It seems at the first glance as if the mind must be confused by these varieties, whose possible number fades into infinity; but the teacher does not open this labyrinth to his disciples without providing them with a clue.

Independently of these modalities, of these states, which form the basis of the system, Delsarte traces triune subdivisions, which serve as a point of convergence; thus the intermediary rays of the compass or mariner’s card are multiplied, and receive special names, without ceasing to belong to one of the four cardinal points.

Whatever, for instance, may be the tendency of the individual whom we desire to portray, or to represent by any art whatsoever, we can think of him in his normal state, as well as in a concentric or eccentric state:  this is a first distinction.

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)?