Do not suppose, however, that Delsarte abused his power. Contrary to
many actors who carry their theatrical habits into their private life,
he aimed at the most perfect simplicity outside of the roles which he
interpreted. "I make myself as simple as possible," he would say, "to
avoid all suspicion of posing." But still he could not entirely rid
himself, in conversation, of those inflections which illuminate words
and are the genuine manifestation of the inner meaning.
Be this as it may, the relation between our two converts assumed the
proportions of friendship, doubtless in virtue of the mysterious law
which makes contrast attractive.
Hegel says: "The identical and the non-identical are identical;" and
this proposition passes for nonsense. Perhaps if he had said: "May
become identical," it would be understood that he meant to speak, in
general, of that reconciliation of contraries which united the calm
genius of Delsarte and the bristling, prickly spirit of Raymond Brucker.
One motive particularly contributed to the union; Brucker was
unfortunate in a worldly sense. Delsarte, improvident for the future and
scorning money, still had, during the best years of his professorship, a
relatively comfortable home. He loved to have his friend take advantage
of it. Large rooms, well warmed in winter, a simple table, but one which
lacked no essential article, were of no small importance to one whose
scanty household had naught but sorrow and privation to offer.
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