Each of these states is itself subject to shades of difference, to modifications. The normal state of a diplomat and that of an artist could not be the same. The one, by the very effect of his profession, will incline to concentration; the other will tend to expansion, if not to eccentration. Hence a simple normal state which is the most common; a normal-concentric state, a normal-eccentric state: here we have a second distinction.
Delsarte, in order to avoid confusion between the word state applied to primordial modalities--which he defines as sensitive, moral and intellectual states,--often uses the word element in place of that of state in speaking of concentration, eccentration and normality, which, in this case, he also calls calm; but, in teaching, he was always accustomed to use these more exact terms: normal state, concentric state, eccentric state.
These differences may occur in regard to each of the other terms. Thus we may have the simple concentric state, the concentro-concentric state, etc.
It is upon this mutual interpenetration of the various states in the triple unity, that the master founds the idea which dominates and pervades his whole system; the three isolated and independent terms do not, to his thinking, constitute the integrality of the human ego. To constitute, according to Delsarte's theory, three, the vital number, it must, by its very essence, and by inherent force, raise itself to its multiple nine. This is what the master calls the ninefold accord.
Medicine--a science which also derives its justification from the human organism--from certain points of view affords us analogies to this mixture of primordial components; for example, nervous and sanguine temperaments which are blended in the sanguo-nervous, etc.
If we refer to our own faculties, does it not strike us indeed, that neither life--nor sensation--nor sentiment, nor intellect can manifest itself without the aid of its congeners or co-associates?
Is intelligence evident elsewhere than in a sensitive being (life)? And even when considering the most abstract things, does it not bear witness of its taste, its power of choice (sentiment)? Can sentiment be absolutely disengaged from impression (life)? And if it is not always under the sway of the idea, is it not certain that it gives rise to it, by provoking observation and reflection (intellect)?
Finally, can an adult--save in the case of absolute idiocy--exist by sensitive life alone outside of all sentiment and all thought (soul, intellect)?
It is by the harmony of the modalities among themselves, and the contribution of each to the unity, that every individual type is formed. Delsarte thought that he could fix their numerical scale; but he was not permitted to carry his scientific studies thus far; still, it is not indispensable to art, which demands above all things very marked types, that verification should be carried to its farthest limits. It will not be difficult, guided by the knowledge which Delsarte has left us, to classify artistic personages as physical, intellectual and moral or sentimental types; and, in the same category, to differentiate those belonging to the concentric state from those falling more particularly into the eccentric or normal states: the Don Juans, Othellos, Counts Ory, etc. Delsarte, in practice, excelled in characterizing these shades of difference.
These prolegomena would not perhaps alone suffice to give this teacher a claim to the title of creator of a science. Although they give the theory of the system, they are far from containing all its developments. But Delsarte did not stop here.