ses, the more closely he
approaches the puppet.

* * * * *

A portion of a whole cannot be seriously appreciated by any one ignorant
of the constitution of that whole.

* * * * *

An abstract having been made of the modes of execution which the artist
should learn before handling a subject, two things are first of all
requisite:

1. To know what he is to seek in that subject itself;

2. To know how to find what he seeks.

* * * * *

Is not the essential principle of art the union of truth, beauty and
good? Are its action and aim anything but a tendency toward the
realization of these three terms?

* * * * *

We have a right to ask a work of art by what methods it claims to move
us, by which side of our character it intends to interest and convince
us.

* * * * *

Speech is external, and visible thought is the ambassadress of the
intellect.

* * * * *

How should the invisible be visible when the visible is so little so!

* * * * *

One cannot be too careful of his articulation. The initial consonant
should be articulated distinctly; the spirit of the word is contained in
it.

* * * * *

Two things to be observed in the consonant: its explosion and its
preparation. The _t, d, p,_ etc., keep us waiting; the _ch, v, j,_
prepare themselves, as: "_vvvenez_." The vocals _ne, me, re_ are
muffled.

* * * * *

_Rhythm_ is that which asserts; it is the form of movement.

_Melody_ is that which distinguishes.

_Harmony_ is that which conjoins.

* * * * *

Let your attitude, gesture and face foretell what you would make felt.

* * * * *

Be wary of the tremolo which many singers mistake for vibration.

* * * * *

If you cannot conquer your defect, make it beloved.

* * * * *

A movement should never be mixed with a facial twist.

* * * * *

Things that are said quietly should sing themselves in the utterance.

Part Sixth.

Lecture and Lessons Given by Mme. Geraldy (Delsarte's Daughter) in
America.

[Illustration: Mme. Marie Delsarte-Geraldy.]