A very talented young girl succeeded in giving to these words a great number of different modulations, expressing endearment, coaxing, admiration, ironical praise, pity and affection.  Delsarte, with his far-reaching comprehension, conceived of more than 600 ways of differentiating these examples; but he stopped midway in the execution of them, and certainly no one else will ever pursue this outline to its farthest limits.

The second phrase was:  “I did not tell you that I would not!”

This time the words were given as a study for adults; they lent themselves to other sentiments; they revealed, as the case might be, indifference, reproach, encouragement, the hesitation of a troubled soul, etc.

It was by means of these manifold shades that the artist-professor established characteristic differences in parts wherein so many actors had seen but the identical fact of a similar passion or a similar vice.  To his mind, all misers were not the same miser, nor all seducers the same seducer.  In singing particularly, with what art Delsarte used the inflection!

On Vocal Music.

In regard to lyric art especially, Delsarte had his peculiar and personal theories.  Singing was not to him merely a means of displaying the singer’s voice or person; it was a superior language, charged with the rendition, in its individual charm, of all the greatest creations of literature and poetry; all the sweet, tender, or cruel sentiments possible to humanity.

This exceptional singer attained his effects partly by means of certain modifications of the rhythm, which caused inattentive critics to say:  “Delsarte does not observe the measure.”  What they themselves failed to note, was that the first beat was always given firmly; and that it was in the divisions of one measure, and by subtle compensations, that he made the difference.  Far from having cause for complaint, the composer gained thereby, a more clear expression of his thought, a more persuasive expansion of his sentiment, and the respiration appeared more easy.  It was something similar—­with a greater value—­to that personal punctuation with which skilful readers often divide the text which they translate.

It was particularly in recitative, the style, moreover, least subject to precise laws, that Delsarte used this license; and it was in this style that he especially excelled.

And is it not in what remains unwritten that the singer’s true greatness is revealed?  What dilettante has not felt the power of a more incisive attack of the note; of that prolongation of the note, held imperceptibly, which, having captured it, holds the attention of the listener?

But, to hear these things, it is not necessary, as the saying is, “to bestride technique.”  In so far as the training of the voice is concerned, Delsarte gave himself a scientific basis.  He was the first to think that it would be well to know the mechanism of the organ, that it might be used to the best advantage, both by avoiding injurious methods of exercising it, and by aiding the development of the tone by appropriate work.