Delsarte System of Oratory

by Delaumosne

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

First Gesture.
Interpellation.

Interpellation embraces five steps:

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

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

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

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

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

Second Gesture.
Thanks--Affectionate and Ceremonious.

This gesture consists of six steps:

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

2. Consists in raising the hand to the hip.

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

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

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

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

Third Gesture.
Attraction.

In this gesture there are three steps:

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

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

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

Fourth Gesture.
Surprise and Assurance.

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

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

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

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

Fifth Gesture.
Devotion.

This gesture embraces seven movements:

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

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

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

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

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

6. This consists in developing the arms.

7. This consists in developing the hands.

Sixth Gesture.
Interrogative Surprise.

This surprise is expressed in two movements:

1. This is wholly facial.

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

Seventh Gesture.
Reiterated Interrogation.

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

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

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

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

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

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

Eighth Gesture.
Anger.

This gesture is made in three movements:

1. This consists in raising the arm.

2. This consists in catching hold of the sleeve.

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

Ninth Gesture.
Menace.

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

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

Tenth Gesture.
An Order for Leaving.

This is executed:

1. By turning around on the free limb.

2. By carrying the body with it.

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

Eleventh Gesture.
Reiteration.

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

2. The head is turned backward toward the interlocutor.

3. It rises.

4. The arm extends.

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

Twelfth Gesture.
Fright.

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

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

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

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

Important Remarks.

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

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

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

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

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

Practice of the Art of Oratory.

Appendix.
The Symbolism of Colors Applied to the Art of Oratory.

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

[The symbolism of colors.]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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