feet
the weight of the
to Indecision,
body equally
by removing the weight of
the body, for instance, to the right foot just
the
left
foot of
seeks the
lips.
any weight.
The head drops
enough
to relieve
as the index-finger
FIG. 87.
and
Gestures
196
Attitudes.
FIG. 88.
SUSPENSE.
Indecision includes an element of Suspense, and vice versa.
When
a decision
made and
has been
upon, but the thought
is
re-arrested,
is
it
about to be acted
creates
the
attitude
of Suspense.
The hand
passes
moves upward
in
down
in
opposition.
determination,
At
passes into the realm of Suspense.
this
and
juncture
the
body
Indecision
FIG. 88.
Gestures
198
and
Attitudes.
FIG. 89.
TRANSITION.
The
avoid
object of gaining ease in the transitory position
movements of the
superfluous
feet
when
is
to
desiring to
retrace your steps.
you
Suppose
when
in the attitude
head to the
left
were
foot,
left,
called,
from
of Suspense:
if
the
opposite
direction,
facing right, turn your
then cast the weight of your body over the

removing either foot entirely from the
without
floor.
Then turn your head
to the
right without removing either foot entirely from the
floor.
to the right
and pass the body
FIG. 89.
Gestures
2OO
and
Attitudes.
FIG. 90.
ANGUISH.
MILD FORM.
Anguish
grees;
lower
may be
in
represented
the milder the anguish, the
the
clasped.
hands,
The
and the
stronger the
less
various
higher the
tightly
will
forms
or
de-
head and the

hands
the
be
anguish, the higher will be the
the head
they be clasped
droops in proportion to the depth of the anguish.
The action of the head and hands should be simultaneous.
hands and the jnore tightly
will
FIG. 90.
202
Gestures
and
Attitudes.
FIG. 91.
ANGUISH.
STRONG FORM.
Clasp the hands more tightly and raise them to the chest,
dropping the head simultaneously with the movement of the

hands upward.
FIG. 91.
2Q4
Gestures
and
Attitudes.
FIG. 92.
ANGUISH.
STRONGEST FORM.
Clasp the hands still more tightly, and drop the head still
lower as the hands are raised higher. Make sure that the
movement of
of the hands.
the head
is
simultaneous with the movement
FIG. 92.
Gestures
2o6
and
Attitudes.
FIG. 93.
REPRESSION.
Without unclasping the hands,
is
still
slowly.
of the
hands
there,
but now
The head
hands
will
in
will
the
controlled,
inasmuch as the anguish

pass
move up during
opposite direction.
be toward the earth.
them down
the entire
quite
movement
The palms of
the
FIG. 93.
Gestures
208
and
Attitudes.
FIG. 94.
PLEADING.
Of
the
score
or
more forms of expressing pleading, the
open hand or hands denote the element of

the closed or clasped hands denote anguish.
ing
tude,
parallel
To
movements of the arms and body
body should first retroact,

movement of the arms; then
the
forward
receiving, while
forward while the arms are extended.
in
the
avoid makin
opposition
this
to
body should
atti-
the
move
FIG. 94.
Gestures
2io
and
Attitudes.
FIG. 95.
ATTRACTION.
Bring
the back
of
the
hand
simultaneous.
shoulder,
the
movement of
As
this is
law of
the
toward
the
face,
stepping
body and arm are

a movement of the arm from the
forward so that the movements
opposition
of
the
requires
body from the ankle.
corresponding
FIG. 95.
Gestures
212
and
Attitudes.
FIG. 96.
REPULSION.
As
Salutation
and
Appellation are opposing
movements,
so are Repulsion and Attraction.
Move
the hand forward, from the
toward the object repelled;

in
opposition to
the
forward
attitude
of Attraction,
body will move backward

movement of the arm. The
the
movements of the body and arm should be simultaneous.
FIG. 96.
Gestures
214
and
Attitudes.
FIG. 97.
DEFENDING.
Imagine a child
You
raise the left
your left, and his enemy to your right.

hand to defend him, the right hand repels
at
the assailer, and your
body assumes the
spirit
of defence.
FIG. 97.
Gestures
216
and
GROUP
Attitudes.
FIRST.
FIG. 98.
LISTENING.
Eye
The
following group of gestures represents the pantomimic
expression
as
explained with
The whole group

is,
from.
14
each
member
of
the
group.
should be given successively; that
without passing to position after the
The
first
one
is
given.
r-rpression should keep pace with the z;;/pression.

At the sound of approaching footsteps to the right, turn
the eyes in the opposite direction.
FIG. 98.
2i8
Gestures
and
Attitudes.
FIG. 99.
LISTENING.
Face
The sound
of the footsteps
from.
is
nearer.
the unseen object, placing the head in a

attitude.
Turn the
more
face
from
perfect listening
FIG. 99.
Gestures
220
and
Attitudes.
FIG. ioo.
LISTENING.
Eye
As
the object
gets
still
direction of the footsteps.
toward.
nearer, the eye
turns toward the
FIG. TOO.
and
Gestures
222
Attitudes.
FIG. 101.
LISTENING.
Face
The
eyes.
face
Make
follows
the
toward.
the direction of
movement
slowly.
the
movement of
the
FIG. 10 r.
Gestures
224
and
Attitudes.
FIG. 102.
GENERAL ATTENTION.
As
sound of steps reaches the door, the whole body

manifests great interest, and in consequence is turned in that
the
direction,
and advances a
step.
FIG. 102.
Gestures
226
and
Altitudes.
FIG. 103.
RECOGNITION.
The door
is
as an old friend.
opened.
The one who
warm welcome
extending of the arms, with the
is
enters
is
recognized
shown by the
partial
open hands turned upward.
FIG. 103
228
Gestures
and
Attitudes.
FIG. 104.
SALUTATION.
friendly
salutation
hand toward the

position as
shown
face
as
is
given.
in
Bring
the
Appellation, then
palm of the
down
to
the
FIG. 104.
Gestures
230
and
Attitudes.
FIG. 105.
INVITATION.
The
Salutation
is
followed
by a
cordial
Invitation.
Bring
the palm of the hand as shown in the illustration, slightly
bending the body from the waist

ment of the arm from the elbow.
in opposition to the
move-
FIG.
105.
and
Gestures
Attitudes.
FIG. 106.
DECLARATION.
See
is
the invitation
is
'not
accepted, the friendly greeting
not reciprocated.
An
unjust charge
As
the hand
ration, the
is
made.
Declare
and arm are extended
body sways back
it
false.
in
in opposition.
making the Decla-
FIG.
06.
Gestures
234
and
Attitudes.
FIG. 107.
AFFIRMATION.
Add
Affirmation
to Declaration.
brought back
toward
Affirmation, as
shown
the
in
chest,
The hand and arm

and
the illustration.
pass
at
once
to
are
an
FIG. 107.
Gestures
236
and
Attitudes.
FIG. 108.
PROTESTATION.
Finally
express a most earnest Protestation against such
charges.
The hand
is
brought up toward the chest, and
palm down,
as
in
ever,
much more
Rejection;
rapidly.
the
movement
is
is
turned
made, how-
FIG.
08.
and
Gestures
238
Attitudes.
FIG. 109.
WONDERMENT.
Being
believe
ment
struck
with
amazement
that
such
a friend
could
such a charge, the whole body expresses Wonderthe hands open, and
are held in
are affected
by the very force of the surprise

the position as illustrated. The lips and the eyes
in proportion to the degree of Wonderment.
FIG. 109.
240
Gestures
and
Attitudes.
FIG. no.
RE-AFFIRMATION.
Finding
Protestation
and
Affirmation
strongly Re-affirm that the charge
is
The hand is again brought toward the

is much stronger than the former
mation
wholly
ineffective,
untrue.
face,
one.
and
this Affir-
FIG. no.
Gestures
242
and
Attitudes.
FIG. in.
RECONCILIATION.
Reconciliation
now
takes place;
that
is,
a self-surrender
as well as the surrender of the will of the other person.
The body sways back
slightly
and the arms drop to the
side, indicating the mental as well as the bodily attitude.
Here ends the
first
group.
FIG.
IT
i.
Gestures
244
and
Attitudes.
GROUP SECOND.
FIG. 112.
RESIGNED APPEAL.
Group Second,
like
Group
First, tells
its
own
story
with
each subsequent action. First, we are in great sorrow, and

an Appeal is made, not to an individual on our own plane,
but to the Great Ruler of
to
the
superior.
all,
an Appeal from the inferior
In this
Appeal there
turned
palm out; the
is
a strong
element
of Resignation.
The hands
are
head, are turned upward.
eyes,
and not the
FIG.
Gestures
246
and
Attitudes.
FIG. 113.
ACCUSATION.
We
we
accuse an individual of the cause of our sorrow, and
lay that Accusation openly before him, just as
we would
place the tangible evidence in proof of our assertion,

the position of the hand.
Bring the hand straight to

the shoulder.
its
position,
straight
hence
up from
FIG. 113.
and
FIG.
Attitudes.
14.
MALEDICTION.
Our feeling
we call down
wronged
The
bent as
has
reached a state of desperation in which

upon the head of him who has thus
curses
us.
right
if
to
arm
is
raised,
and the fingers are separated and

The left hand is in sym-
clutch an object.
pathy with the
right.
FIG. 114.
Gestures
250
and
Attitudes.
FIG. 115.
REMORSE.
We
are filled with
Remorse when we
realize that
much
of
our sorrow is due to our own weakness and misjudgment.

The hand settles down on the organ said to be the seat
of conscience.
FIG. 115.
252
Gestures
and
FIG.
1 1
Attitudes.
6.
SHAME.
.We cover our eyes in Shame.
The head moves upward while the hand moves downward,
FIG.
1 1
6.
Gestures
and
Attitudes.
FIG. 117.
GRIEF.
Our head drops with

Parallelism
move
in
together.
the
is
Grief.
unavoidable,
same
direction,
as
the
though
head and
as
The eyes remain covered with
hand
one object;
the hand.
now
hence
FIG. 117
256
Ges hires and Attitudes.
FIG. 118.
REPROACH.
We
Reproach ourselves
The hand drops to the
portion to the
movement
be given very slowly.
our misjudgment.
chest, and the head
for
of the
hand.
rises in
pro-
This attitude should
FIG.
8.
and
Gestures
258
Attitudes.
FIG. 119.
TENDER REJECTION.
would render us aid and sympathy, but we are

inconsolable. We Reject his helpfulness with a Tender feelfriend
ing toward him.
When
the elbow
is
raised
arm should unfold gradually,
to
the
height of the hand, the
the palm of the hand turned
This Rejection should be made very slowly. The

head and body should turn toward the left, in opposition to
the hand and arm moving toward the right.
outward.
FIG. 119.
Gestures
260
and
Attitudes.
FIG. 120.
PATHETIC BENEDICTION.
Though we Reject him, we
are not unmindful of the kindly
motive which prompts him to act; hence in our deep grief,

we call down blessgrief that can be borne only alone,
ings
upon him.
from Rejection to Benediction by turning the head

and body to the front at the same time that the right arm
Pass
brought forward. The right hand should droop from the

wrist, and the elbow bend slightly, so as to bring the hand
is
toward
the
wrist leading,
head.
As
the
hand
is
the head rises and the
pressed
forward,
body sways back.
the
FIG. 120.
The
traces
artist,
of his
traveller on this earth, leaves behind
him imperishable
being.
DELSARTE.
Gestures
and
Attitudes.
263
XIII.
SUMMARY OF GESTURES AND A1TITUD!

ARRANGED FOR CLASS-WORK OR FOR THE CONVENIENCE OF PRIVATE
PRACTICE.
NOTE.
of
class
costume, give a very

in
representing
young
ladies,
and
artistic
and
picturesque
arrayed
classic
in
Grecian
entertainment
statuesque
manner
when
these
various emotional attitudes.
These figures have been arranged with a special view

such exercises.
In order to
each
pupil
They
secure
in
harmony
perfect
representing
character
MEDITATION.
{ PRESENTATION.
f
EXALTATION.
EXULTATION.
[REPOSE.
{FORCE
IN AMBUSH.
HEROIC.
DEFIANCE.
RECOIL.
class
mentally
between the giving of the command and
for
blend naturally as grouped.
will
its
exercise,
let
count three,
execution.
264
Gestures
and
Attitudes.
APPELLATION.
SALUTATION.
SILENCE.
FEEBLENESS.
FAMILIAR REPOSE.
INDECISION.
SUSPENSE.
TRANSITION.
ANGUISH, I,
REPRESSION.
PLEADING.
2,
3-
ATTRACTION.
\ REPULSION.
( DEFENDING.
f
from.
EYE
from.
FACE
toward.
EYE
toward.
FACE
GENERAL ATTENTION.
RECOGNITION.
SALUTATION.
INVITATION.
DECLARATION.
AFFIRMATION.
PROTESTATION.
WONDERMENT.
RE- AFFIRMATION.
I
RECONCILIATION.
Gestures
and
Attitudes.
ki-:su;M-;i> APPEAL.
ACCUSATION.
MALEDICTION,
REMORSE.
SHAME.
GRIEF.
REPROACH.
TENDER REJECTION.
PATHETIC BENEDICTION.
265
Excellence in any department can be attained only by the labor of a

lifetime.
It
is
not purchased at a lesser price.
SAMUEL JOHNSON.
MISCELLANEOUS DESIGNS.
Miscellaneous Designs.
268
XIV.
THE LAW OF ALTITUDE.
T^HE
all
rises,
shall
active
negative
positive assertion
Not
falls.
is
only
this
endeavor
agents of the eye.
below the
fall
assertion
all
by the hand, but even by the upper eyelid, as

to show when we speak of the three
exemplified
we
teaches us that
law of Altitude
of assertion
All negative gestures of assertion
level of the shoulder-line;
rise
all
positive gestures
The
above the level of the shoulder-line.
greater the degree of positiveness to be expressed, the higher
above the
level
fully illustrated
tail.
When
will
by
carried
former,
positive
dog the
of expression.
expressive agent
and tenacious, up
timid,
between the
a
the agent
animals, their
when cowardly and

is
rise
it
legs.
latter.
is
dropped
bull
goes
;
the
This
is
being the
tail
when very
but
timid,
forcibly illustrates
the
FIG. 121.
THE LAW OF ALTITUDE.
Positive and Negative Assertions.
270
XV.
FACTS OF EXPRESSION RELATIVE
*
TO THE MIND.
INDUCTION (mental), reverence (emotive),

(vital),
penetrate
all
emotive faculty
man
is
instinct
thy
is
faculty in
man
in
is
man
conscience
induction
is
the highest emotive
is
they
the
first
the highest
faculty in
in
faculty
the highest vital faculty in animal
Instinct
others
other,
the highest vital faculty
The highest mental
judgment.
;
from each
all
other qualities.
The highest mental

in
removed
farthest
Though
spring.
and sensation
are the three leading elements from which
is
form of intelligence
animal
is
animal
sympa-
sensation.
in the child,
when
he cannot yet know by induction. Instinct is an unconscious

form of the mind. Some persons come to conclusions through
that
instinct,
ble
as
the
methods.
is,
jump
at
conclusions
them; yet they are often
of
those
who proceed by
as relialogical
telligence
Judgment is a practical sense in the mind

is the
mind in the heart
while intuition is
intelligent
part
of the
emotive
nature, or
the
mind of
in-
the
the
heart.
While Delsarte was a
devout
Christian
and
reverenced
every true Christian principle, his statement in regard to

conscience has a tendency to rouse opposition in one at first
but on due consideration, and judging by the
hearing it
;
philosophy of the
chart,
there
will
be
decided
leaning
Facts of Expression relative
Mind.
to the
271
toward the Delsartean principle that conscience is not always

One can conscientiously do a wrong, bc<
a safe guide.
the
conscience
much
safer
intuition;
the
chart,
is
creature
of education.
Intuition
You cannot
guide than conscience.
park-v with
you can parley with conscience. By nii-mng to

it will
be observed that when the emotive nature
penetrates the mental, the mental being predominant,
it
be-
comes conscience.
When
mental
the
it
being predominant,
When
the
predominant,
When
it
penetrates
becomes
it
predominant,
it
three
emotive
intuition.
the
mental,
the mental
being
vital,
the vital being pre-
instinct.
penetrates the
emotive, the emotive being
penetrates
the
the
vital,
vital
being
becomes sympathy.
Let us study these nine

whence they come.
The
the
becomes sentiment.
emotive
the
emotive,
becomes judgment.
the vital
predominant,
When
it
becomes
the
the mental penetrates the
dominant,
When
vital
penetrates
faculties
attributes of the
great
more
closely,
and see
Deity are wisdom, love,
and power.
Love added to power becomes zeal.
Love added to wisdom becomes tact.
Wisdom added
Wisdom added
of
becomes
aspiration.
Power added
to
power becomes sagacity.

love becomes benevolence.
Power added
to
wisdom becomes
to
discretion.
form the six perfecting virtues in man, and

turn develop a group of nine others, which form the base
These
in
to love
all
faculties
faculties
272
Love perfected becomes reverence.

Tact perfected becomes intuition.
Aspiration perfected becomes conscience.
Wisdom
perfected becomes induction.
Sagacity perfected becomes judgment.

Discretion perfected
becomes
instinct.
Power perfected becomes sensation.

Benevolence perfected becomes sympathy.
Zeal perfected becomes sentiment.
Hence
the nine faculties as represented on the chart.
FIG. 122.
FACTS OF EXPRESSION REL/.TIVE TO THE MIND.
274
XVI.
FIG. 123.
BODILY SUBDIVISIONS.
THE
subdivision of the
sions of the
head and the
body, showing the three subdivirelative expression of each.
Also the subdivisions of the torso and the relative expression of each.
Also the subdivisions of

pressions of each.
the
limbs
and the
relative
ex-
O\\xv
Fore
FIG. 123.
BODILY SUBDIVSIONS.
276
XVII.
FIG. 124.
MAN
INTUITION
mind of the
is
BEAST.
the intelligence of our emotive nature,
the
heart.
Intelligence
The
vs.
is
the
mind
in the heart.
man is induction.
emotive in man is conscience.
animal or vital in man is judgment.
highest mental in
The highest
The highest
The
highest mental in animal
The
highest emotive in animal
The
highest animal or vital in animal
is
is
instinct.
sympathy.
is
sensation.
The highest form of the emotive element is reverence.

The highest mental form of the emotive is intuition.
The
highest animal or vital of the emotive
is
sentiment.
278
XVIII.
FIGURES 125 AND
DIVISIONS OF
HEAD.
"
FACE.
"
THE HEAD,
126.
FACE,
AND BODY.
i.
Mental
Temporal.
2.
Emotive
Parietal.
3.
Vital
Occipital.
i.
Mental
Frontal.
2.
Emotive
Buccal.
3.
Vital
Genal.
<.
BODY.
"
i.
Mental
2.
Emotive
Epigastric.
3.
Vital
Abdominal.
Thoracic.
w
a
^
<.
2.
3
to
<*
280
XIX.
FIGURES
127, 128, 129,
AND
130.
FACES.
THREE INCORRECT PROFILES

No.
i.
vs.
ONE CORRECT.
An
over-development of the mental faculat the expense of the two others; tendency,
Concave.
ties
insanity.
No.
2.
Straight.
An
over-development of the volitional facexpense of the two others

tendency
ulties at the
may
be upright, but a perverted idea of upright-
ness,
a justness leading to unjustness, the severity
characteristic of a martinet.
No.
3.
Convex.
at
the
An
over-development of the vital faculties

tendency,
expense of the two others
;
sensuality.
PERFECT.
No.
4.
that is, the

Concave, plus convex, plus straight
mental and the vital play in equilibrium about
the upright line.
The law of perfection is the
;
law of equilibrium.
becomes wrong.
we should mentalize
mental.
Every faculty over-developed
To have
the
a perfect
vital,
and
development
vitalize
the
FIG. 127.
Imperfect
Profile.
FIG. 128.
FIG. 129.
Imperfect Profile.
Imperfect Profile.
FIG. 130.
Perfect Profile.
282
XX.
FIG.
131.
DIRECTION.
LENGTH, BREADTH, THICKNESS.
THE
child
is
if
and answers the question
in
point upward.
points
upward,
And
may be
pointing
will
be
learned
may
differ,
the earth.
And
are
earthly things, that

spiritual,
same, but
Yet
in
little
toward God.
child
lives
in
China
there
all
practical
Though
pointing
from the
parts of the
globe the
each case the direction
in
is
from
in
the
lesson
to
be
direction
they
centre,
from
we go from the earth or

material, we go toward the
proportion as
is,
If a
same manner, though he
the
illustration.
this
they
the
so on different
the
different.
from
relative.
direct opposition to the child in the
in
is
it
United States.
of course
point toward heaven, he will intui-
asked to
But
tively
is
every case, away from the centre.
in
Upward means,
little
and direction
idea of distance
FIG. 131.
Direction.
284
XXI.
FIGURES 132 AND
133.
PERCEPTIONS.
THREE IMPERFECT
vs.
ONE PERFECT.
THREE CLASSES OF THINKERS.

LET
us seek to discover the law that
governs perception.
There are three co-essential factors of perception,
light, an
We cannot dispense with any of these
object, and the eye.
factors
for
if
we
had
with which to illuminate.
nothing to
we should have nothing

Without an object, we should have
not
light,
Without the eye, we should have nothing
see.
with which to see.
Corresponding to these three co-essential

factors of perception, we have the three grand factors of
God, Cosmos or Nature, and
the universe,
the light, Nature the object, and
Let us study
still
more
Man
closely the
God
Man.
is
the eye.
relation of these, each
we have
en-
deavored to represent the three groups of thinkers,

When
materialist, the rationalist, and the mysticist.
the
with
vital
the
two others.
In
the
following chart
predominates over the mental,
When
the mental predominates,
we have the
thing.
When
rationalist,
the
the mysticist,
relation
to
the
or
who
we have
that
is,
substitutes
the metaphysical,
reason
for
mystic or emotive predominates,

religionist.
light
All these
and the object.
the
the materialist.
are
wrong
It will
every-
we have
in
their
be observed,
by consulting the chart, that the materialist places the object
between himself and the
the
None
of
these
comes
beautiful
Nature
The sun
never
below the
Nature on a
distinctly
is,
level
when
his
and science form a

Religion
reflects
with
God
It
is
man.
Man
is
uim
to
that
infernal.
is
The
our vision.
to
form a right-angled
man
underneath,
perceives
clearly
and
and
above him.
trinity.
the
way
above,
it
may be
Art
said that
reflects
art,
religion,
the object,
nature.
Science discovers the re-
the light.
reflects,
is
below;
God
place
God,
lation of things,
the universe.
everything
the
object, but that which illuminate-,
same connection
this
from
horizon
hence, the perfect

that
triangle,
from
illuminates
eye must not only see the

the object;
and
rain,
Light,
because
above,
to the individual.
never
is
correct.
is
from
comes the good
In
rationalist places hi:
The mysticist places the

object and the light.
between himself and the object.
between
light
The
light.
285
purely and simply, the things in
why and
the wherefore, or the lumi-
nous eye corresponding to the light. Take from religion its

Neither art, nor
art and science, and it is inharmonious.
science, nor religion can be complete without the other two.
God
is
reflect
the cfeator, and

his
creative
we
power.
based upon science, then you
reflect
art
in
art
so
far
with
your
have the perfect
Inspire
will
his
as
we
religion
trinity.
1W \oxxa\\5Y
FIG. 132,
Imperfect Perceptions.
FIG. 133
Perfect Perception.
288
XXII.
FIG. 134.
PROFILE VIEW OF THE EYE.
THE
The
pupil of the eye

iris
of the eye
is
is
one third the diameter of the
iris.
one third the diameter of the globe.

appears a straight line drawn
In the chart of the eye
through the centre.
All
negative or subjective;
positive or objective.
lid rises;
upper
all
In
in all negative
lid is
activity
activity
all
below the central
line
is
above the central
line
is
expression
positive
expression the upper
i.
Shows
No.
2.
The
lid
drops to the top of the
No.
3.
The
lid
covers one half of the
No.
4.
The
lid
covers one ninth of the pupil,
5.
No.
6.
No.
7.
No.
8.
No.
9.
upper
falls.
The
the agent of the will in the mind.
No.
No.
lid
the
all
the white of the eye,
Frantic Desire.
iris,
iris,
Eagerness.
Animated Attention.
Calm Attention.
The lid covers one third of the pupil

Indifference.
The lid covers two thirds of the pupil
Introspection.
The lid covers eight ninths of the pupil,
Somnolence.
The lid covers all the pupil and the iris,
Prostration.
The eye is entirely closed,
Sleep or Death.
FIG
134.
Eye-profile.
2 go
XXIII.
FIG.
135.
THREE-FOLD LOVE.
THERE
elements
God, neighbor, self.

Love the Lord thy God with all thy heart, and thy neighbor as thyself." We cannot obey the first and disobey the
are
three
in
love,
"
last.
We
this threefold principle
have illustrated
by
the old-
fashioned balance, or scales, with neighbor on one side, self
on the other, and
the
of self
however,
the
love
there
no
likelihood
true
is
perpendicular
central
is
of
lost,
outweighs
its
pointing to
the *love
tipping
and we
God and man. It is only when

beam is upright. Our neighbor
or bless.
lever
fail
the
in
of
God.
neighbor,
other way,
our
If,
duty
the
toward
the scales balance that the

is
he
whom we
can serve
FIG.
Three-fold Love,
135-
God, Neighbor,
Self.
FIG. 136.
Vitality vs. Mentality.
FIG. 137-
Mentality vs. Vitality
The
well,
talent
of
success is nothing
and doing well whatever you
more than doing what you can do

do, without a thought of fame.
LONGFELLOW.
DELSARTEAN TRINITIES;
OR,
MAN AS A TRIUNE
THEORETICAL,
BEING.
Know,
then, thyself;
presume not God
The proper study of mankind
is
to scan
man.
POPE,
XXIV.
DELSARTEAN
TRINITIES.
THEORETICAL.
r
"HE
-*-
with
Delsartean
the
not
to
that
it
is
our purpose to deal
not with the philosopher,
teacher.
the
say
and
philosophy;
philosophy,
teachings,
enough
pages treat of the theoretical side of the
following
during
We
will
pause,
the
life
of
with
the
however,
long
Delsarte
Francois
one could point to him and say with* truth, " There is the
There was not a
great master of expression of the world."
thought that found
having with
sarte,
it
action, which,
subsequent
by him
transferred
students
legacy,
as if
to the
the most skilful
it
when
printed
by Del-
and
page, or wrought upon canvas
To
artist.
those of us w ho
r
faithful
he
followers,
though not perhaps
so
to
with the key furnished
great
by
has
a
this
great
rich
this
left
degree
itself in
by
have been ear-
but so
the expression,
master,
we
can,
sitting or walking with you, or talking to you, divine
the thought that has not yet found

it
seen
had been given vocal expression, or
faithfully does the impression register

that,
if
could not as quickly, as readily, and as accurately be
divined
nest
mind of a human being,
into the
way
its
has been telling
accurate
its
agencies.
time-worn, well-beaten
every individual
who
of that
lie
pathway
story
We
by
are
its
vocal expression,
other and stronger and
now about
path,
a path
to
travel
travelled
for
more
on an
perhaps
old,
by
these pages; but the
beauties
hidden to the casual observer.
Having
peruses
Delsartean Trinities.
300
travelled
pleasant and
this
soul-enchanting route for many

our footsteps many, many a time, we
familiar with its objects of interest and
years, having retraced
more or
are
less
beauty.
Hence, to the searcher
vices
the
that
by
our ser-
offer
we have had ô pass
years of labor through which
in clear-
driftwood of prejudice and objectionable tech-
the
away
ing
we
after truth
capacity of guide or* interpreter, assuring him

the acceptance thereof he will avoid the many
in
nique that have so long been a barrier to those whose time
and
opportunity have not
golden harvest, then,
is
been ample
the
for
The
task.
yours, reader.
Before proceeding on our journey, it is essential that we

should come to a general understanding of what constitutes ex-
The
pression.
inner
man
known only by expression;
is
by what we know outwardly.
is,
man
from
differs
Whatever
there
is
is
its
spread
light
laid
an
outer.
Let us see where the inner

is
Myself
in the earth
away
an old
expression,
is
my
not
I,
not
garment
it
body.
is
the nest, the soul
of endless
day."
soul
demands a new
away
the old one,
fold duties
it
the
wings and soar away
When
deeming
it
has performed
that cling around
it,
and
just
as
bird
so-called,
our friends
soul.
impatient
into the resplendent
death,
casket,
restless
only
which
for
no further use, the casket which contained the
"The body
to.
be
shall
remains of
the
the
that
sun-
appears, the
tenderly
lay
sacred on account of the mani-
and they cherish the memories

the fond mother cherishes the
memories that linger around the little worn shoe and the little
worn stocking. Why? Because they have become endeared
by
their association with the

world-journeying tenant.
Let
Is
it,
inward,
then, be
understood that when we speak of what
we symbolize what
is
upward, heavenly.
When
we speak of what
ward,
and
we symbolize what
outward,
Thus,
earthly.
"
is
"
inward
"
and " upward,"
downward," are correlative terms.

"
we mean those forms
pression
indicated
by
down-
is
"
outward
"
Therefore, by
of manifestation
"
ex-
which are
We
should not expect much

had no impression
neither
the laws of Nature.
from one who
expression
301
has
should we expect a good performance from one who has not
had a clear perception of that
by a
illustrated
The
the
sion,
child
be performed.
to
school
in
during
This
oral
his
well
is
exercises.
teacher gives him a mathematical problem which, as
and you
will readily perceive
Suppose the teacher
with the thought.

"
problem
self at
How many
6 per cent
Mark the boy's expreshow much he is impressed
he repeats.
or was,
custom,
is
will
years
it
interest?"
compound
way
the thought and sees his
states
the
take $500 to
clearly,
following
double
it-
If the pupil possesses
he repeats the question
quietly and assuredly; but in the absence of the knowledge

"
How many years,
he will boldly and loudly repeat it thus
:
how many years will it take

take
how
many years will it take $500
$500
This
to double itself at 6 per cent compound interest?"
idea
how
to
solve
has
no
of
the
result,
boy knows nothing
how many
to
years will
double
it
itself
the problem, but reiterates
it
with an
air
of assumed knowl-
edge, waiting for some one to tell him. This we know to

be true both by observation and experience. The first boy
possesses the knowledge, and shows it by the quality of the
voice;
the second
boy assumes
by the quantity of his voice.

man, only a little more so.
it
The
public
long while
in
the
As
speaker
who
has
saying
that
nothing,
knowledge, and
is
the
boy, so
shows
is
the
nothing to say, but takes a
grows more and
more
302
vehement and demonstrative the more shallow becomes
When
each
moment
for
thought.
pause
and if
he. can
find
succeeding
struggle
some new thought

it
nowhere
is
to
he
else,
his
over, he
pass
seeks
will
that way,
for
it
in
glass of water, or perhaps in the use of the kerchief when

wiping the perspiration from his heated brow. Listen to the
who upon
orator
a certain occasion soared to a dizzy height
on the wings of eloquence, and when he had completed his

aerial flight, he hurled forth, in a
grandiloquent manner,
"
this sublime thought
My friends, by the most careful
:
research,
by
most
the
and
study,
diligent
by the
most
thorough investigation, it has been discovered that those

and those towns and those villages and those hamcities
have a large number of people in them have a
greater population than those cities and those^ towns and
those villages and those hamlets that have a less number
that
lets
expression devoid of impression

people in them,"
hence but on the surface, or words as words, not thoughts
of
as
thoughts.
Let us bear
makes the most
noise."
loudest tick that
is
are
by no means
It
that
"
an empty wagon
not always the clock with the
is
the best.
scarce;
mind
in
Such speakers
as the foregoing
they belong to the class that mis-
take motion for emotion, and perspiration for inspiration.
The
bound.
perfection of oratory
It
requires
work
as
is
not to be reached at a single
well
as
knowledge.
We
often
there is no royal highway to knowledge.

none other than the royal highway, for only
ay, kings and queens
kings and queens can walk therein,
made so through the office of one's own mentality. There
hear
it
said
Surely there
that
is
are three degrees to be conferred

in this superior realm;
first,
the
upon
trial,
all
who would
that
is,
reign
the planting
of the roots
second, the initiation,
303
that
is,
the enlighten-
ment of those who enter the sacred place of Nature;

the
that
consummation,
Before the
enter.
the
is,
perfection
we must have
fruits
of
third,
those
As
the roots.
who
is
it
with the seed
in the earth, so it is with

everything that we
our own souls and our own minds. This is the phi-
plant in
losophy of the divine method
Having come
pression,"
ing in
this
we
to a general understanding of the
will
reference
philosophy.
rian
term
"
ex-
endeavor to come to the same understandthe
to
Some
trinity
of expression
as
applied to
teachers have discarded this
on the basis of
idea,
Nature.
in
its
being
trinita-
It
misleading.
the
is
very tripod upon which rests this grand and solid structure,
and when taught in accordance with the teachings of DelIt was never taught by the master
sarte, it cannot mislead.
a
as
doctrinal
Nature,
true
with
"
the
reverse
is
a manifest
co-essential,
part
of
interpenetrat"
"
not confound the term
trinity
each object being independent of the other;
triplicity,"
true
is
trinity
things,
Do
and co-existent.
ing,
trinity.
a unity of three
of
It
trinity.
ceive of anything in Nature that
is
is
impossible to con-
not a
In order
trinity.
must possess at least one form

anything may
of trinity,
Common to all
length, breadth, and thickness.
the facts of the universe, we have trinity, opposition, and
that
it
exist,
evolution.
Let
us
look
for
principle of the
in
all
this
world
science,
trinity.
a
to
What
moment
system
lies
universal
all
is
things
requisite
Three expressions are
in
at
law of
the
the
formula which
possible.
for
requisite^
the
trinity.
The
statement that there
may be
This
is
applied to
formula
is
the
formation of a trinity?
each presupposing and im-
304
Each of the three terms must imply
plying the other two.

other
the
Each of the three forms must imply the
two.
There must also be an absolute co-necessity be-
other two.
Thus, the three principles of our being,

life,
a
form
Because
life
and
soul,
trinity.
Why?
tween them.
mind, and
mind
and the same
are one
Soul and mind are one and
soul.
Life and soul are one and tlj

same mind.
the same life.
The number three was held sacred by the ancients, it being
thought the most perfect of all numbers, as having regard

The Chinese take the
to the beginning, middle, and end.
and harmony,
to signify union
triangle
man, the heaven, and the
to
is
good of
of inestimable value to
"
comply with the
injunction,
Having a perfect knowledge of
thyself."
chief
earth.
This philosophy of expression
any one who wishes
the
you
self,
Know
will
be
the better able to analyze the mental, emotive, and vital natures
also
that
of those
enable
to
you
desire
you
studied
this
whom you come
with
to
fully
Salvini, the great
three
for
teaching of the great master.

entranced,
as
you
contact.
yourself with
identify
portray.
philosophy
in
will
characters
Italian actor,
under
years
It
the
direct
Those of you who have
sat
needs must have, know that his expres-
through the various channels other than speech, was

such that words were superfluous.
The late unfortunate
sion,
John McCullough began his most successful career as an

actor after he had begun the study of this philosophy, some
ten years before his death.
Edwin Forrest, about two years
prior
to
his
death,
thrown floods of
has
given
own
art
me
than
said:
light
upon
a deeper
I
''This
my
insight
mind.
into
had myself learned
philosophy has
In fifteen minutes it
Delsarte
the
philosophy of
in fifty years
my
of study."
Mary Anderson
a
more
herself to
this
study for
We
perfect posing of the character of Galatea.
assured
the
diligently devoted
305
who study
of you
those
that
of familiarizing
purpose
this
yourselves
feel
philosophy for
with
its
principles
to be as the very
key of Nature. The study is a

and
we
doubt
not but that it will readily
charming one;
will find
it
commend
the
the
as
as
after
portal
we
trust
the
until
interesting,
desire
and your very life-blood
infatuation,
but pleasurable sensations.
culiar
knowledge dawns on
portal
of knowledge,
unfolding
grow intensely
inkling of
first
and
mind;
inquiring
the
in
itself,
It
is
passed
become
tingle with
true,
will
subject
have
shall
will
is
its
pe-
may be
this
accomplished under the direct guidance of the living teacher; but we will endeavor to breathe life into the
dead words upon the printed page, and make them speak
better
for us.
Come
we
with us as
introduce these
trinities
one by one,
and show you the significance of each. We do not purpose

giving all the trinities that have come under our notice,
there
is
dwell
at
call
limit to
scarcely any
length upon some
especial attention to those
topics,
and
gestures,
as
we have
emotive, and
emotional
affective,
by
its
order,
divisions
the
that
is,
give;
but we will
bearing most on our leading
is
a triune being; that
mental
"
mental,
refer to the intellectual
we imply the heart,

by "vital" we imply the physi-
It is
necessary to consider,
subject of the
the
we
is,
the " emotive"
nature;
cal or sensitive nature.

in
"
By
;
shall
to
adding to these only such

most helpful to the student.
stated,
vital.
or reflective nature
we
intend
attitudes,
explanations as will be
Man,
nor do we
them,
that
first
bodily divisions
thirteen
trinities.
Bear
first,
each
and
sub-
in
mind
306
every trinity throughout the chart should be preceded
that
by the terms
the
"
"
emotive,"
"
vital
"
;
every case
in
occupying the upper line of each

throughout the entire chart, the emotive or volitional
mental or
trinity
mental,"
the centre
intellectual
the vital or physical the lower line.
line,
DELSARTEAN TRINITIES.
f
Head.
BODY. J Torso
( Limbs
( Frontal
FACE.
J Buccal
(
LEG.
<
HEAD.
trunk.
Genal
arms and
<
mouth and
chin.
ARM.
Wrist.
EYE.
Shoulder.
<
Palm.
Thumb.
Brow.
<
Upper
Lower
( Outer.
..
< Centre.
Itf
Inner
AN
lateral.
"
back.
upper.
centre.
Abdominal
Hand and wrist.

Forearm and elbow.
Upper arm and shoulder.
<
( Fingers.
HAND.
temples.
"
( Heel.
EAR.
Parietal
forehead and eye.

( Thoracic
nose and cheek.
TORSO. < Epigastric
Foot and ankle.

Calf and knee.
Thigh and hip.
Centre.
Temporal bone
( Occipital
legs.
( Ball.
FOOT.
-3
lower.
( Tip.
FINGERS.
<
Centre.
Base.
Pupil.
EYE.
lid.
Head
Heart
Iris.
White.
lid.
Reflective
~ Affective ~
Abdomen
Sensitive
Thinking.
Feeling.
Cold
THE
VOICE. J
Disputatious
Ice
Frozen.
Emotional
Air
Liquid.
Warm
-j
Water
Antagonistic
( Fiery
STRESS,
307
Radical
>
Median
<>
INFLECTION.
Terminal <"
Musrc.
Rising.
<
Monotone.
( Falling.
Melody
Sol.
<
Harmony
Rhythm
Mi.
Steam.
TASTE.
Do.
Sour.
Sweet.
( Bitter.
Driver
Guide
Designs.
Passen g er
Impels
Purposes.
1
Sustains
Constructs.
( Horse
VALUED
Blue.
GRACE.
COLOR. < Yellow.
(Red.
MAN
vs.
ANIMAL.
Precision.
<
Harmony.
Ease.
Summit.
<
Centre.
QUANTITY,
Weight.
-j
( Measure.
THREE DIVINE
ATTRIBUTES.
at
THREEFOLD LANGUAGE.
trinity
Love.
( Speech.
< Gesture.
(
each
Wisdom.
Power.
( Base.
Let us look
Number.
separately
and we
Voice.
will
en-
deavor to so represent them that they shall be readily impressed and easily retained. The first is the division of the
body as a whole; that is, the head, the torso, and the limbs.
The orator is the head, heart, and motive power of his
audience.
The audience are the limbs. We say the head
is
of
mental or
men
intellectual.
of thought.
"
He
To
illustrate
the mental,
we speak
We
speak of
has a long head."
the torso as being emotive or volitional.
"Volitional" signifies
308
pertaining to the
or
will,
with the desires or the
more
especially, in this connection,
of the being.
love
The
torso con-
two great motive organs of the body,

the heart
and the lungs. Hence, to illustrate the emotive or volitional,
tains the
we speak of "men of
"He
heart."
We
has a large heart."
designate the limbs as vital or physical, and to illustrate this

a
as
The
of power, of heroism.
whole, both signify power.

"
He
the
of
division
that
occupies
the
has
and the arms, taken
legs
"
He
stretched
to
applied
in
known
part
as
his
arm."
same
three
forth
have
ear
his
one who
"
is
toward
the
common
a very
seeking a
is
the
The men-
vital.
the temporal
as
of the ear and
region
flea
head we
the
the mental, emotive, and
important factors,
is,
of action,
stood like a hero."
In
tal
we speak of men
element,
predominating
zone
forehead.
expression
way out of
that
"
He
when
difficulty
his fingers seek the

and does not know just what to do
is
there.
The
because
the
mind
zone,
strategic
temporal
;
top of the head
represents the emotive ele-
parietal zone
as in
ment, and the hand will seek this region in remorse
The
saying, "Oh, what have I done?" also "Nevermore!"
;
back
head
of the
vital part
of the hand
he
is
lect:
man who
trying to recall
"
Lemme
see,
zone
the
vital
intoxicated will rub the hand
the
occipital
element.
is
represents
over this region of the head when
some thought from
lemme
his
clouded
intel-
see."
Let us note briefly the attitude of the head.
HEAD.
In the normal
but accentric,
attitude, the
head
is
neither high nor low,
with a centre evenly poised.
In
the
con-
toward
attitude
centric
and denotes
the
reflective
away from the centre

the vital state.
centre
It is
head
the
In
state.
309
the head
the
is
is
lowered,
eccentric
attitude
elevated, and denotes
necessary to keep constantly in view the

must be based on the condition of other
fact that all decision
being equal. The reflective state causes a man to

carry his head low, that is, inclined forward, and we say
things
of him, he
is
judge whether
to
weakness.
In
him who
carries
again
same manner, we are too apt to think of

his head high that he is egotistical.
Here
able to judge.
of strong
unless
physique,
head high.
carry the
variably
deep thought or shame or grief or
is
it
must, however, be able
the
we must be
Men
We
deep thinker.
in
deep
meditation, in-
well-filled
head mentally
will naturally incline forward, while the vital
energy,
be erect
the
cause
buoyancy
may
or slightly thrown back.
When
of
"
health,
man
as
You
at that wheat-field.
are
well
will
answer
to
the
all
while those
power,
body,
to
said
to
wag
you
replied,
carry
"Look
the heads that

are
that
empty
heads of wheat, and was apropos
wag, but
the
don't
observe that
forward,
This applies to
are up."
in
incline
filled
it,
side,
by
Why
do?" the thoughtful man
his
thought
your head up
nature
as
it
not
is
always a criterion
of
The head thrown back may also denote exaltation, but if the movement backward is brusque,
is
it
the menace of a weak man. The movement upward,
the
seat of intellect.
with elevated chin, indicates interrogation, hope, desire.
movement
mation, but
lute
man.
gesture,
is
of the
if
The
The
head forward means confirmation or
affir-
menace of a
reso-
brusque forward,
rotary
opposed
to
it
movement
the
line
is
the
of the
head, like
of affirmation
that
hence
of
it
3 io
signifies negation.
If these
shoulder to
shoulder,
it
movements of the head

impatience or
signifies
are from
If
regret.
movement ends toward
the interlocutor, it is simply neends

opposite to him, it is distrust added
gation;
If the head inclines toward the interloto the negation.
an act of faith
if away from the
cutor, it is veneration,
the
but
if
interlocutor,
it
it
my
for instance, a
be
The movement of
lady.
chin and
the
admiration
is
stratagem
gentleman
ner he admires her.
is
or
is
head
his
When
observing a young
will tell
the head
you
in
what man-
thrown from, and the
is
lower part of the face toward the object, his

sensual
but
the head
if
thrown toward,
is
it
affectionate, based more on feeling than on

If the head is toward and slightly to the side, it is
pleasing and
intellect.
humiliation
based on
eyes down,
it
it
eyes up,
is
If the
intellect.
affection
is
but
if
head
the head
head
If the
scrutinizing.
is
is
sidewise
dressed
man
things
loves
ties,
toward
In conversing
the
person ad-
Delsarte says,
when
woman's hand, we may affirm one of three

he does not love her, if his head remains straight
presses a
:
first,
or slightly bent
derly,
leans
the spiritual side predominates.
and the
The head
denotes an element of suspicion.
with the individual, the head

if
toward and
toward and the
is
eye is toward,
thrown backward to the side denotes exaltation.
it
Supposing,
suspicion.
admiring or
if
when
he bows his head
her sensually,
if
facing
on looking
shoulder that
is
that
at
her; second, he
obliquely toward
is,
solely for
her he
opposite to
tudes of the head and the
her.
moves
loves
her ten-
her; third, he
her physical qualihis
head toward the
Such are indeed the
eyes which
may
colorless; second, affectional; third, sensual.
be termed
attifirst,
Delsartean
Trinities.
311
FACE.
The
face of itself
ment, known as the
is
The mental
a very great study.
frontal,
ele-
occupies that region including the
To
illustrate this element, we speak of

one whose understanding is clear, one who looks into a subOf such a one we say: " He is a
ject and sees a reason.
forehead and eyes.
The emotive element, which
clear-sighted man."
known
is
as
the buccal zone,
is expressed by that
portion of the face innose and the cheek.
Wishing to represent this
cluding the
element,
" a
is,
known
we speak of one whose perceptions are

keen-scented man."
The vital element
as genal, has
The mouth zone

sound,
it
represents
The
and touch.
taste,
often in succession,
is
three
vital
that
face
chin.
elements,
fingering of one's chin, to caress
equivalent to saying: "I hardly see
This
of that difficulty."
way out
strong
of the
mouth and
representative in the
its
keen,
quence than when he has a
flea. in
is
of more vital conse-
That we
his ear.
may
more impress the nature of these three zones, we will

consider them in their relation to kissing.
Inasmuch as a restill
between the eyes and the brain (mental)

the nose and the lungs (emotive)
the mouth and the stomlationship
exists
ach
the giver of the kiss must be
(vital),
three impulses
when
moved by one of
kissing an adult; his thought and feeling
being betrayed not only by the manner of imparting the

but by the
section
forehead or eyes,
upon
it
the cheek,
may
vital
still
it
on which he bestows
mental,
If
it.
kiss,
upon the
and shows great respect;
it
is
is
love pure and simple;
if
upon
the
if
lips,
contain the elements of respect and love, but the
element
is
the predominating one,
it
is
love intensified.
312
Present your hand
forehead to
or
your cheek to your
stranger to be kissed,
friend, but reserve your
for
lips
your
lover.
The
must speak,
face
it
The tones of
must have charm.
The
the voice vary according to the expression of the face.

face
the mirror of the soul, because
is
the most impres-
is
it
sionable agent, and consequently the most faithjul in rendering
the impressions of the soul.

tions be read in
expressions of the features, but, by an
the
conformation
of the
inspection
Not only may momentary emoof
the
the
face,
aptitude,
and individual temperament may be determined. There is homogeneity between the face, the eyebrow,
and the hand. The degree and nature of the emotion must
thought, character,
be shown
in
the
The hand
is
simply another expression of the face; the face
hand
the
gives
facial
face, otherwise the
its
be grimace.
result will
Hand movements
significance.
expression would be simply automatic,
without
the face
is
the
hand completes the sense. There are movefirst

ments of the hands impossible to the face. Hence, without
word, the
the hand the face
The hand
cannot express everything.
is
the detailed explanation of what the face has sought to say.

If the
hand
potence
weak and the
is
the
if
sign of perfidy,
hand
is
face
strong and the
an emotional
face
The
lie.
is
agents of expression
in
the agent of the mental principle, the
the vital
principle.
principle,
We
the
nose
is
the
weak,
it
is
tones of the voice
vary also according to the expression of the

three motive
a sign of im-
is
it
strong,
the
face.
face,
mouth
agent
is
There are
the eye
of the
will consider all these separately.
is
the agent of
emotive
313
JAW.
1.
in
2.
in
The jaw
suspension of energy
slightly
dropped
entirely
dropped and back, paralysis of energy
signifies
force.
The jaw
force.
3.
The jaw brought
rigidly
up and forward, exaltation of
in force.
energy
LIPS.
The upper
will
in
mouth
1.
2.
3.
4.
lip
force.
signifies sensitiveness in force, the
The
The
The
The
parted signify abandon, suspense.
lips slightly
lips closely shut, firmness.

lips
lips
completely apart, astonishment.

slightly
The
lips
apart,
The
lips
The
9.
The
The
that
that
is,
corners
is,
of
mouth depressed,
grief.
discontent.
completely apart, corners depressed, disapproval

is,
horror.
lips slightly apart,
and abandon
8.
closely shut, the corners depressed, disapproval
and astonishment; that

7.
or
and firmness
6.
lip
lips
There are nine expressions of the
disapproval and abandon

5.
lower
that
is,
corners of
mouth
raised, approval
joy and pleasure.
lips closely shut,
corners of
mouth
raised, approval.
lips completely apart, corners raised, approval and
astonishment;
that
is,
hilarity, laughter.
NOSE.
The nose
reveals the will or desire.
The noses of
nations reveal the leading desire of that nation
for
different
example,
314
the
Roman
Greek
nose denotes conquest, sometimes cruelty; the

nose ethics and beauty; the Turk's nose sensuality.
There are nine expressions of

1.
When
serenity,
are
nostrils
nose.
in
repose
they
signify
calm,
indifference.
When
2.
the
nostrils are
contracted, they signify insensi-
hardness, cruelty.
bility,
3.
the
tlie
When
the
nostrils
are
they signify sensibility,
dilated,
excitement, passion.
4.
When
brows,
it
between
is
wrinkled, laterally, between the
eye-
signifies aggression.
When
5.
the nose
the nostrils are contracted and the nose wrinkled
the
eyebrows,
it
aggression and
signifies
cruelty,
equal to hate.
6.
When
the nostrils are dilated and the nose wrinkled be-
tween the eyebrows,

7.
When
it
and scorn,
signifies aggression
fury.
the nostrils are raised, they indicate sensuousness,
lasciviousness.
When
8.
the nostrils are contracted and raised, they signify
sensuousness, and insensibility or rejection,

9.
When
the
nostrils
are dilated
sensuousness and excitement,
and
contempt.
raised,
they signify
scorn.
TORSO.
The
torso
upper
third,
as
as
it
trunk
is
mental;
has three divisions.

it
is
The
thoracic zone,
the seat of honor.
does, the greater portion of the lungs,
it is
Containing,
called mental,
through their action we have inspiration and expiration.

The emotive or volitional element of the torso is represented
by the
epigastric zone,
the centre.
It is the seat
of affection.
It
The
pertains to the love of the being.
always used
in
Our
contained.
as expressive
metaphor
entire being
organ with
being,
this
body.
When
the heart
its
is
affected
is
As
normal action of this organ.
315
an organ
heart
of love
herein
is
in the
by any change
love governs and directs our
life-giving
food
overburdened,
our entire
feeds
how
often
tells
it
its
mental agent.
sad,
by
sigh follows deep thought, because there has been little breath taken
the sigh,
sad story
When
in.
mentalized
the
is
Sorrow then
It is
vital
is
is
the
vitalized,
An
expressive of
audible expiration
The
is
decreases.
it
being equal,
will
its
increases
when
audible inspiration, other things

grief,
An
sorrow, dissimulation.
expressive of tenderness, love, sympathy.
inspiratory, happiness
element
pulse
is
well represented
is
expiratory.
by the abdominal zone.
Gestures departing from this zone
the seat of appetites.
are considered unrefined.
There are also three forms of expression in the

Its bearings and
bearings, attitudes, and inflections.
are the
most deeply expressive.
attitudes
of the
torso
that
condition of the torso in
is,
attitudes
There are three conditional

those produced
by physical
of
excitement,
itself.
1.
Expansion, indicating different degrees
vehemence, and power in the will.
2.
torso,
Contraction, indicating different degrees of timidity, fear,
pain, or convulsion of will.

3.
Relaxation,
indicating
different
degrees
of
surrender,
indolence, intoxication, prostration, or insensibility in the
There are three
relative attitudes of the torso, that
is,
will.
those
relating the torso to the object in nature or to the object in
the mind.
I.
Leaning
to
the
object.
If the
attitude
is
direct,
its
316
If the attitude
or objective.
attraction
is
vital
attraction
is
emotive or subjective.
Leaning from the object.
2.
objective
If the
repulsion.
If direct,
attitude
signifies vital
it
is
oblique, the
is
it
oblique,
or
signifies
emotive or subjective repulsion.
Leaning
3.
humility,
before
the
denotes
object
shame, or obsequiousness.
If
vital
or objective
denotes
it
oblique,
emotive or subjective humility, shame, or reverence.
There are three
inflections of the torso.
Its inflections are
indicative of weakness, real or assumed.
all
and down indicates the despair of the weak,

tion of the will, alternately excited and depressed.
1.
Up
2.
From
the
will,
side to
side
indicates
tience, spasmodic convulsion of the
The
carelessness, vacillation
indicates
will,
weight and centre of the body, as
being.
the weight and centre of the being.
to
impawill.
torso of itself represents the emotive element, the love
of the
so
childish
chaos of the
love
is
of
indifference to the equilibrium of the will.
Twisted or rotary movement
3.
oscilla-
speak,
It
is
the
It
the core,
is
of the man.
LEG.
In the three divisions of the leg,
ment represented by the

mental expression.
It
foot.
foot
is
the mental ele-
a strong agent of
stamps, taps, advances, recedes, shuffles,
The emotive element has
etc.
The
we have
its
representative in the calf and
and other things being equal, a man who is weak in the

knees, especially on the rostrum or in the pulpit, is morally
knee
weak
he cannot be relied upon, especially
emergency.
into
The knee brings
prominence.
in
times
of great
the emotive section of the leg
In the expression of reverence
we
kneel.
"
Every knee
bow."
In this
of our will to that of others.
tion
agent of the
the vital
is
shall
"
power.
leg,
and being
"
vital
is
this
hip and
of the
portion
need of muscular development.
leg has greatest
of
typical
He smote him
For any great power of action
thigh."
we express the subordinaThe upper leg, or thigh,
have thee on the hip."
The
vital
The first impulse of the leg

from the thigh. These three agents
of expression of the mental, emotive, and vital, may be represented as follows one stamps the foot in mental excitement,
force flows
into this part.
first
walking should be
in
felt
kneels in reverence or love, and slaps the thigh as an expression of vital satisfaction.
ARM.
In the division of the arm, the hand
be said to be the mind
may
It
the dude, or in fact of any idiot,
The hand has
absent.
the
eye.
That
it.
the
in
it is
various
is
uses
emotive element.
The forearm
arms."
Supposing we wish
child,
or a
little
"
but
mind
is
it
is
deal with thoughts
the expression
to
"
:
Do
a representative of the
exhibits, with
fine effect, the
Christ carried the lambs
larger one,
if
We
it.
in
his
put our arm around a little

would we be satisfied with
our feeling was

in
emotive
had the heart element
simple pressure of the hand?
we
limp, because the
Hence
The forearm
love element of the being.
it,
The hand of
mental,
assigned to
you grasp the idea?"
purely mental
the mental agent.
a close relationship with
as we deal with tangible objects.
the
is
is
sensation.
its companion,
and the hand emphasizes its
he eye beholds the object, the hand designates
the agent of the brain, we have undeniable proof
The eye
expression.
in
Yes;
if
should not rest satisfied until the forearm drew the child
318
If
closely to us.
arm would
assert
As
upper arm.
our love was strongly vital, then the upper

itself.
Let us see the significance of the
the thigh
arm
so the upper
are undeveloped.
the blows that
tell,
and strength of the
"
if
leg,
The
and strength of the arm.
life
arm
the
in
life
from the brain into that section.
vital force flows first
can be no force
the
is
the
is
There
arm
the muscles of the upper
Such are
Strike out from the shoulder."
whether they are struck mentally, morally,
or physically.
FOOT.
The foot, also, has three subdivisions.

when the weight is thrown thereon it
The
but
other things being equal,
or,
is
passive.
vital
when
poise
The
centre of the foot
centre
of the
may show
is
fact that
mental.
negation;
emotive.
is
when
It
may
is
the weight
is
heel
impatience.
in
doubt.
be termed neutral,
body
the proper centre
the possession of any faculty.
When
is,
the weight of the
which
foot,
that
vital,
The
timidity.
The tapping of the heel shows

in
is
indicates reflection,
may show
backward
We
from the
it
heel
The
is
over the
of gravity,
it
ball of the foot
thrown thereon,
it
shows
We
mental impatience, the ball of the foot being active.
and when
poise forward in assertion that is, when we accept
;
we accept we
are willing to assert.
It is said that
nature has
cut a cross on the bottom of every well-formed foot.

are three great centres of gravity in man,
and the torso.

earth
the eyes
The
feet
show the
the
feet,
There
the eyes,
show the relation he bears to the

relation
he bears to the object
torso shows the relation he bears to himself.
the
319
HAND.
The hand,
are
fingers
has
also,
very
The
sensitiveness
sensitive
French
and
head
of thoughts
The
memory.
mum."
It
to
index finger
substances,
Each
has
finger
do with a granulated
in
we
its
"
lips
signifies,
we
use
If
with the
it
with carneous
middle finger and thumb.
the
must
function.
test
if
Keep
speech
separate
object,
any
recalling
tap at the door of
connection with the thumb;
If
the
and impressionable, we use the third finger;
delicate
is
if it
pulverized,
the finger as the
The index
will
the
show
but to recall a
demonstrates that the portals of
object
is
fingers
man
activity of the
in
finger,
placed upon the
finger
remain closed.
we have
the
all
whole
Italians
by the great
one thought, we naturally use the one
number
fingers as a
With a
placing the hand to the
In
fingers.
element.
active.
an over-developed
The
subdivisions.
its
mental
represent the
we
test
body
finger
it
is
with the
solid,
while the two fingers between
We
delicate, or
humid,
masculine, the
is
little finger.
little
finger
is
change
powdered.
feminine,
The
are termed affectionate.
index finger used in gesticulation shows fact and judgment.

Imagine one gesticulating with the little finger in making a
mathematical statement
though
subtlety,
use
its
When Lady Macbeth

"
Your
face,
The
is
little
finger
largely
shows cunning or
governed
by the
eye.
says,
my thane,
is
as a
book where men
May read strange matters. To beguile the time,

Look like the time bear welcome in your eye,
;
Your hand, your tongue look

But be the serpent under 't,"
:
the
expression
of
the
be the serpent under
voice
like the
in
"
it
changes
innocent flower,
uttering
to
the
words
"
but
an element of secrecy
320
and subtlety; and immediately the hand, being left to

will correspond, that is, the second and third fingers will
itself,
close,
leaving judgment and subtlety alone to express the thought.

The second and third fingers, representing affection, pass out
of immediate action and out of sight.
The use of
refinement.
stand,
it,
but
may
it
if
the
finger also
little
When
one
lifts
delicacy and
represents
from a table or
a heavy object
require the strength of the entire hand to grasp
the object
the individual
may
is
the delicacy and refinement of
light,
be observed by the
little
finger not touch-
Supposing a lady observes a speck of dust

of a gentleman's coat,
and a lady often will
ing the object.
on the lapel
what finger or
observe the finest particle,

use in brushing
it
off
It
young man
finger, she has told that
she
that
ment.
is
depends.
generally lacking
Neither
will
the
tion for her, although
little
in
in the
fingers will
If she uses the index
unmistakable language
emotional ele-
heart or
finger be the best
shows greater delicacy.
it
she
commendaIf the heart
element predominates, as is likely in one who is so observing,

she will use the two middle fingers; that is, the second and
third.
She
will
use them,
Oh, so gently! and whether she

it will be in
perfect keeping
speaks vocally or with her eyes,

with the gentle touch.
In later years,
when she
is
brushing
the same gentleman's coat (possibly the gentleman as well as

the coat
may
have changed), she
to say, to brush
love
him
it
in
is
not so likely,
many
are sorry
She may still

and per-
the same tender way.
as of yore; but the
we
duties and cares
have made her more practical, and striking the

"
John, there 's
lapel with a full open hand, she will exclaim
Pause a
the
on
coat.
brush."
Go, get
something
your
plexities of
life
moment, and think what
finger or fingers
would be used
in
soothing a pain.
321
Surely none other
and
The palm of
the hand
generally considered
is
than the second
the fingers representing the heart element.
third,
revelatory in
is
vital,
but
in
its
its
expression, and
analysis
concerning
hand-shaking we term the palm emotive, because
We
the heart element.
and
Why
element.
heart
is
itself
cold
is
the heart
to
shake the
of a
fingers
favor on you
ferring a great
a moment.
She claims
we
reply,
or to retain
it
that
is
lady's
If offered,
it.
by allowing you
would not do
it
it
privilege
agents.
is
thumb
the
than
if
sign of
is
and as such
ardor..
hand
the
if
there was a soul
one of the most active
is
forms a very
it
Palm may meet palm, heart may meet heart, but

limp there is no more life in the hand-shaking
only the fingers were given.

life.
con-
them
to take a gen-
offer
In this very matter of hand-shaking,
strong feature.
if
vital,
is
should never be given to any-
body but a true gentleman, and then as

back of it.
The thumb
is
to shake
would mistake her

to
it
woman,
she
air that
are per-
heartless society
hand, or he
tleman firmly by the

this
so
fingers
When you
she gives or loans them to you with an
To
predominating
purposely withheld
is
the studied hand-shake of cold society.

mitted
the
is
the mere presentation of the
Because they represent only the mental element,
repellant?
which of
speak of a good, hearty hand-shake,
only hearty when the
is
it
contains
it
The thumb used
The thumb
is
in gesticulation, that
the index
is,
leading
gesture, shows lack of refinement or excessive vital

The thumb thrust into the side of one with
development.
in
the
whom you
are speaking
very apt to stir

is
thrust.
is
considered very vulgar, and
up the vital nature of
The thumb
is
indicative
him
into
of the
whose
will.
it
side
When
is
it
the
322
when weak,
will
is
The
heroic gesture cannot be truthfully given with the
is
it
strong,
active;
"
turned toward the palm.
When
man
is
Once more unto
whole body shows lack of
will
of
inactive,
the breach
limp.
thumb
"
etc.
thumb but
The appetites
the
deadened.
The
only the
not
intoxicated,
aroused, but their agent
is
it
power.
is
expression
are
thumb dropped inward shows not only weakness, but at times

Note the expression of the hand when a man
insincerity.
If when he takes your
tells you he will do you a favor.
thumb
hand, his
is
have promised.
lips
dant,
to
swaying
If
a fatal sign.
is
it
limp, he will not do
and
you the favor
his
he holds the thumb inward or penTo pray with the thumbs inward and
fro indicates a lack of
sacred fervor;
is
it
corpse that prays.
For many years Delsarte sought for some form or sign

in health,
the human body that was common to all,
in
in
He said, " The thumb fursickness, and especially in death.

nished me that sign, and responded fully to all my questionings."
Delsarte
pitals,
morgues,
conclusion as
his
to
made
a study of this special feature in hos-
dissecting-rooms,
the
powerful
observance of the
thumb
in
all
contraction
living,
inward.
fact
he says,
"
my
discovery,
They showed
revealed this sign.
language of death.
thumb
To
the same adduc-
Such persistence
could not allow the shadow of a doubt.
the sign
in
examined a number of
even saw hands severed from the forearms, and
thumb
of the
thumb
noticed that the
This was a flash of light to me.
arms severed from the trunk.
the
expression of the
his
corpses displayed the tendency to adduction or
be yet more sure of
tion.
addition to
In
etc.
in the
I
still
same
possessed
Not only does the adduction
characterize death, but this
phenomenon
indi-
Dehartean
Trinities.
323
cates the approach of death in proportion to the intensity of
the adduction."
"
says in support of his assertion,
Suppose
He
the
same
me
with
the
word, Yes,
single
of the hand.
the forefinger,
it
thumb thus placed
his
If
proposition.
tion
of the
posed
to
thumb,
oblige
that he
will
dead to
is
second a slight
must believe that
me,
me
the
in
gesture
thumb approach
he would deceive me;
his
let
that
tells
observe
me
plain to
is
by
accompanied
If one of them had
for
had asked
from three men, and that each answered
service
although indis-
he,
do so from submission
still
my
contrac-
but
person oppose his thumb forcibly to the other

he will not deceive me.
fingers, Oh, I can count on him
if
the third
The adduction
loyalty than
thumb
of his
all
tells
assurance
the
make
any time you wish to
he-
me more
in
might
give
practical
test
regard to his
me."
If at
of this
infal-
When you are

guide, we would suggest the following.
take leave of the friend who has promised to grant your
lible
to
him or her by the hand and bid good-by, add"

the same time, something to this effect
Then I
request, take
ing,
at
may
rely
with the
upon you in granting my request?" The answer

thumb will be found more infallible than the vocal
expression.
gladiatorial
of
life
The
The turned-down thumb

games in Rome was, as we
to the
fingers
emotive, and
vision, as
We
will
one
in
all
the great
aware, the sign
the arena.
have the three characteristic

vital.
We
will
divisions, mental,
consider them briefly
in this di-
they enter so largely in the character of the hand.

the three forms by the three modes of
illustrate
throwing a kiss or
kiss
(active) at
are
by the
in
kissing
tips of the fingers,
the
When
hand.
inasmuch
as
it
throwing a
passes through
Delsa rtea n Trinities.

the mental element,
it
mere
indicative of
is
respect, courtesy,
thrown from the second joint

When the
politeness.
of the fingers, which represents the emotive agents, it is inkiss
is
When
profound regard, and love.
thrown from the fingers as a whole, or the base
dicative of great respect,
the kiss
is
of the fingers,
indicative
the vital
of intensity of expression,
The same holds good
form.
vital
passes through
it
of
in
and
channel,
love
in
kissing the
is
more
the
hand of
another.
The arm has
three divisions (Articular Centres),
There are three
the forearm, and upper arm.
the wrist, elbow, and shoulder.
tres (the three joints),
we must
this
the hand,
articular cen-
law of evolution.
consider the
In
Passional ex-
pression passes from the shoulder, where it is in the emotional state, to the elbow, where it is represented in the
then to the wrist and thumb, where it is
affectional state
;
presented
is
susceptive and volitional
the
in
If
energy.
energy
is
turned
is
it
If
action.
in
tion or concealment.
elbow
is
If
it
out,
it
it
wrist
thermometer of
vital
demonstrates that the
vital
termed
often
mental, though
The
state.
the
is
turned
is
normal,
in, it
it
denotes accumula-
The
denotes repose.
expressive of the emotive element, the thermometer
of the affections and self-will.
As
the knee
soul
of the
side,
it
is
called the soul of the leg, the
is
When
arm.
elbow
indicative of humility or lack of confidence.
turned out,
it
is
the
the elbows are held close to the
signifies audacity, self-assertion, conceit.
When
When
placed a-kimbo, they signify self-confidence, impertinence, possibly
boorishness
especially so,
placed against the side.

cates
calm
repose,
When
modesty,
if
the back of the hand
the elbow
is
normal,
unconsciousness
of
it
self.
is
indiIf
elbows
the
are
backward or
thrust
325
forward,
indicates
it
yielding character.
"
The shoulder
the vital agent, the thermometer of sensi-
is
and passion,
ment, vehemence.
passion here signifying impulse, excite-
bility
The shoulder
in
is,
fact,
the
precisely
It is the
thermometer of passion as well as of sensibility.
It determines their degree of
measure of their vehemence.
heat and intensity; however, it does not specify their nature.
The thermometer marks
the degrees of heat and cold without
The
specifying the nature of the weather.
not called
is
teach
to
upon
heat or violence which marks
belongs
to
man who
ing
no
the
is
face
moved
in
part
to
show
If a
is
it
shoulder, in rising,
whether the source of the

arises
from love or hate
The shoulder
that.
in
it
every
or actuated rises insensibly, his will play-
the
The shoulder
ascension.
a thermometer of sensibility.
painful form
us
Every
therefore
is
agreeable, or
sensitive,
expressed by an elevation of the shoulders.
man's shoulders are raised very decidedly, we may know

is decidedly impressed.
The head tells us whether
that he
Then the
impression is joyous or sorrowful.
the
head
to
and
the
to
the
shoulder.
belongs
genus
this
species
If
the
shoulder indicates thirty degrees, the head must say whether

it
is
warmth or
coldness.
The
face will
of the sorrow or joy whose value
the
specify the nature
shoulder
indicates.
The shoulder being the thermometer of emotion and life, the

movement is neutral, and suited to joy as well as to sorrow,
the eyes and mouth being present to specify it."
Delsarte
claims that " Raphael, in his
great
painting of Moses
smiting the
rock, has forgotten this principle
his
although
figures,
head receives
its
joyous,
greatest
sum
elevate
for
none of
the shoulders."
The
of expression from the shoul-
Delsartean
326
When
ders.
man
hence the truth or
he does not
falsifies,
falsity
Trinities.
of a sentiment
raise his shoulders
may be known.
you embrace without elevating your shoulders, you

Judas.
my
raise
shoulders,
that
if
woman
there
shoulders,
is
me
which attaches
He
'
say,
same
hands and
the
in
If in
looking at
same time
at the
same
But
love.'
situation, the
same movement of the head,
action of the
my
raise
no longer any doubt as to the feeling

to her; and instinctively every one will
her with true
loves
attitude
sion, the
the
my
clasp
are
hand
thereby eloquently demonstrate
shall
pressing a friend's
in
the affection with which he inspires me.
all
"
Delsarte says,
If
shoulder, instantly
all
preserving the
if,
same
facial
expres-
to withhold
happen
love will
disappear
my expression, and nothing will be left of that attitude

but a sentiment vague and cold as falsehood." The shoulder
from
is
also
the wheel
"
much more
is
"
of great strength.
indicative
significant
Put your shoulder to

of power than
we
if
were to speak of putting the hand to the wheel.

EAR.
Even the ear

emotive, and
office
being to
emotive,
nal ear
It will
it
is
vital
subject to
elements.
collect
the
the
The
divisions
the
is
mental,
mental,
The middle
vibrations.
conveys the vibrations to the inner
is vital,
of
external ear
ear.
The
its
ear
is
inter-
the terminal expansion of the auditory nerve.
be observed that the emotive element throughout
entire philosophy is a connecting

between the mental and vital.
link,
this
a balancing power,
EYE.
In the division of the eye
passive agents.
The
we have
three active and three
active agents are the eyebrows,
upper
and lower
lid,
The brow
lid.
is
mental;
The upper lid

will.
The lower
dition of the mind.
condition of the
of the
conditions
as
the
door
retention or
The
door.
of
We
sense.
will
has
It
brow
elevated
is
reveals the con-
it
emotive;
lid is
vital
lowered
the
lid
is
it
shows
generally act
When
will
ruffled
is
the will
is
no longer
strongly marked,
when one
is
vital
as
active,
that
intoxicated,
the brows are
for
it
open door.
escape.
the
is
it
vital
will
This
drops.
is
paralyzed.
The deeper
the greater the concentration.
As
the thumb
may
is
a parallelism
and
is
important that this parallelism should be
when lowthermom-
lowered and the eyebrows elevated,

surprise.
It
is
When
mental depth.
life,
between the eyebrow and the voice

known and
established between words, brow, and
create
lid,
be termed the thermometer of the mind.
There
it
also
When
and the shoulder the thermometer of the
eter of the will
the
the thought
the
is
is
upper
they indicate observation;
raised,
condition.
When
raised.
non-action of the
the
When
the lower
of
ered and contracted, concentration.
so the eyebrow
signifies
the lower
in sleep,
the
is,
eyebrow
When
lid
upper
the
brow
The brow and
because
active the
reveals the
reveals the
an
of
significant
misery.
together,
it
it
significance of a closed
The mind opens to let in the light or let

the brow is ruffled it shows mental misery.
lid
designate
The
intelligence.
repulsion.
is
327
an
voice.
it
If the
voice
is
indicates a desire to
unmistakable
of a lack of
sign
eyebrows are lowered, the voice

We find the
and
the voice repels.
generally corresponds,
same action
are
in
the
in repulsion as
in retention.
accordance with the eyebrows.
raised, the voice will
the voice in
its
rise.
relation to
This
the
is
The
inflections also
When
the normal
brow.
the brows are
movement of
Sometimes, however,
Delsartea n Trin ities.
328
brow
the
is
Then
voice.
there
The
pressed.
movement
contradistinction with the
in
is
always
It
ellipsis.
of the
a thought unex-
is
contradiction or opposition between these two
we must seek
agents always proves that
words which
in the
they modify something other than they seem to say. Suppose, for instance, a story has just been related to us, and
we
reply with
and voice
are
this
exclamation,
the
lowered,
"
case
"
Indeed
of no
is
brow
the
If
little
moment
but if the
grave, and demands much consideration
brow and voice are elevated, the expression is usually amiaIf the voice is
ble, and links with it a degree of affection.
is
it
but the brow
raised
one of doubt and
When
but
door;
from a centre, that
is,
movement or
is,
closed, they denote
either
In this regard, they correspond with
repulsion or retention.
the closed
the
also
is
both brow and hand are con-
toward a centre, that
centric,
form of expression
brows are concentrated, the hand
If the
express repulsion.
the
Note
suspicion.
action of the hand.

will
lowered,
is
if
both brow and hand are eccentric,
open, the thought
The door
ure without further concern.
is
is
allowed a depart-
thrown open.
We
have said that the upper lid is the agent of the will in
In all positive expression the upper lid rises, in
the mind.
it falls.
This is a universal law throughout the Delnegation
sarte philosophy.
negative
assertions.
a criterion.
all
It is
assertion,
As
It
indicated in the chart of positive and

establishes
itself there,
and gives us
the hand rises above the lever or centre in
and drops
in
all
negation, the
same law holds
good
with the head, with the eye, and with the upper eyelid.
Bear
in
ative
mind
or
Watch
that
subjective,
all
all
activity
above
the individual with
below the central

the
central
whom you
line
line
is
are speaking.
is
neg-
positive.
Watch
Dels a rtea n Trin ities.

of the
action
the
question,
favor,
affirmative answer
You
possibly.
the
if
lid
you ask him or her a
as
upper eyelid
329
need
drops;
or she turns the head slightly from you.
the
also
is
curtain
anything therein
is
ment.
bear the
not
will
light
eyelid
If there
is
of truth, the
partially
who
has not yet lost
and the
open the eye
the
to
extent with an apparent air of
fullest
They make an
innocence.
sense of honor, whose better
all
from the gaze and scrutiny of the just, the

There are others, however, who will
pure.
shrinks
nature
true,
that
he
if
so,
The upper
of the soul.
an
expect
less
dropped, sometimes wholly for the moThis, however, will occur only with one who is sen-
curtain
sitive,
window
to the
not
and even
to
effort
the
raise
curtain
but
the student of this philosophy notes the effort, the unnatural
expression, and sees the soul as
it
is.
really
Having spoken of the active agents of the eye,

are
those organized
passive agents,
is
we
organized about the eyeball,

///
will
those that
next consider the
The
the eyeball.
eyeball
simply an indicator of the direction from which the expres-
comes or
sion
to
which
the
cance arises from the relation
The
and the object.
eyeball
expression
it
indicates
Its
goes.
signifi-
between the subject
shows objective or subjective
character of the
When
the
toward
it,
sidered
the
it
calmly
it
is
mystic,
face
when
mind, dependent wholly upon its position.

eyeball is away from the object, and the ear
is
subjective.
either
from the
withdrawn
tends toward the object,

at
any object,
the
subjective states they are

are often so.
The mind
or
object,
it
is
affection.
it
is
at
are con-
When
concealment;
In
affection.
axes of the pupils

parallel.
is
movements
All oblique
of concealment
looking
converge
The eyes of
in
madman
work, but the outside objects
330
not
are
lower
lid
whether
The
seen.
it
active
brow,
agents
upper
lid,
and
show how the object or subject is placed; that is,

The oblique eyes toward
is rage, joy, or sorrow.
the
the object indicate
character as
mystic
from the object show
the oblique eyes
When
mystic but subjective.
and
objective,
that the character
is
the
eyes go down, the

does not accept the truth
but when the eyes go
up, and away from the object, he is on the point of turning
and accepting what he has been considering. When the eyes
still
listener
look
they are
outwardly
looking inwardly,
with what
is
introspective.
mystic
becomes mystic
it
focused
then
becomes
in
not so,
Awe
is
are
always associated
as
proportion
when they
the
movement
awful.
moves the eyes from side to side. In

Supernatural
case of madness, when the mind is lost to itself, the eyes
fear
sometimes look
the eyes, the
in
feet,
of gravity, which
eye,
however,
as
We
directions.
opposite
have said that
and the torso are the three great centres

assert themselves with
an
agent
of
the
The
the universe.
mind,
performs
that
function with greater accuracy and precision than any other

part of the body.
The expression
mind than any other medium of com-
idea of the state of the
The expression
munication.
of the whole
by changing the expression of the

to our object.
its
essence
is
It
may
mystic.
of the eye gives a clearer
eye.
body is changed
The eye relates us
be mystic
its character.
No one ever saw the light.
in
Light
in
Let us consider more closely the subdivisions of the eye,

the pupil, the iris, and the white.
The pupil represents
the mental element; the
iris
the emotive element, that
is,
the
emotive tendency and temperament or organic condition as

The docinherited; the white represents the vital element.
the mental or nervous condition of an
tor readily ascertains
individual
by
He
dilatations.
is
shown
white
the
all
eye
excitation
his
mals have more of the
thought that the

It
tends to
lid
sen-
all
man
vitally aroused,
Inasmuch
vital
nature than
principle
How
tends to expansion.
eye."
the
as
man,
"
He
lower ani-
may
it
be
regarding the eye does not hold
The animal
does.
be
speak of the white of the eye as
familiar the saying, speaking of a
shows the white of
the
will
All reflection tends to contraction,
We
some
in
proportion as
of
but as the mind becomes reflective, the
and say that
The
In
eye.
the
excited,
energized,
sation to expansion.
good.
contractions or
its
determines the physical condition,
cover the white.
vital,
of the pupil in
by the white of the
respects,
mind
action
the
is
more
but
vital,
nervous.
less
being the principle of energy, and energy
vital principle
being more developed in man than in any other animal, it

whereas in the aniis shown at once by its agent, the eye
;
mal the
more
element has for
vital
more white
life
in
in the
the
The eye has
its
agent the torso.
The
head what the head
is
to the
The eye
is
is
to the
the pivot of
all
The mere
the eyes downward, without any change of the
The
minister
preme Being should place Him

the inferior sphere,
a level
body.
It
In aspiration the eyes are turned up.
heaS, gives repulsion.
head.
the superior, the
superior places the object above,
the equal on a level, the inferior below.
movement of
has
mind than any other animal.

three spheres of radiation,
equal, and the inferior.
expression.
Man
eye than any other animal, showing thereby
in
when addressing
the Su-
the superior and himself in
by casting the eyes upward, but not the
head and eyes are parallel, it places God on

When we wish to place ourselves in the
with man.
If the
332
we
superior,
How
ward.
the head up and back, but the eye down-
cast
upon them!"
the expression, " Looking
we hear
frequently
small oblique eye,
development of the cranium
ciated with lateral
drawn back, indicates a predisposition
down
when
Chinese,
asso-
and the ears
to murder.
If
one
is
emotionally aroused, the eye

ional impulse; then
ally close
to
normal position.
its
during the emotion,
We
will open
during the first emobecomes calm, and the %ye will gradu-
it
it
If the
if
large
of greater intelligence than a small eye.
being
equal,
The eye
back of
small
most
it.
Nor
eye intelligence.
beautiful.
It
may be
is
Other
of languor,
sign
gets
its
entire
sum
and the soul
it
denote stupidity, and
may
large eye
not a sign
depends.
of expression from the agents that surround

is
is
eye
It
the
is
eye
large
small eye the sign of strength.
that
open
indicative of stupidity.
is
have often been asked
things
remains
eye
eye
large
always
the
out of proportion with the sur-
and anything out of harmony cannot be

calf, though it has a very large eye, and
rounding features;
beautiful.
what
is
The
considered a beautiful eye,
is
one of the most stupid
of animals; the pig has a very small eye, but
is
considered
a very sagacious animal.
The eye
is
the pivot of
ceeds from the centre.

stone in the water.
The
all
This
expression.
may
circles
be
All radiation pro-
illustrated
become
larger and larger, and
yet they are stronger at the point of radiation.

the waves of the sea.
emotion are typified by

become more and more active
action of the hand.
if
It is beautiful
by dropping a
you wish
to see the
All waves of
The eye must

to
justify
emotion
the
trick-
The audience should

ling from the eye through the form.
get through the eye the motive that prompts the utterance
Delsartean
7^rinities.
333
The pantomimic precedes
of the words.
the
vocal.
may
Having reached the conclusion of the bodily
Eyes
dumb.
speak volumes, though the lips be never so
divisions,
we
next consider the significance of the remainder of the

trinities, each in its order.
will
Again we
ask the reader to preface each trinity with
will
the mental, the emotive, and the vital.
THE TRIUNE MAN.
From
time
immemorial
man
has
from
intellect
felt
the
head, affection from the heart, and appetite from the abdo-
men.
In
these
the
reflective,
nature
is
thus
the thinking,
of our
we have
three
and
affective,
made
the
manifest
being, that
is,
the
the
basic
We
before
we can understandingly
child
is
we
before
feel
The
principle,
think
or
love.
The
love.
develops from
that which
instinct,
Later on, the love
or vital nature.
The
sensitive.
feeling.
vital.
of
representative
threefold
first
is
principle
the feeling or
We
must think
first
love of the
from the animal
of a higher order;
is
as reason develops, intuition takes the place of instinct.
animals except
man
predominating.
It
by
intuition.
mental,
tends
We
to
are governed
is
only the
are
by
aware that the
hands
close.
human
the
distinction
absence of the mental element, there
is
expansion instead.
How
forcibly
All
mouth
governed
nature,
the
head
the
closes, the
between the animal and

in
being.
is
and contraction,
With the animal,
the
that
reflective
tends toward the body, the brows knit, the
Mark
for,
instinct, the vital nature
human being
concentration
the
the three leading principles,
in
the
loving,
the
this
consequence of the
no contraction, but
is
illustrated
in
the
334
fact that
is
only the
in
striking
it
centrates
animal there
In the
an open claw.
with
human being that makes a fist

a blow.
The animal always
his blow,
behind his blow and behind his
and expansion
there
we
vital
will
fully
in
is
activity, a concen-
men-
This power of concentration
trated rational principle.

tal
strikes
an absence of
is
human being
the mental or rational, while in the
con-
demonstrate under
the law of gesture.
VOICE QUALITY.
our trinity of cold, warm, and
In
to speak of the qualities of the voice,
quality
we
of the voice,
briefly outline
is
in
it
and the
effect thereof
Having devoted an entire volume to the
upon an audience.
subject
our purpose
is
it
fiery,
its
in
will
relation
cold, the emotive
is
to
but
the
present
writing
the
trinity.
The mental
warm, the vital
is
It
fiery.
is
unfortunate for a public speaker to allow the mental quality

of the voice to
We
predominate.
should
reach the
through the heart, not the heart through the head.

the mental tone predominates, the tendency
is
head
When
to arouse the
disputatious elements of an audience, while the emotive tone

Head to head
appeals to the heart and stirs the emotion.
and heart to heart.
whole
This
is
that
is,
The
vital
a very essential element, but should be used discrim-
inately.
If
it
is
monizing with the
the
speaking,
element,
leading
not sufficiently har-
mental and emotive, the result
antagonize an audience.
but should
This
not be
may answer
used
in
the
will
for political
be to
stump-
pulpit or on the
be speaking on vital truths.

mental should be sufficiently vitalized, and the vital suf-
rostrum, even though one
The
tone appeals to the body as a
to the passion, power, energy of the being.
may
Dels a rtea n Trin ities

both
but
mentalized,
ficiently
have
should
The
power of the emotive or heart element.

mind, the emotive power
of the
is
power
of the
is
heart
warm, and the passions
is
move the
the
balancing
intellectual
power
of the soul, the vital
is
Hence, as the
body.
335
intellect
is
cold,
the
are fiery, the orator should
passions, touch the heart, and inform the mind.
"
It
we
If
please an audience.
we have the ear of an auditor, we easily win his mind and
through the voice largely that
is
The
heart.
his
envelopes, and
are
sentient
voice
caresses
beings
other, and blend
by no means
emotion
is
in
in
in
who
heart.
lessness
is
hold
love,
Hence,
in
of love
also
precipitation
it.
find
passion, or
fire,
tones, haste
do not glide
is
lightly
the com-
of the discourse.
effect
it
Every word
its
is
awakens suspicion of heart-
agent of expression
speech, and must justify

ceed from silence, and
hasty delivery
delivery as in
We
each
follow
converse,
prolongation of tones
endangers the
a powerful
of the voice
tones
a proof of animation, warmth,
the orator.
it
The
harmonious union.
over a beloved subject.
lence
the
an inverse ratio to emotion.
plaisance
hand which touches,
a mysterious
is
is
the
Si-
father of
that does not pro-
vindication
of silence,
is
It is
spurious word without claim or title to our regard.
through silence that the mind arises to perfection for silence
is the speech of God.
Aside from this, silence still recom;
mends
itself
silence,
the
as
orator
powerful
arouses
agent
the
in
oratorical
attention
and often doubly moves their hearts.

gives the orator time and opportunity
tion.
of
effects.
his
By
audience,
Furthermore, silence
judge of his posiSilence gives gesture time to concentrate and do good

to
execution."
In the use of the mental tone, which
is
cold in
its
quality,
336
disputatious in
To
its
illustrate
fully
effect,
this
we
in
its
apex, the centre, and the base.
objection.
prominence
will
the
zones,
significant
In the use of the mental
tone as a predominating element,
may
into
our threefold nature, we
next introduce the pyramid with
the
another serious
and bring
defect,
other characteristics
many
find
placed at the apex of
is
it
pyramid. It is high in pitch, and narrow in tone, and

be represented also by ice, that is, it is brittle the tone
;
invariably being broken and jerky just as you would break bits
of crisp ice. The emotive tone, as in all cases of the trinity,
the
is
and
central
harmonizing; it is unbroken
The base of the pyramid denotes by
element, always
diffusive as air.
is
breadth the power of the voice
its
is
powerful
in
its
represented by
by water
trated
state,
ice,
volume.
air,
in
its
The
as a base, just as water
three
and water, may be

frozen
into
better illus-
still
condition, water
and water when converted
of voice, as
qualities
in
its
The
steam.
liquid
first
cor-
responds with the apex of the pyramid, and with the cold in
the second with the centre, broader in its volume,
its effect;
steady and continuous
may be
in
its
effect;
and powerful in its flow,

warm it
while the steam illustrates the greater
breadth and expansion, and a most powerful
emotive, and vital tones of the voice.

raise the pitch
the heart.
of the
tre
the heart.
It
is
true;
It
is
in
mental,
a great mistake to
and narrow the voice when we wish
to reach
As we would descend from the apex to the cenpyramid, so must we descend from the head to
So must we descend
in the pitch
of the voice.
often stated that the greater the emotion, the stronger
should be the voice.

is
element
discernible in the
All these qualities are
effect.
its
fiery
the less the
Nothing
is
more
emotion, the
false.
The
stronger the
contrary
voice;
the
337
"
In violent
moved, the more loudly he speaks.
emotion the heart seems to mount to the larynx, and the
less
voice
one
is
If
stifled.
is
your heart
you must put

No more serious
others,
place of your larynx.
the
in
you would move
error could be committed than to increase the voice as the
heart
bare.
laid
is
lacrymose tone.
a whimperer.
The
Nothing so wearies and disgusts as the

man who amounts to anything is never
lowest tones are the best understood and
the most likely to affect the

audible
should be spoken as
it
To make
hearer.
softly
as
a low tone
possible.
Every
tone of voice should be reproduced by an expression of the
voice is a grave defect and should be

Tears are out of place in great situations.
We
Personal grief excites either
should weep only at home."
face.
tearful
avoided.
The voice should not be

pity or contempt for the speaker.
narrowed to the apex of the pyramid, as it draws attention
When
to the speaker rather than to the subject.
the voice
narrow and petty it makes the speaker appear so.

As
the tone descends to the centre of the pyramid and reaches
the heart element, it broadens to such an extent as not to
is
be confined to the speaker, but is broad enough to include

The .heart element, the soul element, the symall mankind.
pathetic element of the voice,
is
one that
is
worthy of great
consideration
by every public speaker. Delsarte thus

"
trates the power of the correct use of the voice
You
:
illus-
may
have heard a play twenty times with indifference, or a mel-
ody
as
often,
great actor
ity,
its
only
to
relieves the
apparent
be
drama of
nullity.
to itself wings beneath the
and sympathetic voice."
disgusted
its
by
it.
chill-cold
Some day
mental qual-
The common-place melody
takes
magic of a well-trained expressive
338
Delsartean* Trinities.
STRESS.
Corresponding
forms of stress.
pyramid, we
with
the
The
radical,
have
representing
three
placed
mental
the
ele-
the meplaced opposite the apex of the pyramid

the
emotive
dian, representing
element, corresponds with the
ment,
is
centre of the pyramid
element,
First,
let it
while stress
as
the
force in
its
stress,
uses
orator
in
disputatious
he
will
and were
he
pitch,
its
the
as
force
radical
the
at
explosive
the
character
the
its
indicates,
in
effect,
the
gesticulating
apex
in
its
of the
to
Descending
quality, antagonistic
in
its
its
the vital
effect, his
tone,
voice
will
and
quality,
pyramid
use none other
would
music;
the crescendo in music.
mental tone, cold

at
in
receives
complete the error by using the radical
mental.
hand,
as
close of the sound, as
the
at
If an
part
receives
indicates,
of the sound,
the centre of the sound, as the swell
terminal
force
character
initial
The
force.
the median stress, as the character indicates, receives
music;
the
manner of applying
the
is
or
opening
the terminal, representing the
corresponds with the base of the pyramid.

be borne in mind that emphasis is simply force,,
vital
stress,
while
in
stress,
than the
fiery
in
its
broaden, as
signified by the base of the pyramid, and he will use the terminal stress, and his gestures will proceed from the shoulder,
vital.
But were
the fundamental
the orator to use the
tone,
warm
in
its
emotive tone as
quality, emotional
in
its
he would descend only to the middle of the pyramid,

and would use the median stress, and his gestures would
effect,
play about the mental and the
The
centre
line
suasive thought.
throughout
vital,
is
the
balanced by the emotive.

line
of the
most
per-
Our
then
object
show
to
is
we must know
place, but
each
that
the
In
place.
339
answer
will
bright,
in
its
viva-
light,
enough of the mental should be borrowed

make the tone and manner consistent with the thought.
O
cious
to
In
reading,
the
reading,
out of place.
When
and the mind
is
the
it
give
manifest
let
be
will
radical
When
heartless.
which
is
which
is
as
entirely
the
;
in
heart
swells with
vehemence, and
the
stress,
expressing
''Bridge
of
human
its
breast,
natural
out-
Were
the
explosive.
the
Sighs,"
emotion, the
stress, the swell.
raging in the
is
be expressed
will
hence the median
terminal
used
the
it
not be sufficiently heart-
will
It
with
itself
the
stress
selection
are
stress
in
reading or speaking
in
brightness, and
the passional element
will
it
vital
be used
will
desired
tone should do likewise
When
But
indispensable.
and body are but little affected

calm, though bright and cheerful, enough
be cold.
to
and
radical
through the mental tone.

less
is
heart
mental element
of the
of the reading and acting,
tone and terminal stress
vital
emotional
to
much
discourses, and in
many
the
emphasis in such a
would be entirely
it
would
simply be an address to the intellect,

but
would contain no appeal to the heart,
cold,
warm. In like manner would all emotional selecIt
more
tions be affected, or,
truly, defected.
To more forcibly impress the three

we will liken them to the bark of a
ping cur illustrates
by
the
the
radical
stress
his
little,
faithful
special forms of stress,
dog.
The
little
snap-
narrow, quick, abrupt bark,

family watch-dog,
that
has
grown old and toothless in the service of its master, will

meet you with a bark that will have a warm welcome in it;
it
well
illustrates
the
median
stress,
the swell.
hood days, long before we dreamed of
In our boy-
a Delsarte philosophy,
340
or of any philosophy that could teach us the analysis of the
dog
impression upon
was
dog, the
the
You
cur
notice
also
will
is
light
watch-dog's bark
the pyramid.
a
still
of
the
ferocious
the crescendo.
stress,
bark of the
little
snapping
The
pyramid.
old
the centre of
broader,
fuller,
he
explosive bark with
apex of the
deeper,
lasting
for
ferocious dog, bull-dog, for instance, has
more
broader, and
fuller,
deeper,
base
the
is
The
terminal
the
that
and narrow,
The
other.
his
always precedes
a growl, finely illustrates
impression, however,
make none
could
that
dog
a mental
us,
and
toothless,
made
of man, such a dog as this
as
as well
Nor
pyramid.
guttural
this
is
sound,
Each
all.
species
and the shape of the head

to that portion of the pyramid to which its bark has been
of
the
namely,
assigned;
the
base.
bull-dog,
the size
in
dog corresponds
the
apex;
cur,
family
centre;
dog,
have the nar-
again, the cur will
Still
rowest and
most pointed head, the bull-dog the broadest

the two, nearer
bluntest, the Newfoundland between
and
an equilibrium.
Before leaving
to
show more
that
he
fully that
We
mentality.
is
the pyramid,
the apex
man
say of a
sharp,
keen, acute.
As an expression
mentality.
we wish
he
has
These are
of the
connection
this
ever an expression of
is
that
in
all
long
head
expressions of
centre of the
pyramid,
happy medium, representing the emotive nature, the heart

element, we speak of a man of large heart, a benevolent
the
man, a whole-souled
the
pyramid we
headed,
etc.,
mentality
Vitality
is
in
also
Corresponding to the base of

of one who is dull, blunt, thick-
man.
speak
contradistinction
one
of
low
developed sidewise
to
animal
i. e.,
the
terms
instincts,
expressing
base,
etc.
the breadth of the back of
341
the head, breadth of the lower jaw, breadth of the shoulders
and
Mentality tends
hips.
to
narrowness
of the
physical.
Breadth denotes strength

narrowness, weakness or subtlety.
Breadth of the back of the head and narrowness of the
;
of
front
head are indicative
the
of
Speaking
energy
power,
passion,
of strength
etc.,
and
subtlety.
being developed
sidewise as contrasted with mentality, subtlety, cunning,
etc.,
contrast the head of the hyena with that of the fox, and the
head of the bull-dog with that of the greyhound.

also
or
natures
the
instinct
of
these
guide or reminder has ever been
philosophy than
spoken
at
in treating
length
of
this
No
animals.
greater
the student of this
to
same pyramid of which we have already
but
left
Contrast
some of
its
greater significance
is
come
yet to
the closing trinities.
INFLECTION.
We
will
whom
next
consider
briefly
the
One
inflections.
with
rising
predominate shows weakness, either
mental or physical, sometimes both. Such a one betrays
his weakness by contantly deferring to the will or knowlinflections
edge of others. The monotone is the centre around which

play the mental and vital, and from which level the rising
and
falling
inflections
sacred readings, but
it
are graded.
is
It
not advisable
frequently used in
is
so
to do.
It is
well
heart element as the predominating one,

enough
but even religious writings would be better read and better
received if more life were infused into the stately tread.
to use the
The only one to whom we would commend the use of

monotone on all occasions is that one unto whose lot it
to
sing the
baby
to
sleep
monotony,
in
this
case,
the
falls
works
342
like a
charm.
change of the tone would not produce the
The same monotony has the same effect when

amusement or worship.
desired effect.
adults even in places of
tried
upon
The falling
inflection denotes courage, strength,
power, the
The parent who uses the falling inwho uses the falling inflection, other
will have much better government than
assertion of one's will.
the
flection,
teacher
things being equal,
who
one
the
uses
the
inflection.
rising
an illustration of asserting one's

the
will
heard
I'll
own
Passing along
mother say
to
knew
The
not
it
safe;
with
so
gave
analyze it, but
deferring
the
the
Certainly not.
the
effect
was
word.
The
did we.
so
mother;
to
lie
the
Had
the falling
did
the
inflection
by the mother.
will,
the street one

"
her
receive the promised punishment?
was
is
to
day we
child
Now, if you do that
Did the child do it? Certainly. Did she
of another.
whip you."
here
Again,
or
The
child
Why?
could
child
unconsciously produced
mother spoken the word " whip
inflection, the
"
very decisiveness of the tone
would have caused the child to obey, or would have made

certain in the mind (and elsewhere) that serious consequences
would follow
the mother's.
in the conflict
We
should be careful,
ing inflection, not to
arouse antagonism.
of the child's determination and
tion
will
will
rebel
is
if
teacher's success in
but
if
the
for
that
fall-
would
government de-
inflections.
The
child
strength of the inflec-
antagonized
blended with the heart element, teacher and pupils
ever be
of
the use of the
use a tone of severity,
pends largely on the judicious use of

will
in
in
another
harmony.
in
the
Cannot a child surely read

inflection,
when
an
animal
is
the
so
thoroughly governed by it? Take, for instance, a dog havIf you become unnecesing no intention to do you harm.
343
and
say with a weak, faltering voice and

"
Get
out,"
get out," he will not be likely
rising inflection,
to get out, but will be apt to make you get out, for you
alarmed,
sarily
"
have told him through your inflection that you fear him.
Supposing, on the other hand, you meet a dog of a different
nature, differently inclined, and you meet him with courage,
and using the same words, " Get out," with the falling inflecor you will, if your courage fails
tion, he will get out,
you it will be only a matter of tenacity.
;
How
quickly weakness and strength of inflection are per-
by a horse. Supposing a gentleman and his wife

have been out riding, and when they return the gentleman
Does the horse know
alights and a lady takes his place.
ceived
who
has the lines?
lias
any
how
in
life
to drive
grasps the
sively
Yes,
him, he
he
if
she will prove
lines,
and she
when she speaks
to
is
show
will
knowing horse.
If
he
lady knows
by the manner in which she
prove it still more conclu-
it
will
the
it
now.
horse.
If the
If in a decisive tone,
the horse will cease his pranks, but if she begins saying,
with a rising inflection, " Whoa, whoa," when he is not movhe,
ing,
like
the dog, will take
advantage of her weakness
and fear displayed by the rising inflection.

As an expression of sincerity or insincerity the
a true guide.
is
Are you invited to remain all
inflection
night
at
house of a friend who you know cannot accommodate

Note the inflection of
you without great inconvenience?
the one who extends the invitation. Are you invited to
the
dinner after church on the Sabbath, by one

greatly surprised
In
all
serve
if
you were
your association of a
inflection, and you
the
to accept?
social
will
who would be
Note the
or business
often
learn
inflection.
nature,
ob-
more of the
344
or
truth
words
tions
of
falsity
for
statement
often
very
will
you
than
is
the
in
expressed
the words
find
and
inflec-
different stories.
telling
MUSIC.
music we
In
have
the
mental
melody, the emotive element
Melody
by rhythm.
that which
mony,
ment.
rhythm
conjoins,
like love, requires the
In this, as in
which
all
vital
distinguishes,
a form
is
by
represented
the
by harmony,
that
is
element
element
harmony
of movement.
Har-
presence of more than one ele-
trinities,
the emotive element
is
the
whom the
blending element.
element predominates, we find nothing but rhythm, at
least it predominates in such a degree that we lose sight of
uniting or
In the savage, with
vital
melody and harmony.

SOL-MI-DO.
In the
musical scale
resenting the
three
find the three
Do
Mi
is
is
vital,
the base
Delsarte teaches us
music sound
accord with
bow.
the
tal
There
seven
notes
is
a brotherhood
colors.
As
in
the heart element,
emotive,
the foundation,
in
ground notes, repSol is mental,
fundamental principles,
apex of the pyramid

centre of pyramid;
we
of the pyramid,
that the seven notes of
the seven
colors
of the
between the seven notes and
music we
have
three
from which four others emanate, so
in
fundamenthe
bow we have three fundamental colors from which

four others.
From the red, yellow, and blue we get
orange, green, and indigo.
rain-
rain-
spring
violet,
345
TASTE*
has
Taste
sweet
the
ment
is
representatives
the
emotive,
is
bitter
again
Men
vital.
is
The
benefit
is
mental,
take
often
centre ele-
use .of either of the
strong factor in the
The sweet might
others.
sour
the
support of the vital nature.
for the
bitters
three
its
sour
the
either
or
the
bitter, but neither of the others would be made more palataThe sweetness of taste
ble by adding the one to the other.
corresponds with the sweetness of disposition, and may be

So with the
readily traced in the sweetness of tone, etc.
other elements.
THE RELATION OF THE
TRINITY.
In order to impress the necessity of retaining the emotive
element as
show the
much
necessity,
by Professor
will
as
in
possible
we
will
all
an
give
To
Lewis B. Monroe.
the
illustration
illustrate
have a horse
The
carriage.
we
need,
and
driver,
and
The passenger
conveyed
heart or
possesses
certain
to
its
destination
life
or
moving
that
the horse.
he
He
animal nature,
passenger,
the
only by
The
centre.
the
come when
must
element.
vital
knowledge which
He
him.
driver and
are as the limbs in expediting the business.

told
in
passenger
driver represents the mental element, the pas-
senger the emotive element, and the horse the
has
used
often
this
to
is,
consider a triplicity to prove the power of the trinity.
We
is
that
trinities,
dispense with
either
can
the
is
the
be
real
horse
The passenger
the
driver
or
dispenses with the former, for the horse, the

is
more important than the
heart,
the
can
yet
direct
horse or the
and
driver;
drive.
for
the
The time
passenger must do with-
346
The
out each other.
horse, representing the animal nature,
very desirable; but the passenger with

can, in an emergency, dispense with the
is
each element of the

the
first,
second, the
mental,
essential
is
trinity
is
by
impelled, and
are
we
the mental
by the
vital
the
vital
by
impelled
agent.
each other, but
to
by
we
are
Sometimes we
becomes
it
to
element.
the emotive
are sustained.
then
knowledge
So
vital
the hear
are guided,
we
his
must be subservient
vital
the will and needs of the emotive,

It
all
sin.
has
Sin
been defined as crookedness or missing the mark, and right

We will endeavor fully to illustrate
as straightforwardness.
this
our treatment
in
principle
We
of summit, centre, and base.

to
enough
How
or
now,"
"
crook
is
an expression
He
is
is
one who
of
thought
the
think he
A
"
the
impress
we make
often
remark,
is
little
deviates
by
"
the
He
is
crooked
We
trinity
pause, however, long

just one illustration.
keeping straight
in
his
dealings."
rectitude
say of such a one,
Whatsoever
affairs
pass
he crooketh them to his own ends."
your crooks, you have such a
all
will
from rectitude, as
uprightness.
"
not straightforward."
a man's hands
man under
of
fall
that
you
shall
such
"
For
never
be able to stand upright again." " They are a perverse and

crooked generation."
Deut. xxxii. 5-
Let us
bear
in
mind
that
the
head which
guides
also
which impels also purposes, and the body

or vital nature which sustains also constructs.
designs, the heart
QUANTITY.
In dealing with
pression,
tal
that
is,
quantity,
the mental,
we have three elements of exemotive, and
corresponds with number, the
vital.
The men-
emotive corresponds with
347
The mental always
weight, the vital corresponds with measure.

deals with the details
character
good
moral nature;
of the
an expression
is
the emotive and vital never.
weight
gives
society.
society.
The handwriting on
bad
upharsin,
wanting,"
character will
"Thou
art
to
weight.
Mene, mene,
the
in
tekel,
and found
balance,
mental
but to the moral weight, of the king.
is
influence in
any one's weight
wall,
the
to
one's
any
in
weighed
had no reference
character
lessen
the
Character
or vital
weight,
True, the lack of moral
weight weakened the mental nature and debauched the
vital
nature.
COLOR.
We
our
turn
will
attention
elements of color, represented

in the
his
human
soul,
himself
and emotive, and
intellectual,
nature
has three colors to
experience
will
representing
the blood.
life
is
in
and power, hence red

power,
the
in
God,
W hy
on
yellow
color
fire
by
of
organism
is
the
you may
states,
Why
But
the
life
is
eccen-
conclude that
symbolize the three
is
sensitive,
the
in
states,
and
do we use red
color
of blood,
in
and
the fountain of strength
proper symbol of strength and
the
man, and
the
in
concentric
state,
demon.
the
Why
mind?
blue in
Because
most soothing to our eyes.

transparency,
Because yellow is
the column of the soul?
is
its
the
in
column of the
blue, from
his
Because red
the
universe and
Since man, as to
states,
not contradict you.
life?
three
in
normal
concentric, and
tric,
in
"
three
the
to
the material
in
Delsarte observes
being.
presents
moment
for
in
flame.
love.
It
is
the
Yellow, then,
and of impure flames.
Why
true
is
not
the
symbol of a soul
emblem
use white
of pure
in
set
love
our chart?
348
Because white
say of iron that
world
at
is
it
rare
is
it
incandescent in
is
see
to
the
a
a heart
a white
thermometers do not mark
at
red heat, but in this

heat;
degree of heat.
this
We
highest degree.
a white or
earthly
It
cannot
be denied that red, yellow, and blue are the three elementary
colors whose union gives birth to all the varieties that de-
We
our eyes.
light
most beautiful
have proof of
phenomena,
composed of seven
yellow, and blue
in
the
their
purity.
and indigo.
rainbow
This
the
is
appear
red,
us,
The rainbow
the
distinguish
is
red,
the fusion
violet, orange, green,
the order in which

to
one of nature's
Then from
we have
of these three primary colors
in
rainbow.
Here we
colors.
all
this
the seven colors of
orange,
yellow,
green,
composed of yellow and red.

blue
mixed
with
Yellow
produces green. Blue when satublue, indigo, violet.
becomes
rated
state
sensitive
life,
will
Orange
Pure red
indigo.
or the
is
life.
is
Orange
the
will
expression of the
render
from
soul
be the symbol of mind from life. Plants

blossom into a bright passion of life under the influence
and violet
of the
will
and
red
No
yellow rays.
fruit
appears,
however,
added power of the blue ray. Life is unproductive until the three united in one brings all things to
without the
The
perfection.
Yellow
is
the
blue ray the
red
is
luminous
the
or
caloric
or
light-giving
heating
principle.
In
principle.
power of actinism or chemical action
is
the
found.
This makes the perfect trinity."

In
our book on " Physical Training, or the Care of the
Body," we have spoken quite fully in reference to the effect

of color on the human organism.
Hence, in these pages we
will not dwell on any portion of the subject except as it is
a representative element in the threefold nature of man.
349
GRACEFULNESS.
To
the
orator
the
moment.
It
of gracefulness
subject
often
is
thought that ease
endeavor to show that
in grace,
of
movement
of
movement
is
precision,
mental,
is vital.
is
of no
little
We
shall
grace.
but one element of
it is
One may
it.
There are three co-essential
be very easy but not be graceful.

elements
is
harmony, and
ease.
harmony of movement
is
Precision
emotive, ease
may be easy but not gracebe harmonious, but not easy. HarmoParalellism
Opposition may
may be one's movements, yet not precise. Opposition
Parof movements, to be harmonious, must be simultaneous.
ful.
nious
movements,
allel
be
to
be successive.
harmonious, should
The law of
ease should dominate the
beautiful.
This
amount of energy, which

is more or less controlled according to the expression.
Almost
form
of
balanced
its
exact
movement,
by
any
opposite, is
of
Be
gesture.
will
be
sure
fully
illustrated
under the heading
is
appropriate to the
that the
grace
motion and the expression, always taking into consideration

the emotion to be expressed, and the character to be inter-
The law of
preted.
a gentleman
teaches
ease
when he stoops
economy of
to pick
force.
Watch
up a lady's handkerchief,
If he is awkward, there is an undue expenditure of

While movements are easy, they should have character,
be graceful, and be significant. Each element should perfect
fan,
etc.
force.
the other.
ease
is
Observe the law of consistency.
more deceptive than any
essential,
but,
carried to
excess,
be careful of that posture
in
during your college days; that

apart,
other.
it
is
The element of
In social
vulgar.
life,
is
Young man,
society which was so

is,
ease
common
standing with the feet wide
supporting the body equally on each.
It is familiar
Delsartean
350
repose, and
Trinities.
not have been out of place then, but
may
unrefined and uncultured in the presence of ladies.
young man,
feel
habit will
become
is
it
breakable.
so strong that
out great perseverance, and

for
ment;
where
this
we
is
of the cable,
chain
college or in any society
in
the
forming,
say, Pause and consider, and
assured you will break the habit while, like the little
vulgar habit
we
if still
is
it
To
you may
you continue
If
you cannot remove

after
perhaps
the
it,
with-
it
much embarrass-
not always be on your guard.
Before leaving this trinity of precision, harmony, and ease,
we
wish to impress the thought of that emotive agency, that central
the balancing
element,
Style,
if
power of
all
harmony.
things,
inharmonious, cannot be pretty.
in the latest fashion,
may
One's dress, although

be so unbecoming as to be ludicrous
;
while, on the other hand, a lady, or gentleman may not be

dressed according to the latest fashion plates, and yet be
dressed in such a becoming manner that he or she

to
of criticism.
The
greatest
"
is,
how
she or he was dressed, but
it
that
is,
things
keeping,
are always
beautiful furniture.
ordered
parlor,
or
in
may
but alas
was
really cannot tell
as,
for
its
instance,
relationship
is
"
;
Unrelated
faultless.
have been handsome
in
you
such good taste
in
harmony,
inharmonious,
It
said
compliment that you can pay
regard to one's manner of dress
in
may be
The very harmony disarms any one
be exquisitely dressed.
in
load
of
the well-
destroyed
when
mixed and mingled inharmoniously.

Art turns her back on
things not related, no matter from what corner of the world
they come, or with what expense.
Even
away from those who walk side by

in soul, if not related.
side,
in life,
happiness turns
no matter how noble
Delsartean Trinities,
351
THREE-FOLD LOVE.
God
is
and power.
Wisdom
acquisition,
erudition,
weight,
of
itself
is
trinity,
is
as
is
elements,
intellectual
far ahead of
As
He
We
in
knowledge.
outstripping the others.
is
He
energy,
We
etc.
uprightness,
force,
strength,
making rapid
is
speak
upward;
"swayed by
side,
passion."
of power
forward
the third
The
is
He
He is
etc.
strides,
love, no-
as
passion,
The
etc.
might,
vitality,
merely a mental advancement,

advancement,
strength,
expressive of
speak of love as moral attainment, rectitude,
bility,
itual
is
we speak of wisdom
separately,
his classmates.
love,
uprightness,
Power
advancement, attainment
getting along well.
wisdom,
rectitude,
etc.
sweetness,
when taken
find the
simply knowledge, intelligence,
Love
etc.
purity,
nobility,
hence the
force, vitality, might, energy, passion, etc.
these
we
In the most perfect type of love
love.
elements, wisdom and power
first
is
the second, a spirvital,
from side to
rulers of our land should
make manifest
this trinity by showing wisdom in the laws,

and power in executing them in love.
God was first represented by the ancients under three prin-
forms, because
cipal
wisdom,
essentially divine attributes.
reflected
and
in
central
in a greater
the
the
is
very nature of love

only that which
is
True love
wisdom and power.
is
attribute
of the deity
or less degree in every
element that links and
being.
Every
material universe.
element
and power are the three
love,
is
In
balances
being,
this, as in all trinities, the
harmonizing
to
human
is
element.
Love
is
wisdom and power.
communicate
itself.
responsive to the attributes
We
the
The
can love
of our
own
always harmonious, because it contains

The passional element is as essential to
Delsartea n Trin ities
352
must always be put where the pyramid

True, pure love
designates, subservient to wisdom and love.
If one hates, he never loved the
can never turn to hate.
love as to
but
life,
it
of his hatred, or else his love was a passional love.
object
We sometimes hear of one loving to distraction, but the unWhen

controllable passional element causes the distraction.
true,
pure love
is
born
in
the
human
breast,
it is
never con-
sumed by flames of passion, and no power upon earth can dethrone it. True, we may cease to love the object as it is, but
Love may turn to pity, but seldom to condemnot as it was.
Love never
nation.
"
dies.
Love the Lord thy God with
all
thy heart, and thy neighbor as thyself." Elsewhere will be

found an illustration expressive of the threefold principle of
this
most sacred element of one's
Fig.
134.
upon
The
love,
in
religion
fact,
it
is
of the
Alaska Indians
nothing but love.
We
See
nature.
trinitarian
based
all
is
will give
it
in
own language, though more expressive than ele"God is boss of all us fellers. God loves us fellers;
the natives'
gant:
God us fellers
enough. Where love
us fellers loves
That
is
loves other fellers
reigns supreme,
that
's
harmony
all."
is
natural consequence.
MAN
VS.
ANIMAL.
In our trinity of summit, centre, and base,
we
will
endeavor
and power of man in all his bearings.

draw the distinction between the terms, attitude
to illustrate the position
Let us
first
and bearings.
Attitude is the temporary condition of being
from which emotion springs, while bearing is the permanent
Then, when we speak of
character.
volume
is
nature
but,
attitude, with
which
this
we speak of the temporary in

when we speak of bearings, we speak of habitual
mainly
illustrated,
One's bearing
attitude.
is
be created by habit; that
not necessarily inborn, but
becomes second
it
is,
"
man's habits color his actions.
He
On
the other hand,
by saying: "He disguised himworkman, and went among the people, but his habit
the principle
command
of
may
it
nature.
tried to pass for a gen-
tleman, but his bearing betrayed him."
self as a
353
is
illustrated
betrayed him."
Every habit
indicates either a
For instance, intoxication or repose.

condition or a sentiment.
" There are three sorts of
the constitutional,
type in man,
The
and habitual.
passional,
we have
at birth;
duced under
the
suffering
constitutional type
is
passional type
or passion
the
is
that which
that which
habitual
is
reproare
types
come to modify even the

bones of a man, and give him a particular constitution. Habit
in fact, habitual movement fashions the
is a second nature
those which, frequently reproduced,
material and physical being in such a
manner
as to create a
type not inborn; hence, named habitual. A perfect reproduction of the outer manifestation of some passion, the giving
of the outer sign, will cause a reflex feeling within. Continued
in
indulgence
the
any one form of feeling
predominating
trait;
so
beware,
day you are perhaps carving

his
in
God,
wisdom,
love,
will
make
young
that feeling
each
sculptor,
for eternity."
and power, placed man
the
at
very summit of the universe, and he nearest fulfils the divine

The more upright he is
law in that he is most upright.
physically, the
more upright he should be morally;
for
up-
an outward expression of the moral law. Christ

rightness
healed the body as well as the soul, hence did not exclude
is
any part of God's law

is
ill.
He
violates.
for
man
is
not perfect, not whole,
if
he
can never be a perfect fulfilment of a law that he

Man is a radiation from the finite to the infinite;
354
more
the
"
No good
thing will
This
rightly."
is
more perfect the man.

withhold from him who walketh upthe
radiation
the
perfect
as true in the physical
as
the spiritual
in
He who
sense.
ray, that
is,
puts himself in coincidence with the divine

divine law, has God and all the universe with him.
God and one are a majority.
Man
all
as a triune being
the
God.
of
attributes
an expression of*God, possessing

Contrast man's position in his
is
natural state with that
of the serpent.
nearest to the earth, and his
movements
are
till
creeping
the next in order, but

the
we reach man standing
The
creation.
all
the
is
lowest forms of
life,
its
alligator,
erect,
worms,
the
fishes,
not only occupy horizontal positions, but they have very
etc.,
little
The
all
etc.,
is
Then we have
up and down.
cow, horse, dog,

lord of
movements alone of
The worm
things are sidewise.
The serpent
development of brain, and very simple nervous systems

lift from the hori-
force of evolution has tended ever to
zontal
plane
the
up through
higher forms
of
life,
bird
we have man
till
upright, and with immense
development of brain and nervous power. Man, having been
and mammal,
never so degrade himself

and yet we see men of strong physical
natures inclining toward the earth, showing thereby an affinity
for what is low.
An ignoble man represents the animal nature
exalted
to his high estate, should
as to sink
below
it
tendency toward the earth, a disposition to get down

on all-fours. Man's radiations are in the breadths, while the
in his
hence the natural tendency of an

strongly animal nature, is toward the
animal's are in the depths
animal,
earth,
or of a too
and earthly or material things.
Man
is
the only animal,
so to speak, that meets his fellow breast to breast, and radiates

in all
directions.
Those who
gravitate toward the earth live
355
mostly on the material plane. Those who gravitate toward

Heaven, that is, toward that which is higher and purer and
more ennobling,
are found to be erect, with a less tendency
and earthly things.

As there is a material and a
to the earth
is
spiritual gravitation, so
a material radiation and a spiritual radiation.
vidual has
more or
With some
less radiation.
there
indi-
Every
it
extends but
very penetrating and
a short distance, with
others
it
Every one
carries
about with him an atmosphere
reaching.
is
But
peculiarly characteristic of the individual.
by another
its
far-
suscepti-
the development
wholly dependent upon

This, which we call atmosphere, is
we
term radiation. We should know,
with
what
synonymous
on entering a room, the character of the individuals who have
bility
of his
nature.
sensitive
been occupying
In
making
is
it
that
is,
our decision?
Some rooms have ample
everything
we do not
desire the room.
by
sunshine
in
them, and
general has a fine appearance to the eye
in
having
whether of good or evil influence.

by what are we governed in
a choice of a room,
It is
repelling;
bad radiation or atmosphere.
the people with
whom we come
we
So
are
in contact.
we
yet
think of
it
as
affected
this
Through
atmosphere, the magnetic current either attracts or repels

all
magnetism being mental, emotive, or physical
that
is,
attractive or repellant to the head, the heart, or the body,
the vital nature.
The public speaker should be so thoroughly passive, or rereceptive, or negative, when entering an audience room, that
were he blindfolded, he should be
fold, to tell the
able, before
general status of his audience,
removing the
and the general
atmosphere, and finally the individual atmosphere; that
any one
in
the
room
is
is,
if
not favorably impressed with him, or
is
356
especially antagonistic to him, he should

feel
it,
soon
for
after
and
or individuals,
individual
know
he should
it;
Furthermore,
something subtle would reveal it.
the fold is removed, he should be able to find the
still
further,
be able to read
This has been done
the thought vocally unexpressed.
many
times by the author, and with perfect accuracy, though the
audience were
entire
strangers
to
him.
An
volume
entire
might be written on this subject; but we must needs be brief,

as it may be considered as belonging more especially to the
We
realm of psychology.
will,
however, pause to leave just
one hint to the public speaker. Avoid sitting before your

audience, to be seen by them when they are gathering, or
even during the ordinary formal introduction.
caution you
this
and deliberately to
By
observing
give them time coolly and calmly

measure you, weigh you, and number you,
will
not
without giving you an opportunity to enter a protest.

will
have
much
difficulty to
overcome any prejudice that may
have been born during that brief period of time.

of the
way
until
reminding emblem
man
an imaginary pyramid, that ever
of the mental, emotive, and vital
the heart, and the body.
The apex of
Man
the base will
should ever keep this pyram-
form before him as a reminder that the head
God
put
wherein
is
and that
the head,
the pyramid will repre-
the intellectual, the centre the emotional,
represent the vital nature.

idal
Keep out
you can have your way.
Let us place before
sent
You
is
on top,
it there for an all-wise

purpose. It is the
an ever-present, ever-wakeful, ever-watchful,
ever-honest monitor, to warn us of the slightest approach of
citadel
danger, mental, emotional, physical.
body
will
sustain,
judgment on
all
The head
but the heart must govern.

actions of the
will guide, the

It
head and body.
must
sit
in
The two
Delsartean
principles, the mental
ple of being.
and
vital,
Trinities.
appeal to the emotive princi-
Passion, the vital element, says, " Indulge

"
reason, the mental element, says,

tive,
if
357
the powers, and control them.
Master
it;
"
me;
while the emo-
reconcile them, and balance
will
properly developed,
"
If
one has not the passional,
he needs not the rational as a restraining influence. If thcic

is no rational, then there is no
hope of overcoming the passional.
The
greater
grander the man, that

so long as reason,
these
is,
which
if
is
two
their
in
development, the
This will be the case
balanced.
at the top,
governs passion, which
upon which man rests his activity in life.

The moment either extreme gets the better of the centre, the
is
the foundation
equilibrium
is
and weakness of the emotive power
lost,
is
the
result.
WALKING.
The question
often asked,
is
"What
is
a perfect walk, and
what are some of the characteristics of walking?" We

quote Delsarte's own words in answer to the first query:
will
"A
perfect walk should be rhythmical, that is, in time, as music.

The perfect walk must be straight, each step a foot apart,
Bobbing up
your own foot, not the ordinary foot measure.
and down, pitching, rolling, strutting, must be avoided as gymnastic crimes.
the lot
The
of the thigh,
great
work of the man
walking falls to
This is the
in
the vital division of the leg.
strongest portion of the frame.
In
modern
the thigh does most of the hard work.
atheletic
The
sports,
best rowing
is
from the hip, the arm serving to hold the oars. In walking,
the thigh should be lifted forward, the lower leg and foot
hanging loosely.
as simultaneously
The unbending of
the weight sways
the knee plants the foot
on
it.
The question
is
Delsartean
358
"
often asked,
the foot?
"
Trinities.
Which should touch
Strictly speaking, the ball,
to the proportions of a bare foot
and
yield,
so
in
In
ground.
we
!
restore the foot
the stern mandate
and so ordinary mortals
planting the foot, the
The bare
touch mother earth.
if
but alas
of fashion decrees a heel on the shoe
must
the ball or the heel of
first,
foot
heel will
transferring the foot, so to spe^k,
the ground.
High stepping
nor horse can afford it when
fine in
is
first
fashioned to grasp the
is
it
near
sound, but neither
man
either has
work
carry
to
do or races
The torso and head should sway in harmonic symto run.

pathy with every motion of the legs. Practise walking with
a
book on your head, walking
marks two
straight
your own
feet apart,
feet.
on a chalked tape, the

Pin this tape in front
of the looking-glass, and step on the marks as you see them

reflected."
Bear
body
in
is
mind
that the
manner
all
avoided.
by
things,
port.
protruding
Such a one
it
is
very significant of the being.

the abdomen should be
of
it
will step
indicative of
into other people's business.
shows one
be led
to
very heavily upon the
We
It
may be shame,
it
prying
it
shows
may
be
must judge by other things being equal.
best carriage of the
prominence.
standing.
one led by curiosity,

head is lowered
If the
a reflective or subjective state.
The
In the carriage of
paying due deference to the earth for his physical supIf the head and face are forward, especially with up-
turned nose,
grief.
is
If carried too far forward,
his appetites.
heels,
which you support the
an expression of mind and heart.
the torso, the predominant zone
Above
in
The
feet,
They may
body throws the emotive zone
into
being mental, are typical of the under-
guide, but, being nearest the earth, they
perform the more menial services, and as such should follow.
359
more apt to do right but when the

feet lead, one may wander in by and forbidden paths.
By all
means avoid walking heavily upon the heels. It is often done
to display courage, when real courage is lacking.
One who
one
If the heart leads,
is
strong will assume
will
assume strong
when
the heart
is
is
weak
attitudes, while
attitudes.
Walking heavily upon
palpitating with fear,
boy who
whistles to keep
courage,
the
courage
louder he whistles.
When
up
before the pupils of a school for the
is
is
his
with an outward
one who
more need of
teacher walks
time,
if
she walks
and command, but
of strength
appearance
weak
equivalent to the
the
the
first
is
the heel
conscious of her weakness, the smallest child
the
in
room
know
it, and take

intuitively
advantage of the situation,
while, on the other hand, her quiet manner, and perfect repose,
will
one of the strongest features in the Delsarte philosophy,

"
Still water runs
will put every child on his good behavior.
deep," and he will not dare even to agitate it.
The emotive
opment of the
hence, we say
condition of the
torso.
again,
It
may be
man
is
shown by the devel-
only physical development;
One
other things being equal.
narrow, sunken, contracted chest
is
with a
not so capable of a noble,
generous impulse from the emotive nature. The chest is the

and as such it should lead that is, it should
scat of honor,
be the most prominent zone

indicates
power,
taken, however,
in the carriage of the
courage, endurance,
not to
make
it
too
etc.
Care
prominent;
body.
It
should be
that
is,
so
prominent as to cause one to think that it is a strong attitude

assumed by one who is weak. Ask the actor why he, when
playing the part of a
villain,
and about to commit some foul
deed, does not walk straight to his victim, and

erectly with full, active chest.
why
not walk
His answer, nine times out of
Delsartean
360
ten, will be,
"
don't know, only that
Passion
tradition."
Trinities.
is
is
it
developed sidewise
according to stage
but if over-devel-
following passion for passion's sake,
oped, that is,

of unlawful gain or
lust,
it
will
whether that
lead one from side to
side.
Hence, the zigzag movement which we are accustomed to see

upon the stage, in the portrayal of such characters. The hand
of the murderer that grasps
chest,
as
if
trying to
the knife
push honor
is
aside.
placed against his
The skulking walk,
the panther-like tread, the zigzag movement, are
all
expres-
one whose honor, manliness, and upare

no
longer manifest. Such a one cannot walk
rightness
uprightly, nor can he keep in the straight and narrow path.
sive of the character of
Not only are we cautioned not to turn to the right nor the
left, but we are also told that our progress should be upward
as well as onward.
Though passion is developed sidewise, we
do not
better,
hesitate
if
to
the passion
say that the wider the development the

is subordinated to the divine law.
Then,
and only then, can one be considered well balanced.

One should not be hampered because he walks
in
the
Some men walk so straight

narrow path.
ward that they dare not even look to the right nor to the
for-
straight and
for fear of losing their balance.
No man who
ever be hampered by law, or anything;
he loses his manhood and becomes a

be
free,
for,
slave.
do anything that he desires but he should

do anything that does not conform with the
;
highest ideals of true manhood, uprightness, truth.

cult
it
is
left
will
when hampered,
A man should
free to
not desire to
does right
to walk behind
an unbalanced
man
How
diffi-
He may
not
be intoxicated with liquor, yet he is mentally intoxicated.

Try to pass him, he is all over the sidewalk. Such a one has
no aim, no fixedness, no purpose
in life.
In judging of one's
Delsartean
Trinities.
36 1
walk or bearing, we should ever be governed by the law,

" other
things being equal," for circumstances environing the
individual
may
may
so govern
him
not justify our decision.
moment
at the
When
that appearance
the doctor
felt
the man's
pulse, and told him he had been eating too many oysters, lie
was simply judging from the appearance of fresh oyster-shells
But when the student in the
just thrown out of the window.
absence of the doctor called upon a
man who was very ill,

man that
he made a serious mistake when he informed the
much
he had been eating too
He
horse.
too judged
from
saw a bridle and

appearances
saddle under the bed, he concluded that a horse had been
;
eaten,
saying to the doctor that, as he
and that these were
all
that remained.
The human system tends to realize itself.

in an individual will mould his character,
Whatever your theory of
life,
that
you
An
his
will
idea ingrained
talk,
become.
his walk.
"What
you
yc
ye
every word in the
Bible, except one particular sentence therein, there would still
rerruin one of the greatest truths ever uttered by an inspired
think,
that
are."
or utinspired writer:
he
als*
reap."
discard
If
"Whatsoever
man
soweth, that shall
This sentence should be framed and hung in
a conspicuous place in every home, every school, every college, evey public place, until it shall become so familiar, and
be so deeply impressed upon the minds of all who see it,

that it wil\ hang on the walls of memory forever.
Memory
seizes
upon the canvas, and

of the inner chamber for her
upon the passing moment,
hangs the
picture
on the walls
to look upon vhen she
will.
It
fixes
is
it
an inevitable law, irrespec-
reap what we sow. Even when

you think, you ace sowing, and by and by you will reap that
It has
on your mind, on your heart,
thought.
l\(t its impress
tive of creed, tv^t
we
shall
Delsartean
362
and may be such as

It will
ganism.
mind.
Keep
to leave
Trinities.
its
impress on your bodily or-
on the
register itself
face,
the index of the
the pyramid ever in view, and do not allow the
apex and the base to change places. Do not delude yourself

with the idea that you can live down in the dark cellar of
vice
and impurity, where the cobwebs of
sin
are
gathering
about the noble brow, the bright eye, the sw'bet pure lips, and
that you can then emerge from such surroundings and conditions, and step forth into the clear sunlight of heaven, and
show no
of these secret, sinful thoughts and actions.
traces
We
would that from our pulpits and our rostrums all over
the land this mighty truth should be promulgated from time
to time, with
the force of the triune being, until
all
it
shall
go
from shore to shore, and our young men and our young
women be made to realize that their thoughts are chiselling
away
at their features with greater
accuracy that ever sculptor
chiselled marble.
"
The mind
is its
own
place,
Can make a Heaven
and
in itself
of Hell, a Hell of
Heaven."
THREE-FOLD LANGUAGE.
In our trinity of speech, gesture, and voice,
we
*iave
one
element which forms the leading topic of our wo'K, that is,
Here again, as in all the trinities, we have the mental,
gesture.
emotive, and
speech,
Man
vital.
what he
the voice ; thus
loves
by
says what
gesture,
what he
man communicates
different expressions of mind, soul,
only
feels,
cries
he needs gesture;
or voice will
when he
he thinks ^y articulate
feels }y inflection of
with his felow-man in the
and
suffice
life.
him-
While the
when he
child
loves,
reasons, he pust have articulate
Delsartean
The
speech.
Trinities.
363
inflections of the voice are for sensation,

gestures
for sentiment.
Let us study the infant more closely. There is a time when

all his joys or sorrows are manifested
through his cries; but
these are not gestures. When he comes to know the cause
of his joy or sorrow, sentiment awakens, his heart opens to
or hatred, and he expresses his new emotion, not by
love
cries alone, not

his
first
is
gesture
sensitive
"
by speech; he
do not
life
a smile.
"
smile.
powerless
can reflect
The
express.
man
in
we must
words,
Whenever an
let
is
ellipsis
is
Hence,
if
we
desire
be remembered, we must not say

it be divined, revealed by
gesture.
supposable
in
discourse,
gesture
Gesture, especially
ellipsis.
should precede speech.
gesture,
what speech
gesture, then, like a ray of light,
should intervene to explain that
emotional
reveal
to
that passes in the soul.
all
that the thing shall always

it
upon his mother, and

Beings endowed with only the
Animals do not laugh."
Gesture has been given to

to
smiles
Nature
incites
movement, speech names this movement. Speech is only a

Speech comes
title, the label of what gesture has anticipated.
only to
Speech,
what
confirm
then,
may
the audience already comprehends.

be termed the sense of the intelligence ;
sound, the sense of the
gesture, the sense of the heart
Soul can communicate with
soul
The
senses are
Man
earth.
speech,
voice.
is
the conditions of
It is
lifts
through
gesture,
through speech that man
the scale of being.

gifts
materialize
obliged to
sentiments
only through
man
of the Creator.
man above
Speech, then,
It
is
is
as
all
the
life.
senses.
a pilgrim on this
his
ideas through
through the
occupies the first rank in
the most wonderful of all
sensations
the language of reason, and reason
every other creature.
We
are often
moved
in
Delsartean
364
much by what
is not what we
reading, not so
It
it.
saying
Trinities.
is
by the manner
said, as
hear that affects
of
but that
us,
An author cannot fully express

which we ourselves imagine.
himself in writing; hence the interpretation of the reader is
often
false,
because he does not know the writer.
which we
markable the way

needs must create a semblance to
in
refer everything
We
it.
It is
re-
to ourselves.
We
are affected
discourse, because we place the personage in a situation

our fancy has created. Hence it happens that we may be
wrong in our interpretation, and the author may say, This is
by a
'
not
my
"
meaning.'
Expression is very difficult. One

edge, and lack power to express
always accompany the
how
to
intellect.
triple agent.
possess great knowl-
Eloquence does not
it.
a rule, poets do not
read what they have written.
to acquaint ourselves
this
As
may
It
behooves
know
us, then,
with these various forms of expression,
Then, once again, we
will
endeavor to im-
man
the
speaks with three tougues,
word, the gesture, and the voice. Gesture has always been
the most powerful language of man, civilized or savage. The
press the thought that
word of
itself
is
the weakest part of language.
Rome, Roscius and Cicero had
contest
to
In
ancient
decide which
could express a given idea in the most clear and vivid manner,
the actor
needless to
gesture, or the orator
by
say that the
actor
hardly a passion or state of

revealed
more
merely.
Bear
won
by words.
the
contest.
It is
almost
There
is
consciousness that cannot be
by pantomime than by verbal terms

mind that you cannot demonstrate truly
vividly
in
more than you are capable of feeling.

The question is often asked, Shall we make
strike attitudes?
Yes and
no.
gestures, shall
we
Gestures and attitudes should
Delsartean
be studied
Trinities.
365
order to render them faultlessly elegant, but
in
it
such a way that they will not seem studied. The

expression of the face should make the gestures forgotten.
"
The orator or reader or actor should so fascinate his auditors
should be
in
that they cannot ask the reason of the fascination, nor remark-
that he gesticulates at
perfect
The body should be placed under

mechanism through which every
all."
during the
control
student of this philosophy must pass

ful
have
and
body
act
in
if
he wishes to be grace-
harmony with
perfect
You should
be expressed.
to
thoughts
the
the
never enslave your-
any particular gesture upon a certain word, or in the

expression of a certain idea. There may be an underlying
self to
you should not violate but the license for gesFor instance, you may be taught the
very great.
principle that
ture
is
gesture and attitude for meditation

attitude in the
but that very gesture and
one particular form might
in
some
selection
or play
be wholly inappropriate to the expression of that
thought,
if
hands
may
taken but
be clasped
one form taught.
in the
in
Yet, while the
various positions, or the arms
may
be
must always express meditation by the relaposition of the head to the body; that is, concentrated,
folded, etc., they

tive
and the expression of the hands, lips, eyes, eyebrows, etc.,

must correspond in whatsoever form the attitude is given.
Then,
in all
the
let
it
be understood
the forms of mechanism,
moment we
thought
calls
for
or exaltation or
etc.,
we
form we
was
that, while
fully
should
step
an
we would
forget the
upon the rostrum or

attitude,
the
for
stage;
gesture
not
know
at
the
feel that
for the free
gesture
mechanism
and
if
the
of meditation
repose or indecision or animated
would give, but
open
we would teach
moment what
attention,
particular
every channel of expression
passage of thought.
The emotion
Delsartean
366
should
fill
Trinities.
when
the whole being, and
had flowed
it
into the
arms, placing them where they belong; and into the

placing them in the correct position; and into the eyes,
the story might be read there, and
all this in
perfect
legs,
that
harmony,
then and then only should the thought bubble over at the
lips,
and seek
its
final
precede the effect.

arm, there
gesture
is
in
expression
If there
is
The
words.
affect
not thought enough to
must
the
fill
not enough to justify gesture, and the so-called
is
only a motion.
Every gesture and every
An
should be fraught with meaning.
attitude
emotional gesture affects
the whole being;
an intellectual gesture only a part. Even

the words we use should seem to be said for the first time.
We
should observe the law of sequence.
teaches us
It
that
the expression of the face precedes gesture, and gesture pre-
cedes speech.
This law
is
illustrates the relation
of pantomime to speech.
a very important one in considering the two languages of
emotion, the verbal and the pantomimic.

tory of the true man, while the verbal
It
It
takes
tufe
is
many words
the
to say
lightning,
is
The
latter
more or
what a single look
speech
the
thunder.
revela-
is
less artificial.
Ges-
reveals.
Thus,
gesture
The
gesture shows the emotional condition from which the words flow, and justifies them.
When
should precede speech.
our words are not preceded by pantomime, they appear to

come from the memory. Herein is illustrated the two schools
of elocution,
the
two schools
of
acting.
The
pantomimic, the emotion preceding the motion

is
In the character of Richard
the declamatory.
cing the words

"
Now
is
Made
the winter of our discontent
glorious
summer by
this sun of
York,"
first
is
the
the
second
III.
in voi-
367
the sight of the banners should suggest the thought, and the
pantomimic should precede the speech.

conditions
utterance, the
In
this,
as in every
should prompt the words.
Then,
again, great caution should be observed in the transition of

If too sudden, it will show throughout the entire
thought.
The new thought begins
organism, especially in the face.

grow before the old has left.
to
Standing, ône day, on the platform of a Chicago street-car,
we were studying the expression of
a gentleman's face, which,
time, was very much clouded. We were nearing a

from the opposite direction, and we observed that the
gentleman recognized a boon companion, probably, on the
the
at
car
platform of the approaching car.

face
began
to light
up
As
admits the sunlight.
was an exchange of pleasant ideas

not a word vocally.
expressed
From
indeed.
of
time of the
the
the
clouded
facially,
but
Just as the brightness had reached the
climax and the sun began hiding his

watch and timed the receding light.
dismissal
his
Immediately
clouded sky when a rift therein

soon as the gentlemen met, there
like a
thought had formed
its
Was
that
is,
former combination,
No
sudden?
it
brightness
greatest
happy thought,
we took out our
face,
until
it
was
to
the
the
old
just five
minutes.
preoccupied man
meets you with a smile, when he has passed you he will con-
You
may
rest
assured
tinue to smile until

until
it
that
when
something occurs
the
to divert his mind, or
recedes to the channel of the previous thought.
things, then,
that
we observe from day
expressions, not studied.
be versed
in
It is
any philosophy
in
to
day
are
These
natural
not necessary that one should

order to do these things, be-
cause they do themselves, or are done
unconsciously;
but,
Delsartean
368
for
Trinities.
one to do them unconsciously, upon
requires considerable
stated
occasions,
more than philosophy.
argued that gestures and attitudes should be natural.

but if you are naturally awkward, your
So they should
It
is
gestures will be so, and in proportion to that awkwardness

they invite attention to the man and detract from the
will
your nature has become perverted, and it surely

you seldom see an awkward child, then you should
matter.
If
has, for
Awk-
take some means to obtain a presentable second nature.
wardness
from rigidity
arises
graceful so long
equal, the
in
the joints.
more cultured
No
one can be
Other things- being
as that rigidity exists.
the individual, the
more
graceful.
and attitudes should be studied from nature;

and we must bear in mind that this study must not be in sociAll gestures
where nature has been repressed, and gestures, attitudes,

hand-shaking, etc., have become conventional. All followers
ety,
of Delsarte are endeavoring to teach the science of expression, while
society
the soul back on
note an expression
or face,
etc.,
and
teaching the art of repression, forcing
is
itself
and limiting
made by
its
powers.
Delsarte would
the hand, or foot, or arm, or leg,
then, putting
himself
in
a passive condi-
tion, would make the motion over and over again

would react upon his organism, and cause the emotion
was the source of motion.

give us
much
In this
until
in
it
which
way he was enabled
to
of the science relating to this important subject
of gesture.
We
quote two and
on speech."
ture
is
We
are often asked for the definition of gesture.

cite
"
a third
Gesture
is
" Gesture
an
is
elliptical
a running
commentary
form of speech."
a pantomimic expression of an impression.
like water, will flow in channels cut for
will
them, and
Ges-
Gestures,
if
no new
made
are
channels
they
will
continue the
by the blacksmith, the

and men in various vocations, who
illustrated
late
are
369
same.
the
cobbler,
will,
when
This
is
type-setter,
talking, gesticu-
manner suggestive of the business in which they

engaged. The element of sex influences the element of
the
in
matter
the
in
ease,
of gesture; that
is,
the
female
more yielding and graceful than that of the male.

lady
gesticulates,
the
of the
strong action
form
is
When
shoulder should
used with great discrimination, as it is too vital and too

masculine, and hence will be more or less repulsive.
When
be
a gentleman gesticulates he should avoid the
movements
forearm, as
sive.
is
it
student's
that of one
will
salutation
will
from a
differ
accustomed to out-door vigorous
be largely the action of the hand,
movement,
Passional
in the
is
expression
emotional
it
is
Delsarte
gestures.
face.
by
When
teaches
To
in the
us
that
the
multiply gestures
face.
an intelligent
only when they
to the elbow,
where
it
is
and thumb,
susceptive and volitional state.
man
intelligent
indicates
much expression as
gesture made by the hand
the
from the shoulder,
then to the wrist
Let as
gence.
fied
presented
the shoulder, elbow,
passes
state,
presented in the affectional state;
where
first
the latter the
vital.
wrist.
it
The
or
law of evolution as taught by Delsarte, there are
the
where
action.
mental
three great articular centres, or joints,
and
soldier's,
whole arm, with a prominence of the shoulder
action of the
By
namby-pamby
from a prominence in the action of the

too effeminate, which will make it also repul-
arising
lack
makes few
of
intelli-
possible be given to the

is
wrong when not
manifested
justi-
the
face.
by
man speaks, he employs great movements
Intelligence
are justified
is
by great exaltation of sentiments
370
and furthermore these sentiments should be stamped upon his

Without expression of the face all gestures resemble
face.
The suspension and prolongation
telegraphic movements.
movement
is
one great source of
that force and interest exist.
effect.
It is in
good thing
is
of
suspension
worth being
long enough to allow an enjoyment of it.

kept
have three objects in view,
should
to move, to
The orator
in sight
interest,
and
by thought; he moves,
He
to persuade.
interests,
man
strongly reflective
other part of his body.
sometimes emotive.
will
It
by language
he moves
and persuades by gesture.

his head more than any
move
generally shows vital deficiency,
easy to distinguish the
It is
The
interests
men
of head,
makes many movements of the

heart,
head, the second many of the shoulders, the last moves the
and
action.
first
arms often and inappropriately.

There are three planes of gesture,
ward,
simple
high moral truths upstatements centre, passional below.

Gestures
the
referring to
centre plane.
material
The more
or literal
on the
generally begin
material the thought, the lower will
be the plane on which the gestures will be made; the more

That which is
emotive, the gestures will be the more elevated.
absolute
is
above
all
language
and
The
gesture to express the absolute.

is
it
requires
The deeper
nail.
the gesture.
shown
is
the screw versus the
more extended
but when that idea
to the audience, the gesture should not

is
in
the hands are brought together,
us to be possessed by one idea
one
of movement
The power of the
the emotions, the higher and
When
highest
spiral line
the highest expression in the universe.
spiral over that of the straight
the
it
is
be continued.
acting the part of a lover, the gestures should be
shows
given
When
made
from the emotional centre, or heart element, not from the
mental or
The
vital.
the
heart
Also
in true
pass
of thought and the
line
the
into
371
life of action from

and
so
arm,
manifest themselves.
dramatic situations, the discarded lover

of the
to the right
necessary to turn
In
speaker.
the
such a situation
head from the
placed
is
it
the
as
lover,
is
only
heart
is
But the placing of the discarded lover on the
already away.
leaves the heart near, even though the head be turned.
left still
We
have a very fine illustration of this in the selection en"The Sioux Chiefs Daughter," by Joaquin Miller.
When the heroine is speaking to the chief and to her lover
titled
Idaho, she says,

"
Take you my
Stand either side
left, tall
Idaho
And you, my burly chief,

Would choose my right."
It
will
to
her
be seen that
left,
in
this case she places the
is
often
asked,
How
play the part of a villain and do

a true
man
in
any capacity.
make wickedness a
is
lover
Idaho
it
can an honorable
art
is
man
true artist
a true or perfect artist

it
to
such a way as to
in
horror, and cause us
good, because true
The
justice?
When
plays the part of a villain, he will play
which
know
nearer her heart.
The question
is
reverence
to
that
goodness and
exalt
suppress wickedness.
The law of
tion.
velocity should be considered in
Velocity
is
in
proportion to the mass
all
gesticula-
moved and
the
mouse moves quicker than an elephant.

Agents of expression with short radii move faster than those
with long radii.
Generally speaking, the eye moves quickly,
force moving.
the head
slowly.
less
quickly,
the
arm moderately,
the
body very
In proportion to the depth and majesty of the emo-
372
tion
and slowness
deliberation
the
is
of
the
Thought or
reflection tends to
its
and
and explosiveness
vice versa in proportion to the superficiality
of the emotion will be the velocity of
motion;
expression
in
motion.
Love or
contract gesture.
affection tends to moderate gesture.
tends to
expansion
contraction of the muscles.
dium
Excitement or passion
Thought tends to extreme
of gesture.
of activity of the
Affection tends to a
happy me-
Passion tends to extreme
muscles.
expansion of the muscles.

The balance of passion and reason
in affection
constitutes
the divinest emotion of being, and produces the most beautiful
modulations of manner
An
the body.
in
tendency of passion to expand the body
An
sion of anger.
contract the
An
is
body
illustration of the
in the attitudes
of reason with passion

of pantomime.
If
will
in
in
you
gesture
gradually contracts the
the
nostrils
mouth
of love.
The
battle
one of the strongest forms
form.
will
contract,
until
will
Those thermometers
lids,
will indicate the
also the
as
the
hands and the
force
of passion
then comes the explo-
The
finest representation
we
ever saw of
between passion and reason, and the subsequent

of the passion, was when John McCullough, as
conflict
explosion
Virginius, gave utterance to the words,
drag
of the student.
by reason of the sudden and vehement expan-
sion of the gesture.

this
is
and the upper
whole body. This will continue

exceeds the force of reason in the
sion of passion
the attitude
observe that reason, trying to suppress the
you
an explo-
are listening to a speech which excites
passion,
passion
in
tendency of thought to
characteristic
passion,
of passion, the
shown
of the
tendency of affection to a happy medium
illustration of the
shown
shown
is
is
illustration
my
daughter through the streets of
in
substance,
Rome?
"
"What!
37 3
This tendency of expansion in passion is very different in

the animal from what it is in the human being.
In the animal there is nought but expansion, while in the human, the
eye and the nostrils expand

holds sway,
can no longer be
constrained
and bursts with
control,
but so
the brows, hands, and
long as the mind
arms contract
then the
until
is
passion
still
they
beyond
terrible effect.
There are three elementary factors in the material universe,

The attributes of time are past,
time, space, and motion.
and
present,
The
future.
from, and around.
It
is
attributes of
gestures are
or around a centre.
space
are
length,
motion are toward,
we have
to
The law of motion teaches
us
with the
deal in the matter of gesture.

that all
of
attributes
The
breadth, and thickness.
last trinity that
made toward
a centre, or from a centre,
Delsarte has plainly taught that in the
subjective states of the
mind we
fold
in,
contract, concentrate
hence motion toward a centre he has named concentric.

states
objective
are expansive
has
named
All
have relaxation to the exterior world, and
hence motion from one's
eccentric.
Motion
self as a centre
he
between these two extremes,
being well-balanced, he has aptly termed normal or accentric.
Then we may conclude

sciousness, the reflective,
is
emotive
flection
which
to
are
mental
is
the sensitive, which
is
that there
is
vital.
make movements inward
three
states
of con-
the affective, which
The tendency of
or toward
re-
centre.
Reflection tends to close the eyes and mouth, and to draw the
gestures
toward the body, closing the hand. The tendency

is to make movements forward and outward, and,
of sensation
as
we have
Men whose
previously shown,
the
affection
is
to
is
expansion.
make straight gestures.

make movements around or
loves are essentially vital
The tendency of
tendency
374
about the centre
that
is,
between inward and outward.
They
are balanced and should be reciprocal.

affection are always in
Expressions of pure
the normal sphere.
The law of form
teaches us that mental gestures are circular, emotive gestures

are spiral, vital gestures are straight.
We
this
in
desire,
but erroneous
to
connection,
idea, that
that
is,
all
should be made with curved lines
in
on the thought and feeling. In the

be conscious of our gesticulation.
barriers
act
in
strike a
but
from
blow would
across
gestures
go
This
is
that
or the
the
is,
to
left
as absurd as the old
the
right
rule,
making
hand
cross the
"
We
shoulder.
to avoid
cross
to
body
to the
Never turn your
Dramatic situations
call
both
for
violations of the rules of a novice,
of these violations,
not
artist.
Let us consider for a

an open hand,
may be
its
a thing
it
say the
is
moment
the three presentations of
expressed
by
these
in
the meaning.
same
This
is
thing, displaying
the
it
is
so
beautiful
that
but
presentations,
"
If
we say
that
to
de-
it
is
the demonstrative aspect.
with the sentiment of impotence;

thing, but
three
admirable, with the palms upward,
perfectly.
The same
palmar, dorsal, digital aspect.
with shades of difference
scribe
from
straight
back on your audience."
thing
all
not by Delsarte
the body;
to the left;
body
of an
not
place,
If we were about to
harmony with the thought.
think
of a curved line,
to
would
not
we
man,
stop
the
right.
we should
we have removed
of expression, she will
avenues
nature's
have also been taught
the
This depends wholly
first
If
angular or
that
view;
be avoided.
straight-line gestures should
the
speak of a prevailing
gestures to be graceful
If
back of the hand,
we have an
idea
we cannot express
it.
it
we
is
of the
This
Delsariean Trinities.
is
the mystic aspect.
is
as
we
if
membered
it
edge;
we
that
the
notes joy or an
we
we
In the
absence of
we communicate
take the hand;
a difference
is
are
we
held the thing

of
the hands derubbing
if
eager thirst for action.
There
it.
The
The hands
so.'
it
seems as
it
desire.
anything else to caress,
our joy to
declare
for
adoration,
it
have weighed, I have reunderstand it from certain knowl-
thing;
love, that
present the digital extremities,
have seen,
admirable, and
is
in
clasped
'I
said,
we
If
375
between the caress and
rubbing of the hands. In a caress the hand extends

eagerly, and passes lightly and undulatingly for fear of
the
there
harming;
is
is
the essential
hence
agent;
an elevation of the shoulders.
agent,
the
must show
it
hand
is
only the
The eye
reverberatory
energy than the eye.
less
Eye,
mouth, and hands, when open, are receptives. The eye is
the intellectual, the hands the moral, the mouth the vital."
Not only should the hand be studied of itself, but in its

relation to the body.
The idea of the mind works into the
uses
material
There are three special maniThe movement of the hand indicates
of the
hand.
festations of the hand.
First, the faculty at work, the source of the emotion.
by the
indicated
hand.
Second,
it
is
indicates
condition of that faculty, the aim and intent of the ob-
the
This
ject.
hand
is
sented
how
is
indicated
The thumb
shut, etc.
by
direction of the
This
by the
laid
action
of the hand, open or
on the index finger of the closed
indicative of mental force in repose.
by
that
the
thumb,
is
image or object
not yet decisive.
in confirmation
intoxicated,
Third,
affects that faculty.
the inflection of the hand.
We
will
cite a
of the foregoing principles.
and he endeavors
to
recall
The
This
will,
repre-
it
indicates
is
indicated
few illustrations
When
some
man
incident,
is
his
376
hand, as
seeks the
it
head,
almost
is
hand
reaches the head,
His thumb,
lifeless.
as the active agent of the hand, has lost
its
When
activity.
immediately conveyed to
either the chin or the back of the head;
the vital portion,
this
as only
faculty is at work.
Again, three persons of
The one whose
different temperaments visit one who is ill.
the
mental faculties
hand
predominate
the mental
is
it
will
indicate
by the action
it
of the
face
or body,
he speaks it will be with a mental tone

heart nature
The one whose emotive faculties
of voice.
of the
and
to
division
if
indicate
nate, will
division of the
it
face
by
or
body;
and
The one whose
will
indicate
by the
it
faculties
vital
hand
Again, a
it
will
be
most deeply sym-
the
action of the
sion of the face or the body.
he speaks
if
with an emotive tone of the voice,

pathetic nature.
predomi-
the action of the hand to the emotive
predominate
to the vital
man
divi-
has just arisen
His expressions will

be in accordance with the principles just stated; from the
stomach he speaks. His hand seeks the
fulness of his
from a well-laden table
The base
abdomen.
the
of his
thumbs, the
hands, are rubbed across or over the
caressing
it,
inarticulate
and
smacking
sound of
Note the tone of

in
at a banquet.
the throat
his
voice, and you
at
vitally
he utters
last
note
it
of
an
he speaks.
far back
is
vital.
Think of a man expressing

fingers
and
will
division
abdomen,
vital
lips
vital satisfaction,
vital
touching
his
forehead
his vital
and
satisfaction with
the
tone
his
given with a
mental quality. The foregoing is conclusive proof that the

zones of the face and the zones of the torso, as points of
arrival
being
and
departure for
predominating
in
gesture,
expression.
indicate the
We
will
side
of the
illustrate
still
when
further.
In emotion,
respect
predominates
gesture
seeks the
that
for
the
for
heart
gesture seeks
that
the
is
the
region,
the emotive zone.
is
377
the chest,
mental zone.
affections
self-
If the
predominate;
If the gesture seeks the
abdo-
men, the appetites predominate; for that is the vital zone.

Turn your attention for a moment to the chart of the
head and the torso, Figs. 125, 126, page 279, and, as numbered,
follow with
vidual
here
the
us
thought and
introduced.
man
He
of the night's previous dissipation.

before
zone,
mind
strategic
ple
ear,
there.
is
shame
"
say of
me?"
me
pause
"
to
the
genal
the
thoracic
me
zone,
"
at
every time
mandism
sions
they
I
I
who have
"But they
"
"
epigastric
transgress
"
zone,
zone,
"
zone,
How
in
gesture.
also
be used to
this
state?"
at
temperance
"
many regrets
The devil gor!
All of the above divifor
gesture
points of departure for

"
express
however,
shall I dare
advised
abdomen,
illustrate
peo-
have so
a wretched creature."
When we
have
such good wine;" at
have been used as centres of attraction
may
will
Reason,
"
me
serve
at the
What
bone,
seen
did
to the parietal bone,

"
Reason long ago

"
am
frontal
the buccal
at
zone,
the
the
at
appear before those
to
touches the temporal
seek
to
the temporal
at
result
some expedient
the
His hand now passes to the ocif
had too strong a dose of them
What
tells
as
indi-
the
bone, and he exclaims, "Here's an adventure;
cipital
really
"
the
of the
action
summing up
is
gratitude,
more elevated the movement, the more
thank
you," the
nobility there
is
in
the expression of the sentiment.
The hand has

I.
The
side
three divisions
of the hand
tive or definitive in
its
is
mental
expression.
in
its
nature,
indica-
378
The back of
2.
hand
the
moral
is
in
its
nature,
mystic
nature,
revela-
in its expression.
The palm of
3.
tory in
hand
its
the
hand
in
its
be necessary to consider the

inflections, and its affirmations.
It
expression.
in its functions, its
vital
is
will
FUNCTIONS OF THE HAND.

There are nine functions of the hand.
// defines, or
1.
In defining, the hand
indicates.
it
moves
up and down, with the side of the hand to the earth and
the
first
In indicating, the hand does not
finger prominent.
move, but simply points to the object to be indicated, the

first
2.
finger prominent.
//
or
affirms,
it
In
denies.
down, moves up and down,
An
of affirmation.
up,
affirmation
affirmation,
the
hand
is
however,
is
in
is,
may
the
depending wholly upon
All
affirming,
that
in
3.
It
simplest form
nature of the
a vertical
always palm down; but
line.
affirmation.
In
denying,
negation opposed
to
hence, the hand
side to side.
moulds, or
movement
of that
hand, palm
be made with the palm
affirmation crosses the line of affirmation,
moves from
the
the
as
of
In
nature.
detects.
In moulding, the hand makes
moulding
clay or other soft substance
it
detecting, the
fingers
are
rubbed across
done when examining some soft texture

Elsewhere we have spoken of dealing
held between them.
One often makes
with thoughts as with tangible objects.
the thumb, as
this
4.
hand
is
movement when
It
is
following
conceals, or it reveals.
some
train of thought.
In concealing, the palm of the
brought toward the body, the
fingers, at
the
same
time, gently
ment
on the palm.
closing
reversed
is
that
In
move-
revealing, the
hand from the body,
tossing the
is,
379
exposing the palm.

5.
// holds,
6.
It
or
In holding, the hand closes

surrenders.
as
if
to
retain
an object. In surrenderdown,
tightly, palm
ing, the closed hand opens, palm downward, as if to drop
the object it had been retaining.
it
or
accepts,
it
In accepting, the ringers close
rejects.
on upturned palm, as if receiving an object. In rejecting,

the fingers open from down-turned palm, as if turning away
the object.
7.
It inquires,
This
In
way.
it
the
acquiring,
movement toward
the outstretched fingers,
movement of
the
is
In the act of inquiring, there
acquires.
movement of
a tremulous
is
down.
or
the
a blind
palm
man, feeling
his
hand, palm down, makes a circular
body, the ringers
closing
easily
on
the down-turned palm.

8.
// supports,
or
it
up,
of
object
some
little
In supporting, the palm
protects.
the surface of the hand
being
In
weight.
as
flat,
to support
if
the
protecting,
palm
to show
down, the movement of the hand being such as

desire to cover what you protect.
9.
gently
In caressing, the
caresses, or it assails.
It
over
the
movement of
object
as
if
soothing.
hand sidewise
the
is
Caressing
considered
ing the animal nature. In assailing, the palm

and the fingers make a convulsive movement
It
is
paw.
similar
that
made by
a cat
when
vital,
is
assailing,
Oh, yes,
I 'd
when she
like to kiss
him
It is
glides
by the
caress-
turned down,
striking with
this
sarcastically utters these

"
is
as of clutching.
Janauschek gives an excellent illustration of
ment of
"
to
hand
is
an
its
movewords:
also strongly implied,
380
though not expressed, in the word

couplet from "The Sioux Chiefs
"
come
"
in the following
by Joaquin
Daughter,"
Miller: -
"And
signals he has
Hist, softly
won
for me.
Let him come and see."
INFLECTIONS OF THE HAND.
1.
A
An
moves up and down.
impatient
from side to
3.
The open hand with
simple statement or definition.
side to the earth

2.
hand -
inflections of the
There are nine
The hand, palm down, moves
negation.
side.
Distribution.
The hand, palm
Appellation.
The
moves from
up,
side
to
side.
4.
hand, palm
up,
moves toward the
face as in beckoning.
5.
Salutation.
The
up, moving from the

6.
down
Assailment,
reverse of appellation,
the hand, palm
face.
lust.
grasping,
to its fullest extent,
The hand
is
palm
open,
and gives a convulsive
movement
downward, with the fingers curved.

7.
Exaltation,
surprise.
the reverse of assailment.

fingers
fully
8.
The
action
From
almost closed, the hand
of the
hand
is
just
the down-turned palm, with

is
suddenly tossed up and
opened.
Concealment, mysticism.
toward the body, closing as

9. Revelation, exposition.
sition of fully
The hand, palm down, moves

if
to conceal an object.
The hand
exposing the palm, as
if
unfolds, from the poto reveal an object.
381
AFFIRMATIONS OF THE HAND.

There are nine affirmations of the hand
The teacher's affirmation. It defines. The hand moves

up and down with the side to the earth, and the first finger
1.
projected.
The patron's affirmation.
2.
It
down, covers the object.

3. The
champion's affirmation.
palm up, supports the

4. The conservative's
the
to
side
earth
The hand, palm
protects.
It
The
supports.
hand,
object.
bent
is
or
The hand with
It limits.
affirmation.
curved, as
though
withholds.
The palm of
partially
closing around the object.
The tyrant' s affirmation.
5.
is
as
withholding an
turned
The movement may
It
object.
The
seer's
saying,
It
may be
is
"
command, Go."
The forearm and
mystifies.
in
It
affirmation.
hand are erect; the palm

"
expressive of arrogance.
is
be given with the arm fully ex-
also
tended outward, palm down, as

6.
the
downward, the hand approaching the object
hand
if
It
the
turned toward the face,
dark to
you,
but
is
it
as
if
clear to me."
In repeating the words of Hamlet, in answer to the question,
"Where
if
is
Polonius?"
find
your messengers
place yourself,"
"In heaven; send

him not
thither
there, seek him
"
heaven
the word
"
i'
to
see;
the other
would be given with

The words
revealing.
palm forward that is,

"
would be given with down-turned hand,
the back of the hand toward the audience,
mystifying.
hand takes the
The
It reveals.
7. The saint's affirmation.
up-lifted hand, the
"
i'
the other place
same
place
as
in
the
seer's
affirmation,
turned out to manifest that there

holds the object up
in
full
view.
is
but
nothing
the
palm
concealed.
is
It
382
The
8.
is
bigot's
It
affirmation.
rejects all
any other rejection, in that
unlike
it
opposition.
This
does not cross the
an affirmation, being a quick, impetuous

hand
movement of the
forward, with palm inclined forward.
It paints, protects.
This is
orator's affirmation.
9. The
line,
but
of
is
allowing a
full
itself
license
movements,
rious
the hand
to
the
as
partake of the va-
to
brush
artist's
here
toftches
and
there for the lights and shades.
LAW OF
Ere we
leave
another of
its
the
OPPOSITION.
of
subject
fundamental
gesture,
we
that
opposition.
laws,
is,
consider
will
Del-
he himself studied the poses of antiquity

for fifteen years, and it was in consequence of this period of
study, assuredly, that the master condemned the parallel movesarte
tells
us that
ment of the limbs
in
of reaction:
"Every
recommended
and
gesture,
which he called inverse or opposite.
attitudes
Delsarte says of this law
object of agreeable or disagreeable aspect
which surprises us makes the body recoil. The degree of

reaction should be proportionate to the degree of emotion
caused by the sight of the object. Every extreme of emotion
tends
to
react
to
its
Concentrated
opposite.
tends to explosion, explosion to prostration.
emotion which does not tend to
which
All
is
own
destruction
is
that
perfectly poised."
direct
movements should be
movements simultaneous.
taneous
its
passion
Thus, the only
The law
movements must be
movements should be
move backward
parallel.
in
successive, and
is
thus
stated
opposition, and
In appealing, the
in opposition to the
movement
opposite
"
:
Simul-
successive
body should
of the hands,
move forward
then both
is
agents
The harmonic law of gesture
is
It has a childlike simplicity.
We
manifests
the other
in
when
itself
The law
rises.
and
opposition,
in
of this
in
in turn.
condemns
the Stoic
law par excellence.
employ
in walking.
it
a weight
carrying
Equilib-
parallelism."
one
in
equilibrium.
realizing
All ancient art
is
and awkwardness
It
hand;
All
that
is
based on the
opposition to the arms and the hands.
in
the same
direction, there
When
results.
bends forward, and
head
born
Here is an example of the observance

head and arm are in action, the head
If the
rule.
must move
the
is
of the
born of con-
is
consists in placing the active levers
harmonized.
is
equilibrium
thus
opposition of levers.
move
Harmony
opposition equilibrium
the great law of gesture, and
is
also
The opposition
together.
of gesture.
harmony
From
trasts.
rium
the
383
both
If
a defect in equilibrium,
is
the hand rises to the head,
meets
The
half way.
it
re-
Every movement in the hand has its

The movements must
responsive movement in the head.
verse
is
also
so
balance,
true.
that
main balanced.
body may be
the
It
in
equilibrium
and
only by the laws of opposition that
is
The
the entire significance of expression can be manifested.
hands
the
are
utility
of
expression
oppose the fingers

In opposition we have palm
power
to
law
this
upon
organized
and
re-
the
hand
the
to
of
opposition.
All
grow out of the
thumb and
the
palm.
palm and back to back.

Try parallelism by placing the palm of one hand on the
back of the other, and giving expression to the words,
"Heaven help me."

opposition,
leg
and
of
arm.
the
All
precision
head and
The law
endeavored to show,
to
is
of
of
expression
hand, hand
opposition,
demands
and hand, and
then,
the law of equilibrium."
as
we have
384
There
an indisputable law that extension in opposition
is
strengthens
This
possession.
tight rope.
Develop the
equilibrium
is
are weakest until
that
faculties
gained.
orator assumes
the
tion as
that
virtue
by
"
assist.
when he
is,
rdle,
an
reflects,
When
movement,
concentric
he makes the forward
of a
When
he
eccentric
In
himself.
upon
the
one
state
passive
loves,
but
first move forward.

In proporhe draws back and contemplates the object.
he does not
loves
he
one speaks to others, he advances. When

his thoughts
himself, he recoils a step,
to
speaks
when he
to
When
movement.
one
the movement,
in
blesses
calls
role,
passive
he makes the backward
assumes the active
centre
One
angles.
upon which he
power
superior
the
in
the
In the gesture of benediction, there
should be opposition of head and hand
and opposition
by a man on a
illustrated
is
feels,
Contemplation makes the body retroact. In the joy of seeThe same

ing a friend we start back from the object loved.
action
naturally takes
whom
for
and
it
a hatred
in
place
may
Such
exist.
cannot be ignored.
a fright, or
is
To behold
was
person
life;
to
Delsarte's
that
him
led
retroaction
to
concentric,
toward
and accentric,
man,
centre
if
of affection
so, there
is
the
sight
this,
no
gives his heart;
is
not
love.
retroacts;
the
Expiration
is
hence, there
is
beloved
phenomena
of
from a centre
eccentric,
made with
of
which he terms the
normal, or with the centre."
periences a deep emotion, he

tion
it,
object fully,
as does an artist
discovery of the
the
this triple state of
at
the law of nature,
a loved
we step back some little distance from

when admiring a painting."
It
meeting one
in
When
one ex-
hence a demonstraforward
the sign
the joy and
movement;
him who
of
love.
Inspira-
tion,
may
being retroactive,
As
trust.
love
is
to a certain
by the
expressed
degree signify dis-
retroactive
never by the forward, the hand should
and
toward
be extended
toward
self,
indicates
it
tend toward the loved
self,
is
and above
all
there
carried
movement,
in opposition,
to
it
tends
it
The hand should
self.
caress,
If
to
de-
reassure, to
portraying love, the hand should
in
Then,
fend.
of
love
being,
move
beloved object.
the
385
not seek
should not seek the heart, as the hand

case
in
only
of suffering there
otherwise,
When we move away
from the object

we contemplate, we doubtless prove the respect and veneraThe retrograde movement may thus be
tion that it inspires.
it
is
oratorical crime.
the sign of reverence and
us
before
object
and moreover that the
salutation,
more
is
more
and
eminent
worthy of
veneration."
There
is
philosophy
gracefulness,
opposition.
cessary to
great
to
in
the
whole range
than
acquire
bring
perfect
harmony
not in well
in
doing.
renewed enthusiasm,
lyre with
three
''The
the
this
trinity
opposition
In the words
to
you
your work.
human organism
of
of
all
is
to
of the
return
The end
a marvellous
is
in-
God
has
nine
chords, each rendering various sounds.
given for our use.
It
is
a harmo-
chords for the voice, the three for gesture, and
the three for speech have

service of the
vibrate
of
Patience and perseverance, however, will be
Weary
worth the pains.

strument, which
nious
the
in this law of
harmony, and ease,
weeks
of
mechanical
work are neHours, days,
master of expression, we would urge
then, with
The
difficult
precision,
the movements.
rewarded.
nothing
probably
more
life,
beneath
their
thousand resonances
the soul, and the mind.
your
fingers,
they
will
As
at
the
these chords
give voice
to
the
386
emotions of the
of the mind.
to
life,
the
of the
jubilations
This delightful concert will
lend
to your passing years, throwing, around them

of the good, the true, and the beautiful."
We
have
herein
light
endeavored
to
represented, trusting
make
plain
all
heart
and
enchantment
the attractions
the various trinities
that in each there
of encouragement for the searcher after
may be some
truth.
Make
each day a day of progress, mentally, emotively, and physLife itself is a great trinically, and thus fulfil the trinity.
to know, to be, and to do.
What you know to-day,
ity,
do to-morrow, and the day after you will be. Seek to do
well whatsoever
Bear
artist
in
mind
done.
Be an
that Delsarte has
does not
charm of
is
grow
old.
divine beauty.
He
artist to
the fullest meaning.
always taught that the true

is
never too old to
feel
the
PRACTICAL THOUGHTS
FOR
PRACTICAL MEN.
XXV.
PRACTICAL THOUGHTS FOR PRACTICAL MEN.
OINCE
the foregoing chapters passed into the hands of the
publishers, the author has travelled from ocean to ocean
the interests of the Delsarte Philosophy of Expression, in
in
dissemination of
the
its
wholesome
he has been met by men and

in
who,
substance, said
" If
the
women
truths.
On
mastery of self depends upon the mastery of
Delsarte principles,
hand
every
of a practical turn of mind
have not the time, even though
all
the
had the
inclination, to devote myself thoroughly to its teachings.

"
Can you not, in your forthcoming volume on this subject,
so classify, in one chapter, a system of exercises, or, better
a series of suggestions, that will at once
by being capable of ready application?

"
The study of Gestures and Attitudes
*
who has chosen
commend
'
is
essential for
a public career, but not for one
grossed in the every-day business
affairs
of
still,
themselves
who
is
one
en-
life."
In compliance with this request, the author has added such

exercises as will fully meet this demand.
It
to
is,
or at least should be, the desire of every business
appear well
that
is,
to
in
his
man
business, on the street, and in society;
appear well as regards the carriage of the body.

desire to be graceful for the sake of
Not only should he

grace,
but because therein
Awkwardness
a
man
in
is
lies
the secret of vital economy.
a waste of vital force
embarrassing situations.
besides,
it
often places
Practical Thoughts for Practical Men.
390
True grace
to a
little
unconscious grace,
is
If
child.
your nature has
the grace that belongs
become
you
perverted,
cannot reach that state of grace unless you again become

as
little
wholly unconscious of self.

arises from one of two causes,
children,
Awkwardness
rigidity of joints, or, as
remove the former, we

ibility
of Joints
"
;
to
we have
said, self-cpnsciousness.
"
refer the reader to the chapter
remove the
either
latter
is
on
To
Flex-
not a physical, but a
mental requirement, and is entirely dependent upon the will.

But be it remembered that self-consciousness is always increased where there
One
is
a consciousness of awkwardness.
of the most essential elements, ay, the prime factor in
appearing well
in all
the walks of
life, is
practically applying the laws that govern

is
in
understanding and
harmonic poise
this
of especial importance as regards a correct standing position.
Accuse not Nature
Do
she hath done her part :
thou but thine.
MILTON.
392
FIG. 138.
To SECURE A CORRECT
The
simplest
against the wall,
way
first
POSITION.
to secure a correct position
is
to stand
touching the heels, then the calves of the
legs and as much of the body as possible, being sure to touch

Do not bend the head back, but
the shoulders and the head.
draw
it
back by drawing
in the chin.
Imagine an inflexible stick passing through the body from

the head
to
the ankle, but not tlirougJi
it.
Sway
the whole
body
from the door without breaking the imaginary stick hence

there will be no movement of any joint save that of the
;
ankle.
When you
have passed from the position over the heels

to the position over the centre of the feet, and no part of
the
body
will
be correct.
touches
the
door but the
heels,
your position
FIG. 138.
394
FIG. 139.
INCORRECT POSITION.
Inharmonic action brings
Not only
strain,
and
strain
brings fatigue.
an accomplishment to stand well, but
is it
it
is
a pro-
moter of health, grace, and beauty. Back-aches, pelvic troubles,

dyspepsia, and many other ailments are the result of incorrect
and ungainly positions.
When
the weight of the

is
so doing, the
abdomen
of the spine
is
to
body
is
borne equally by both
throw that weight heavily over the heels
the tendency
is
is
in
greatly increased, the chest sinks, the breathing
perform their functions
result
carried too far forward, the curvature
becomes labored, the back aches, the stomach and

to
feet,
in
liver cease
accordance with nature, and the
not only inharmonic poise, but inharmonic action of
the vital organs.
all
FIG.
139.
396
FIG. 140.
CORRECT POSITION.
To overcome
fer the
the inharmonic poise (incorrect position), trans-
weight of the
body from
the heels to the centre of the
in Fig. 138), drawing back the knees and the

and
abdomen,
keeping an active chest that is, raised and fixed
by muscular effort, being wholly independent of the breathing.
The main weight of the body should not be upon the heel or
feet (as
shown
the ball of the foot, but

If
midway between.
you have the correct
position,
you
will
be able to
rise
on
your toes and descend again to the heels without swaying your
body
either forward or backward, or
the ankle joint.
moving
at
any other than
FIG.
140
FIG. 141.
POISING.
Take correct position

illustration, the
as
shown by the dark
weight over the centre of the
figure of this
feet,
and the chest
active.
Sway
the
body
as far forward as possible without
the waist or raising the heels
moment
at correct position in
bending
at
then back to position (halting a

order to recognize
it
as the
one
where the body is perfectly poised over the centre of the

then backward as far as possible without raising the ball
feet)
that is, changing the curvaof the foot and without bracing,
;
ture of the spinal
Keep
the
column from that of correct
position.
constantly in view the imaginary stick passing through
body
to the ankle.
Make
all
the
movements
slowly.
r:
v\
FIG. 141.
400
FIG. 142.
INCORRECT POSITION.
THE FREE
FOOT.
In the drawing-room or on the platform avoid placing the

free foot (the foot not
forward.
When
It
weight)
in
far
advance of the other.
placed at too great a distance (a prevalent fault), the
it is
tendency
bearing the weight of the body) too
should be but slightly
is
to so settle
on the strong leg (the one bearing the

moves inward instead of outward,
that the hip-joint
thus lowering one shoulder
much more
otherwise producing an awkward effect.
command
neither respect nor attention.
than the other,
Such
and
a positioa will
FIG.
142.
402
FIG. 143.
CORRECT POSITION.
THE FREE
To overcome
FOOT.
or to avoid the habit of the incorrect
movement
of the feet and hips, keep the feet nearer together, the free foot
but slightly
body.
Do
in
advance of the one bearing the weight of the
not neglect the importance of having the weight of
body over the centre of the foot of the strong leg.

Your position will also be correct if your feet are^side by
the
the weight borne
by
either foot or
foot be placed at quite a distance
of
it,
tion
by both
feet.
from the other and
the advance foot should bear the weight.
shows more of
activity than of
side,
SJiould one
But
in
advance
this posi-
rest.
For correct hip movement, stand before a mirror, placing

your hands on your hips and settling the weight of the body
See that the hip-joints move outward instead of inward, that the shoulders are -kept even, and
alternately
that
on each
foot.
your body does not sway sidewise.
FIG.
143.
404
FIG. 144.
FAMILIAR REPOSE.
The
striking effect
produced by the position of the
cannot be too strongly impressed upon

to ceate a favorable impression in the
all
men who
feet
desire
drawing-room, upon the
We
platform, upon the stage, or at the sacred desk.
refer
produced by the careless separation
especially to the position
"
the widths."
of the feet in what Delsarte terms
This position has
its
origin with
"
the boys
"
xluring their
college days in their social chats around the college
men
with
standing at bars
and
at street-corners.
fire,
case this careless attitude passes for familiar repose
other
is
it
it
is
refined
considered evidence of vulgarity.

;
and
In the one
in
the
In neither case
hence should be studiously avoided by every one
wishing to create a favorable impression in refined society.
Be ever on your guard,
for if careless
when
not be careful in the presence of others.

will assert itself.
character;
bearing,
its
reflex in
its
you
alone,
Habit, good
Impress every one with the grandeur of your
impress yourself
If
first.
continuance will result
you
practise a dignified
in a dignified feeling,
being
action.
The man who, consciously or unconsciously, assumes

position of
line
will
or bad,
"
Familiar Repose," weakens his power
of thought he presents, unless
it
rough, uncouth, unrefined character.
be
in
in
the
whatever
the portrayal of a
FIG. 144.
406
FIG. 145.
SITTING.
The
of sitting
act
graceful.
You should
means of support
is
sometimes too easy
easy,
not drop into a chair as
and you
will
not
sit
if
gracefully
to
be
you had no
if
your
feet
are together.
Separate the
feet,
not sidewise, but place one foot near the
chair (so that the leg touches
other foot in advance.

at the
or nearly touches
Incline the
it),
and the
body forward from the waist,
same time bending the knee of the leg nearest the
chair,
thus keeping your balance as you sink gracefully to a correct

sitting position.
In rising
it
is
not necessary to touch the chair with your
hands or place them on your knees for assistance. Take the

same position of the feet as before sitting, and incline your
body forward, throwing your weight
at
once on the foot nearest
the chair.
When
sitting,
avoid having the feet side by side, but keep
them or place them

terial
which foot
is
as
shown
placed in advance.
It is
imma-
FIG.
145.
408
FIG. 146.
THE DIGNIFIED Bow.

Bowing
We
an accomplishment.
is
shall here say
nothing
especially of the court bow, the society bow, the dancer's bow,
the Delsartean street bow,
or
all
of which serve their pur-
speak principally of the bow which is

practicable and courteous for every occasion, whether in the
but we
pose,
shall
We
business or the social circle.
refer to the dignified
bow,
the bowing only of the head.
The head
represents the mental element, the trunk the emo-
tive element.
is
too
dignified
reserve)
is
said to
bow made from
society in
The
of
in
is
emo-
cold, arid the
itself,
the head
cold
is
dignity
(all
is,
considered too cold,
proportion as
it
shows
hence society has instituted the bow from the waist.
Such a bow
the
As the mental
bow of only
warm, the
tive
general
show more of warmth,
true,
the waist includes the heart element
is
heart/^^, such a
yielding from the waist
bow
"
signifies
is
because
;
but as
deceptive.
from
my
"
heart;
and
if the
upper eyelids droop, it is heartiness plus humiliation,
a position rarely taken by a practical person who is
wholly
sincere.
The bow of
true,
and with
the head, however,

little
is
always courteous, always
can
practice
always be made gracefully.
Jerkiness should be avoided
hence
all
the muscles of the neck
should be pliable, though strong.

To gain
the
neck
exercises
strength, practise
given
"
Flexibility of the Joints."
this pliability
in
and
the chapter on
FIG. 146.
41o
FIGS. 147. 148.
THE SOCIETY Bow.
THE HEARTY Bow.
\Vhen a man upon the rostrum or stage is heartily applauded

or encored, he may with propriety and sincerity incline the
body from the waist; a hearty applause calls for a hearty
response.
This
down and back

far
in the
may be
gracefully done
at the waist,
by sinking the body
without necessarily placing one foot
of the other and bending the knee.
rear
Never
lower the head so far as to take the eye from the individual
or individuals to
young lady
is
whom you
The
society
bow
never required of the young man'.
.be satisfied with either the
of the body from the

feet.
bow.
bow
waist,
should
movement
movement of the
of the head or the
without the
He
of the
FIG. 147.
FIG. 148.
4 3
1
FIGS. 149, 150.
STOOPING.
How
of
awkwardly people stoop
vital
force,
there
is
much
If
of
awkwardness
that
waste
a waste
is
made
manifest
in stooping.
A society
fellow-men,
man may make a bow that excites the envy of his

but in another moment he may place himself in a
in his effort to pick
up a handkerAfter almost losing his balance he rises
very embarrassing position

chief,
from
fan, or glove.
his
awkward
position with flushed face,
quence of the undue expenditure of

flushed because he
ness,
flushed in conse-
vital force in
his
awkward-
becomes conscious of
his
awkward-
This unnecessary strain and embarrassment are due to
ness.
were kept too near together and the

knees not allowed to bend sufficiently.
the
fact
To
that
the
feet
harmony, and
practise graceful stooping (with precision,
ease), drop a handkerchief to the floor while standing in correct

positian, then gently
backward
lift
foot (say the
the
to a distance that will be
bending the right knee as the
body
left),
and carry
most convenient
sinks.
The body
for
it
you,
will
in-
cline forward and the hand will drop gracefully to the object.
You
ceive
can instantly gauge the distance, and the eye should perthe object without dropping the head.
placing the
foot
back not
to
turn
it
on
the
Be
careful
toes,
in
but on
the side.
it
but
Stooping may be done without placing either foot back,
will not be so gracefully done.
FIG. 149.
FIG. 150.
416
FIG. 151.
KNEELING.
Dropping on both knees
circumstances, and
allowable
is
generally where
vided; but this privilege
is
only under certain
a cushion has been pro-
seldom accorded a person on the
stage or rostrum, and never in a drawing-room or in any case
of emergency.
To
if
kneel gracefully and with
economy of
force,
you should,
not wishing to advance from your position, slowly pass the
free
foot back,
dropping gently on the knee of the leg not
bearing the weight of the body.
body should balance
When
feet,
it is
standing
in
it
by
As
the foot passes back, the
inclining forward.
position, the weight of the
very easy to settle the
weight on either
the other perfect freedom so as to pass
it
halting a
you should not bring the

moment well poised on the advance
foot slightly,
sinking easily
and pass
it
foot,
allowing
back, thus permitting
you to drop on either knee.

Should you be advancing toward the individual
intend kneeling,
body on both
to
whom you
feet together,
foot, raise the free
back to the required position
upon the knee.
but
for
FIG. 151,
418
FIGS. 152, 153, 154.
SELF-ASSURANCE.
SELF-CONSCIOUSNESS.
The elbows
of
person's
street,
ease
and
or in the
gathering.
When
fested,
indicators
great
whether on the rostrum, on the
character,
social
are
^TIMIDITY.
the elbows are carried out, self-consciousness

it
may
be of awkwardness, of power
is
mani-
in certain direc-
tions, of pride in great achievements, or of personal appearance.
In
all
but the
One may
first it
takes the form of self-assurance.
readily distinguish between self-consciousness
self-assurance
by
the case of self-assurance
what back, turned a
drawn toward the body,
body.
the
Timidity, as
head,
are
never
to the side.
causes
as
if
gaze "and scrutiny of others.
harmony with the body,
and
the
tendency in
to carry the head high and some-
is
trifle
self-consciousness
If
head
the position of the
it,
timidity,
the
elbows
will
be
the individual shrank from the
The head
too, will
will always act in

be drawn toward the
shown by the arms, and assurance, by

found together.
FIG. 152.
FIG. 153.
FIG. 154.
Practical Thoughts Jor Practical Men.
422
man
GRACEFUL CARRIAGE.
presents himself
man's bearing
first
to the eye, then to the ear.
If a
bad, he need not expect to fascinate by his
is
voice, even though his reasoning be forcible.
To
first
obtain a graceful carriage of the body,
to secure a correct position, as
Keep your
shown
is
it
in Figs.
138 and 140.
Carry your heart high.
chest active.
necessary
Be uncon-
means of support; but do not

such a manner as to allow the abdomen to
scious of your legs, except as a

settle
your body
protrude.
make
it
in
Walk
in the straight
so narrow, or have
it
and narrow path, but do not
made
so narrow, as to
individuality or your individual rights.
Be
true to the higher
self.
your strength of
manhood
your
politics,
of your body
free.
felt
in
Be manly. Make
your home, your religion,
your daily intercourse with men,

is
in
perfect
cramp your
Be firm. Be
well balanced.
harmony with
within, and the whole organism
expression.
Be
is
until the carriage
the purity of a soul
attuned to
its
most perfect
BINDING SECT.
^T
PLEASE
271980
DO NOT REMOVE
CARDS OR SUPS FROM THIS POCKET

UNIVERSITY OF
W3
TORONTO
LIBRARY
Warman, Edward Barrett

Gesture and attitudes, an
exposition of the Delsarte
philosophy of expression
practical and theoretical

Gestures and Attitudes

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Presented to the

GESTURES AND ATTITUDES

Read, Recite, and Impersonate

Worcester and Webster School Charts

Series Worcester's School Dic-

GESTURES AND ATTITUDES

DELSARTE PHILOSOPHY OF EXPRESSION

AUTHOR OF "THE VOICE HOW TO TRAIN

IT HOW TO CARE FOR IT"

SONATE" "PHYSICAL TRAINING OR THE

true artist never denies

ONE HUNDRED AND FIFTY-FOUR ILLUSTRATIONS

NEXT "THE OLD SOUTH MEETING HOUSE"

Gestures and Attitudes.

never saw him.

What we do know, of practical benefit, is in

never studied with

as boundless as the ocean.

present our readers with a plain, practical, and com-

devoted an entire volume to the consideration of the voice

of thought and sentiment.

by whomsoever written or under whatcontain many of the same sayings. It cannot be

All Delsarte books,

from any book or taught to us by any instructor, yet they

the line between what has been

be some paragraphs not credited.

Having taught this philosophy for many years, we relied

desire not to exalt

but gladly give credit to

are indebted to the teachings of

under lasting obligations, not only for a knowledge of the

while others have endeavored to

degrade it, either from their ignorance of its grand teachings,

So never-ending and all-absorbing

grand philosophy that something new, something unwritten,

manuscript is telling its story on the

Hen to the publishers.

ask of a work of art by what method

Correct vs. Incorrect Position

Correct vs. Incorrect Position

Affirmation vs. Negation

" Pathetic Benediction

Positive and Negative Assertions

Facts of Expression relative to the Mind

Face and Head Division

Vitality vs. Mentality

Mentality vs. Vitality

secure a Correct Position

WHO WAS DELSARTE?

FRANCOIS DELSARTE, born Nov.

Solesmes, France, was a master of expresa greater never lived.

Previous to his discovery,

of science, had had none but chance successes.

ing the severe winter of 1821 in Paris was obliged, owing to

bitter cold night,

he held a younger brother; but when

the morning light dawned, he found, to his

sorrow, that he was clasping a lifeless form.

hunger had so weakened his brother's

the potter's field, his sole mourner

vital forces that resist-

being his heart-stricken

sinking almost senseless on the newly

grave, heard a strain