In regard to truth he says:  “A man may possess remarkable qualities, may have grace, expression, charm and elegance, but they are all as nothing if he does not interpret the truth.”  He desired the artist to study beauty in every form, to seek and discover its secrets.  He tells us that he himself studied the poses of the statues of antiquity for fifteen years.

It was in consequence of this period of study, assuredly, that the master condemned the parallel movement of the limbs in gesture, and recommended attitudes which he called inverse; if, for instance, the actor leans on his left leg, the corresponding gesture must necessarily be entrusted to the right arm.

The master taught that the gesture—­the true interpreter of the sentiment—­should precede the word.  He added:  “The word is but an echo, the thought made external and visible, the ambassador of intelligence.  Every energetic passion, every deep sentiment, is accordingly announced by a sign of the head, the hand or the eye, before the word expresses it.”  Thus, the actor and the orator, if they do not conform to this precept, have failed to attain to art.

Delsarte proves his assertion by giving examples, somewhat overdrawn, in a sense the inverse of this theory.  Nothing was more amusing than to see him execute one of these dilatory gestures; for instance, this phrase, uttered by the lackey of some comedy, delivering a message:  “Sir, here is a letter which I was told to deliver to you at once.”  The hand extending the note unseasonably, produced so ridiculous an effect that the heartiest laughter never failed to follow.

On Ellipsis.

The preceding steps lead us to ellipsis, which plays an important part in the method of Delsarte.

All the thoughts and sentiments contained in literature, in one comprehensive word, are entrusted to the mimic art of the actor, whose essential agent is gesture.  The conjunction and interjection are alike elliptical; thus in the phrase:  “Ah! * * how unhappy I am! * ” “Ah!” should imply a painful situation before the explanatory phrase begins.  In his _course of applied aesthetics_, Delsarte gives us the striking effects of the elliptic conjunction.

On Shades and Inflections.

The shade, that exquisite portion of art, which is rather felt than expressed, is the characteristic sign of the perfection of talent; it forms a part of the personality of the artist.  You may have heard a play twenty times with indifference, or a melody as often, only to be bored by it; some fine day a great actor relieves the drama of its chill, its apparent nullity; the commonplace melody takes to itself wings beneath the magic of a well-trained, expressive and sympathetic voice.  Delsarte possessed this artistic talent to a supreme degree, and it was one of the remarkable parts of his instruction; he had established typical phrases, where the mere shade of inflection gave an appropriate meaning to every variety of impression and sentiment which can possibly be expressed by any one set of words.  One of these phrases was this:  “That is a pretty dog!”