capacity to execute them. One's particular vocation (or congenial line
of work) is the first condition in either of these departments of art,
and into the consideration of this must enter that of physical beauty
such as the roles demand; always considering what has been named "the
physique" of the situation. In a word, these three aspects of art
correspond to the predominance of that modality which Delsarte calls
"life;" this with the complementary share of the other essentials to
maintain a symmetry; this for the average "chosen." As to the
individuality necessary for the creation of a role, general statements
cannot apply. It is one and entire for each. Should it reproduce itself
identically, it would no longer be individual. The strength of a
powerful individuality lies in the revelation of a type _sui generis_.

Thus Delsarte can never be reproduced. If by an impossibility an artist
having seen him, and being penetrated by his method, could assimilate
the sum total of his acquired qualities and his inmost purposes, still
he could be but a copy, however perfect, since personality cannot be
transmitted. I could not pursue the demonstration of the application of
the laws of the human organism to the generality of the liberal arts
without meeting an objection which we will consider just here. Some one
says: If the law of art is the same as that of the human constitution,
what need that Delsarte teach that law--will it not suffice for each
artist-nature to study himself in order to determine satisfactory means
of transmitting (to spectators, audiences or readers) the thoughts,
passions or emotions which he would reveal, either by his pen, his
chisel, his brush, or by the fictitious personages which he incarnates?
I answer, No! The expression of nature by gesture, face, or voice will
not come to the artist by inspiration nor by reflection, especially in
extreme situations. He may chance upon agreeable effects, and even
moving expressions, but rarely does a just and telling expression of
that which he would express result from mere chance. Caustic truth or
knack--more vulgarly, cheek--comes of influence outside of one's self.
Upon one occasion Madame Pasta was heard to say: "I would be as
touching as that child in her tears. I should, indeed, be a great
artist if I could imitate her."

Rare, indeed, are the artists who know how to weep. The sublimity of art
responds to nature's simplest impulses. By the study and work of