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Preliminary Ideas--criterion of the Oratorical Art.

Let us note an incontestable fact. The science of the Art of Oratory has not yet been taught. Hitherto genius alone, and not science, has made great orators. Horace, Quintilian and Cicero among the ancients, and numerous modern writers have treated of oratory as an art. We admire their writings, but this is not science; here we seek in vain the fundamental laws whence their teachings proceed. There is no science without principles which give a reason for its facts. Hence to teach and to learn the art of oratory, it is necessary:

1 To understand the general law which controls the movements of the organs;

2 To apply this general law to the movements of each particular organ;

3 To understand the meaning of the form of each of these movements;

4 To adapt this meaning to each of the different states of the soul.

The fundamental law, whose stamp every one of these organs bears, must be kept carefully in mind. Here is the formula:

The sensitive, mental and moral state of man are rendered by the eccentric, concentric or normal form of the organism.¹

Such is the first and greatest law. There is a second law, which proceeds from the first and is similar to it:

Each form of the organism becomes triple by borrowing the form of the two others.

It is in the application of these two laws that the entire practice of the art of oratory consists. Here, then, is a science, for we possess a criterion with which all phenomena must agree, and which none can gainsay. This criterion, composed of our double formula, we represent in a chart, whose explanation must be carefully studied.

The three primitive forms or genera which affect the organs are represented by the three transverse lines.

Illustration

The subdivision of the three genera into nine species is noted in the three perpendicular columns.

Under the title Genus we shall use the Roman numerals I, III, II.

Under the title Species we employ the Arabic figures 1, 3, 2.

I designates the eccentric form, II the concentric form, III the normal form.

The Arabic figures have the same signification.

The normal form, either in the genus or the species, we place in the middle column, because it serves as a bond of union between the two others, as the moral state is the connecting link between the intellectual and vital states.

Thus the first law relative to the primitive forms of the organs is applied in the three transverse columns, and the second law relative to their compound forms is reproduced in the three vertical columns.

As may be easily proven, the eccentric genus produces three species of eccentric forms, marked in the three divisions of the lower transverse column.

Since the figure 1 represents the eccentric form, 1-I will designate the form of the highest degree of eccentricity, which we call eccentro-eccentric.

Since the figure 3 represents the normal form, the numbers 3-I will indicate the normo-eccentricform.

Since the figure 2 designates the form which translates intelligence, the figures 2-I indicate the concentro-eccentric form as a species. As the species proceeds from the genus, we begin by naming the species in order to bring it back to the genus. Thus, in the column of the eccentric genus the figure 1 is placed after the numbers 3 and 2, which belong to the species. We must apply the same analysis to the transverse column of the normal genus, as also to that of the concentric genus.

Following a diagonal from the bottom to the top and from left to right, we meet the most expressive form of the species, whether eccentric, normal or concentric, marked by the figures 1-I, 3-III, 2-II, and by the abbreviations Ecc.-ecc. (Eccentro-eccentric), Norm.-norm. (Normo-normal), Conc.-conc. (Concentro-concentric). It is curious to remark how upon this diagonal the organic manifestations corresponding to the soul, that is to love, are found in the midst, to link the expressive forms of life and mind.

This chart sums up all the essential forms which can affect the organism. This is a universal algebraic formula, by which we can solve all organic problems. We apply it to the hand, to the shoulder, to the eyes, to the voice--in a word, to all the agents of oratorical language. For example, it suffices to know the eccentro-eccentric form of the hand, of the eyes; and we reserve it for the appropriate occasion.

All the figures accompanying the text of this work are only reproductions of this chart affected by such or such a particular organ. A knowledge of this criterion gives to our studies not only simplicity, clearness and facility, but also mathematical precision.

In proposing the accord of nine formed by the figure 3 multiplied into itself, it must be understood that we give the most elementary, most usual and least complicated terms. Through natural and successive subdivisions we can arrive at 81 terms. Thus multiply 9 by 3; the number 27 gives an accord of 27 terms, which can again be multiplied by 3 to reach 81. Or rather let us multiply 9 by 9, and we in like manner obtain 81 terms, which become the end of the series. This is the alpha and omega of all human science. Huc usque venies, et ibi confringes tumentes fluctus tuos. ("Thus far shalt thou come, and here shall thy proud waves be stayed.")

It is well to remark that this criterion is applied to all possible phenomena, both in the arts and sciences. This is reason, universal synthesis. All phenomena, spiritual as well as material, must be considered under three or nine aspects, or not be understood. Three genera and nine species; three and nine in everything and everywhere; three and nine, these are the notes echoed by all beings. We do not fear to affirm that this criterion is divine, since it conforms to the nature of beings. Then, with this compass in hand, let us explore the vast field of oratorical art, and begin with the voice.

NOTE TO THE STUDENT.--Do not go on without a perfect understanding of this explanation of the criterion, as well as the exposition of our method which closes the preface.