Chapter 35
A Series of Gestures for Exercises.
_Preliminary Reflections._
We know the words of Garrick:
"I do not confide in myself, not I, in that inspiration for which idle mediocrity waits."
Art, then, presents a solid basis to the artist, upon which he can rest and reproduce at will the history of the human heart as revealed by gesture.
This is true, and it is as an application of this truth that we are about to consider the series, which is an exposition of the passions that agitate man, an initiation into imitative language. It is a poem, and at the same time it lays down rules through whose aid the self-possessed artist can regain the gesture which arises from sudden perturbation of the heart. It is a grammar which must be studied incessantly, in order to understand the origin and value of imitative expressions.
The development of the series is based upon the static, the semeiotic and the dynamic.
The static is the life of gesture; it is the science of the equipoise of levers, it teaches the weight of the limbs and the extent of their development, in order to maintain the equilibrium of the body. Its criterion should be a sort of balance.
The semeiotic is the spirit and _rationale_ of gesture. It is the science of signs.
The dynamic is the action of equiponderant forces through the static; it regulates the proportion of movements the soul would impress upon the body. The foundation and criterion of the dynamic, is the law of the pendulum.
The series proceeds, resting upon these three powers. The semeiotic has given the signs, it becomes æsthetic in applying them. The semeiotic says: "Such a gesture reveals such a passion;" and gesture replies: "To such a passion I will apply such a sign." And without awaiting the aid of an inspiration often hazardous, deceitful and uncertain, it moulds the body to its will, and forces it to reproduce the passion the soul has conceived. The semeiotic is a science, the æsthetic an act of genius.
The series divides its movements into periods of time, in accordance with the principle that the more time a movement has, the more its vitality and power; and so every articulation becomes the object of a time.
The articulations unfold successively and harmoniously. Every articulation which has no action, must remain absolutely pendent, or become stiff. Grace is closely united to gesture; the manifold play of the articulations which constitutes strength, also constitutes grace. Grace subdues only because sustained by strength, and because strength naturally subdues. Grace without strength is affectation.
Every vehement movement must affect the vertical position, because obliquity deprives the movement of force, by taking from it the possibility of showing the play of the articulations.
The demonstration of movement is in the head. The head is the primary agent of movement; the body is the medium agent, the arm the final agent.
Three agents in gesture are especially affected in characterizing the life, mind and soul. The thumb is the index-sign of life; the shoulder is the sign of passion and sentiment; the elbow is the sign of humility, pride, power, intelligence and sacrifice.
The first gesture of the series is the interpellation, the entrance upon the scene. The soul is scarce moved as yet, and still this is the most difficult of gestures, because the most complex. It must indicate the nature of the interpellation, its degree and the situation of the giver and receiver of the summons in regard to each other.
A study of the signs which distinguish these different shades will teach us the analysis of gesture.
Aside from simple interpellation, the series passes successively from gratitude, devotion, etc., to anger, menace and conflict, leaving the soul at the point where it is subdued and asks forgiveness.
The passional or fugitive type forms the constant subject of the study of this series.
The Series of Gestures Applied to the Sentiments Oftenest Expressed by the Orator.
First Gesture. _Interpellation._
Interpellation embraces five steps:
The first consists in elevating the shoulder in token of affection. If the right shoulder, as in figure 2 with the right leg weak.
The second step consists in a rotary movement of the arm, its object being to present the epicondyle (elbow-joint) to the interlocutor. For this reason the epicondyle is called the eye of the arm.
The third stage consists in substituting the articulation of the wrist for the epicondyle. In making the forward movement of the body, the epicondyle must resume its natural place.
The fourth step consists in extending the hand toward the speaker in such a way as to present to him the extremities of the fingers.
The fifth step is formed by a rapid rotation of the hand.
Second Gesture. _Thanks--Affectionate and Ceremonious._
This gesture consists of six steps:
1. Consists in lifting the hand and lowering the head.
2. Consists in raising the hand to the hip.
3. The head inclines to one side, and the elbow at the same time rises to aid the hand in reaching the lips.
4. In this, the head resumes its normal position, while the elbow is lowered to bring back the hand to the same position.
5. In this, the hand passes from the horizontal to the vertical position, rounding toward the arm.
6. In this, the arm is developed, and then the hand.
Third Gesture. _Attraction._
In this gesture there are three steps:
1. The hand turns toward the interlocutor with an appealing aspect.
2. The hand opens like a fan with the little finger tending toward the chest.
3. The elbow is turned outward, and the hand passes toward the breast.
Fourth Gesture. _Surprise and Assurance._
1. This consists in elevating the shoulders, opening the eyes and mouth and raising the eyebrow; the whole in token of surprise.
2. Raise the passive hand above the chin, making it turn around the wrist.
3. The hand still passive, is directed toward the person addressed, the elbow being pressed against the body.
4. The arm is gradually extended toward the person addressed, while the hand is given an opposite direction; that is, the palm of the hand is toward him.
Fifth Gesture. _Devotion._
This gesture embraces seven movements:
1. This consists in raising the passive hand to the level of the other hand, but in an inverse direction.
2. This consists in turning back the hand toward one's self.
3. This consists in drawing the elbows to the body, and placing the hands on the chest.
4. This is produced by taking a step backward, and turning a third to one side; during the execution of this step, the elbows are raised, and the head is lowered.
5. This consists in drawing the elbows near the body, and placing the hands above the shoulders.
6. This consists in developing the arms.
7. This consists in developing the hands.
Sixth Gesture. _Interrogative Surprise._
This surprise is expressed in two movements:
1. This is wholly facial.
2. This is made by advancing the hand and drawing the head backward.
Seventh Gesture. _Reiterated Interrogation._
This gesture signifies: I do not understand, I cannot explain your conduct to me. It embraces five steps:
1. This consists in placing both hands beneath the chin, and violently elevating the shoulders.
2. This consists in bringing the hands to the level of the chest, as if in search of something there.
3. This consists in extending both hands toward the interlocutor, as if to show him that they contain nothing.
4. This consists in extending one hand in the opposite direction, and letting the head and body follow the hand.
5. This consists in turning the head vehemently toward the interlocutor, and suddenly lowering the shoulders.
Eighth Gesture. _Anger._
This gesture is made in three movements:
1. This consists in raising the arm.
2. This consists in catching hold of the sleeve.
3. This consists in carrying the clenched hand to the breast, and drawing back the other arm.
Ninth Gesture. _Menace._
This gesture consists of a preparatory movement, which is made by lowering the hand while the arm is outstretched toward the interlocutor, then the finger is extended, and the hand is outstretched in menace.
The eye follows the finger as it would follow a pistol; this occasions a reversal of the head proportional to that of the hand.
Tenth Gesture. _An Order for Leaving._
This is executed:
1. By turning around on the free limb.
2. By carrying the body with it.
3. By executing a one-fifth sideward movement--the right leg very weak. All these movements are made by retaining the gesture of the preceding menace. Then only the menacing hand is turned inward at the height of the eye, at the moment when it is about to pass the line occupied by the head; the elbow is raised to allow the hand a downward movement, which ends in an indication of departure. In this indication the hand is absolutely reversed, that is, it is in pronation. Then only does the head, which has hitherto been lowered, rise through the opposition of the extended arm.
Eleventh Gesture. _Reiteration._
1. The whole body tends toward the hand which is posed above the head. The right leg passes from weak to strong.
2. The head is turned backward toward the interlocutor.
3. It rises.
4. The arm extends.
5. The hand in supination gives intimation of the order.
Twelfth Gesture. _Fright._
The right hand pendent. The left hand rises. Tremor.
The first movement is executed in one-third; the body gently passes into the fourth, and as the fifth is being accomplished, the arm is thrust forward as if to repel the new object of terror.
At this moment a metamorphose seems to take place, and the object which had occasioned the fright, seems to be transfigured and to become the subject of an affectionate impulse. The hands extend toward this object not to repel it, but to implore it to remain; it seems to become more and more ennobled, and to assume in the astonished eyes of the actor, a celestial form--it is an angel. Therefore the body recoils anew one-fourth; the hands fall back in token of acquiescence; then, while drawing near the body, they extend anew toward the angel (_here a third in token of affection and veneration_). Then a prayer is addressed to it, and again the arms extend toward it in entreaty. (_Here the orator falls upon his knees._)
The series can be executed beginning with the right arm or the left, being careful to observe the initial and principal movement, with the arms at the side where the scene opened. This gives the same play of organs only in an inverse sense.
_Important Remarks._
Should any student despair of becoming familiar with our method, we give him three pieces of advice, all easy of application:
1. Never speak without having first expressed what you would say by gesture. Gesture must always precede speech.
2. Avoid parallelism of gesture. The opposition of the agents is necessary to equilibrium, to harmony.
3. Retain the same gesture for the same sentiment. In saying the same thing the gesture should not be changed.
Should the student limit himself to the application of these three rules, he will not regret this study of the
Practice of the Art of Oratory.
Appendix.
The Symbolism of Colors Applied to the Art of Oratory.
We close this book with an appendix which will serve for ornament. Before delivering up a suite of rooms, we are wont to embellish them with rich decorations. Architects usually color their plans. We also wish to give color to our criterion, by explaining the symbolism of colors.
SPECIES. GENUS. 1 3 2
1-II 3-II 2-II II Ecc.-Conc. Norm.-Conc. Conc.-Conc. Concentric. Violet-blue. Green-blue. Indigo.
1-III 3-III 2-III Normal. Ecc.-Norm. Norm.-Norm. Cone.-Norm. III Red-yellow. Yellow. Green-yellow.
1-I 3-I 2-I Eccentric. Ecc.-Ecc. Norm.-Ecc. Conc.-Ecc. I Red. Yellow-red. Violet-red.
In the literary world, color gives forms of speech consecrated by frequent usage. Thus we very often say: a florid style, a brilliant orator. This figurative language signifies that in order to shine, the orator must be adorned with the lustre of flowers. And as one flower excels others and pleases us by the beauty of its colors, so the orator must excel, and please by the brilliant shades of his diction. It is as impossible to give renown to a monotonous and colorless orator as to a faded, discolored flower. Would you give to the phenomena of your organism this beautiful corolla of the flower of your garden, throw your glance upon nature.
Nature speaks to the eye through an enchanting variety of colors, and these colors in turn teach man how he may himself speak to the eyes. The whole man might recognize himself under the smiling emblem of colors. Imagine him in whatever state you will, a color will give you the secret of his aspirations. And so it has been easy for us to show you the orator imaged in this colored chart, and we shall have no trouble in justifying our choice of colors.
Since man, as to his soul, presents himself in three states: the sensitive, intellectual and moral; and in his organism in the eccentric, concentric and normal states; _a priori_, you may conclude that nature has three colors to symbolize the three states, and experience will not contradict you.
In fact, red, yellow and blue are the primitive colors. All others are derived from these three rudimentary colors.
Why have we painted the column that corresponds to the life red? Because red is the color of blood, and the life is in the blood. But life is the fountain of strength and power. Hence red is the proper symbol of strength and power in God, in man and in the demon.
Why blue in the column of the concentric state, the mind? Because blue, from its transparency, is most soothing to our eyes.
Why yellow in the column of the soul? Because yellow has the color of flame; it is the true symbol of a soul set on fire by love. Yellow is, then, the emblem of pure love and of impure flames.
Why not use white in our chart? Because white is incandescence in the highest degree. We say of iron that it is at a red or a white heat. But in this world it is rare to see a heart at a white heat. Earthly thermometers do not mark this degree of heat.
It cannot be denied that red, yellow and blue are the three elementary colors, whose union gives birth to all the varieties that delight our eyes. We have proof of this in one of nature's most beautiful phenomena--the rainbow.
The rainbow is composed of seven colors. Here we distinguish the red, yellow and blue in all their purity; then from the fusion of these three primary colors, we have violet, orange, green and indigo.
This is the order in which the seven colors of the rainbow appear to us:
Violet (_red_}, orange (_yellow_), green (_blue_), indigo. Orange is composed of yellow and red. Yellow mixed with blue, produces green. Blue when saturated, becomes indigo. Upon closer investigation, we may easily find the nine shades which correspond perfectly to the nine operations of our faculties, and to the nine functions of angelic minds.
By complicating and blending the mixture of these colors, we shall have all the tints that make nature so delightful a paradise.
The seven notes of music sound in accord with the seven colors of the rainbow. There is a brotherhood between the seven notes and the seven colors.
The voice-apparatus, with that of speech and gesture, is for the orator a pallet like that upon which the painter prepares and blends those colors which, under the brush of a Raphael, would at once glow forth in a masterpiece.
Delsarte's criterion is true; still more, it is beautiful, especially so with its brilliant adornment of the colors of the rainbow.
We verify our judgment by an explanation of the colored chart.
As may be seen, this chart is an exact reproduction of the criterion explained at the beginning of this book, only we have adorned it with colors analogous to the different states of the soul that art is called upon to reproduce.
Beginning with the three transverse columns corresponding to the _genus_, we have painted the lower column red, the middle column yellow, and the upper one blue. These are the three colors that symbolize the life, soul and mind, as well as the genera.
Passing to the vertical columns which correspond to species, we have painted the first column red, the second yellow, and the third blue, passing from left to right. The blending of these colors produces the variety of shades we might have in this representation.
Blue added to blue gives indigo; blue with yellow gives a deep green; with red, violet. Yellow passed over to the middle column, gives bright green upon blue; pure yellow, when passed upon yellow, and orange upon red.
Thus pure red will be the expression of the sensitive state or the life. Orange will render soul from life, and violet will be the symbol of mind from life.
Applying this process of examination to the two other columns, we shall know by one symbolic color, what the soul wishes at the present hour, and these same colors will, besides, serve to regulate the attitude of our organs.
Honor and thanks to the genius which gives us this criterion, where is reflected the harmony of all worlds!
Epilogue.
In this rational grammar of the art of oratory, I have given the rules of all the fine arts. All arts have the same principle, the same means and the same end. They are akin, they interpenetrate, they mutually aid and complete each other. They have a common scope and aim. Thus, music needs speech and gesture. Painting and sculpture derive their merit from the beauty of attitudes. There is no masterpiece outside the rules here laid down.
It is not enough to know the rules of the art of oratory. He who would become an orator, must make them his own. Even this is not enough for the free movement of the agents which reveal the mind, the soul and the life. The method must be so familiar as to seem a second nature. Woe to the orator if calculation and artifice be divined in his speech! How shun this quicksand? By labor and exercise. The instruments and the manner of using them are in your hands, student of oratory. Set about your work. Practice gymnastics, but let them be gymnastics in the service of the soul, in the service of noble thoughts and generous sentiments--divine gymnastics for the service of God.
Renew your nature. Lay aside the swaddling-bands of your imperfections, conform your lives to the highest ideals of uprightness and truth. Exercise your voice, your articulation and your gestures. If need be, like Demosthenes, place pebbles in your mouth; repair like that great orator to the sea-shore, brave the fury of the billows, accustom yourself to the tumult and roar of assemblies. Do not fear the fracture or dislocation of your limbs as you seek to render them supple, to fashion them after the model, the type you have before your eyes. _Labor omnia vincit._
In any event, be persevering. Novitiate and apprenticeship in any profession, are difficult. In every state the bitterness of trial is to be expected. To arrive at initiation has its joys, to arrive at perfection is a joy supreme. Beneath the rind of this mechanism, this play of organs, dwells a vivifying spirit. Beneath these tangible forms of art, the Divine lies hidden, and will be revealed. And the soul that has once known the Divine, feels pain no longer, but is overwhelmed with joy.
Art is the richest gift of heaven to earth. The true artist does not grow old; he is never too old to feel the charm of divine beauty. The more a soul has been deceived, the more it has been chastened by suffering, the more susceptible it is to the benefits of art. This is why music soothes our sorrows and doubles our joys. Song is the treasure of the poor.
Return, then, with renewed enthusiasm to your work! The end is worth the pains. The human organism is a marvelous instrument which God has given for our use. It is a harmonious lyre, with nine chords, each rendering various sounds. These three chords for the voice, and three for both gesture and speech, have their thousand resonances at the service of the life, the soul and the mind. As these chords vibrate beneath your fingers, they will give voice to the emotions of the life, to the jubilations of the heart and the raptures of the mind. This delightful concert will lend enchantment to your passing years, throwing around them all the attractions of the Good, the True, and the Beautiful.
We may well salute the three Graces and the nine Muses as gracious emblems, but it is far better to discern in art, the reflected image of the triple celestial hierarchy with its nine angel choruses.
Honor, then, to the fine arts! Glory to eloquence! Praise to the good man who knows how to speak well! Blessed be the great orator! Like our tutelary angel, he will show us the path that conducts or leads back to God.
Part Fourth.
Arnaud on Delsarte.
The Delsarte System.
By
Angélique Arnaud, (_Pupil of Delsarte_).
Translated by Abby L. Alger.