He was horror-stricken at the news he was to hear,
but uncertainty was intolerable; and when, after these touching
preparations, Arnold himself tore away the last shred of doubt, when he
uttered the cry: "My father!" there was not a heart--were it bathed in
the waters of the Styx--which did not melt from the counter shock of
such violent despair.
The effects of rage, hate, irony, the terrors of remorse, the bitterness
of disappointment, were not the only dramatic means in the possession of
that artist whom Madame Sontag proclaimed as "the greatest known
singer." None could express as did Delsarte, contemplation, serenity,
tenderness--the dreams of a sweet and simple soul, and even the divine
silliness of innocent beings. Wit and malice were equally easy for him
to render.
In the duet from "Count Ory:"
"Once more I'll see the beauty whom I love,"
he was quite as apt at interpreting the hypocritical good-nature of the
false hermit as the sentimental playfulness of the love-lorn page.
In his school the comic style bore an impress of propriety and
distinction, because it resulted from intellectual perceptions rather
than it expressed the vulgar sensations manifested by exaggerated
caricature and grimace.
Delsarte thus put his stamp upon every style which he attempted; he
renovated every part. He restored Gluck to life; he revealed Spontini to
himself. The latter--the illustrious author of "Fernando Cortez"--was at
a musical entertainment where Delsarte, whom he had never known, sang.
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