ity between them; thus, the three principles of
our being--life, mind and soul--form a trinity.
"Why?
"Because life and mind are one and the same soul; soul and mind are one
and the same life; life and soul are one and the same mind."
Chapter IV.
Course of Applied AEsthetics.
_Meeting of the Circle of Learned Societies_.
Independently of its method, which was especially applicable to dramatic
and lyric arts, Delsarte's doctrine, as we have seen, drew from the
primordial sources, which are the law of things, the principles of all
poetry, all art and all science. The intense light which he brought
thence was too dazzling for young scholars, whose minds were rarely
prepared by previous education. It, nevertheless, overflowed into the
daily lessons, and gave them that peculiar and somewhat singular aspect,
which acted even upon those whose intelligence could not cope with it.
Such is the mysterious magic of things which penetrate before they
convince.
But these lofty problems demanded an audience in harmony with their
elevation. Delsarte soon attracted such. Under the title "Course of
Applied AEsthetics," he collected in various places, notably at the
"Circle of Learned Societies," profane and sacred orators, and learned
men of all sorts. There he could develop points of view as new as they
seemed to be strikingly true. It was on leaving one of these meetings,
that a distinguished painter thus expressed his enthusiasm: "I have
learned so much to-day, and it is all so simple and so true, that I am
amazed that I never thought of it before."
The Course of Applied AEsthetics was addressed to painters, sculptors,
orators, as well as to musicians, both performers and composers; and was
finally extended to literary men. This audience of scholars was no less
astonished and enchanted than others had been.
_Theory of the Degrees_.
The theory of degrees was largely developed at these meetings, and I
have purposely delayed it till this chapter. To understand this
theory--one of the most striking points in Delsarte's method, and
original with him,--one should have some idea of the grammar which he
composed for the use of his pupils.
I will not say that this treatise was complete in the sense usually
attached to the word grammar. There is no mention of orthography or of
lexicology; but all that is the very essence of language, that from
which no language, no idiom can escape--the constituent par
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