e moan
Of the people when they cry: 'We hunger ...'
For it is the cry of nature,
They want bread, bread, bread!"

The guests were forced to give the attention which it demanded to this
cry which aroused the idea of recent seditions, and the performer came
in for his share.

This artist may still be heard, but his talents are displayed in so
narrow a circle that his reputation is a limited one. Yet it is said
that his compositions and his mode of singing them attest to great
vigor.

Darcier, it seems, always retained a strong feeling of devotion for his
master. He has been heard to say: "I fear but two things--Delsarte and
thunder."

Alfred Giraudet joined the grand opera as _primo basso cantante_. He was
warmly received by the press, and had already won a name at the Opera
Comique and at concerts. In this singer may be noted the firmness of
accent and scholarly mode of phrasing, always in harmony with the
prosody of the language, which are part of the tradition of the great
school. He always bears himself well on the stage, and the sobriety of
his gesture is a salutary example which some of his present colleagues
would do well to imitate.

He, too, was a loyal soul; he always regarded it as an honor to bear the
title of _pupil of Delsarte_, the latter always writing to him as _my
dear and last disciple_. I owe many of the memories and documents used
in this volume to his kindness.

Alfred Giraudet always took his audience captive when he sang Malherbe's
verses--music by Reber--of which each strophe ends with the following
lines:

"Leave these vanities, put them far behind us,
'Tis God who gives us life,
'Tis God whom we should love."

The broad, sustained style, so appropriate to the words of the melody,
finds a sympathetic interpreter in the young artist.

Delsarte gave this with great _maestria_. The finale, particularly,
always transports the listeners.

If any one can revive the tradition of the master's teachings, it is
certainly Giraudet, who understands the method and appreciates its high
import.

Madame Pasca was one of the latest comers; her advent was an event.
There were pupils in the school who were destined for the theatre, and
there were women of society; the future artist of the Gymnase partook
of both phases. She had the advantages of a vocation and of a careful
education; her fortune allowed her to dress elegantly, with the
picturesqueness imparted by artistic t