der, elbow_ and
_wrist_. Passional expression passes from the shoulder, where it is in
the emotional state, to the elbow, where it is presented in the
affectional state; then to the wrist and the thumb, where it is
presented in the susceptive and volitional state.

* * * * *

Three centres in the arm: the _shoulder_ for pathetic actions; the
_elbow_, which approaches the body by reason of humility, and
reciprocally (that is, inversely) for pride; lastly, the _hand_ for
fine, spiritual and delicate actions.

* * * * *

The initial forms of movements should be--in virtue of the zones whence
they proceed--the only explicit, and consequently the only truly
expressive ones.

* * * * *

Bad actors exert themselves in vain to be moved and to afford a
spectacle to themselves. On the other hand, true artists never let their
gestures reveal more than a tenth part of the secret emotion that they
apparently feel and would hide from the audience to spare their
sensibility. Thus they succeed in stirring all spectators.

* * * * *

No, art is not an imitation of nature: art is better than nature. It is
nature illuminated.

* * * * *

There are two kinds of loud voices: the vocally loud, which is the
vulgar voice; and the dynamically loud, which is the powerful voice. A
voice, however powerful it may be, should be inferior to the power
which animates it.

* * * * *

Every object of agreeable or disagreeable aspect which surprises us,
makes the body recoil. The degree of reaction should be proportionate to
the degree of emotion caused by the sight of the object.

* * * * *

Without abnegation, no truth for the artist. We should not preoccupy the
audience with our own personality. There is no true, simple or
expressive singing without self-denial. We must often leave people in
ignorance of our own good qualities.

* * * * *

To use expression at random on our own authority, expression _at all
hazards_, is absurd.

* * * * *

The mouth is a vital thermometer, the nose a moral thermometer.

* * * * *

Dynamic wealth depends upon the number of articulations brought into
play; the fewer articulations an actor u