,the ,dance ,illustration3 ,,ballet ,,pantomime ,from pose by ,mlle4 ,louise ,la ,gai ,,the ,,dance ,,its ,,place ,,in ,,art ,,and ,,life ,,by ,,troy ,,and ,,margaret ,,west ,,kinney 78,,the ,,kinneys07 ,with a frontispiece in colour and one hundred and seventy-six line drawings and diagrams by the authors1 and three hundred and thirty-four illustrations in black-and-white from photographs ,illustration ,,new ,,york ,,frederick ,a4 ,,stokes ,,company ,,mcmxiv ,,copyright1 #aiad1 ,,by ,,frederick ,a4 ,,stokes ,,company ,all rights reserved1 including that of translation into foreign languages ,illustration3 colophon ,april1 #aiad ,,the,,plimpton,,press ,,norwood,,mass,u,s,a ,to ,a ,,fellow-,,enthusiast ,j4 ,t4 ,w4 ,,with ,,appreciation ,,preface ,the pleasant responsibility of writing about one of our two overwhelming enthusiasms was accepted by us only after consultation with friends in the dancing profession4 8,a book of technical instruction is not the idea10 we started to explain4 8,no10 they concurred1 8that would not be an undertaking for painters4 ,only an experienced master of dancing should write such a book1 and he would not be likely to1 because he would know that execution is taught only by personal criticism of a pupil's work40 ,we hastened to specify that the proposal involved no more--and no less--than an effort to share our enthusiasm with others4 ,appreciation of an art requires no faculties not included in the normal human equipment2 more than anything else it is a matter of knowing what to look for4 ,when a layman comes to a painter asking what it is that people find so enjoyable in classic mural decoration1 the answer is not difficult4 ,a few hours in an art museum1 with some direction of his attention to line as a vehicle of beauty1 acquaint him with the idea of beauty as a self-sufficient object2 and he goes on his way rejoicing in the possession of a lasting process of making happiness for himself4 ,great dancing1 to us1 always had been a gratification of the same senses that are addressed by decoration4 ,the same suggestions1 therefore1 that convey the power to enjoy classic mural painting1 would enable us to communicate our satisfaction in the dance4 ,but the question arose1 was our point of view on dancing in accord with its real intent1 and that of its performers and composers8 ,madame ,cavallazi disposed of the doubt at one stroke4 8,the ballet10 she said1 8is mural decoration40 ,sanctioned by such authority1 we have followed the lines above indicated1 treating the dance from the standpoint of pure optical beauty4 ,its enjoyment1 experience proves1 is distinctly sharpened by acquaintance with choreographic technique4 ,one not fairly familiar with the resources of the art1 though he be conscious that the dance before his eyes is progressing1 like music1 in conformity with an artistic argument1 is confused by the speed and seeming intricacy of steps4 ,as a result he loses the greater part of the beauty of the succession of pictures unfolded before him4 ,whereas the ability to grasp the theme of a composition1 and then to follow its elaboration through a vocabulary of already familiar steps1 is in effect to quicken the vision4 ,instead of being harassed by a sensation of scrambling to keep up with the argument1 the spectator finds himself with abundant time to luxuriate in every movement1 every posture4 ,and1 like a connoisseur of any other art1 he sees a thousand beauties unnoticed by the untrained4 ,to the end of furnishing the needed acquaintance with the alphabet of the art1 the book includes a chapter of explanation of the salient steps of the ballet4 ,these steps1 with superficial variations and additions1 form the basis also of all natural or 8character0 dances that can lay claim to any consideration as interpretative art4 ,it is convenient to learn the theories of them as accepted by the great ballet academies1 since those institutions alone have defined them clearly1 and brought to perfection the ideals for their execution4 ,incidentally the school of the ballet is made the subject of considerable attention4 ,in the first place1 after getting a grasp of its ideals and intent1 any one will catch the sentiment of a folk-dance in a moment4 ,moreover1 it is in itself an important institution4 ,during its long history it has undergone several periods of retirement from public attention1 the most recent beginning about sixty years ago4 ,from this eclipse it has already returned to the delighted gaze of ,europe2 as always after its absences1 so far evolved beyond the standards within the memory of living men that posterity seems to have been robbed of the chance of discovering anything further4 ,the renaissance is moving westward from ,st4 ,petersburg2 ,london is wholly under its influence2 ,america has felt a touch of it4 ,american love of animated beauty and delight in skill predestine us to be a race of ardent enthusiasts over the dance4 ,among us1 however1 there are many who have never accepted it as an art worthy of serious attention4 ,as a gentle answer to that point of view1 a historical rsum is included1 wherein statesmen1 philosophers and monarchs show the high respect in which the art has been held1 save in occasional lapses1 in all periods of civilised history4 ,direct practical instruction is furnished on the subject of present-day ballroom dancing1 to the extent of clear and exact directions for the performance of steps now fashionable in ,europe and ,america4 ,the chapter was prepared under the careful supervision of ,mr4 ,john ,murray ,anderson4 ,neither in word nor picture does the book contain any statement not based upon the authors' personal knowledge1 or choreographic writings of unquestioned authority1 or the word of dancers or ballet-masters of the utmost reliability4 ,to these artists and to certain managers we are greatly indebted4 ,much of the matter has never before been printed in ,english2 a considerable portion of it has here its first publication in any language4 ,the illustrations of dances of modern times are made from artists in the very front rank of their respective lines4 ,if the new material so contributed to choreographic literature proves1 according to the belief of dancers who have read the manuscript1 to be of value to producers1 the authors will experience the gratification that comes of having been of service4 ,but their efforts will be more directly repaid if the influence of the book hastens by a day that insistence upon a high choreographic ideal in ,america1 and that unification of dance-lovers which must exist in order that worthy productions may be reasonably insured of recognition in proportion to their quality4 ,finally1 a word of thanks to those whose aid has made this book possible4 ,though busy1 as successful people always are1 they have given time and thought unsparingly to the effort1 in co-operation with the authors1 to make this a substantial addition to the layman's understanding of the dancing art4 ,t4 ,k4 and ,m4 ,w4 ,k4 ,new ,york1 ,november1 #aiac4 ,,contents ,,chapter ,,page ,i4 ,,the ,,dancing ,,of ,,ancient ,,egypt ,,and ,,greece #c ,the dance a primitive emotional expression4 ,importance in ,egyptian religious ritual4 ,biblical allusions4 ,its high place in ,greek civilisation4 ,origin attributed to the gods4 ,employed in observances religious1 civic1 and private4 ,practice decreed by ,lycurgus for military discipline and cultivation of national stamina4 ,a feature of ,plato's 8,ideal ,republic40 ,ballet in drama4 ,interacting influence between dance and sculpture4 ,,ii4 ,,dancing ,,in ,,rome #bb ,simplicity of early ,roman taste and manners enforced by poverty4 ,vulgarity with riches4 ,degeneration of dancing with other arts1 under ,empire4 ,acrobatics1 obscenity4 ,ballet pantomime4 ,pylades and ,bathyllus4 ,,iii4 ,,the ,,middle ,,ages ,,and ,,the ,,renaissance #bi ,the ,christian ,church lifts dance from degradation4 ,ballet d'action in ritual of worship4 ,a cause of disagreements between ecclesiastical dignitaries4 ,the ,seises of ,seville ,cathedral preservers of dance in religious service4 ,moralities1 etc4 ,mechanical effects4 ,ambulatory ballets4 ,rebirth of polite society2 the masque4 ,cardinal ,riario4 ,catherine de ,medici1 direct influence toward modern ballet4 ,elizabeth of ,england4 ,richelieu1 composer4 ,louis ,,xiv1 ballet performer1 founder of national academy4 ,dawn of stars4 ,sall4 ,prvost4 ,camargo4 ,new standards4 ,expression4 ,new steps added to those derived from old dances3 ,gavotte1 ,minuet1 ,pavane1 ,saraband1 ,tordion1 ,bourre1 ,passecaille1 ,passepied1 ,chaconne1 ,volte1 ,allemande1 ,gaillarde1 and ,courante4 ,their formality2 illustrations4 ,,iv4 ,a ,,glance ,,at ,,the ,,ballet',s ,,technique #ei ,visual music3 dance steps are notes1 an enchainement is a phrase1 a dance-composition is a song1 the ballet is an orchestra4 ,ballet dancing1 as such1 not based on imitation of nature2 a convention1 analogous to ornamental decoration4 ,intent3 perfect beauty of line and rhythm2 abstract qualities exploited4 ,importance of pantomime unsettled4 ,ballet dancing can be seen intelligently only by aid of acquaintance with elemental steps4 ,fundamental positions of feet and hands4 ,gliding steps3 chass1 chapp1 coup1 etc4 ,battements1 grand1 petit4 ,changement4 ,entrechat4 ,bris4 ,ballon4 ,enchainements4 ,pas de ,bourre1 pas de ,basque4 ,turns and pirouettes4 ,rond de jambe4 ,fouett4 ,sur le cou-de-pied2 en l'air4 ,renvers4 ,en arabesque1 etc4 ,optical illusions4 ,phrasing4 ,theme4 ,motive4 ,standards of form4 ,exactness4 ,beneficial relaxation of formality2 results of unguided emancipation4 ,v4 ,,the ,,golden ,,age ,,of ,,dancing #ajj ,early eighteenth century finds ballet profiting by many favourable influences4 ,royal patronage4 ,public enthusiasm and discernment4 ,great-minded artists in co-operation4 ,fortunate accidents4 ,the ,vestris1 father and son4 ,noverre1 8the ,shakespeare of the dance40 ,boucher1 designer of stage decoration4 ,gluck4 ,costuming4 ,rivalries of ,camargo and ,sall2 ,allard and ,guimard4 ,coterie of great performers4 ,french ,revolution4 ,dance resumed with return of peace4 ,an ambassador as impresario4 ,public controversy and enthusiasm over ,taglioni and ,ellsler2 opposites2 none to replace them2 singing supersedes dancing in opera4 ,,vi4 ,,spanish ,,dancing #aba ,gaditanae in ,roman literature4 ,spanish dancing resists ,roman corruption1 ,gothic brutality4 ,favouring influence of ,moors4 ,attitude of the ,church4 ,public taste and discrimination4 ,two schools1 ,flamenco 7,gipsy origin7 and ,classic4 ,the ,gipsy4 ,la ,farruca1 el ,tango1 el ,garrotin2 distinct character4 ,costume4 ,classic3 ,seguidillas family4 ,las ,sevillanas2 general character4 ,the ,fandango rarely seen4 ,la ,malaguea y el ,torero4 ,las ,malagueas4 ,the ,bolero4 ,castanets4 ,los ,panaderos4 ,the ,jota of ,aragon1 character1 costume1 etc4 ,other dances4 ,,vii4 ,,italian ,,dances #aef ,the ,forlana of ,venice3 ,harlequin1 ,columbine1 ,dr4 ,pantalone4 ,pantomime and tableaux4 ,the ,tarantella1 character1 costume4 ,the ,ciociara of ,romagna4 ,italian fondness for pantomime4 ,the ,saltarello4 ,la ,siciliana1 la ,ruggera1 la ,trescona1 etc4 ,,viii4 ,,european ,,folk-,,dancing ,,in ,,general #afd ,folk-dancing an expression of social conditions4 ,scotch nationalism4 ,the ,sword ,dance2 the ,highland ,fling2 the ,scotch ,reel4 ,motives1 basic steps4 ,reel of ,tulloch4 ,the ,shean ,treuse4 ,england3 ,sailor's ,hornpipe4 ,morris ,dances4 ,recent revival of old dances4 ,ireland3 ,jig1 ,reel and ,hornpipe4 ,intent1 steps1 devices of tempo4 ,irish festivals2 ,gaelic ,league4 ,sweden3 recent revival of old dances4 ,the ,skralt2 ,kadriljs4 ,the ,vafva ,vadna2 the ,daldans4 ,holland3 the ,mtelot4 ,france3 la ,bourre1 la ,farandole4 ,specimen freak dances3 the ,perchtentanz1 the ,bacchu-ber4 ,the ,schuhplatteltanz of ,bavaria4 ,balkan region3 the ,kolo4 ,degeneration of dancing in ,greece4 ,russia3 ,cossack ,dance1 ,court ,dance4 ,slavonic character and steps3 the ,czards2 the ,mazurka2 the ,szol2 the ,obertass4 ,temperament4 ,,ix4 ,,oriental ,,dancing #aif ,symbolism1 decoration1 pantomime1 story in the dance4 ,sensational mismanagement in ,occidental countries4 ,mimetic dancing a substitute for newspapers4 ,the ,dance of ,greeting2 welcome1 blessings1 etc4 ,structure of ,arabic choreography4 ,handkerchief ,dance of ,cafs2 candour4 ,flour ,dance4 ,popular narrative dances4 ,fantasia of ,bedoui2 religious outbreaks4 ,dancing for tourists2 the ,almes4 ,dance1 ,awakening of the ,soul4 ,animate sculpture4 ,oriental technique4 ,sword ,dance of ,turkey4 ,dervishes4 ,lezgink of the ,caucasus4 ,ruth ,st4 ,denis2 ,nautch2 ,spirit of ,incense2 the ,temple2 the ,five ,senses4 ,antiquity2 carvings in ,india and ,java4 ,hula-,hula of ,hawaii4 ,priestesses trained for religious dancing4 ,japan3 dancing for all occasions4 ,abstractness of symbols4 ,dances of war4 ,x4 ,,the ,,ballet ,,in ,,its ,,dark ,,age #bbh ,sterilisation of ballet by struggle for technical virtuosity4 ,ballet in opera4 ,vulgarisms and counterfeits3 the ,can-,can2 contortion2 high kicking2 skirt-dancing2 insipid prettiness4 ,a revival of good work2 falsifications of it4 ,loie ,fuller1 silk scarf1 electric lights4 ,serpentine and ,fire dances4 ,imitators4 ,world's ,fair of #ahic2 stigma on ,oriental dancing4 ,one class of managers4 ,obscure preparation of a new force4 ,,xi4 ,,the ,,romantic ,,revolution #bda ,isadora ,duncan1 complete idealist4 ,her metier4 ,russia3 dissatisfaction with ballet4 ,duncan in ,st4 ,petersburg4 ,secession from ,imperial ,academy4 ,the romantic idea2 choreography1 music1 painting united in a radical new school4 ,the ,russian ballet4 ,paris1 ,united ,states1 ,england4 ,influence and reception4 ,management in ,america4 ,,xii4 ,,the ,,russian ,,academy ,,and ,,its ,,workings #beg ,selection of pupils4 ,consecration to work4 ,contract1 obligations after graduation4 ,advantages to the government4 ,general education4 ,technical training3 ,italian ballet technique1 music1 drawing1 acting1 pantomime1 plastic gymnastics1 fencing4 ,care of health4 ,age of ,academy4 ,russian ballet as distinguished from ,french-,italian2 law-governed freedom4 ,addition to emotional scope4 ,recent ballet pantomimes4 ,,xiii4 ,,social ,,dancing ,,of ,,to-,,day #bfi ,revived interest in dancing4 ,new forms of dance suited to the present freedom of individual expression4 ,rapid changes4 ,the ,turkey ,trot4 ,new names for slightly altered dances already familiar4 ,the ,argentine ,tango2 significance4 ,detailed instruction for performance of the ,one-,step1 the ,boston1 the ,hesitation ,waltz1 the ,tango1 the ,brazilian ,maxixe4 ,tendencies toward revival of old court dances4 ,,xiv4 ,a ,,layman',s ,,estimate ,,of ,,conditions #cjd ,re-establishment of great dancing in the ,united ,states2 will it take and keep a high plane8 ,loose standards of judgment4 ,dependence upon commercial management4 ,managers2 their varied influences4 ,need of endowed ballet and academy4 ,difficulties of ballet organisation in the ,united ,states4 ,insufficient training of ,american ballet dancers4 ,ballet in operas2 unimportance under old traditions1 changing standards4 ,metropolitan and ,russian ballet2 ground gained and partly lost4 ,russians under other auspices4 ,ballet school2 impositions upon it4 ,need of academy with dancing as primary purpose4 ,general organisation2 departures from scheme of ,russian ,academy4 ,,bibliography #cbc ,,index #cbg ,,illustrations ,,ballet ,,pantomime ,from ,pose by ,mlle4 ,louise ,la ,gai ,frontispiece ,,tanagra ,,figure ,page #c ,,greek ,,vase ,,decoration #c ,,tanagra ,,figure #c ,,tanagra ,,figures ,facing ,page #d ,,greek ,,ceramics #e ,,greek ,,vase ,,decoration ,page #h ,,greek ,,comedy ,,dancing #i ,,statuettes #aj ,tanagra 7,a7--,myrina 7,b7--,tanagra 7,c74 ,,greek ,,relief ,,decorations ,facing ,page #ab ,,greek ,,ceramic ,,decorations #ac ,,statuettes ,page #ac ,myrina 7,a7--,tanagra 7,b7--,myrina 7,c74 ,,dance ,,of ,,nymphs #ag ,,tanagra ,,figures ,facing ,page #bj ,,greek ,,comedy ,,dancing ,page #ba ,,dance ,,of ,,peasants #cf ,,ballet ,,of ,,the ,,four ,,parts ,,of ,,the ,,world3 ,entrance of the ,grand ,khan #da ,a ,,fourteenth ,,century ,,ball #df ,,seventeenth ,,century ,,court ,,dances ,facing ,page #dh ,the ,tordion 7#a1 #b7--,the ,pavane 7#c1 #d1 #e74 ,,louis ,,xiv ,,and ,a ,,courtier ,,in ,,the ,,ballet ,,of ,,night ,page #ej ,,seventeenth ,,century ,,court ,,dances ,facing ,page #ed ,the ,saraband 7#a7--,the ,allemand 7#c7--,the ,minuet 7#b1 #d1 #e1 #f1 #g74 ,,the ,,gavotte #ee ,,mme4 ,,adeline ,,gen,e ,,and ,m4 ,,alexander ,,volinine #fd ,ballet ,robert le ,diable 7#a7--;,butterfly ,dance 7#b7--,pierrot and ,columbine 7#c74 ,,mme4 ,,gen,e ,,in ,,historical ,,re-,,creations ,,and ,m4 ,,volinine #fe ,sall 7#a7--,the ,waltz 7#b7--;,camargo 7#c7--;,guimard 7#d74 ,,fundamental ,,positions ,,of ,,the ,,feet ,page #ff ,,positions ,,of ,,the ,,arms #fg 8,,glissade0 #fh 8,,assembl0 #fi 8,,assembl0 ,,and ,,changement 7,floor ,plan ,diagram7 #fi 8,,jet0 #gj 8,,jet0 ,,to ,,the ,,side #ga 8,,battements0 #gb ,,steps ,,of ,,the 8,,battement0 ,,type #gd 8,,fouett0 #ge ,,start ,,of ,a 8,,fouett ,,pirouette0 #gf 8,,fouett ,,pirouette0 7,continued7 #gg ,,optional ,,finish ,,of ,a 8,,fouett ,,pirouette0 #gh ,,the 8,,pirouette ,,sur ,,le ,,cou-,,de-,,pied0 #gi ,,various 8,,pirouettes0 #hj ,,beginning ,,of ,,the 8,,renvers0 #hb ,,the 8,,renvers0 7,concluded7 #hc ,,two ,,forms ,,of 8,,attitude0 #hd ,,mechanism ,,of ,,broad ,,jump #hf ,,classic ,,ballet ,,positions ,facing ,page #hh ,typical moments in a renvers 7#a1 #b1 #c1 #d1 #e17--,starting a developp 7#f7--,progress of a rond de jambe 7#g1 #h1 #i74 ,,classic ,,ballet ,,positions 7,continued7 #hi ,rond de jambe 7#aj7--;,jet tour 7#aa7--,pas de bourre 7#ab7--,preparation for a pirouette 7#ac7--,position sur la pointe 7#ad7--;,a fouett tour1 inward 7#ad7--;,a cabriole derrire 7#af7--;,descent from an entrechat 7#ag7--;,an arabesque 7#ah74 8,,la ,,malague,a ,y ,,el ,,torero0 #abb ,,typical 8,,flamenco0 ,,poses ,page #abi 8,,flamenco0 ,,poses #acc 8,,las ,,sevillanas0 #acg 8,,el ,,bolero0 ,facing ,page #ach ,typical moment in first copla 7#a7--;,finish of a phrase 7#b74 8,,la ,,jota ,,aragonesa0 #aci ,type of movement 7#a7--;,finish of a turn 7#b7--;,a pirouette 7#c7--,kneeling position 7#d7--,woman's sitting position 7#e74 ,,two ,,groups ,,in 8,,las ,,sevillanas0 ,page #adj ,,groups ,,in 8,,la ,,malague,a ,y ,,el ,,torero0 #ade ,,miscellaneous ,,spanish ,,notes #adg ,,two ,,groups ,,in 8,,los ,,panaderos0 #adi ,,part ,,of ,,the 8,,jota0 ,,of ,,aragon #aeb 8,,la ,,tarantella0 ,facing ,page #aef ,opening of the dance 7#a7--;,a poor collection 7#b7--,they gamble for it 7la ,morra7 7#c7--,she wins 7#d7--;,he wins 7#e74 8,,la ,,tarantella0 #aeg ,an arabesque 7#a7--;,finish of a phrase 7#b7--,typical moment 7#c7--;,finish of a phrase 7#d74 8,,la ,,tarantella0 #aeh ,opening of the dance 7#a7--;,a turn back-to-back 7#b7--;,a pause after rapid foot-work 7#c7--;,characteristic finishes of phrases 7#d1 #e74 8,,la ,,forlana0 #aei ,doctor ,pantalone patronized 7#a7--;,defied 7#b7--,pleads 7#c7--;,accepts the inevitable 7#d7--;,is ridiculed 7#e74 8,,la ,,ciociara0 #afj ,opening promenade 7#a1 #b7--;,end of promenade 7#c7--;,he has 8made eyes0 at a spectator 7#d7--,opening of dance 7second movement7 7#e74 8,,la ,,ciociara0 #afa ,rustic affection 7#a7--;,again caught in perfidy 7#b7--,tries to make amends 7#c7--,without success 7#d7--,removed from temptation 7#e74 ,,the ,,scotch ,,sword ,,dance #afd ,a step over the swords 7#a1 #b7--;,a jump over the swords 7#c7--,steps between the swords 7#d1 #e74 ,,the 8,,scotch ,,reel0 #afe ,use of the ,battement 7#a7--;,a pirouette 7#b7--;,characteristic style 7#c1 #d7--;,a turn 7#e74 ,,the 8,,shean ,,treuse0 #afh ,the promenade 7#a1 #b7--,the thematic step 7#c7--;,finish of a phrase 7#d74 ,,the 8,,sailor',s ,,hornpipe0 #afi ,look-out 7#a7--;,hoisting sail 7#b7--;,hauling in rope 7#c7--,rowing 7#d7--,type of step 7#e7--,type of step 7#f7--;,hoisting sail 7#g74 ,,irish ,,dances #agd ,the ,jig 7#a1 #c1 #d7--,the ,hornpipe 7#b1 #e7--,the ,reel 7#f1 #g1 #h74 ,a 8,,four-,,hand ,,reel0 #age ,preparation for woman's turn under arms 7#a7--;,characteristic style 7#b7--;,a turning group figure 7#c74 ,,the 8,,irish ,,jig0 ,,and ,,portrait ,,of ,,patrick ,j4 ,,long #agh ,,from ,,various ,,folk-,,dances ,page #ahe ,,the 8,,schuhplatteltanz0 ,facing ,page #ahf ,a swing 7#a7--;,a turn 7#b7--;,a turn1 man passing under woman's arms 7#c7--;,a swing1 back-to-back 7#d7--,the ,mirror 7#e74 ,,the 8,,schuhplatteltanz0 ,,of ,,bavaria #ahg ,preparing a turn 7#a7--;,a lift 7#b7--,starting woman's series of turns 7#c7--,start of woman's turns 7#d7--,man fans her along with hands 7#e7--;,finish of dance 7#f74 ,,the 8,,kolo0 ,,of ,,servia #aij ,start of a turn 7#a7--,progress of a turn 7#b7--;,a bridge of arms 7#c7--;,an emphasis 7#d7--;,a lift 7#e74 ,,poses ,,from ,,slavonic ,,dances #aia ,coquetry 7#a7--,petulance 7#b7--;,indifference 7#c7--;,emphasis 7#d7--;,jocular defiance 7#e74 ,,poses ,,from ,,slavonic ,,dances #aib ,negation 7#a7--;,fear 7#b7--,supplication 7#c7--;,an emphasis 7#d74 ,,poses ,,from ,,slavonic ,,dances #aic ,characteristic gesture 7#a7--;,characteristic step 7#b7--;,characteristic gesture 7#c7--;,characteristic step 7#d7--,same1 another view 7#e7--;,ecstasy 7#f7--,the claim of beauty 7#g74 ,,arabian 8,,dance ,,of ,,greeting0 #aif ,called upon to dance1 she reveals herself 7#a7--,salutation 7#b7--,profile view of same 7#c74 ,,arabian 8,,dance ,,of ,,greeting0 7,continued7 #aig 8,for you ,i will dance0 7#d7--8;,from here you will put away care0 7#e1 #h7--8;,here you may sleep0 7#f7--8;,here am ,i0 7#g74 ,,arabian 8,,dance ,,of ,,greeting0 7,continued7 #aih 8,and should you go afar0 7#i7--8,may you enjoy ,allah's blessing of rain0 7#aj7--8;,and the earth's fullness0 7#aa74 ,,arabian 8,,dance ,,of ,,greeting0 7,continued7 #aii 8,may winds refresh you0 7#ab7--8,wherever you go0 7#ac7--8;,here is your house0 7#ad7--8;,here is peace0 7#ae7--8;,and your slave0 7#af74 ,,arabian 8,,dance ,,of ,,mourning0 #bjj ,the body approaches 7#a7--,the body passes 7#b7--8;,i hold my sorrow to myself0 7#c74 ,,arabian 8,,dance ,,of ,,mourning0 7,continued7 #bja 8,he has gone out of the house and up to ,heaven0 7#d7--8;,farewell0 7#e74 ,,arabian 8,,dance ,,of ,,mourning0 7,continued7 #bjb 8,he slept in my arms0 7#f7--8,the house is empty0 7#g7--8,woe is in my heart0 7#h74 ,,arab ,,slave ,,girl',s ,,dance #bjc 8,,handkerchief ,,dance0 ,,of ,,the ,,caf,s #bjf ,the handkerchiefs symbolizing the lovers are animated with the breath of life1 but kept dissociated 7#a7--;,brought into semi-association 7#b7--,separated and dropped 7#c74 8,,handkerchief ,,dance0 7,continued7 #bjg ,she can dance about1 between or away from them1 indifferently 7#d7--,made into panniers1 the panniers express her willingness to receive2 turned inside out1 her willingness to give 7#e7--,one of the two handkerchiefs is thrown to the selected lover 7#f74 8,,dance ,,of ,,the ,,soul',s ,,journey0 #baj ,the soulless body 7#a7--;,asks for the light of life 7#b7--,vision dawns 7#c7--;,inexpert in life1 she walks gropingly 7#d74 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 #baa ,she draws aside the veil of the future 7#e7--,life is seen full and plenteous 7#f74 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 #bab ,but old age will come 7#g7--;,grief will visit 7#h7--,she shall walk with her nose close to the camel's foot 7#i74 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 #bac ,yet now1 from the crown of her head 7#aj7--,to the soles of her feet she is perfect 7#aa74 ,,miscellaneous ,,oriental ,,notes ,page #bae 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 ,facing ,page #baf ,rejoices in the perfect body 7#ab7--;,and in all good things 7#ac7--,runs from the scene 7#ad74 ,,characteristic ,,pantomime ,,in ,,dancing ,,of ,,modern ,,egypt #bag ,express sorrow 7#a1 #c7--,represents a prayer directed downward and back3 i4 e41 to spirits of evil 7#b74 8,,dance ,,of ,,the ,,falcon0 7,,egyptian7 #bah ,shock as the bird strikes his quarry 7#a7--,rejoicing as he overcomes it 7#b74 ,,dancing ,,girls ,,of ,,algiers #bai ,,reliefs ,,on ,,tower ,,of ,,the ,,temple ,,of ,,madura 7,,india7 ,page #bai ,,persian ,,dance4 ,,princess ,,chirinski-,,chichmatoff ,facing ,page #bbj ,,oriental ,,poses #bba ,votive offering 7#c poses7--,decorative motives 7#c poses7--,disclosure of person 7#a pose74 ,,javanese ,,dancer1 ,,modern #bbb ,,relief ,,carvings1 ,,temple ,,of ,,borobodul1 ,,java #bbc ,dance of ,greeting 7#a7--;,dance of ,worship 7#b7--;,an ,arrow ,dance 7#c74 8,,nautch ,,dance0 #bbf ,,japanese ,,dance #bbg ,,isadora ,,duncan #bdb ,,greek ,,interpretative ,,dance #bdc ,,impressions ,,of ,,isadora ,,duncan ,page #bdd ,,mlle4 ,,lopoukowa1 ,,mlle4 ,,pavlowa1 ,,mlle4 ,,nijinska1 ,,with ,,sr4 ,e4 ,,ceccetti ,facing ,page #bdf ,,mlle4 ,,lydia ,,kyasht ,,and ,m4 ,,lytazkin #bdg 8,,arabesque0 #bdh 8,,arrow ,,dance0 #bdi ,,bacchanal #beb ,,mlle4 ,,lydia ,,lopoukowa #bec ,,mlle4 ,,pavlowa ,,in ,a ,,bacchanal #beg ,,mlle4 ,,lopoukowa1 ,,in ,,boudoir #beh ,,mlle4 ,,lopoukowa1 ,,interpretative ,,dance #bei ,,mlle4 ,,lopoukowa1 ,,in 8,,le ,,lac ,,des ,,cygnes0 #bfb ,m4 ,,alexander ,,volinine #bfc ,,representative ,,russian ,,ballet ,,poses ,,and ,,groups ,page #bfe ,,representative ,,russian ,,ballet ,,poses ,,and ,,groups #bfg ,,the 8,,waltz ,,minuet0 ,facing ,page #bgb ,characteristic style 7#a7--,variation1 position of hands 7#b7--,preparation for a turn 7#c7--,the ,mirror figure 7#d74 ,,the 8,,gavotte0 ,,showing ,,present ,,tendencies #bgc ,characteristic style 7#a7--;,characteristic style 7#b7--;,a curtsy 7#c7--;,arabesque to finish a phrase 7#d74 ,,social ,,dancing2 ,,position ,,of ,,feet 7,diagram7 ,page #bgf ,,the ,,one-,,step3 ,,the ,,turn 7,diagram7 #bgg ,,the ,,one-,,step3 ,,grape-,,vine 7,diagram7 #bgh ,,the ,,one-,,step3 ,,eight 7,diagram7 #bgi ,,the ,,one-,,step3 ,,square 7,diagram7 #bgi ,,the ,,one-,,step3 ,a ,,figure ,,occupying ,,three ,,measures 7,diagram7 #bhj ,,the ,,one-,,step3 ,,the ,,murray ,,anderson ,,turn 7,diagram7 #bha ,,the ,,one-,,step3 ,a ,,cross-,,over 7,diagram7 #bhb ,,development ,,of ,,an ,,arch 8 ,,la ,,pirouette0 ,facing ,page #bhb ,cross to right 7#a7--;,cross to left 7#b7--,start of turn 7#c74 ,,the ,,one-,,step #bhc ,the 8,kitchen ,sink0 7#a7--,position of couple 7#b74 ,,the 8,,brazilian ,,maxixe0 #bhc ,characteristic position of advanced foot 7#c74 ,,the 8,,boston10 ,,essential ,,step 7,diagram7 ,page #bhd ,,the ,,waltz ,facing ,page #bhd ,a position of the couple in the ,waltz-,minuet 7#a7--;,correct position of man's hand on woman's back 7#b7--;,a position also assumed in the ,one-step ,eight 7#c7--;,a ,dip 7#d74 ,,the ,,waltz #bhe ,correct position of couple 7#a7--,of feet1 in short steps 7#b7--,of feet1 in ,dip 7#c7--;,another view of the ,dip 7#d74 ,,the ,,boston1 ,,step ,,backward 7,diagram7 ,page #bhe ,,the ,,boston1 ,,the ,,dip 7,diagram7 #bhf ,,the ,,boston1 ,,the ,,dip ,,simplified 7,diagram7 ,page #bhg ,,the ,,boston1 ,,an ,,embellishment 7,diagram7 #bhh ,,the ,,boston1 ,,an ,,embellishment 7,diagram7 #bhh ,,the ,,boston1 ,,same1 ,,with ,,turns 7,diagram7 #bhi ,,the 8,,hesitation ,,waltz10 ,,theme 7,diagram7 #bhi ,,the 8,,hesitation ,,waltz0 ,,variation ,,on ,,theme 7,diagram7 #bij ,,the 8,,tango0 ,facing ,page #bij ,characteristic style 7#a1 #b1 #d7--,woman circles man 7#c74 ,,the 8,,tango0 #bia ,characteristic style4 ,,the 8,,hesitation ,,waltz10 ,,the 8,,lyon ,,chass0 7,diagram74 ,page #bia ,,the 8,,tango0 ,page #bid ,,the 8,,tango0 #bie ,the reverse 7#a7--,the regular ,tango walking step 7#b7--,style of movement 7#c7--,position of hands sometimes assumed to emphasize the end of a phrase 7#d74 ,,the 8,,tango10 ,,the 8,,corte0 7,diagram7 ,page #bie ,,the 8,,tango10 ,,the ,,scissors 7,diagram7 #bie ,,the 8,,tango10 ,,the ,,scissors ,,variation 7,diagram7 #bif ,,the 8,,tango10 ,,the ,,media ,,luna 7,diagram7 #bif ,,the 8,,tango0 ,facing ,page #bif ,the corte 7#a7--;,characteristic style 7#b7--;,a variation 7#c7--,start of a turn 7#d74 ,a 8,,tango0 ,,step #big ,man's foot displaces woman's 7#a7--,woman's foot displaces man's 7#b7--;,each displaces the other's foot 7#c74 ,,the 8,,tango10 ,,the ,,eight 7,diagram7 ,page #big ,,the 8,,tango10 ,a ,,waltz ,,turn 7,diagram7 #big ,,the 8,,tango10 ,,an ,,easy ,,step 7,diagram7 #bih ,a ,,north ,,american ,,figure ,,in ,,the 8,,tango0 ,facing ,page #bih ,preparation 7#a7--;,after the twist 7#b7--;,finishing with a ,dip 7#c74 ,,the 8,,tango10 ,,executed ,,to ,,the ,,rear 7,diagram7 ,page #bii ,,the 8,,tango10 ,a ,,north ,,american ,,figure 7,diagram7 #bii ,,the 8,,brazilian ,,maxixe10 ,,first ,,figure 7,diagram7 #cjj ,,the 8,,brazilian ,,maxixe10 ,,third ,,figure 7,diagram7 #cja ,,the 8,,brazilian ,,maxixe0 ,facing ,page #cjb ,characteristic style 7#a7--;,a dip 7#b7--,variations 7#c1 #d74 ,,the 8,,brazilian ,,maxixe0 #cjc ,preparation for a turn 7#a7--;,finish of a turn 7#b7--;,characteristic style 7#c7--;,a dip 7#d74 ,,the ,,dance ,illustration ,the ,dance ,,chapter ,i ,,the ,,dancing ,,of ,,ancient ,,egypt ,,and ,,greece ,before logic1 man knew emotion2 before creed1 ritual4 ,with leap and mad gesture the savage mimics his triumph1 to the accompaniment of crude saltation performed by a hero-worshipping tribe4 ,not by argument is the coming storm propitiated1 but by a unified expression of tribal humility4 ,to the rhythm of beaten drums1 the tribe1 as one1 performs the genuflexions and prostrations that denote supplication and fear4 ,so on through the gamut of simple emotions--love and hate1 fealty and jealousy1 desire and achievement--primitive man expresses his mood in terms of the dance4 ,history shows that dancing persists on a plane with words1 paint and music as a means of expression1 however far a race may advance along the road of evolution2 and that the few exceptions to this rule are to be found among peoples who have allowed a ,frankenstein of logic to suppress1 for a time1 their naturalness of spirit4 ,egyptian carvings of six thousand years ago record the use of the dance in religious ritual2 and abundant evidence attests the importance in which it was held at all times through the period of ,egypt's power4 ,in lines as stately as the columns of a temple1 sculptors have traced choreography's majestic poses1 its orchestral repetitions and variations4 ,as a dance may be1 the religious dances of ,egypt were a translation and an equivalent of the spirit of the ,pharaohs' monumental architecture2 that they were no less imposing than those temples we cannot avoid believing4 ,plato1 deeply impressed by these hierarchical ballets1 finds that their evolutions symbolised the harmonious movements of the stars4 ,modern deduction carries the astronomical theme still further3 the central altar is believed to have represented the sun2 the choral movements around it1 the movements of the celestial bodies4 ,apis1 the sacred black bull1 was honoured in life by dances of adoration1 in death by ballets of mourning4 ,either dancing was attributed to the divinities 7according to a ,christian saint of later centuries1 it is the practice of angels7 or some of the divinities were represented by dancers in the religious ballets4 ,a carving in the ,metropolitan ,museum of ,new ,york shows ,anubis and ,horus kneeling1 their arms completing a pose that is seen to this day in the dances of ,spain4 ,important as was the dancing of ,egypt as the root from which grows the choreography of all the ,occident--and of ,india too1 for anything known to the contrary--the carvings reveal little of its philosophy or symbolism4 ,but the history of other peoples at once ,illustration3 ,courtesy of ,the ,metropolitan ,museum of ,art1 ,new ,york ,,tanagra ,,figures ,to face page #d ,illustration3 ,courtesy of the ,metropolitan ,museum of ,art1 ,new ,york ,,greek ,,ceramics demonstrates its force as example1 at least1 if not as teacher of actual technique4 ,the ,hebrews of very early days gave dancing a high place in the ceremony of worship4 ,moses1 after the crossing of the ,red ,sea1 bade the children of ,israel dance4 ,david danced before the ,ark of the ,covenant4 ,numerous ,biblical allusions show that dancing was held in high respect among early leaders of thought4 8,praise the ,lord 444 praise ,him with timbrel and the dance10 is commanded4 ,with dancing the ,maccabees celebrated that supremely solemn event1 the restoration of the ,temple4 ,to honour the slayer of ,goliath1 the women came out from all the cities of ,israel1 8singing and dancing 444 with tabrets1 with joy and with instruments of musick40 ,relative to the capture of wives the sons of ,benjamin were told3 8 444 if the daughters of ,shiloh come out to dance in dances1 then come ye out of the vineyards1 and catch you every man his wife 444 and the children of ,benjamin did so1 and took them wives1 according to their number1 of them that danced1 whom they caught0 7,judges #ba3ba and #bc74 8,thou shalt again be adorned with thy tabrets1 and shalt go forth in the dances of them that make merry0 7,jeremiah #ca3d74 8,then shall the virgin rejoice in the dance0 7,jeremiah #ca3ac74 8,and ,david danced before the ,lord with all his might0 7#b ,samuel #f3ad74 ,in the solemn chapter of ,matthew narrating the beheading of ,john the ,baptist we read3 8,but when ,herod's birthday was kept1 the daughter of ,herodias danced before them1 and pleased ,herod4 ,whereupon he promised with an oath to give her whatever she would ask40 ,perhaps with an idea of forestalling discussion of the art's antiquity1 one of the early writers eliminates argument by a simple stroke of the pen4 8,the stars conform to laws of co-ordinated movement4 #8,co-ordinated movement' is the definition of dancing1 which therefore is older than humanity40 ,taking this at its face value1 human institutions are thrown together into one period1 in which differences of a thousand years are as nothing4 ,in turning to ,greece1 years need lend no aid to make the subject attractive4 ,in that little world of thought we find choreography luxuriant1 perhaps1 as it never has been since2 protected by priesthood and state1 practised by rich and poor1 philosopher and buffoon4 ,great mimetic ballets memorialised great events2 simple rustic dances celebrated the gathering of the crops and the coming of the flowers4 ,priestesses performed the sacred numbers1 the origins of which tradition attributed to ,olympian gods2 eccentric comedy teams enlivened the streets of ,athens2 gilded youth held dancing an elegant accomplishment4 ,philosophers taught it to pupils for its effect on body and mind2 it was a means of giving soldiers carriage1 agility and health1 and cultivating esprit de corps4 ,to the development of dancing were turned the ,greek ideals of beauty1 which in their turn undoubtedly received a mighty and constant uplift from the beauty of harmonised movements of healthy bodies4 ,technique has evolved new things since the days of classic ,greece2 scenery1 music and costume have created effects undreamed of in the early times4 ,but notwithstanding the lack of incidental factors--and one questions if any such lack were not cancelled by the gain through simplicity--the wide-spread practice of good dancing1 the greatness and frequency of municipal ballets1 the variety of emotional and sthetic motives that dancing was made to express1 all combine to give ,greece a rank never surpassed as a dancing nation4 ,the man-made attributes of man's gods are a synopsis of man's important thoughts4 ,cybele1 mother of the gods and friend of mankind1 taught dancing to the corybantes as a fitting gift to be passed along to her mortal foster-children4 ,apollo1 speaking through the mouths of priestesses1 dictated further choreographic laws4 ,orpheus journeyed to ,egypt to study its dances1 that he might add to the scope of the ,hellenic steps and movements4 ,one of the nine muses was devoted to the fostering of this particular art4 ,all of which shows a profound belief in the ,greek mind that dancing was worthy of a great deal of divine attention4 ,certainly no subsequent civilisation has been so well qualified to judge the importance of dancing1 for none has experimented so completely in the effect of rhythmic exercise on the body and mind of a nation4 ,classic sculpture no more than suggests the importance of dancing in ,greek life4 ,an assemblage of a few ,greek thinkers' observations on the subject furnishes an idea of the value they gave it as a factor in education4 ,plato1 for instance1 specifies it among the necessities for the ideal republic1 8for the acquisition of noble1 harmonious1 and graceful attitudes40 ,socrates urged it upon his pupils4 ,physicians of the time of ,aristophanes prescribed its rhythmic exercise for many ailments4 ,lycurgus gave it an important place in the training of youth1 military and otherwise4 ,among the special dances whose teaching he decreed1 was one1 the ,hormos1 that was traditionally performed without clothing4 ,plutarch tells of a protest against the nudity of the women4 ,the ,law-giver of ,athens replied3 8,i wish them the women to perform the same exercises as men1 that they may equal men in strength1 health1 virtue and generosity of soul1 and that they may learn to despise the opinion of the vulgar40 ,illustration3 ,,from ,a ,,fourth ,,century ,,vase4 ,in the ,louvre4 ,of great men's dancing in public there are instances in abundance4 ,the very method of choosing the leaders of great civic choreographic spectacles insured the association of people of consequence1 for these leaders were always selected from the highest rank of citizens4 ,epaminondas1 ,antiochus1 and ,ptolemus are variously mentioned for their skill in dancing1 as well as their prominence in national affairs4 ,sophocles danced around the trophies of the battle of ,salamis4 schylus and ,aristophanes danced in various performances of their own plays4 ,and ,socrates1 one of the very fathers of human reasoning1 danced among friends after dinner4 ,aristides danced at a banquet given by ,dionysius of ,syracuse4 ,anacreon1 in his odes1 declares that he is always ready to dance4 ,professional dancers enjoyed high prestige4 ,philip of ,macedon had one as a wife2 the mother of ,nicomedes1 king of ,bithynia1 was a dancer4 ,aristodemus1 a famous dancer of ,athens1 at one time was sent to the court of ,philip of ,macedon as ambassador4 ,illustration3 ,,greek ,,comedy ,,dancing4 ,this chapter must not be understood as trying to represent that ,athenian civil life was given over to an endless round of choreographic celebration2 nor have the later chapters concerning the courts of the ,louis any intent to picture a set of beings whose minds were devoted to dancing to the exclusion of all else4 ,what is intended1 however1 is to call attention to an important omission in the writings of the general historian1 who never has given dancing its due proportion of consideration as a force in those and other high civilisations4 ,literature and the graphic arts followed the coming of civilisation1 and are among its results2 they have been analysed with all degrees of profundity4 ,the dance is1 undoubtedly1 among the causes of ,greek vigour of mind and body2 but it is of far less concern to the average historical writer than any disputed date4 ,the microscopist charting the pores of the skin knows nothing of the beauty of the figure4 ,and the grammarian's myopic search for eccentricities of verb-forms atrophies his ability to perceive the qualities of literature1 until finally he will try to convince his listeners that literary quality is1 after all1 a subject for the attention of smaller minds4 ,greek philosophy1 mathematics1 political and military science are part of the structure of ,occidental society--a good and useful part4 ,had the importance of the dance been appreciated--had proper authority recognised its inherent part in the ,greek social organism--who can say how much dulness1 ugliness and sickliness of body and spirit the world might have escaped8 ,folk-dancing has been introduced into the public schools of certain cities2 a movement too new to be judged4 ,let it be neither praised nor censured until results have had time to assert themselves4 ,if at the end of ten years the children who have danced their quota of minutes per day do not excel in freedom from nervous abnormalities1 the children who have not danced2 if they fail to manifest a better co-ordination of mind and body1 and a superior power of receiving and acting upon suggestion--then let public school dancing be abolished as of no value beyond amusement and exercise4 ,illustration3 ,,statuettes4 ,from 7,a7 ,tanagra2 7,b7 ,myrina--now in the ,louvre2 7,c7 ,tanagra 7disputed74 ,of recent years a good deal of ingenuity has gone into study of the dances of classic ,greece1 with view to their re-creation4 ,from paintings on vases1 bas-reliefs and the ,tanagra statuettes has been gathered a general idea of the character of ,greek movement4 ,the results have been pleasing1 and in ,miss ,duncan's case radical1 as an influence on contemporary choreographic art4 ,but1 beautiful and descriptive as they are1 the plastic representations are of scattered poses from dances not as a rule identified4 ,if1 therefore1 present-day re-creations often fail to show the flights of cumulative interest common in modern ballet1 ,spanish and ,slavonic work1 the shortcoming is due at least in part to the lack of explicit records of sequences of step1 movement and pantomimic symbol4 ,for it is impossible to believe that the dance composers of the age of ,pericles did not equal their successors1 even as their contemporaries in the fields of sculpture1 architecture and poetry left work never yet excelled4 ,of the names and motives of dances the record seems to be pretty complete4 ,sacred1 military and profane are the general categories into which the very numerous ,greek dances divide themselves4 ,the sacred group falls into four classes3 the ,emmeleia1 the ,hyporchema1 the ,gymnopdia1 and the ,endymatia4 ,of these the two latter seem to have been coloured by sentiments more or less apart from the purely religious4 ,of the ,emmeleia1 ,plato records that some had the character of gentleness1 gravity and nobility suitable to the sentiments by which a mortal should be permeated when he invokes the gods4 ,others were of heroic or tragic aspect1 emphasising majesty and strength4 ,a characteristic of this group was its performance without accompaniment of chorus or voice4 ,the origin of the group is attributed to ,orpheus1 as a fruit of his memories of ,colchis and ,sas4 ,the ,hyporchema1 equally religious1 were distinguished by their use of choral accompaniment4 ,in some cases it might be more accurate to say that the dances were an accompaniment to recited poetry2 for in very early times the dances seem to have been employed to personify1 or materialise1 the abstractions of poetic metaphor4 ,both men and women engaged in dances of this group1 and its plane was of lofty dignity4 ,in it were the oldest dances of ,greece1 besides some composed by the poet ,pindar4 ,the ,gymnopdia were more or less dedicated to the worship of ,apollo1 and were especially cultivated in ,arcadia4 ,as the name implies1 the performers were nude--youths wearing chaplets of palm4 ,a material character seems to have marked this group3 ,athenus finds in it points of identity with the ,anapale1 which is known to have been a pantomimic representation of combat4 ,the ,endymatia crossed the border-line between the sacred and profane4 ,they were brightly costumed dances1 and in demand for general entertainment4 ,in connection with this group we find the first allusion to the highly modern institution of dancers' 8private engagements0--professionals aiding in the entertainment of dinner-parties4 ,the ,greek and ,roman custom of seeing dancers instead of listening to after-dinner speeches is too well known to justify more than a mention4 ,these four groups are the fundamentals from which numberless other dances were derived1 to be variously dedicated to gods1 public events1 abstract qualities1 crops1 and fighting4 ,if no particular occasion offered1 people would dance for the good reason that they felt like it1 as ,neapolitans dance the ,tarantella to-day4 ,to the ,illustration3 ,courtesy of ,the ,metropolitan ,museum of ,art1 ,new ,york ,,greek ,,relief ,,decorations ,illustration3 ,courtesy of ,the ,metropolitan ,museum of ,art1 ,new ,york ,,greek ,,ceramic ,,decorations glory of ,bacchus were the ,dionysia2 the ,iambic was sacred to ,mars1 the ,caryatis1 a dance symbolising innocence1 and danced nude1 to ,diana4 ,hercules1 ,theseus1 the daughters of ,jupiter1 ,castor and ,pollux were so honoured--each dance having its special identification of movement1 meaning or costume4 ,illustration3 ,,statuettes4 ,from 7,a7 ,myrina2 7,b7 ,tanagra2 7,c7 ,myrina4 ,semirelated to the religious group were the dances of mourning4 ,unlike certain modern dances of the same intent1 these are not recorded as having been primarily an individual's pantomimic dance representing qualities of the deceased1 or illustrating his relations during life with friends and family2 although there was a time in which the cortge was headed by an individual dressed in the clothes of the deceased1 imitating his virtues and sometimes also his failings4 ,regularly1 however1 the dancing was strictly ritualistic1 forming a solemn decorative concomitant of the vocal and instrumental music4 7,at what point in his evolution did the ,occidental determine that his ritualistic expressions should be directed almost exclusively to the ear87 ,a corps of fifteen girls danced before the funeral car1 which was surrounded by a band of youths4 ,naturally the brilliancy of the function was more or less proportionate to the station and estate of the departed4 ,on dances of war the ,greeks relied as an important element in the soldier's training4 ,in their pantomime the veteran lived over the moments of combat1 while his children and even his wife caught anew the spirit of ,hellenic arms4 ,plutarch wrote3 8,the military dance was an indefinable stimulus which inflamed courage and gave strength to persevere in the paths of honour and valour40 ,it is still known that a body of men moving in step feel fatigue distinctly less than when walking out of step4 ,one of the things learned by the long-distance runner1 the wood-cutter1 or any other performer of continued work1 is the importance of establishing as quickly as possible a regular rhythmic relation between the separate parts of a complete movement1 including the intake and expulsion of breath among those parts4 ,such a rhythm once established1 movement succeeds movement with something like momentum2 the several steps1 or blows of the axe1 do not each require a separate effort of the will4 ,something of this was ,plutarch's 8indefinable stimulus40 ,apart from efficiency of the individual1 experience has shown that a command moving 8in time0 is unified in the fullest sense1 with each soldier more or less perfectly proof against any impulse at variance with the esprit de corps4 ,to weld a number of men ever more closely into the condition of a military unit is one of the purposes of drill4 ,drill is in great part a matter of keeping in step4 ,the ,greeks carried to a high pitch the unification of a military body in respect to all the movements of attack and defence4 ,history repeatedly records the demoralisation of the enemy1 carried by the assaults of the perfectly organised ,greek fighting bodies4 ,but undoubtedly an important value of the study for perfection of corps unity was the disciplinary effect on the ,greek soldier himself4 ,as a means toward such perfection1 ,greek law prescribed dancing for the soldier4 ,an obvious benefit from his practice of the art was the advantage due to mere muscular exercise2 and that in itself is no small thing when the dance is performed in full armour1 as the ,greek soldier performed it4 ,authorities classify the military dances as ,pyrrhic and ,memphitic2 but the division seems hardly essential1 since the meagre technical descriptions draw no distinct line between the two groups4 ,in both1 performers carried sword or spear and shield4 ,the movements brought in the manuvres of individual combat--cutting and thrusting1 parrying1 dodging and stooping4 ,that they might be carried to a degree of realism is indicated in a description by ,xenophon4 ,at the end of a mimic combat between two ,thracians1 at the conclusion of which the victor sang a song of victory and possessed himself of the vanquished man's weapons1 the spectators cried out with emotion1 believing that the fallen man was killed4 ,of the words 8,pyrrhic0 and 8,memphitic10 the latter seems to connote a performance less insistent on the element of combat4 ,to ,minerva is credited the origin of the ,memphitic group1 legend having it that the goddess of wisdom composed these dances to celebrate the defeat of the ,titans4 ,the usual accompaniment was the flute1 according with the idea of comparative tranquillity4 ,both styles were danced by women2 special fame for proficiency was given to the vigorous daughters of ,sparta1 ,argos1 and ,arcadia1 and to the ,amazons4 ,pantomime was important in most ,greek dances4 ,greek writers interested themselves in an effort to trace pantomime to its origin2 but they were not very successful1 because they went no further back than the demigods4 ,whereas sign-talk1 if inference may be drawn from savages1 antedates spoken language--which is beside the point of the present sketch4 ,pantomime artists of ,greece were of various ranks1 according to the plane of thought represented in their work4 ,ethologues represented moralities1 or ,greek3 upotheses2 they 8depicted the emotions and the conduct of man so faithfully1 that their art served as a rigorous censorship and taught useful lessons10 writes ,de l',aulnaye1 in ,de la ,saltation ,thtrale4 ,they were not only artists1 but philosophers of a moral standard of the utmost height and purity3 the poems of one of them1 ,sophron of ,syracuse1 were among the writings kept at hand by ,plato during his last hours4 ,greek3 ,thumelikoi were pantomimists of lesser rank1 whose work was principally comedy of a farcical nature--though the word seems to have the primitive meaning of 8chorister40 ,rich in scope was the ,greek stage2 and1 until later days1 generally high in plane4 ,for its effects it drew upon poetry1 music1 dancing1 grouping and posing4 ,little is known of the music2 re-creations of it 7how authoritative the authors do not know7 are simple and melodious1 with no attempt at grandeur4 ,but in the other departments1 what veritable gods in collaboration6 ,euripides1 ,aristophanes1 and schylus are of those who supplied texts4 ,sculptors whose works are no less perishable gave their knowledge to grouping and posing4 ,of the merit of the performers there is no adequate record1 for lack1 among other things1 of an explicit choreographic terminology4 7,this deficiency was first made up in the ,french language1 after the organisation of the ,national ,academy of ,music and ,dancing1 in the seventeenth century47 ,what is known1 however1 is that dancing was considered a proper medium of expression of great motives1 and that great-minded artists chose it as a career2 not in spite of a public condescension to it1 but with the support of a profound public respect4 ,illustration3 ,,dance ,,of ,,nymphs4 ,from an antique frieze in the ,louvre4 ,accuracy of rhythm is of an importance obvious to grades of intelligence far below that of the ,greeks4 ,they laid stress no less on what may be called rhythmic quality than on mere emphasis of tempo4 ,a time-marker was provided with an assortment of sandals soled with metal or wood of various thicknesses2 by means of these he produced sounds consistent with the changing sentiments of the action4 7,compare the modes of getting varied sounds from castanets1 in chapter on ,spanish dancing47 ,castanets1 too1 were used in ,greece1 essentially the same as those of ,spain to-day2 also flat sticks in pairs1 like clappers1 but which unlike clappers were gripped between the thumb and fingers4 ,little cymbals on the dancers' hands sometimes added their voice1 and the tambourine was popular4 ,the variety of these time-marking instruments indicates knowledge of the many effects attainable by tempo alone4 ,indeed a reading of the poets emphasises this3 their selection of words for sound as well as meaning will force even a mediocre reader into an observance of the author's intention of ritard and accelerando1 legato and staccato1 emphasis and climax4 ,associated with ballet production1 as the ablest poets were1 it may be taken as assured that the devices of tempo were made familiar to dancers--unless it was the dance that taught the metre to the poets4 ,masks were worn to identify character2 but their primary function appears to have been the concealment of a sound-magnifying device to carry the voice through the great spaces of out-door theatres4 ,women's parts in the ballets were played by men at least frequently2 whether the reverse was a conspicuous exception is also uncertain4 ,both usages were destined to survive in pantomime through centuries4 ,objection to the mask always was overruled by authority2 the ,greek play was such an irreproachable organism that deviation from its accepted formulas was deemed an impious and dangerous heresy4 ,in the eighteenth century a premier danseur's absence put a ,french ballet director temporarily at the mercy of the second dancer1 a young radical1 who refused to 8go on0 wearing a mask4,a ,not until then was the mask tradition disturbed4 ,a ,see also page #aja4 ,though exact data of the steps of popular dances are lacking1 literary allusions record dance names and general character in great number4 ,a complete catalogue of them would offer little inspiration to the lay student or the professional2 no more than a hint of their broad scope is necessary4 ,dances suggesting the life of animals were plentiful4 ,some were underlaid with a symbolic significance1 as that of the crane1 the bird's confused wanderings representing the efforts of ,theseus to find his way out of the labyrinth1 the legend in its turn probably having some relation to life and the tricks it plays on its possessors4 ,the fox was a favourite subject1 and the lion was not overlooked4 ,though the author of ,chanticler may have been the first to avail himself of the grotesqueries of poultry1 the ,greeks danced owls and vultures4 ,similar to the ,oriental ,danse du ,ventre was the ,kolia1 probably brought across from ,egypt4 ,another suggestion of ,north ,africa was known in ,greek language as the ,dance of ,spilled ,meal--what more reasonable than to infer that it was the same in scheme as the ,flour ,dance of present-day ,algeria8 ,the flour or meal that identifies this performance is spread on the floor1 and a more or less involved design traced in it4 ,what follows is interesting chiefly as a test of a species of virtuosity3 the dancer's object is1 in her successive turns across and about the design1 to plant her feet always within the same spaces1 the loose meal exposing any failure4 ,rapidity of tempo and involution of step may raise the difficulties to a point beyond the reach of any but the most skilful4 ,the children's game of ,hop-scotch is a degenerated kinsman of the dance in and over a design4 ,there were dances of satyrs and goats1 nymphs1 monkeys1 gods and goddesses1 flowers1 grapes and the wine-press4 ,combat was rendered into poetry in the ,spear ,dance1 the ,fight with the ,shadow 7,greek3 skiamachia71 the fights with shields1 with swords4 ,there were 8rounds10 performed by an indefinite number of people joining hands in a ring2 traces of these are said to survive as peasant dances of the ,greece of to-day4 ,there were solos1 pas de deux and pas de quatre4 ,pythagoras made a period of dancing a part of the daily routine of his pupils1 ,hymeneia were danced to help celebrate a well-conducted wedding4 ,prayers1 sacrifices and funerals1 as stated before1 were incomplete without their several and special dances4 ,movement no less than speech is a vehicle for satire1 wit1 sensuality and indecency4 ,theophrastus1 with the intent of showing the degree of shamelessness to which erring humanity may fall1 tells of a man who performed a dance called the ,cordax without the excuse of being drunk at the time of the deed4 ,covering a wide range of light motives was the ,sikinnis1 the word being applied both to a certain dance and to a form of satirical mimo-drama4 ,in the latter sense it burlesqued the politics1 philosophy and drama of the day4 ,as all peoples divide themselves into masses and classes on lines of taste as well as of money1 so also eventually the ,athenians4 ,in the hands of the ,athens rabble--catered to perhaps by ancestors of certain twentieth-century managers--the ,sikinnis1 as a satire1 fell into the slough of vulgarity4 ,as a dance it may be thought of as a favourite of that ,alcibiades type of youth in whom education has not depressed ,arcadian frivolity4 ,how such a one vexed the solemnity of a court is the subject of an anecdote compiled by ,herodotus4 ,clisthenes1 king of ,sicyon1 in order to marry his daughter to the greatest advantage1 decided to settle the selection of her husband by competition4 ,the invitation met with due interest on the ,illustration3 ,courtesy of ,the ,metropolitan ,museum of ,art1 ,new ,york ,,tanagra ,,figures ,to face page #bj part of the rich and the great4 ,suitors came from far and near1 among them two from ,athens4 ,an ominous circumstance1 for 8,attic salt0 was out of the same barrel as the 8sal de ,andalucia0 of to-day2 both have the record of becoming operative immediately on exposure to any air of oversolemnity4 ,after days of regal festivity1 ,clisthenes dedicated a hecatomb to the gods1 gave a final banquet1 and announced that the suitor-selecting competition would be along the lines of music and poetry4 ,when it came to the turn of ,hippoclides1 one of the two ,athenians1 he asked that a table be brought in4 ,on this he mounted1 stood on his hands1 and traced the figures of a ,sikinnis in the air with his feet6 ,until the king's temper was quite gone1 the performance was received in silence4 ,herodotus supposed that ,hippoclides interpreted the silence as encouragement2 but ,herodotus very clearly did not know that kind of boy4 ,the polished though inverted youth on the table was estimating the horror among his worthy spectators1 and luxuriating4 ,greece1 with her fine simplicity of thought1 furnished the pattern on which was cut the civilisation of early ,rome2 ,greek art1 the concrete expression of her lofty thought1 furnished ,rome a model4 ,which model ,rome followed until loot and tribute provided her with means to express the taste that was her own4 ,illustration3 ,,greek ,,comedy ,,dancing4 ,,chapter ,,ii ,,dancing ,,in ,,rome ,an art that achieves beauty by means of the grace of simple lines1 elegance of proportion and other simple resources of composition1 is the art of a vigorous nation4 ,such an art scorns florid treatment1 surface realism1 triviality2 and such an art was that of early ,rome4 ,it had that something clumsily called semiasceticism1 that attaches to dignity4 ,a national art quality exists1 as is axiomatic1 upon a basis and by virtue of a corresponding public state of mind2 each influencing the other1 but the public state of mind being the force that shapes the art1 rather than the reverse4 ,the spirit of simplicity dominated ,greece through many centuries of her grandeur4 ,in ,rome it endured until ,rome grew rich4 ,its coexistence in the case of the two peoples was no more than a coincidence2 they arrived at their common simplicity through wholly different processes4 ,in ,greece1 beauty was understood4 ,action and adornment were restrained because their value was found to be multiplied by sparing use2 because1 too1 any excess of them detracted from the great qualities of line and proportion4 ,in ,greece1 moreover1 beauty dissociated from subject or sentiment could always find an appreciative reception2 the ,hellenic mind loved beauty for its own sake4 ,and that is the cause of the reserve that governs the best ,greek art4 ,early ,rome1 too1 instilled into her children the spirit of simplicity4 ,not1 however1 with any understanding of the relation of simplicity to beauty and dignity4 ,war and lust for conquest made the early ,roman stern2 and simplicity1 attached to a very real asceticism1 was thrust upon him by the uncompromising hand of poverty4 ,but1 after a few centuries of fattening on loot and tribute1 what of ,rome8 ,stupidity1 degeneracy and vulgarity4 ,loot and tribute6 ,in respect to riches both material and mental1 other peoples' contributions to ,rome's destiny were of a degree of importance sometimes underrated4 ,her monumental physical structure was built from taxes gathered by the mailed hand4 ,in respect to her thought1 expressed in essays1 poems1 orations1 letters1 commentaries or whatsoever other form1 the extent of other nations' contribution to ,rome's apparent originality is1 at first glance1 less evident4 ,upon ,greek foundations of narrative structure1 metre1 and form in general1 ,roman writings are built1 ,romanised though they be in subject-matter--but ,rome's sterility of invention in that field is suited rather to the discussion of literary men than of dance-lovers4 ,but sculpture is pertinent4 ,the first so-called ,roman art was accomplished by carving ,roman faces upon thickened figures in ,greek poses1 executing them in ,greek technique of modelling1 and naming them ,roman gods and senators4 ,later the ,greek simplicity of modelling was discarded2 to replace it there was achieved an ostentatious mediocrity4 ,the ,pompeian frescoes8 ,the good ones were painted by ,greeks1 brought across for the purpose4 ,and the vivacious little statues found in ,pompeii express the same artistically witty point of view4 ,in the field of material gain and convenience ,rome's contribution to the world is not to be questioned4 ,but water-supply1 paving1 land laws and fortifications are not related to questions of taste4 ,it is ,roman taste of which one tries to form a conception1 in order to explain1 at least in part1 the disappointing history of dancing under the ,csars4 ,and the mere direction of attention to ,rome's relation to the arts anticipates the story of her treatment of the dance1 leaving only details to be told4 ,first in chronology is found the dancing symbolical of war4 ,then comes a simple religious choreography1 under the ,salic priests1 supplementing the ritual of sacrifice4 ,as time goes on ,greek dances are transplanted1 with the degree of success to be expected among a race whose minds1 though active1 are pleased only by material power1 gain1 and ostentation3 by a process of atrophy following non-appreciation1 the symbolism disappears from symbolic dances and the ideal of beauty from the purely beautiful dances4 ,they became at best a display of agility to amuse rustics4 ,more generally they fell into the service of sex allurement2 not the suggestive merely1 nor the provocative1 but unbridled depiction of what should not be revealed and of things that should not exist4 ,this condition of affairs is more than hinted in works of some of the much-read ,latin writers1 stated by archologists1 and confirmed by certain ,pompeian statues4 ,such offences1 despite the resentment they arouse in the feelings of any naturally constituted person1 might be partially pardoned by the dance-lover if they contributed anything to the dance4 ,but absolutely they do not4 ,there is latent drama and good drama in sex relationships2 but not one accent of its valid expression can be traced to dances of obscenity4 ,the dancer who gives himself over to obscenity loses1 every time1 the things that made him a dancer3 form1 truth and beauty of movement and posture4 ,where the art of dancing is appreciated1 artists avoid obscene suggestion4 ,where it is not1 many are forced to it in order to make a living4 ,however1 even where the art is appreciated1 obscenity furnishes the incompetent a means of pretence of an artist's career2 for obscenity is sure of a mixed following of rabblement1 some in rags and some in velvet4 ,among the ,romans themselves1 actual participation in the dance was not popular4 ,propriety forbade so close an association with an art disfigured and dirtied1 the ,roman reviling as unclean the image soiled by his own hand4 ,from ,spain1 ,greece and ,syria people were brought to dance before gourmands and wasters1 degraded to the level of their patrons' appreciation1 and discarded when they had exhausted the scope of novelties suitable to the demand4 ,several centuries of ,roman employment of dancers contributed not one step1 gesture or expression to the art2 the plastic and graphic records show only that which is ,greek1 or1 on the other hand inane1 vulgar1 or degenerate4 ,to the latter levels sank the ,ludiones and the ,saturnalia2 instituted as religious celebrations1 ending as orgies4 ,it is vaguely asserted that the ,roman stage amplified the ,greek scope of pantomime4 ,and1 notwithstanding the many reasons to distrust such a statement1 there were two artists whose work may have been of a class to justify it4 ,they were ,pylades and ,bathyllus1 natives respectively of ,silicia and ,alexandria4 ,their names live in the impression they produced4 ,of the character of their work it is impossible to learn anything explicit2 8softly dancing ,bathyllus0 is as concrete a reference as anything to be found about them in writings of their period4 ,so it is impossible to know whether their great popularity was due to merit1 or to ingenious compliance with the taste of their adopted city4 ,their record1 therefore1 must stand as the story of a furor1 and not necessarily as that of artistic achievement4 8,the rivalries of ,pylades and ,bathyllus occupied the ,romans as much as the gravest affairs of state4 ,every ,roman was a ,bathyllian or a ,pyladian10 ,de l',aulnaye writes4 ,vuillier presents a more graphic image of their hold on public attention3 8,their theatrical supporters1 clad in different liveries1 used to fight in the streets1 and bloody brawls were frequent throughout the city40 ,for the endless quarrelling and intriguing between the two1 ,pylades was once taken to task by the emperor4 ,the answer was that of a lofty artist or a publicity-seeking gallery-player1 let him decide who can3 8,csar1 it is well for you that the people are occupied with our quarrels2 their attention is in that way diverted from your actions40 ,his arrogance directed itself impartially toward ruler and subject4 ,representing the madness of ,hercules--he combined pantomime with dancing--he shot arrows into the audience4 ,octavius being present on such an occasion refrained from any expression of disapproval4 ,was he afraid of offending his people by so much as an implied criticism of their favourite8 ,it is not unlikely4 ,when1 unable to control his impatience with ,pylades' unsettling influence1 the emperor banished him1 a revocation of the decree was made imperative by signs of a popular insurrection6 ,not the least of the instances of ,pyladian insolence was his interruption of the action of a play to scold his audience4 ,during a performance of ,hercules some one complained loudly that the movement was extravagant4 ,pylades tore off his mask and shouted back1 8,i am representing a madman1 you fools60 ,so much for ,pylades and ,bathyllus4 ,the jealous1 hypertemperamental artist who allows nothing to interfere with the effect of the work to which he is consecrated sometimes falls into eccentricities of conduct4 ,such eccentricities are copied to admiration by impudent incompetents2 and1 contrary to ,p4 ,t4 ,barnum's aphorism1 some of them do 8fool all the people all the time0--especially if those people themselves lack the clear vision of simplicity4 ,impudence to emperors and 8shooting up0 audiences may mean the utmost of either sincerity or hypocrisy2 choice of opinion is free4 ,certainly the ,roman ,empire's political intrigues reveal a profound and practical knowledge of the science of publicity2 it is an ancient profession4 ,artists1 advertisers or both1 it matters not at all1 ,pylades and ,bathyllus failed to lift dancing from the mire4 ,the self-styled 8,eternal ,city10 the ,rome of the ,csars1 held it down to her level till her rotted hands could cling no longer1 yet treated it from first to last with scorn4 ,horace1 who never allowed his wit to lead him into danger of offending any except those without influence on his patron ,mcenas1 repeatedly uses association with dancers as a synonym of disreputability4 ,cicero takes a fling at the art2 ,sallust attacks a lady for dancing with a degree of skill unbecoming a virtuous woman4 ,with the logic of a father who locked up his children so that they should not teach bad manners to their parents1 successive emperors banished dancers for doing their work according to the taste of their patrons4 ,rome's inability to move her imagination on a high plane had decayed her1 muscle1 brain and bone2 wealth slipped away1 and all of her that was respected was her remote past4 ,in the meantime she had imposed upon ,europe her laws and prejudices4 ,ears trained to credulous attention were those that heard her complaint of the depravity of dancing--a complaint given colour by the obscenity of the only secular dancing known to ,europeans 7outside of ,spain7 in the time of the empire's decadence4 ,with such a combined force of misrepresentation against it1 its restoration to a proper position among the great arts was destined to be postponed a thousand years4 ,to this day there persists to its injury an echo of its early defamation4 ,yet in the hour of humiliation1 the dance gained the respect of the only earthly power that might reasonably hope1 in such an extremity1 to save it from a miserable end4 ,it was taken under the protection of the ,christian ,church4 ,,chapter ,,iii ,,the ,,middle ,,ages ,,and ,,the ,,renaissance ,christianity1 like the religions of the ,hebrews of old and the ,greeks1 employed dancing as an important part of the ritual of worship4 ,during the greater part of a thousand years1 the relation was not violently disturbed2 the ballet d'action served in the mass before the altar1 and in the 8moralities0 that long held favour as an agency of spiritual instruction4 ,a clerical it was who eventually composed and staged the great pantomime which the many authorities place as the first modern ballet4 ,european society1 slowly emerging from the mire of ,roman manners1 at length found itself hungry for beauty1 and capable of intelligent use of pearls4 ,the ballet masque was evolved1 and long remained the supremely brilliant feature of noble festivities4 ,polite society1 headed by a king1 was the founder of the ballet as it is now known4 ,but this was in modern times4 ,the institution that had conserved choreography through the brutishness of the ,dark ,ages was the ,church4 ,to one ,father ,menestrier is owed a compilation of data about dancing1 especially in relation to religion4 ,the good father was a ,jesuit living in the seventeenth century1 his book having been written about #afhb4 ,while his own comments are not always contributory to exact knowledge of choreographic detail1 the facts he collected from a great variety of sources are important and interesting4 ,in the following passage he definitely attaches dancing to the ritual3 8,divine service was composed of psalms1 hymns and canticles1 because men sang and danced the praises of ,god1 as they read ,his oracles in those extracts of the ,old and ,new ,testaments which we still know under the name of ,lessons4 ,the place in which these acts of worship were offered to ,god was called the choir1 just as those portions of comedies and tragedies in which dancing and singing combined to make up the interludes were called choruses4 ,prelates were called in the ,latin tongue1 ,prsules a ,prsiliendo1 because in the choir they took that part in the praises of ,god which he who led the dances1 and was called by the ,greeks ,choregus1 took in the public games40 ,the word 8prsul0 was the designation of the chief priest of the ,salii1 of early ,rome4 ,quoting from ,st4 ,basil's ,epistle to ,st4 ,gregory1 ,menestrier writes further3 8,what could be more blessed than to imitate on earth the rhythm of angels80 78,quid itaque beatius esse poterit quam in terra tripudia ,angelorum imitari807 ,to this he adds3 8,philosophers have also existed who believed that these spirits had no other means of communication among themselves but signs and movements arranged after the manner of dances4 ,after this we need not be surprised that ,virgil1 in the sixth book of the neid1 makes the spirits dance in the ,elysian fields40 ,the ,emperor ,julian was reproved by ,st4 ,gregory of ,nazianzus1 not for dancing1 but for the kind of dances with which he occupied himself4 8,if you are fond of dancing10 said the saint1 8if your inclination leads you to these festivals that you appear to love so passionately1 dance as much as you will2 ,i consent4 ,but why revive before our eyes the dissolute dances of the barbarous ,herodias and the ,pagans8 ,rather perform the dances of ,king ,david before the ,ark2 dance to the honour of ,god4 ,such exercises of peace and piety are worthy of an emperor and a ,christian40 ,no more need be quoted to explain the adoption of dancing by the ,church1 and the regard in which it was held by the reverend fathers4 ,by some of them1 that is4 ,others held it in different estimation4 ,odon1 ,bishop of ,paris1 proscribed dancing in the twelfth century4 ,notwithstanding1 the fifteenth and sixteenth see in ,spain the so-called ,villancicos de ,navidad 7a choreographic celebration of the birth of ,christ7 and the dances of the ,seises1 then as now performed in the ,cathedral of ,seville4 ,the latter were authorised in #adci by a ,bull of ,pope ,eugenius ,,iv4 ,their discontinuance was ordered by ,don ,jayme de ,palafox1 ,archbishop of ,seville4 ,to settle the matter the ,seises were taken to ,rome and their dances shown to the ,pope1 who as a consequence approved their continuance4 ,france1 too1 declined to take the proscription seriously1 as almost numberless documents and images attest4 ,in #aehd the ,canon of ,langres1 by name ,jehan ,tabourot1 otherwise ,thoinet ,arbeau1 wrote 7in his seventieth year7 his work called ,orchesographie4 ,he refers cheerfully to opposition3 8,we practice such merrymaking on days of wedding celebrations1 and of the solemnities of the feasts of our ,church1 even though the reformers abhor such things2 but in this matter they deserve to be treated like some hind-quarter of goat put into dough without lard40 78,mais ils mriteroient d'y tre traictez de quelque gigot de bouc mis en paste sans lard407 ,not an infelicitous metaphor1 after inquiry reveals that dough without lard bakes to the hardness of concrete1 so that the aid of a hammer is necessary to crack the shell4 ,what more satisfying disposal of dissenters from one's own opinions8 ,proofs of the dance's tenacious inclination to embody itself in the worship of the vital new religion are many4 ,records of efforts to establish it are mingled with those of counter-efforts to expel it2 on the one side a belief that worship is an emotional expression1 on the other a leaning toward logic4 ,whether religious uplift is a matter of emotion or of reason is a question perhaps not wholly settled yet4 ,certainly the medival writers recorded little to reflect a spirit of compromise--no concession that ritual or logic might advantageously be chosen with some reference to the psychology of the individual4 ,at the suggestion of the ,council of ,toledo1 a ritual rich in sacred choreography was composed by ,saint ,isidore1 archbishop of ,seville in the seventh century4 ,another century produced two occurrences of choreographic importance at about the same moment3 from ,pope ,zacharias1 a prohibition of dancing2 from the ,moorish invasion1 preservation of the seven churches of ,toledo4 ,of the two influences1 the latter was deemed paramount4 ,in the seven churches a mass known as the ,mozarabe was established1 continued in all of them through the generations of ,moorish occupancy of the city1 and is still celebrated daily in the cathedral4 ,in the other six churches it was discontinued toward the middle of the nineteenth century4 ,with accompaniment of the tambourine1 whose resonance ,saint ,isidore characterised as 8the half of melody10 the service included solemn dancing of the style of the ,saraband and the ,pavane4 ,whether or not the choreographic features are still retained1 the authors are unable to say4 ,writing in #agca a ,discourse on ,comedy1 ,father ,pierre le ,brun contributes the information3 8 444 that while the preachers were saying their mass1 buffoons1 histrions1 players of instruments and different other farceurs were made to come2 this disorder is severely forbidden1 as well as dances and the presentation of spectacles in the churches and cemeteries4 ,the same prohibition is found in the synodic statutes of the diocese of ,soissons1 printed in that city in #aefa4 ,dances were sometimes performed before the church1 and there was not less objection made against the practice at that time4444 ,meanwhile it is disgracefully tolerated in some of the country parishes40 ,these 8spectacles0 were the vehicle that carried the mimetic ballet through the ,dark ,ages from ,rome's licentious theatre and banquet hall to the stately salon of the ,medici4 ,under the name of 8moralities0 they survive to this day in convents1 though clipped as to their choreographic wings4 ,everyman1 played a few years ago by ,ben ,greet and his company1 was a re-creation of some of the elements of the early morality1 plus speech and minus dancing4 ,love1 aspiration1 reverence1 envy1 fear1 remorse and various other elemental abstractions that inhabit the human soul were the source of most of the morality's characters2 the dramatic action consisted--usually if not always--in a simple treatment of the influences wrought by the varied forces on the destiny of a man4 ,the man1 no more and no less than the abstract qualities1 was represented by an actor4 ,occurrences of man's life1 both earthly and subsequent1 were equally available as dramatic material4 ,apostles1 angels and even ,god were of frequent representation4 ,a start was made in a direction destined to lead to the development of scenery4 ,whereas the ,greek drama established the setting by means of spoken words 7and the ,roman apparently made no exception to the same practice71 the early morality specified the setting by means of words or crude symbols marked on objects1 the back wall1 and other available surfaces3 8forest10 8front of house10 8,heaven10 8street10 or whatever was necessary4 ,elaboration by degrees brought these primitive suggestions up to the point of real scenery1 with practical mechanical devices for sensational entrances4 ,one must infer that the semiconstant opposition of the ,church to these representations was necessitated by occasional forgetfulness of their sacred character4 ,the pagan gods persistently lingered among the dramatis person1 undismayed by the fact that they were dead1 and unshamed by the treatment their followers had accorded ,christianity4 ,performers no less than authors were sometimes guilty of ribaldry ranging from the frivolous to the impious4 8,a canon playing entirely nude the rle of ,christ1 and a clerk representing ,saint ,francis in a scene of seduction1 undressed in the same manner1 were not at all spectacles of which the originators of the genre had dreamed40 ,yet the good clearly outweighed the bad4 ,and although repeatedly prohibited1 no mention is found of dancing being severely penalised4 ,now at the altar and again at the feast it serves1 in whatever capacity is required of it1 until at length it comes into prominent connection with the strolling ballet4 ,for the morality play--or mystery1 as it is otherwise known--becomes an elaborate affair1 with casts and mechanical and scenic effects1 on such a scale that it must collect more coppers than one town affords1 in order to recover the initial expense of the production4 ,on a scale sufficient to make an impression on its times was the spectacle designed to celebrate the canonisation of ,carlo ,borromo1 at ,lisbon in #afaj4 ,in the words of ,vuillier3 8,a ship1 bearing a statue of ,st4 ,carlo1 advanced toward ,lisbon1 as though to take possession of the soil of ,portugal1 and all the ships in the harbour went out to meet it4 ,st4 ,anthony of ,padua and ,st4 ,vincent1 patrons of the town1 received the newcomer1 amid salvoes of artillery from forts and vessels4 ,on his disembarkation1 ,st4 ,carlo ,borromo was received by the clergy and carried in a procession in which figured four enormous chariots4 ,the first represented ,fame1 the second the city of ,milan1 the third ,portugal1 and the fourth the ,church4 ,each religious body and each brotherhood in the procession carried its patron saint upon a richly decorated litter4 8,the statue of ,st4 ,carlo ,borromo was enriched with jewels of enormous value1 and each saint was decorated with rich ornaments4 ,it is estimated that the value of the jewelry that bedecked these images was not less than four millions of francs 7#afj1jjj74 8,between each chariot1 bands of dancers enacted various scenes4 ,in ,portugal1 at that period1 processions and religious ceremonies would have been incomplete if they had not been accompanied by dancing in token of joy4 8,in order to add brilliancy to these celebrations1 tall gilded masts1 decorated with crowns and many-coloured banners1 were erected at the doors of the churches and along the route of the choreographic procession4 ,these masts also served to show the points at which the procession should halt1 for the dancers to perform the principal scenes of their ballet40 ,illustration3 ,,dance ,,of ,,peasants4 ,after a sixteenth-century engraving4 ,a century and a half before this--in #adfb--,king ,ren of ,provence had organised an entertainment1 at once religious and social1 given on the eve of ,corpus ,christi4 ,the word 8entremet0 was applied to the allegorical scenes1 denoting 8interlude10 like the ,italian 8intermezzo40 ,other components of the representation were combats and dances4 ,the affair as a whole was a mixture of the sacred and profane to which any idea of unity was completely alien3 ,fame on a winged horse2 burlesque representations of the ,duke and ,duchess of ,urbino1 riding donkeys 7why represented1 no one knows--but during three centuries the two were travestied in ,corpus ,christi processions72 ,mars and ,minerva1 ,pan and ,syrinx1 ,pluto and ,proserpine1 fauns1 dryads and tritons dancing to drums1 fifes and castanets2 ,jupiter1 ,juno1 ,venus and ,love following in a chariot4 ,the three ,fates1 ,king ,herod persecuted by devils1 more devils pursuing a soul1 it in turn protected by a guardian angel2 ,jews dancing around a golden calf2 the ,queen of ,sheba and suite2 ,magi following a star hung at the end of a pole2 the ,massacre of the ,innocents2 ,christ and the ,apostles--all were scattered through and among the groups of legendary beings of ,greece4 ,more dancers1 a detachment of soldiers1 and ,death with a scythe following after all others1 approximately completed the fantastic catalogue4 ,the entertainment as a whole was called by the king the ,lou ,gu4 ,a number of the ,french popular dance airs that lasted for centuries are said to date back to it4 ,tradition credits the king with the composition of the work in all its branches--conception1 ballets1 music and all4 ,the childish lack of theme1 or scheme1 bars the ,lou ,gu and the entertainments that followed from any comparison with a ballet spectacle of later times1 or of antiquity4 ,but it bridged a gap to better things1 kept the ballet in existence1 and had the merit of being amusing4 ,in eccentricity it may well be coupled with the celebration of the wedding of ,charles the ,bold and ,margaret of ,england2 8fabulous spectacles imprinted with a savage gallantry10 as ,m4 ,brussel puts it4 ,the procession of the latter affair included a leopard riding a unicorn1 a dwarf on a gigantic lion1 and a dromedary bearing panniers of birds1 8strangely painted as though they came from ,india10 that were released among the company4 ,the fte organised by ,bergonzio de ,botta in #adhi1 showed a step in the direction of the ballet's destined progress4 ,the occasion was the marriage of ,galeazzo1 ,duke of ,milan1 with ,isabel of ,aragon4 ,this fte employed the dance1 music1 poetry and pantomime in the adornment of a banquet2 and the whole entertainment was unified with ingenious consistency4 ,the description of it given by ,castil-,blaze cannot be improved upon3 8,the ,amphitryon chose for his theatre a magnificent hall surrounded by a gallery1 in which several bands of music had been stationed2 an empty table occupied the middle4 ,at the moment when the ,duke and ,duchess appeared1 ,jason and the ,argonauts advanced proudly to the sound of martial music4 ,they bore the ,golden ,fleece2 this was the tablecloth1 with which they covered the table1 after having executed a stately dance1 expressive of their admiration of so beautiful a princess1 and of a sovereign so worthy to possess her4 ,next came ,mercury1 who related how he had been clever enough to trick ,apollo1 shepherd of ,admetus1 and rob him of a fat calf1 which he ventured to present to the newly married pair1 after having had it nobly trussed and prepared by the best cook on ,olympus4 ,while he was placing it upon the table1 three quadrilles that followed him danced round the fatted calf1 as the ,hebrews had formerly capered round that of gold4 8,diana and her nymphs followed ,mercury4 ,it is unnecessary to say that a fanfare of hunting-horns heralded the entrance of ,diana1 and accompanied the dance of the nymphs4 8,the music changed its character2 lutes and flutes announced the approach of ,orpheus4 ,i would recall to the memory of those who might have forgotten it1 that at that period they changed their instruments according to the varying expression of the music played4 ,each singer1 each dancer1 had his especial orchestra1 which was arranged for him according to the sentiments intended to be expressed by his song or his dance4 ,it was an excellent plan1 and served to vary the symphonies2 it announced the return of a character who had already appeared1 and produced a varied succession of trumpets1 of violins with their sharp notes1 of the arpeggios of lutes1 and of the soft melodies of flutes and reed pipes4 ,the orchestrations of ,monteverde prove that the composers at that time varied their instrumentation thus1 and this particular artifice was not one of the least causes of the prodigious success of opera in the first years of its creation4 8,but to return to the singer of ,thrace1 whom ,i left standing somewhat too long at the door4 ,he appeared chanting the praises of the ,duchess1 and accompanying himself on a lyre4 8#8,i wept1' he went on1 #8long did ,i weep on the ,apennine mount the death of the gentle ,eurydice4 ,i have heard of the union of two lovers worthy to live one for the other1 and for the first time since my misfortune ,i have experienced a feeling of pleasure4 ,my songs changed with the feelings of my heart4 ,a crowd of birds fluttered down to listen to me2 ,i seized these imprudent listeners1 and ,i spitted them all to roast them for the most beautiful princess on earth1 since ,eurydice is no more4' 8,a sound of brass instruments interrupted the bird-snaring virtuoso2 ,atalanta and ,theseus1 escorted by a brilliant and agile troop1 represented a boar hunt by means of lively dances4 ,it ended in the death of the boar of ,calydon1 which they offered to the young ,duke1 executing a triumphal ballet4 ,iris1 in a chariot drawn by peacocks1 followed by nymphs clad in light transparent gauze1 appeared on one side1 and laid on the table dishes of her own superb and delicate birds4 ,hebe1 bearing nectar1 appeared on the other side1 accompanied by shepherds from ,arcady1 and by ,vertumnus and ,pomona1 who presented iced creams and cheeses1 peaches1 apples1 oranges and grapes4 ,at the same moment the shade of the gastronomer ,apicius rose from the earth4 ,the illustrious professor came to inspect this splendid banquet1 and to communicate his discoveries to the guests4 8,this spectacle disappeared to give place to a great ballet of ,tritons and ,rivers laden with the most delicious fish4 ,crowned with parsley and watercress1 these aquatic deities despoiled themselves of their headdresses to make a bed for the turbot1 the trout1 and the perch that they placed upon the table4 8,i know not whether the epicures invited by the host were much amused by these ingenious ceremonies1 and whether their tantalised stomachs did not cry out against all the pleasures offered to their eyes and ears2 history does not enter into these details4 ,moreover1 ,bergonzio de ,botta understood too well how to organise a feast not to have put some ballast into his guests in the shape of a copious luncheon1 which might serve as a preface1 or argument1 an introduction if you will1 to the dinner prepared by the gods1 demigods1 ,nymphs1 ,tritons1 ,fauns and ,dryads4 8,this memorable repast was followed by a singular spectacle4 ,it was inaugurated by ,orpheus1 who conducted ,hymen and ,cupids4 ,the ,graces presented ,conjugal ,fidelity1 who offered herself to wait upon the princess4 ,semiramus1 ,helen1 ,phdra1 ,medea and ,cleopatra interrupted the solo of ,conjugal ,fidelity by singing of their own lapses1 and the delights of infidelity4 ,fidelity1 indignant at such audacity1 ordered these criminal queens to retire4 ,the ,cupids attacked them1 pursuing them with their torches1 and setting fire to the long veils that covered their heads4 ,something1 clearly1 was necessary to counterbalance this scene4 ,lucretia1 ,penelope1 ,thomyris1 ,judith1 ,portia and ,sulpicia advanced1 and laid at the feet of the duchess the palms of virtue they had won during their lives4 ,as the graceful and modest dance of the matrons might have seemed a somewhat cold termination to so brilliant a fte1 the author had recourse to ,bacchus1 ,silenus and to the ,satyrs1 and their follies animated the end of the ballet40 ,illustration3 ,,ballet ,,of ,,the ,,four ,,parts ,,of ,,the ,,world3 ,,entrance ,,of ,,the ,,grand ,,khan4 ,after an old drawing1 ,bibliothque ,nationale1 ,paris4 ,the entertainment made a sensation4 ,it was at the time of the ,renaissance2 the ,occidental mind was awakening after a thousand years of sleep1 and craved employment4 ,taste was being reborn1 along with mentality4 ,the pleasures of contact between minds was being rediscovered2 the institution of ,polite ,society was rapidly finding itself4 ,to attempt to repeat the ,bergonzio de ,botta entertainment would have been to invite comparisons2 to surpass it in any point but magnitude would have been excessively difficult4 ,its influence on entertainments that followed directed itself toward the development of the masque1 a form of musical pantomime that remained1 through centuries1 an indispensable adjunct of festal gatherings in the courts of the ,continent and ,england4 ,the characters in the ,de ,botta production1 it will be noted1 were1 with two or three exceptions1 from ,greek mythology4 ,this was the culmination of a fashion that had been growing1 and is fairly representative of the revival of learning then in progress4 ,it was not until a few years ago that familiarity with classic tradition ceased to be considered a part of the education of a lady or gentleman4 ,there is no reason to believe that the lack of such erudition makes one the less a lady or a gentleman2 but its discontinuance is unfortunate for the pantomime ballet4 ,in ,greek mythology1 both natural manifestations and mental attributes were personified4 ,not with the completeness of a catalogue1 but enough to express a great many points by the mere presence of certain characters4 ,venus1 ,minerva1 ,diana2 ,dionysius1 ,orpheus1 ,apollo1 ,mercury--all were accepted symbols of certain human qualities4 ,in relegating their acquaintance to the depository of cast-off mental furniture1 people have failed to create new symbols to take the place of the old4 ,harlequin and ,columbine we have1 and a few others4 ,but how many are the figures whose mere entrance1 without the interruption of dramatic action1 could be depended upon to introduce definite and recognisable ideas8 ,pantomime has to be explained on the programme nowadays2 and as nobody gets to his seat until after the auditorium lights are down1 the programme is unread and people complain that the characters lack meaning4 ,broadly1 ,modernism has devised for itself an education that teaches it to earn each day the cost of a thousand pleasures1 but by which it is robbed of the power to enjoy any one of them4 ,scattered through medival choreographic history are allusions to an employment of chivalry as subject-matter of pantomime4 ,but the idea never seems to have taken root1 as is natural enough1 considering the relation between dancing and armour--and armour was worn by the unfortunate dancers chosen to represent knights4 ,the dance of chivalry was not an influence1 and is mentioned only as a choreographic curiosity4 ,bergonzio de ,botta's great entertainment1 as has been shown1 led squarely up to the masque1 one of the ballet's immediate forerunners4 ,meantime the ,church's contribution to the art was no longer a matter of moralities for the edification of medival rustics2 high dignitaries1 proceeding partly under ecclesiastical inspiration and partly under tolerance1 were evolving a choro-dramatic form that took no second place to the masque in preparing the way for the art that was to come4 ,sixteenth-century ,rome and ,florence saw 8sacred representations0 in which were utilised the ,saltarello see chapter on ,italian dances1 the ,pavane1 the ,siciliana1 la ,gigue1 the ,gaillarde and la ,moresca4 ,the last was accompanied by heel-tappings1 like many of the dances of ,spain to-day4 ,its music survives in ,monteverde's opera ,orfeo1 written at the beginning of the seventeenth century2 in other words1 music was beginning to be worth while4 ,more important than any other single acquisition1 to say the least1 was the alliance of some of the monarchs of form and colour to whom half the glory of the ,renaissance is due4 ,of ,ariosto's ,suppositi1 presented in the ,vatican in #aeah1 the decorations were by ,raphael4 ,andrea del ,sarto1 ,brunelleschi and ,cecca enriched with their sacred figures the mimo-dramas played in ,florence4 ,in ,milan1 ,leonardo da ,vinci lent to the reality and beauty of the religious ballet the palette from which was painted the 8,mona ,lisa40 ,furthermore1 it is not to be supposed that these and other masters of line1 colour and the drama of light were not called to the aid of ballet grouping and movement4 ,the period leaves no record of a great ballet composer or director4 ,it does leave reason to believe1 nevertheless1 that in grouping and evolution1 as well as decoration1 music and accessories1 these sacred representations lacked nothing to entitle them to a respectable place in the annals of opera ballet4 ,steps were still primitive1 but sufficient unto their day4 ,authorities disagree as to which one of several performances is entitled to the recognition due the first presentation of modern ballet4 ,as a matter of accuracy1 any decision should be made only after considering exactly which of several species of modern ballet is meant4 ,for the organisation of the first ballet spectacle conforming to the multiple standards of modern excellence1 the honour seems to be deserved by ,catherine de ,medici4 ,true to her family traditions1 she took it as an expression of beauty for its own sake1 and developed it in accordance with ,french genius for order and form1 as is described in later pages4 ,but the first production of opera ballet1 in the sense of a divertissement or intermezzo composed to interpret sentiments of dramatic action that it precedes or follows1 the consensus of authority attributes to a work of ,cardinal ,riario1 a nephew of ,pope ,sixtus ,,iv4 ,he composed and staged in ,castel ,san ,angelo a number of productions in which the ballet was important1 during the latter part of the fifteenth century4 ,besides ,pope ,sixtus ,,iv1 ,alexander ,,vi and ,leo ,x were strongly in sympathy with the movement to exalt choreography to its ancient and proper estate4 ,the educated aristocracy of various ,italian cities gave it support and protection4 ,important among these champions was ,lorenzo de ,medici1 with his rare combination of means and scholarly understanding of the arts4 ,savonarola acidly charged him with softening the people by means of pagan spectacles1 while ,lorenzo went on adapting and composing4 ,the ,jewish element of ,italian society contributed its part to the new art's development4 ,at ,mantua1 where the ,jews formed a numerous colony1 they built a theatre on the models of antiquity4 ,productions were directed by ,bernard ,tasso1 father of the author of ,jerusalem ,delivered4 ,torquato himself went in #aegc to produce ,la ,pastorale1 which was a feature of a celebration given on the ,island of the ,belvidere1 near ,ferrara4 ,the ballet entertainment was fashionable2 no great event was complete without it as a supplement4 ,the visit of the ,duke of ,anjou 7the future ,henry ,,iii7 to ,cracow was the occasion of a fte whose historic importance was the discovery of a genius in ballet arrangement1 ,baltarazini1 otherwise known as ,beaujoyeulx4 ,catherine de ,medici sent for him to take charge of the choreographic entertainments of the ,french court1 the ,marshal de ,brissac acting as intermediary4 8,baltarazini dit ,beaujoyeulx0 had his first great opportunity in #aeha1 on the occasion of the marriage of the ,duc de ,joyeuse4 ,le ,ballet ,comique de la ,reine was the designation of the offering2 it was an addition to the now growing list of tremendous successes4 ,full details are recorded in the journal of one ,l',estoile1 and in ,l',art de la ,danse by ,jean ,etienne ,despraux4 ,to repeat them in full is neither necessary nor possible3 the amiable ,l',estoile in particular experiences all the delight of a simple soul surrounded by several days' proceedings of which not a single detail is anything less than amazing4 ,the lords and ladies appeared in a fresh costume every day1 a new practice of whose extravagance ,l',estoile writes with a mixture of awe and disapproval4 ,illustration3 ,a ,,fourteenth-,,century ,,ball4 ,after detail of an illuminated ,,ms4 in the ,bibliothque ,nationale4 ,the story of ,le ,ballet ,comique was the mixture of ,old ,testament story and mythology already familiar4 ,fountains1 artificial fire and aquatic machines lent their several notes of richness and variety4 ,important from the point of view of the amateur of the ballet is a comment on the geometrical precision that governed the ballet's groupings and corps movements3 8d'une rectitude qu' ,archimde n'eut pas desavou40 ,the true and modern note of form in grouping had been struck1 and the standard of exactness set that was to become the backbone of the ballet of later centuries4 ,as the first artistically logical relation of dancing to the sentiment of the whole work had been effected in the 8sacred representations0 of ,italy1 so ,le ,ballet ,comique de la ,reine seems to have been the first work of the kind to be produced under a modern 7which is to say ancient ,greek7 understanding of the laws of harmony of line4 ,the performance lasted from ten o'clock in the evening until four in the morning4 ,estimates of its cost range from six hundred thousand to a million dollars 7three to five million francs74 ,of tournaments1 presents and numberless other items of the several days' celebration the cost is reckoned apart from that of producing ,le ,ballet ,comique4 ,apart from lavishness1 there is interest in the fact that queen and princesses participated4 ,they represented nereids and naiads4 ,england1 meantime1 was in nowise ignoring the example of ,continental neighbours4 ,pantomimes she had under the names of 8mysteries10 8dumb-shows0 and 8moralities0--religious1 and melodramatic1 and variously proportioned mixtures of both4 ,they figure in the history of the ,english drama1 as a source of plots for the early playwright4 ,though the translation of gesture into word filled a want felt by a part of the people1 it subtracted nothing from the popularity of the masque4 ,henry ,,viii was its patron1 and occasionally took part in it4 ,elizabeth carried it on4 ,francis ,bacon1 with whom love of stage representation was a passion1 wrote plots--and dialogue where it was needed4 ,charles ,i brought it to a climax of taste and opulence4 ,inigo ,jones--of whose high merits as an artist evidences are extant--designed decorations4 ,ben ,jonson was accustomed to write the book for important productions4 ,a notable work of collaboration of the two1 with the addition of ,lawes1 the musical composer1 was a masque presented at ,whitehall by the ,inns of ,court in #afcc4 ,the cost is stated as #ba1jjj4 ,although a ballet was perhaps the principal feature of the production1 its composer is not named in the records4 ,england's failure to credit the original genius may or may not bear some relation to her sterility as a contributor to the dance4 ,with support1 both sentimental and material1 she has been lavish--in the wake of other nations' enthusiasms4 ,of invention she has given nothing of consequence4 ,we therefore turn our attention again to ,france1 where history was busy4 ,henry ,,iv was of a happy disposition2 the dance in his reign was happy in motive1 and healthy in growth4 ,to give time to its practice none was too high in station or serious in mind4 ,sully1 the philosopher1 profiting by training given him by the king's sister1 played a part in one of the ftes4 ,the journal of ,l',estoile mentions the production of eighty new ballets during the twenty-one years of the reign4 ,the nature of ,louis ,,xiii was taciturn2 an influence that caused the ballet to oscillate between the sombre and the trivial4 ,the monarch himself played 8,the ,illustration3 ,,seventeenth ,,century ,,court ,,dances ,mr4 ,john ,murray ,anderson and ,miss ,margaret ,crawford ,the ,tordion 7#a1 #b7--,the ,pavane 7#c1 #d1 #e7 ,to face page #dh ,demon of ,fire0 in ,la ,delivrance de ,renault1 in #afag4 ,of ,le ,ballet de la ,merlaison that he produced in #afce1 he composed the dance music4 ,a whim of this reign is to the credit of the ,duke of ,nemours4 ,to contrive a choreographic composition 8docile to his rheumatism10 he composed in #afcj a ,ballet of the ,gouty4 ,meantime the dance was becoming frivolous1 if not licentious4 ,to rectify its shortcomings ,richelieu applied himself--not to preaching damnations of dancing in general1 but to the creation of an allegorical ballet of the sort he thought suitable4 ,quatre ,monarchies ,chrtiennes1 played in #afce1 is a result of his efforts2 8full of pageantry the most opulent and morality the most orthodox10 in the words of ,robert ,brussel4 ,the regency of ,anne of ,austria developed nothing in particular2 a delicate character enveloped the dance in conformity to the regent's disposition and taste4 ,but distinct progress was not destined to take place until the reign of ,louis ,,xiv1 founder of the national ballet academy1 perhaps the most helpful patron the dance ever had1 and as devoutly enthusiastic an amateur performer as ever lived4 ,he played prominent parts in ballet pantomimes to the number of twenty-six4 ,the date of the founding of the school1 ,l',acadmie ,nationale de ,musique et de la ,danse1 is #affa4 ,from that time1 through several decades1 developments follow with extraordinary rapidity1 and in so many different directions that it is impossible to follow them consecutively4 ,great performers begin to appear2 artists whose work enraptures the public by grace of beauty alone1 signifying that execution had been awakened4 ,mlles4 ,prvost and ,sall were contemporaries and rivals1 each with a great and ardent supporting faction4 ,of the latter's personality1 it is of interest that she was a friend of ,locke1 author of ,human ,understanding4 ,her popularity is gauged by her pay for a single performance in ,london1 namely1 something over two hundred thousand francs4 ,the amount probably includes the considerable quantity of gold and jewels thrown to the stage during the performance1 for enthusiasm appears to have reached the point of mania4 ,this admiration was won without very rapid movement1 ,sall believing only in the majestic2 or any high or very broad steps1 which did not exist in the ballet in her time4 ,to have stirred the public as she did without these resources argues a degree of grace and expressiveness less earthly than heavenly4 ,illustration3 ,,louis ,,xiv 7,,as 8,,the ,,sun07 ,,and ,a ,,courtier 7,,as 8,,night07 ,,in ,,the ,,ballet ,,of ,,night4 ,yet her reputation was to be eclipsed by a girl who was studying during the very hours when ,sall was gathering laurels4 ,camargo was her name4 ,she was born in ,brussels1 daughter of a dancing master4 ,to natural grace and health she added an inordinate fondness for dancing1 and eager facility for learning its technicalities4 ,parental vacillation and educational theories cripple many an artist's career at its beginning4 ,but ,camargo's father being a dancing teacher1 there was just one thing for the child to do in the natural course of events1 and that was to learn to dance4 ,at the age of ten1 her art attracted the attention of a patroness1 and she was sent to ,paris to study under ,mlle4 ,prvost4 ,in the corps de ballet at the opera she bolted into public notice by joining impulse to accident4 ,one ,dumoulin1 on a certain occasion1 missed his musical cue for entrance to perform a solo4 ,mlle4 ,camargo leaped from her place and executed the solo to the delight of the audience4 ,introduced at court1 her triumph so affected ,prvost that she discontinued her pupil's instruction4 ,it was no longer needed4 ,camargo's genius had carried her beyond the reach of jealousy1 or even the active intrigue that her ex-teacher directed against her4 ,her matrimonial and other social ventures were conducted with such an air of candour1 and were of such a diversity that they are1 above all1 amusing4 ,she was a much-petted personage at court1 and an esteemed friend of the king4 ,in general she was known 8as a model of charity1 modesty and good conduct40 ,she was given a maiden's funeral4 ,castil-,blaze writes of her3 8,she added to distinction and fire of execution a bewitching gaiety that was all her own4 ,her figure was very favourable to her talent3 hands1 feet1 limbs1 stature1 all were perfect4 ,but her face1 though expressive1 was not remarkably beautiful4 ,and1 as in the case of the famous harlequin1 ,dominique1 her gaiety was a gaiety of the stage only4 ,in private life she was sadness itself40 ,in a technical sense she may be regarded as the first modern4 ,her work comprised all that constituted the ballet up to her time2 to the resources that came to her as an artistic heritage she began a process of addition that was to be carried on by successors4 ,she is credited with the invention of the entrechat1 for instance2 and here many readers will find themselves confronted by the need of some explanation of ballet technique as a means of intelligent discussion of the dancing of modern times4 ,before that chapter1 however1 it is not amiss to glance over the old dances from which the ballet1 up to the foundation of the ,academy in #affa1 derived most of its steps4 ,the ,gavotte1 the ,minuet1 the ,pavane1 the ,saraband1 the ,tordion1 the ,bourre1 the ,passecaille1 the ,passepied1 the ,chaconne1 the ,volte1 the ,allemande1 the ,gaillarde1 and the ,courante--these were the dances whose measures were trod by courtiers of the sixteenth and seventeenth centuries4 ,among those who have been moved to study these old dances during the past few years to the end of reconstructing them1 no one is more fortunately equipped for the task than the only resident of ,america who has applied himself seriously to the subject1 ,mr4 ,john ,murray ,anderson4 ,he is at once a dancer1 an educated man1 and for years a devoted student of the social aspect of western ,europe in the sixteenth and seventeenth centuries4 ,a period of months that he recently spent in the choreographic libraries of ,europe1 and in joint study with others similarly engaged1 has resulted in the opportunity to see in ,america a fine and true representation of the old court steps4 ,with ,miss ,margaret ,crawford1 ,mr4 ,anderson posed for the accompanying photographs of the ,gavotte1 the ,minuet1 the ,bourre1 and the ,tordion4 ,the groupings were selected with view to indicating the character of each dance4 ,collectively they give a good idea of the school of formality in which the ,french ballet was conceived1 and from which it received its determining influences4 ,from the beginnings of time1 people who give entertainments have followed a practice of employing performers of dances characteristic of various peoples4 ,with appropriate costume1 the danses caracteristiques give a synopsis1 or essence1 of the picturesque aspect of the people the dancer represents4 ,sixteenth-century nobility availed itself of the entertainment value of these folk-dances1 as ,athens did in its golden days and as ,london and ,newport do to-day4 ,in such manner did ,french society gather its material for many of the dances that eventually became identified with the ballroom4 ,the ,gavotte is of such origin4 ,a few generations of languid cultivation refined the life out of it1 though it was at first a comparatively active dance4 ,after dropping nearly into disuse it was revived and popularised by ,marie ,antoinette1 for whose rendering of it ,gluck composed music4 ,after the ,revolution1 with its paralysing influence1 the ,gavotte was once again revived--and revised--by ,gardel1 premier danseur of the ,opera1 in a composition based on music by ,grtry4 ,but this composition was not of a kind for the execution of any but trained dancers of the stage1 ,gardel having made it a metier for the exploitation of his own capabilities4 ,among new elaborations the simple little jumping steps and the easy arabesque that distinguished the ,gavotte of earlier days were lost4 ,the ,tordion is another dance of lively origin4 ,sometimes it was made a vehicle for the grotesque1 such as black-face comedy--let no one be surprised that the 8coon comedian0 of to-day is an ancient institution4 ,it was stepped briskly1 even in the stately environment of court4 ,the position of the foot with the heel on the floor and the toe up was not adopted by the ballet1 but is found in folk or 8character0 dances in all parts of ,europe4 ,the ,allemande also was a dance of movement2 so was the ,volte4 ,in the former the man turns his partner by her raised hand2 in the costume of the time1 the whirl is very effective4 ,the ,volte is supposed to be the immediate ancestor of the ,waltz4 ,the ,saraband came into ,france from ,spain1 where it was tremendously popular as la ,zarabanda4 ,it dates from the twelfth century1 and was praised by ,cervantes4 ,its character justifies the belief that it comes from ,moorish origins4 ,it is a solo dance making noble use of the arms1 and is executed with a plastic relaxation of the body4 ,a distinctly ,oriental mannerism is its quick shift of the foot1 just as it is placed on the floor1 from the customary position of toeing out to a position of toeing in4 ,the foot-work1 moreover1 has little more than slow glides4 ,its exotic qualities1 nevertheless1 are subordinate to its ,occidental courtliness2 like all the other dances of polite society1 it conformed to the etiquette of its time and place1 notwithstanding improprieties of which it had been guilty in earlier centuries4 ,marguerite de ,valois was fond of the ,bourre because1 according to tradition1 she had an extraordinary natural endowment in the shape of feet and ankles4 ,and the skipping step 7related to the modern polka-step7 ,illustration3 ,,seventeenth ,,century ,,court ,,dances ,the ,saraband 7#a7--,the ,allemand 7#c7--,the other groups are from the ,minuet--#f and #e 7in that order7 represent the ,mirror figure in the ,minuet de la ,reine ,to face page #ed ,illustration3 ,,the 8,,gavotte0 ,to face page #ee of the ,bourre necessitated the wearing of a shorter skirt than the mode of her day permitted for ordinary use4 ,it never was a rigorously formulated composition1 perhaps because it never became very popular at court4 ,it contributed to the ballet the latter's useful pas de bourre1 and continues as a diversion of the peasants of ,auvergne1 where it originated4 ,the ,passepied was one of a family known as les branles1 whose family characteristics are ill defined1 despite the frequency with which the term is used by seventeenth-century writers4 ,in ,england the word became 8brawl40 ,it was the ,branle du ,haut ,barrois in which gentry costumed themselves as the shepherds and shepherdesses perpetuated by ,watteau4 ,another1 the ,branle des ,lavandires1 was based on pantomime of the operations of the laundress4 ,in the ,branle des ,ermites1 monk's dress was worn4 ,in that of the ,flambeaux1 torches were passed to newly selected partners1 as in a present-day cotillion figure2 it was a fashionable figure at wedding celebrations4 ,tabourot's amiable hints for the elegant execution of branles probably are not directed at the court4 ,but they are illuminating4 8,talk gracefully1 and be clean and well shod2 be sure that the hose is straight1 and that the slipper is clean 444 do not use your handkerchief more than is necessary1 but if you use it1 be sure it is very clean40 ,there is more2 but1 after all1 why violate illusions8 ,the ,chaconne1 like the ,saraband1 came to ,france from across the ,pyrenees4 ,the dance of the ,seises in the ,seville ,cathedral is said to be a ,chacona unchanged from its sixteenth-century form4 ,the ,gaillarde is sometimes grouped with the ,tordion1 from which it differs in the respect that the theme of its steps is little jumps1 while the ,tordion is1 for the most part1 glided4 ,one form of it1 however1 8,si je t'aime ou non10 contained some energetic kicks4 ,indeed1 it was of a character to exercise heart and muscle2 excellence in some of its steps 8was looked upon as an accomplishment equal to riding or fencing40 ,to that form of it known as 8,baisons-nous ,belle0 was attached interest of another variety1 in the shape of kisses exchanged between partners4 8,a pleasant variation10 comments the venerable ,thoinet-,arbeau4 ,a variation employed to prevent monotony in some of the other dances as well1 among them the early ,gavotte4 ,the ,courante was one of the more formal dances1 never having been popular even in its origin4 ,it was the ,courante that was favoured by ,louis ,,xiv1 during his many years of study under a dancing master4 ,he is credited1 before he was overtaken by the demon of adiposity1 with having executed the ,courante better than any one else of his time4 ,in style it has been compared to the ,seguidillas 7q4 v47 of ,spain4 ,of all1 the dances most typical of the formality of the most formal society western civilisation has produced are the ,minuet and the ,pavane4 ,both might be characterised as variations of deep bows and curtsies4 ,in the ,pavane photographs it will be noted that instead of taking hold of her partner's hand1 the lady rests her hand on the back of his4 ,hernando ,cortez is said to have composed the ,pavane 7,spanish ,pavana7 and introduced it in the court of his land on returning from ,america4 ,if so1 he was a solemn person1 as well as dignified2 to the imposing grace of majesty the dance joins the aloof grandeur of a ritual4 ,these qualities gave to it the office of opening great court functions4 ,brocades and armour and swords promenaded very slowly around the room1 each couple making its reverence to the monarchs before proceeding to the steps of the dance4 ,these were few1 simple1 and slow2 there were many curtsies1 retreats and advances1 during which last the gentleman led the lady by the upraised hand1 while following her4 ,poses and groups were held1 statue-like1 for a space of time that allowed them to impress themselves on the vision4 ,so fond was ,elizabeth of ,england of the ,pavane 7in writings of her land and period spelled ,pavin and otherwise7 that it was more than whispered that excellence in its performance was more valued than statesmanship as a basis of political favour4 ,the ,minuet's formality was graded4 ,le ,menuet du ,dauphin1 le ,menuet de la ,reine1 le ,menuet d',exaudet and le ,menuet de la ,cour were its four species1 the stateliness increasing in the sequence mentioned4 ,the accompanying ,minuet photographs of ,mr4 ,anderson and ,miss ,crawford are of the form de la ,reine4 ,the 8mirror0 figure is perhaps its most salient feature--a pretty bit of expression accompanying an interlacement of arms whose composition comes as a climax to strikingly ingenious and gracious arm movements4 ,the popularity of the ,minuet1 in its various forms1 was practically unlimited2 lonely and cheerless indeed must have been the social life of the man who did not dance4 ,after the decline of the ,pavane it continued as an inseparable adjunct of gatherings of all degrees of conventionality within the scope of a polite mode of living4 ,at court balls1 at the romping ,christmas parties of ,english country places2 in the remote homes of ,virginia planters1 at governor-generals' receptions1 in the palaces of intendants in the far ,north it saluted1 made coquetry with fan and eye1 incarnated in gallant figures the brave and reverent spirit of chivalry4 ,pictures represent its performance in home surroundings during daylight2 slight pretext seems to have served as occasion for its performance4 ,in connection with this popularity it must be remembered that1 even in its simpler forms1 so much as a passable execution of the ,minuet was far from easy to acquire4 ,let it be understood that the grand ballet of to-day did not spring full-grown from the dances above enumerated4 ,some of their forms continued unchanged through years of academic influence4 ,present-day 8elevation10 as scope of high and low level is called1 the great leaps1 great turns1 and1 in short1 most of the dazzling elements of to-day's ballet are the accumulated contribution of individual artists from time to time4 ,taglioni1 of the middle nineteenth century1 is the last to add notably to the classic ballet's alphabet of steps4 ,it is not unsafe to say that the next few years will see its range increased3 the ,russians1 avid for new things1 have ransacked ,egyptian carvings and ,greek vases4 ,trained to perfection in the technique and philosophy of their art1 they are incorporating intelligently the newly rediscovered with the long familiar4 ,but a concrete idea of their relation to the art1 or of the art itself1 cannot be had without some acquaintance with its actual mechanics2 it is time to consider the salient steps on which most ,occidental dancing is based1 and which the ballet has reduced to perfect definition4 ,,chapter ,,iv ,a ,,glance ,,at ,,the ,,ballet',s ,,technique ,the name of ,camargo1 which arose in the first half of the eighteenth century1 may be taken as the milestone that marks the progress of dancing into its modern development4 ,predecessors had brought to it pleasing execution and a good spirit2 ,camargo appears to have surpassed them in both qualities1 and1 in addition1 to have added immensely to the art's scope both of expression and of technique4 ,her relation to the dancing of her time has been profoundly studied by ,mme4 ,gene1 whose fascinating programme of re-creations is the result4 ,after the work attributed to ,sall and ,prvost1 that of the re-created ,camargo shows a very striking emancipation from former limitations4 ,sall and ,prvost1 charmingly graceful1 consummately skilful1 performed their ,dresden-china steps evenly1 coolly1 in full conformity to the fastidious etiquette of the aristocracy of their day4 ,camargo1 without bruising a petal of the hot-house flower that was her artistic inheritance1 first freed it from a fungus of affectation that others had mistaken for the bloom of daintiness4 ,then she arranged it to show the play of light and shade1 to make it surprising--in short1 to make it a vehicle of interpretation4 ,the material at her disposal1 as noted before1 was limited4 ,to her advantage in 8elevation10 she replaced high-heeled shoes with ballet slippers2 she was the first1 since antiquity1 to dance on the toes4 ,nevertheless her changes of level were not exciting2 of big leaps she had none4 ,the day of vivid pirouettes was yet to dawn4 ,her most extended step was a little ballon4 ,her entrechat was almost the only step that raised both her feet distinctly off the floor2 it1 with petits battements1 gave brilliancy but nothing of grandeur4 ,hers was a dance of simple and little steps4 ,but they were composed1 those steps1 with appreciation of the value of contrast4 ,by contrast1 movement was made long or short in effect4 ,movements soft and crisp were juxtaposed4 ,we may believe that ,camargo's knowledge of composition compensated for the meagre step-vocabulary of her day2 that she commanded cumulative interest1 surprise1 and climax4 ,in short1 that she produced an expression2 limited to the lyrical1 but none the less real4 ,that there may be no risk of misunderstanding the present use of the word 8expression10 let it be agreed that the word here has the same application that it has in relation to instrumental music2 also let it be agreed emphatically that it has nothing to do with the imitation of nature4 ,wagner makes a composition of tones portray the attributes of heroes and gods4 ,grieg's gnomes are of the same tissue3 suggested attributes as distinguished from specified facts of the concrete4 ,broadly1 such suggestion is called music4 ,for present clearness let it be known as music of the ear4 ,because1 the very same mental sensations produced by rhythm and sound variously juxtaposed and combined1 acting through the medium of hearing1 are susceptible of stimulation by means of rhythm and line1 in suitable juxtapositions and combinations1 acting through the medium of vision4 ,it follows that dancing1 in effect1 is music of the eye4 ,the familiar musical resources serve both choreographer and composer impartially4 ,as will be understood before the reading of this chapter is completed1 the equivalent of long and short notes is found in steps of varying length2 musical phrases are1 to the mind1 the same as step-combinations1 or enchainements2 argument toward expression of motive is as possible to the silent music as to music of the ear4 ,indeed the values of the several orchestral instruments have their parallels in steps2 the light staccato of the clarinet is no more playful than are certain delicate steps executed sur les pointes1 nor is the blare of brass more stirring than the noble renvers4 ,the scope of expression1 in short1 that is attainable by the orchestra is identical with that within range of pure dancing--dancing without pantomime4 ,add pantomime1 and in effect you add to your music the explanatory accompaniment of words4 ,broadly1 music is sentiment1 while the words of a song are supplementary description4 ,in the ballet1 the dance1 as such1 is the sentiment 7or its representation71 the pantomime the accompanying description4 ,added expression in this musical sense was among ,camargo's contribution to the art1 definitely restoring to it a quality it had held in a grasp at best precarious since the passing of the glory of ,athens4 ,belief in pantomime rises and recedes from one decade to another4 ,but purely orchestral or sthetic expression continues at all times 7with interruptions7 as the fundamental intent of the classic ,french and ,italian ballets4 ,to demand that the figures in a composition conceived in this idea should act and look like the people of every-day life1 owing to the mere coincidence of their being human beings1 would be like asking the composer of ,pagliacci to rewrite his score to include the sound of squeaking wheels1 because of the latter's pertinence to the wagon of the strolling players represented in the opera4 ,the function of the composer of the opera is to suggest by such tonal symbols as have been found effective1 the various emotions undergone by his characters4 ,identically1 the function of the ballet-master is to suggest by the countless combinations of line--majestic and playful1 severe and gracious--and by the infinite variety of movements and postures1 the emotions he would arouse in the spectators of his work4 ,at his disposal he has a number of plastic1 sentient and sympathetic figures1 trained to movements of grace4 ,they are the instruments of his orchestra1 the paint on his palette4 ,that they also are human beings is absolutely a coincidence and beside the point4 ,pantomime1 to be sure1 is carried to a high development in both ,french and ,italian academies2 they present mimo-dramas calling for practically unlimited scope of expression4 ,pantomime they added to the dance without departure from the ballet's basic intent4 ,both schools well know that the introduction of one pose or gesture imitating an act of human life1 automatically throws the work into another category2 that which was purely interpretative mural decoration verges toward the story-telling picture4 ,the argument is put rather insistently because of the periodical complaint that the ballet 8looks artificial40 8,in real life10 people say1 8you never see hands held as they are held in the ballet40 ,mother of all the muses1 why should they be8 ,in real life hands are doctoring fountain pens1 hewing wood and drawing water1 reaching out for things2 in real life hands are concerned with their practical occupation1 and quite disregardful of their grace or expression while so engaged4 ,whereas the ballet uses hands as the vehicle for lines of grace1 exaltation1 vivacity1 or whatever emotion you will1 expressed in terms of the abstract4 ,it is the same in regard to work on the toe3 in real life people have no occasion to walk on the tip ends of their feet1 because as a means of locomotion it is inconvenient4 ,the ballet's use of it is not based on a belief in the minds of ballet-masters that it is a fashion either in polite society or among nymphs of the primeval forest4 ,the position 8on the point0 makes possible an agreeable change in elevation1 and can instantaneously eliminate the appearance of avoirdupois4 ,the ballet art is a convention1 strictly2 the figures in it are changing units of a moving design1 and not people4 ,a ballerina does not ask1 8,how do ,i look in this pose80 ,she asks1 8,what kind of a line does this pose make80 ,of late years the classic ballet has suffered from public indifference4 ,doubtless this has been due in part to an insufficiency of competent performers2 a great work requires great execution1 and the difficulties created by the ballet's ideals are tremendous4 ,but failure on the part of the public to consider the ballet's intent has certainly contributed to an unsatisfactory state of its affairs4 ,a general acquaintance with the individual steps adds in various ways to the spectator's enjoyment4 ,relieved of effort to decipher a dancer's means and methods1 he who understands the mechanics of the steps can surrender himself to a luxuriance in their grace of execution1 and be the more susceptible to the hypnotic charm of the rhythmic movement playing upon his eye4 ,to him who has taken the trouble to learn some of the elemental theories1 that which was once a bewildering maze of movement1 which he mentally scrambled to follow1 becomes an ordered and deliberate sequence1 whose argument he follows with ease2 instead of a kaleidoscope1 he sees phrasing1 repetition1 and progress of interest1 theme1 enrichment and climax4 ,with bits of special virtuosity he is instantly gratified2 shortcomings he instantly detects4 ,to communicate his observations he has a vocabulary of specific expression2 and there is satisfaction in that1 for a ballet performance is just as fruitful a subject of controversy among its connoisseurs as a new novel among its readers4 ,furthermore1 the need of a general power of expression as an essential to the betterment of ,american choreographic conditions is self-evident4 ,while the ensuing analysis of ballet steps is far from complete from the point of view of the academy1 it should give the reader a comprehension of the steps that make an impression on the layman's eye4 ,the material that follows is selected with that end in view4 ,some description of simple fundamentals1 though not in themselves 8showy10 is included in order to facilitate analysis of the great steps and turns4 ,moreover1 since character dancing includes nothing of technical note that is not also used in the ballet1 it is confidently hoped that the subjoined analysis will serve as a useful lens through which to look at dancing of all kinds4 ,those whose interest in the subject leads them to seek a more complete knowledge are referred to ,zorn1 ,grammar of the ,art of ,dancing2 by means of his choreographic stenography he goes into sub-variations of ballet steps with the utmost exactness4 ,naturally a course of instruction under a good ballet teacher is best of all2 ,illustration3 ,,mme4 ,,adeline ,,gen,e1 ,,and ,m4 ,,alexander ,,volinine ,ballet1 ,robert le ,diable ,butterfly ,dance ,pierrot and ,columbine ,illustration3 ,photos by ,mishkin1 ,n4 ,y4 ,,mme4 ,,gen,e ,,in ,,historical ,,re-,,creations ,,and ,m4 ,,volinine ,sall 7#a7--,the ,waltz 7#b7--;,camargo 7#c7--;,guimard 7#d7 theory is best understood by its application4 ,and execution1 it should go without saying1 is acquired only by long practice under expert and watchful eyes4 ,before considering actual movements1 it must be borne in mind that separately they are incomplete4 ,like tones that unite to form chords of music1 each in itself may seem lacking in richness4 ,interdependence of successive parts is more marked in the classic ballet than in any other great school of choreography4 ,the dance of the ,moor is a series of statues1 each self-sufficient4 ,of the ballet movements1 almost the reverse is true4 ,their magic comes of the flow of one unit into another4 ,as ,france is the mother and nurse of the ballet1 it follows that ,french is its language4 ,few of the terms translate successfully4 ,to rename the movements would be superfluous--and in practical use1 worse2 for a big corps de ballet is often a gathering from many nations4 ,being explicit and sufficient1 the ,french terms are the accepted designation of the steps in all lands where the ballet is danced4 ,to describe steps with precision1 it is necessary to use a system of choro-stenography not easily learned1 or to refer to positions of the feet4 ,the latter is the usual method1 and long usage proves its adequacy4 ,the following arbitrary designation of positions of the feet has long been standard wherever ,occidental dancing is taught3 ,simple positions one to five1 inclusive1 are the fundamentals1 which are modified in a great variety of ways4 ,figures #f and #g represent instances of such modification4 ,the weight may be upon both feet1 or either4 ,in third1 fourth and fifth positions3 speaking of either foot 7say the right7 it is said to be in anterior or posterior third1 fourth or fifth position4 ,illustration3 #a #b #c #d #e #f #g ,,fundamental ,,positions ,,of ,,the ,,feet4 ,fig4 #a1 first position2 #b1 second position2 #c1 third position2 #d1 fourth position2 #e1 fifth position2 #f1 open fourth position2 #g1 crossed fourth position4 ,second and fourth positions are defined as closed or amplified1 according as the feet are separated by the length of a foot1 or more4 ,the positions1 unless otherwise specified1 indicate both feet on the floor4 ,but the second1 third and fourth positions sometimes relate to positions in which one foot is raised2 for instance1 right foot in raised second position4 ,the same designations apply whether the feet be flat on the floor1 on the ball1 on the point1 or a composite of these3 as for instance1 second position1 right foot on the point1 left foot flat1 etc4 ,heights are definitely divided2 ankle1 calf and knee serve as the measures4 ,but as the subjoined explanations are aided by diagrams1 the terms to measure heights may be disregarded for the sake of simplicity4 ,likewise we need not go into the enumeration and names of crossed positions and other complications4 ,the five fundamental positions1 however1 are important and should be memorised4 ,apart from their importance in any discussion of ballet work1 familiarity with them greatly aids the acquisition of ballroom dances4 7,the latter place the feet at an angle of #de to the line in which the dancer's body faces1 instead of #ij1 the form of the ,french-,italian ballet47 ,the school of the ballet also defines the positions of the arms1 in the same manner4 ,they need not be memorised as a preliminary to reading this chapter2 but they are interesting as a matter of record of the limitations of the classic school1 and as a measure of the distance to which the ,russians have departed in the direction of freedom of arm movement4 ,illustration3 #h #i #aj #aa #ab #ac #ad #ae #af #ag #ah #ai ,,positions ,,of ,,the ,,arms4 ,figure #h1 arms in repose1 sustained2 #i1 extended2 #aj1 rounded in front of the chest2 #aa1 rounded above the head2 #ab1 high and open2 #ac1 la lyre2 #ad1 on the hips2 #ae1 #af1 one arm high1 one extended2 #ah1 one arm rounded in front of the chest1 one open horizontal2 #ag1 #ai1 one arm high1 one on the hip4 ,steps1 which are now to be considered1 fall naturally into the classes of gliding1 beating1 turning and jumping4 ,each class ranges from simplicity to more or less complexity1 and certain steps have a composite character1 partaking of the nature of more than one of the above general classes4 ,dancers distinguish between a step and a temps1 whose relation to each other is that between a word and a syllable4 ,a temps is a single movement4 ,by definition1 a step must effect a transfer of weight2 subject to that definition1 a single movement may be a step4 ,the simple gliding step is the pas gliss4 ,it is executed by gliding the foot along the floor4 ,it may move in any direction4 ,used as indicated in figures #bj1 #ba and #bb1 the step becomes a glissade4 ,illustration3 #bj #ba #bb 8,,glissade40 ,the essential gliding feature of the step is indicated in the movement of the left foot along the floor1 figure #ba4 ,a chass1 in effect1 8chases0 one foot from its place by means of a touch from the other4 ,for instance3 the feet are in second position1 weight on the right foot2 bring the left foot sharply up to this position behind the right foot2 at the instant of contact1 let the right foot glide sharply out to second position on the right side4 ,the step also may be executed toward the front or toward the rear4 ,it keeps both feet on the floor4 ,executing a series of chasss3 simple chasss commence the step1 each repetition1 with the same foot4 ,alternating chasss are begun with each foot in turn4 ,a coup is analogous to a chass2 but the foot that is displaced leaves the floor and goes to more or less height in the air4 ,both coup and chass give an impression of one foot kicking the other out of place4 ,illustration3 #bc #bd #be 8,,assembl40 ,see figure #bf4 ,an assembl1 starting with the feet in fifth position1 effects a reversal of their position4 ,example 7see diagram73 the left foot is behind4 ,a little jump upward raises both feet from the floor4 ,kick out with the left foot to the left1 bring it back to fifth position in front of the right foot1 at the moment of alighting4 ,the right foot1 instead of the left1 will dgage1 or 8wing out10 in the next step1 if the step is repeated4 ,a changement is similar to an assembl2 its difference is in the fact that it causes both feet to 8beat40 ,illustration3 #bf #bg 8,,assembl40 8,,changement40 ,each diagram shows two performances of its step4 ,both steps take both feet off the floor4 ,in the assembl1 one foot remains passive4 ,in the changement1 both are active4 ,a relev consists of a simultaneous 7a7 rise to the ball or point of the supporting foot1 while the active foot is raised to the height 7usually7 of the knee of the supporting leg4 ,the active foot usually is kept close to the supporting leg4 ,this step furnishes an interesting example of the changes wrought by the ,russians4 ,the classic turn-out of the foot confines the movement of the active leg to a plane cutting the performer laterally2 i4 e41 as the classic performer advances en relevant toward the spectator1 the legs' movements are seen to have their extension out to the sides4 ,whereas the ,russian 8toes out0 7with exceptions7 at a much smaller angle4 ,his knees therefore may rise in front of him2 in which case the step1 as seen by the spectator1 is most effective while the performer crosses the stage from side to side4 ,it is made the thematic step of some of the new ,russian dance-poems of ,greek nature4 ,it is executed sharply1 lightly4 ,an chapp moves the feet from closed to second position by means of moving both feet simultaneously outward4 ,illustration3 #bh #bi #cj #ca #cb 8,,jet40 ,essentials3 both feet off the floor simultaneously1 and receipt of the descending weight on one foot4 ,the jet is a step that is simple in principle1 at the same time subject to so wide a range of use that it creates the most varied effects4 ,essentially1 it is the step that is used in running4 ,the jet also may be executed to the side-- ct4 ,from its use in that manner it is easy to understand its employment as a means of turning in the air3 i4 e41 with both feet off the floor4 ,the jet en tournant is one of the much-used means of producing an effect of big1 easy sweep2 it lends itself to the embellishment of any one of several beating steps--pas battus2 or others1 yet to be described4 ,illustration3 #cc #cd #ce #cf 8,,jet0 ,,to ,,the ,,side4 ,of the 8beating0 type of step1 the fundamental is the battement3 a beating movement of the free leg1 the supporting leg remaining stationary4 ,the accent is not on the up-stroke1 as in a kick1 but sharply on the down-stroke4 ,the beats may be made from side1 front1 or 7less usually7 back4 ,the foot may be raised to the height of the head 7though it is not often done71 to horizontal1 to the height of the knee1 or the distance of a foot's length away from the supporting leg4 ,executed with a straight knee1 the movement is a grand battement4 ,a petit battement is action of the lower leg only1 working from the knee as a stationary pivot1 while the foot strikes the supporting ankle1 calf1 or knee4 ,it is a movement designed for brilliancy1 and should be executed rapidly4 ,with practice it can be carried to such a degree of speed that the active foot seems to shimmer4 ,it is the basic step of ,scotch dances4 ,modified to allow the sole of the active foot to touch the floor1 it provides the shuffle-step of the ,irish ,jigs and ,reels4 ,petits battements1 it should be added1 are usually employed in a sequence of several in succession4 ,illustration3 #cg #ch 8,,battements40 ,petit battement1 #cg4 ,grand battement1 #ch4 ,correctly speaking1 a battement does not constitute a step1 but a temps4 ,the cabriole is a development of the battement4 ,in the latter1 only one leg is active2 it leaves the supporting leg1 and rejoins it4 ,the cabriole is executed with both feet in the air2 both legs act in the beating movement1 rapidly separating and coming together1 but not crossing4 ,a further development of the same theme brings us to the gem which1 of the ballet's entire collection1 is the most dazzling3 the entrechat4 ,instead of merely bringing the legs together1 as in the cabriole1 it uses a jump as the occasion for repeatedly crossing the feet4 ,cleanly done1 it is as the sparkle of a humming-bird4 ,the word is derived from the ,italian intrecciare1 to weave or braid4 ,the ,french compound it with numerals1 to indicate the number of times the feet cross3 as1 entrechat-quatre1 entrechat-six1 entrechat-huit4 ,the number includes the movements of each foot2 an entrechat-huit implies four crossings4 ,prodigious stories are told about the number of beats that various artists have accomplished in their entrechat4 ,it forms an attractive centre for choreographic myths4 ,in general1 the number of beats said to have been accomplished by a given artist is in direct ratio to the number of years that artist has been dead4 ,in reality there is small object in going beyond an entrechat-six2 the three crossings 7always assuming performance by a master of the technique7 are quite sufficient to prove that the law of gravity has ceased to exist4 ,when their staccato twinkle is added as a finish to the long pendulum swing of a big glissade1 or a long jet en tournant1 the effect is that of a swift pizzicato following a long-sustained note--always surprising1 always merry4 ,illustration3 #ci #dj #da #db ,,steps ,,of ,,the 8,,battement0 ,,type4 ,changement1 #ci2 entrechat-quatre1 #dj2 bris dessus1 #da2 bris dessous1 #db4 ,in the bris dessus1 the active foot beats in front of the passive foot2 in the bris dessous1 behind it4 ,the bris is of the category of movements executed while both feet are off the floor4 ,it is so closely related to the entrechat-quatre that the layman who can distinguish between the two1 during the speed of performance1 may conscientiously congratulate himself on having developed a passably quick and sure eye4 ,the difference between the two lies in this3 that in the bris only one foot really 8beats02 the other makes only a slight complementary or counter-movement4 ,starting as it does in an open position1 it lends itself to the embellishment of broad leaps4 ,the ballon is1 in a broad sense1 related to the beating steps2 its accent1 however1 is on the up-stroke1 which makes it a kick4 ,start in third position2 pliez slightly 7as preparation72 jump1 and simultaneously kick forward1 bending the knee in raising the leg1 straightening it when it has reached the necessary height2 usually the ballon leads into another step4 7,as this description is at variance with that of two eminent choreographic writers1 it should be added that it is made from the step as demonstrated and explained by ,sr4 ,luigi ,albertieri1 ballet-master of the ,century ,opera ,company1 an unquestioned authority2 his traditions are those of ,la ,scala1 and of ,sr4 ,e4 ,cecchetti4 ,mlle4 ,louise ,la ,gai1 former pupil of ,leo ,staats1 one-time ballet-master of l',opra1 demonstrates the step in the same manner47 ,a phrase of steps 7enchainement7 is rarely made up of big or difficult steps exclusively2 the value of the latter would soon be lost in monotony were they not contrasted with work of a simpler nature4 ,the pas de bourre and the pas de ,basque are among the little steps useful in furnishing such contrasts1 in giving the dancer a renewed equilibrium1 and in the capacity of connecting links between other steps4 ,they are like prepositions in a sentence--insufficient in themselves1 but none the less indispensable4 ,the pas de bourre 7the name is taken from an old ,french dance7 is essentially the familiar polka-step late of the ballroom1 with varied applications4 ,forward1 backward or to the side1 it 8covers stage0--or gives the dancer progress in a given direction4 ,it furnishes a means of turning1 or preserving the continuity of a dance while the performer keeps his place4 ,always it is useful as a filler when interest is to be directed away from the foot-work--in such case1 for instance1 as when the hands have important pantomime4 ,the pas de ,basque is of similar value1 but commits the dancer to a swinging movement from side to side4 ,like the pas de bourre it is an alternating step1 with one foot on the floor all the time1 and executed without much 8elevation8--i4 e41 variety of level4 ,it runs through many of the dances of ,spain1 and presumably is1 as its name suggests1 a native of the ,basque provinces4 ,probably1 too1 it is a remote ancestor of the ,waltz4 ,illustration3 #dc #dd #de #df 8,,fouett40 ,in contrast to the sharp1 dry quality of the beating steps is the fluid1 swinging fouett4 ,its many variations conform to the principles indicated in the diagram figures #dc to #df4 ,the word 8fouett0 means literally1 whip2 the movement1 a swing with a snap at the finish1 is well named4 ,a relaxed manner of execution gives it a feeling of pliancy1 while lightness is preserved by the smart termination4 ,start with a pli of both knees1 for preparation2 sharply lift the active leg sidewise to horizontal 7i4 e41 raised second position72 snap the lower leg back1 in a movement curving downward1 to the crossed leg position in figure #df4 ,there it is prepared to enter into another step1 or to lead to an arabesque1 or to continue to finish in third or fifth position of the feet4 ,the body has remained facing the spectator4 ,illustration3 #dg #dh #di #ej ,,start ,,of ,a 8,,fouett ,,pirouette40 ,figures #dg-ej inclusive serve also to describe a developp4 ,now1 let it be understood that a pirouette is a turn1 or spin1 on one foot only1 or else in the air4 ,one species of pirouette is made in conjunction with the fouett1 the body being permitted to turn with the impulse of the leg's backward sweep4 ,the making of a pirouette1 however1 requires its own preparations1 as shown in the first four figures of the diagram4 ,in figure #dg the legs are plis4 ,figures #dh1 #di and #ej represent a developp1 or unfolding--a device of frequent use in the present conditions1 namely1 the need of bringing the active leg to horizontal in preparation for a step4 ,the extension of the arms as indicated enables them to give a vigourous start to the revolving movement2 the leg1 by a sharp sweep 8outward10 contributes to the same impulse4 ,the turn started1 the fouett is executed as it proceeds4 ,the free foot drops to position behind the supporting leg4 ,but note that as the body continues turning1 the foot changes from position behind to position in front2 very simple1 in performance very effective--and until understood1 puzzling in its illusion of winding up and unwinding4 ,it is permissible1 in the position of figure #eb1 to drop to the heel of the supporting foot1 for a momentary renewal of equilibrium2 but there is merit in going through without that aid4 ,the position at finish leaves the dancer prepared to repeat the tour1 which can be done an indefinite number of times in succession2 to continue into an arabesque 7figures #ee1 #ef72 or to enter a different step4 ,illustration3 #ea #eb #ec #ed 8,,fouett ,,pirouette10 ,,continued4 ,right leg sweeps 8out0 in horizontal plane 7#ea7 continuing as in #eb1 turning the body with its revolution4 ,as the body completes the turn from #eb to #ec1 the right foot is brought to crossed position in front of the ankle4 ,among the variations of the above typical fouett pirouette is its execution 8in0 instead of 8out03 that is1 to sweep the active leg across in front of the supporting leg1 to start the turn1 instead of raising it out to the side4 ,again using the left foot as support1 the turn of the body is now toward the left1 instead of toward the right as when the step is executed 8out40 ,the active foot arrives at its position of crossing the supporting leg when it has described a half-circle4 ,illustration3 #ee #ef ,,optional ,,finish ,,of ,a 8,,fouett ,,pirouette40 ,continues 7#ee7 into arabesque 7#ef74 ,tradition makes the fouett pirouette a step for men1 although it is not intrinsically less feminine than any other of the great steps4 ,nevertheless1 tradition is often a thing to respect4 ,so1 a fouett pirouette performed by a woman is customarily called a rond de jambe tour4 ,mlle4 ,zambeli1 the premire of l',opra in ,paris1 has on occasion performed a succession of thirty-two such turns in a steadily accelerating tempo4 ,the result1 instead of monotony1 is a cumulative excitement little short of overpowering4 ,the fouett pirouette leads into the subject of pirouettes in general4 ,by their common definition1 they are turns made on one supporting foot only1 or without support 7i4 e41 turns in the air74 ,the definition serves to distinguish a true pirouette from a turn made by means of alternating steps1 such as a pas bourre turn4 ,the purest example of pirouette is that performed 8on the crossed ankle0--sur le cou-de-pied4 7,figures #eg to #fa47 ,this turn is made without the aid of impulse from either leg after the free foot goes into its position1 in distinction from the fouett pirouette1 for instance1 in which the active leg's movement in the air furnishes the motive power by which the body is turned4 ,illustration3 #eg #eh #ei #fj #fa ,,the 8,,pirouette ,,sur ,,le ,,cou-,,de-,,pied40 ,figures #eg1 #eh1 #ei1 preparation2 #fj represents the completion of the turn1 and the position the feet have occupied during the act of turning2 #fa1 finish4 ,the pirouette sur le cou-de-pied here diagrammed is according to the specifications of ,herr ,otto ,stoige1 ballet-master and dancing teacher at the ,university of ,knigsberg1 as quoted by ,zorn4 ,raise the arms and the active leg 7figure #eh74 ,drop the active foot to anterior fourth position 7figure #ei71 pli1 and at the same time dispose the arms to give the twisting impulse to the body4 ,the same impulse is aided by the sharp straightening of the left leg1 coming into position as support4 ,the arms drop 7figure #fj7 as the free foot is placed sur le cou-de-pied of the supporting leg4 ,comparing the finish 7figure #fa7 with figure #eg1 it is seen that the feet have resumed third position but exchanged places4 ,in making the turn1 the face is turned away from the spectator as short a time as possible4 ,the ability to do a double turn in this form is not rare1 and a few men make it triple4 ,the ,prussian ,stullmueller brought it to seven revolutions4 ,an amusing conventionality of gender in pirouettes makes it man's prerogative to do the pirouette en l'air--i4 e41 with both feet off the floor4 ,this too is doubled by some of the men now dancing3 ,leo ,staats1 formerly of l',opra in ,paris1 is said to triple it6 ,illustration3 #fb #fc #fd ,,various 8,,pirouettes40 la seconde1 #fj2 en attitude1 #fa2 en arabesque1 #fb4 ,a pirouette of this sort is one of the few pas that have a value independent of what precedes and follows2 it is a beautiful thing by itself4 ,in combination it gives a feeling of ecstasy2 or1 in other conditions1 of happy eccentricity4 ,a few years ago ,angelo ,romeo used it as the theme of his solo in a ,ballet of ,birds 7under ,fred ,thompson's management1 the ,new ,york ,hippodrome staged some real ballets74 ,as ,king of the ,birds1 ,romeo gave his part a gallantry at once amusing and brilliant by the reiteration of double pirouettes as a refrain4 ,between the two extremes of fouett pirouette and pirouette sur le cou-de-pied lie such a variety of manners of turning that experts fail to agree on any definition of the word 8pirouette10 more explicit than the one already given4 ,a half-turn sur le cou-de-pied1 pas de bourre1 and complete the turn with a fouett3--there1 for instance1 is a turn that is a pirouette or not1 according to arbitrary definition4 ,there are half as many subvarieties of pirouette and other turns as there are solo dancers4 ,turns of mixed type1 partaking of the natures of both pure pirouette and the rond de jambe character of movement1 are known collectively as pirouettes composes4 ,a rond de jambe1 it should be explained parenthetically1 is a circle described by the foot4 ,a grand rond de jambe is a circle 7in any plane7 described by the straight leg4 ,a petit rond de jambe is made by the lower leg1 working from a stationary knee as pivot4 ,cf4 grands and petits battements4 ,as the pirouette sur le cou-de-pied has its virtue of sparkle1 its cousin the renvers is endowed with a species of bewildering1 bacchanalian ecstasy4 ,words and diagrams fail to convey an impression of its qualities2 but analysis of its mechanics is worth while1 in order that it may be recognised when seen1 and not allowed to pass without yielding its full and due pleasure to him who sees it4 ,preceding the position indicated in figure #fe1 the dancer1 placing his weight on the left foot1 has raised the right foot in a developp forward1 and around on a horizontal plane 8outward40 ,figure #fe shows the right foot at a point that may be conveniently designated as the quarter-circle4 ,in figure #ff the right foot continues to sweep back1 and the body begins to lean forward--or away from the active leg4 ,this lean of the body has become more pronounced in figure #fg1 in which the active foot has reached the three-quarter circle4 ,note the sweep of the left hand accelerating the movement of the turn1 and its continuance through the remaining figures4 ,illustration3 #fe #ff #fg ,,beginning ,,of ,,the 8,,renvers40 ,a developp has preceded the position in figure #fe1 as indicated in vertical dotted line4 ,the body begins to turn as the active foot completes a half-circle 7#ff74 ,in #fg1 note that the body leans forward4 ,up to the position in figure #fh the body has leaned forward--or in other words1 has been chest down4 ,in figure #fi it is seen chest up4 ,figure #fh is the intermediate position4 ,in performance the turn-over takes place so quickly that only a trained eye sees just when it is done4 ,the right foot touches the floor at the point of completing the half-circle4 ,the body continues leaning back1 straightening up in figure #gj after describing a round body-sweep started in figure #fi4 ,figure #gj finds the weight on the right foot2 the left is raised on the first temps of a pas de bourre1 very quick1 which brings the feet to fifth position as in figure #ga4 ,the right-handsweep upward1 meantime1 has been continuous4 ,illustration3 #fh #fi #gj #ga ,,the 8,,renvers0 ,,concluded4 ,figures #fh and #fi trace the over-turning of the body1 without interruption to the movement of rotation4 ,a rapid pas de bourre intervenes between #gj and #ga4 ,another variation of the pirouette is based on the rond de jambe described on a previous page4 ,the rond de jambe pirouette is executed with the aid and embellishment of a horizontal leg4 ,it usually starts with a developp1 like the fouett tour4 ,a pirouette la seconde is so called by reason of the active foot's continuance in raised second position4 ,if the heel is touched at the half-circles for equilibrium1 the turns can be continued ad libitum4 ,still another tour is the pirouette en arabesque1 the pose being entered into 7usually7 on completion of a half-circle of a rond de jambe tour1 the revolution being kept continuous while the necessary changes are made in the position of the body4 ,a turn in the air that may be included among pirouettes is a jet en tournant2 and it may be adorned with an entrechat1 a bris1 or whatever 8beats0 may suit the artist's taste and abilities4 ,the words 8arabesque0 and 8attitude0 do not refer to steps1 but to postures4 ,their composition is as exactly defined as that of any step4 ,figure #ef shows a typical arabesque4 ,illustration3 #gb #gc ,,two ,,forms ,,of 8,,attitude40 ,open 7ouverte7 #gb2 crossed 7crois7 #gc4 ,the position of the supporting leg is the same in both4 ,the developp above referred to is a usual means of bringing a leg to horizontal1 as a preliminary to further work4 ,it is the opening step of many a dance-poem1 and a pretty accurate index of the class of work to follow4 ,if the leg rises without hurry or faltering1 and unfolds with its proper sense of proud elegance2 if always the body keeps the serene relaxation that accompanies only the perfection of equilibrium1 there is coming a feast for the gods4 ,far from the least of ,gene's manifestations of virtuosity is the legato poise of her entrance stepping down from a picture frame3 so deliberate and even is her developp that the eye at first fails to discern movement1 as though it were watching the opening of a morning glory4 ,never the twitch of a muscle1 never an impulse of hurry1 never the suspicion of hesitation--through bar after bar of music1 the ethereal one makes that first step reverence-compelling in its incredible beauty of movement4 ,analogous to the developp in execution is the pas de cheval1 the latter1 however1 serving to change the dancer's place on the floor4 ,it is proud1 strong1 triumphant2 used in an advance of a corps de ballet toward the spectator1 the motive of dominance is strongly felt4 ,though effective1 it is not one of the structural parts1 like the steps heretofore described4 ,it is1 rather1 a decorative unit superadded4 ,the same may be said of the pas de chat1 which is a jerky1 short and very rapid simple alternating step2 bending the knees sharply1 but not bringing them high2 the feet crossing at each step4 ,it is not the physical locomotion of a cat1 but it is a good interpretation of the spirit of an especially capricious one4 ,it expresses well the idea of witchcraft or mischievous spirits4 ,going to the extreme contrast of this step1 a fortissimo effect is attained by the male dancer's form of extended jump4 ,it is necessarily high2 but it emphasises especially its effect of length horizontally4 7,see figures #gd and #ge47 ,auguste ,vestris1 the eighteenth-century virtuoso1 owed a part of his reputation to his power in this step2 8suspended in the air0 was the phrase attaching to his performance of it4 ,its function is1 in great part1 to astonish4 ,women accomplish its effect with the aid of a supporting man2 the change of level attained by this leap aided by a 8lift0 is indeed a harmonised explosion1 especially if it follows an arrangement of little steps4 ,stories of the impression created by ,vestris' leap would be quite incredible were their possibility not confirmed in our own time4 ,in ,scheherazade ,volinine jumped a distance that seemed literally more than half the width of a big stage4 ,an illusion1 of course4 ,the world's record in the broad jump is less than twenty-five feet1 and the broad jumper's covered distance does not look so impressive in actuality as it does on paper1 at that4 ,whereas the dancer's leap seems to be under no particular limit--when adequately performed1 which is rare4 ,being typical of the trickery by which dancing plays with the eye1 it may be worth analysing4 ,illustration3 #gd #ge ,,mechanism ,,of ,,broad ,,jump4 ,as the body descends1 the advanced leg and arm are raised1 producing the illusion of sustained horizontal flight4 ,the magic is based on two illusions4 ,first1 horizontal lines are insisted upon and preserved as continuous2 while lines not horizontal are 8broken up0 into short lengths1 to the end that they make comparatively little impression on the eye4 ,the pose itself1 then1 is horizontal1 which practically coincides with the direction of the dancer's flight4 ,every one has seen the experiment of apparently shortening one of two equal pencil lines by means of cutting short lines across it3 the converse of the same principle governs the jump4 ,as the pencil line was shortened by cross lines1 the jump is lengthened by long lines parallel to its direction4 ,as the dancer passes the top of his flight1 the second illusion begins to go into effect4 ,contradicting the eye's observation of the gradual descent of the body1 the long lines of the artist's arms and legs are steadily raised to point more and more upward4 ,be the reason whatever it may1 the spectator is much less conscious of the body's descent than of the level--or even rising--direction of those long lines2 lines which1 by the time the step is half completed1 have come to appear a good deal longer than they are4 ,the dancer lowers his foot just in time to alight properly4 ,the eye meantime has been so impressed by the sweep of horizontals that it conveys to the mind an agreeably exaggerated statement of the length of leap they represent4 ,also it probably has been so puzzled that its owner1 unless he knows something of dancing1 has failed to catch the value of the step as a thing of beauty4 ,reasonable familiarity with the foregoing descriptions of steps will1 it is hoped1 enable the reader to look at great dancing with the added joy that comes of intelligent sympathy with the ballet's intent as decoration1 as well as insight into its technical means4 ,the rsum of steps includes the ballet's fundamentals4 ,each step has its variations1 as has been suggested2 some of the variations diverge far enough from the basic step to have earned a special designation4 ,for the sake of simplicity1 the special names of subvarieties of steps have been eliminated from this little discussion2 but not at the sacrifice of anything that a well-informed connoisseur of the ballet need know4 ,it is a subject whose study is accompanied by the satisfaction that time spent on it is not being frittered away on an affair of a day4 ,some of the steps are coeval with the earliest graphic records of social life2 ,emmanuel 7,la ,danse ,grecque ,antique7 has made a fascinating book showing the use of many present-day ballet steps 7including 8toe-work07 by the figures on early ,greek ceramics1 carvings1 etc4 ,various ages have added to the vocabulary of choreographic material2 the national academies of ,france and ,italy have preserved that which is contributory to their ideals of almost architectural style1 and rejected that which lacks form1 even though expressive4 ,the tours and pas of which ballet eloquence is composed1 therefore1 represent a selection based on generations of careful and accurately recorded experiment in the interest of pure beauty4 ,the designation 8classic10 attached to ,french and ,italian ballets1 is in all ways correct and deserved4 ,the watchful care of guardians keeps both schools aloof from passing caprices of the public1 and uncorrupted by vulgar fashions4 ,there is a present and growing movement toward naturalistic pantomime--a mode combining with popularity enough intrinsic good to occasion anxiety lest the classic ballet perish under its momentum4 ,in reply to which let it be emphasised at this point that the old schools never have failed to incorporate the good of whatever has offered2 whereas that which was not of intrinsic value always has passed away through its own lack of sthetic soundness4 ,the ,russian academy bases its technique on the ,french-,italian1 and insists on it rigourously as a groundwork2 ,madame ,pavlowa's practice is conducted ,illustration3 ,,classic ,,ballet ,,positions ,mlle4 ,louise ,la ,gai ,typical moments in a renvers 7#a1 #b1 #c1 #d1 #e7--,starting a developp 7#f7--,progress of a ,rond de jambe 7#g1 #h1 #i7--7;,continued7 ,illustration3 ,,classic ,,ballet ,,positions 7,continued7 ,rond de jambe 7#aj7--;,jet tour 7#aa7--,pas de bourre 7#ab7--,preparation for a ,pirouette 7#ac7--,position sur la pointe 7#ad7--;,a fouett tour1 inward 7#ae7--;,a cabriole derrire 7#af7--;,descent from an entrechat 7#ag7--;,an arabesque 7#ah7 ,to face page #hj daily under the eye of her ,italian maestro1 ,ceccetti4 ,lydia ,lopoukowa1 ,alexander ,volinine--perfect1 both1 in academic form2 their romantic pantomime is an addition1 not a corruption4 ,these are among the great artistic intelligences in the new ,russian movement4 ,meantime arises a horde of beings possessed of 8soul10 8,god-given individuality10 8natural and unhampered grace10 boasting of their self-evident innocence of all instruction4 ,these last constitute the tidal wave that excites alarmists1 on behalf of the classic ballet6 ,no less subject to rule and form than steps and their elements is choreographic composition4 ,steps are phrased and phrases repeated1 exactly as in music4 ,by the same formality of construction1 each movement of the composition is dominated by a fixed theme4 ,suppose an entrance is in the coquettish mood3 it is not unlikely that the ballet-master will elect to interpret that mood by whirls--in other words1 the horizontal circle4 ,the girl may approach the man in a wide piqu tour 7a stage-covering circle1 the dancer picking her steps with emphasised daintiness71 elude his grasp by means of a series of rapid pas de bourre turns1 and perhaps finally spin into his arms at the finish of a pirouette4 ,everything is kept in turns1 and in little vivacious steps2 no great elevation1 no open or sweeping movements2 nothing of the glorious1 everything to secure daintiness4 ,again1 the same motive might be rendered in quite another way1 namely1 by short advances1 retreats and steps to the side4 ,the passage might start with a series of relevs--quick1 sharp rises to the toe1 the free foot crossing to pose in front of the ankle of the supporting foot1 after describing 7each step7 a petit battement en avant2 short1 crisp1 dainty movements1 all4 ,in this group might appropriately be included pas de bourre dessus-dessous 7i4 e41 in front and behind72 glissades2 petits battements2 and the devilish-looking little pas-de-chat4 ,in the same enchainement might easily be grouped the entrechat4 ,all these steps may unite in a similarity of action3 slight elevation1 and a short1 saucy movement in which the horizontal direction predominates4 ,if the mood to be expressed were the triumphant1 its interpretation might begin with a series of pas de cheval4 ,with this the ballon and a rond de jambe finishing en arabesque would unite coherently1 their movements all being based on the general form of an arch4 ,to multiply instances of arrangement by theme is needless4 ,a ballet-master would admit a greater variety of steps together in sequence than the foregoing paragraphs indicate2 whirling dervishes produce an effect by turns alone4 ,the instances are given with view only to emphasising the principle of theme unity4 ,what is not obvious to him who never has seen the horrible example of lack of observance of this principle is1 that it is not an arbitrary convention1 but a fundamental necessity4 ,it is no uncommon thing to see good execution completely wasted in a helter-skelter throwing together of steps that lead to nothing4 ,cumulative development--with adornment but not digression--along a certain line1 will coax the spectator into a mood of full sympathy with the performance4 ,but a series of unrelated turns1 jumps sidewise and up in the air1 entrechats and kicks1 bears about the same relation to choreographic argument as a cat's antics on the keyboard of a piano does to the work of a musician4 ,it will of course be understood that the ballet-master's problem is complicated by requirements and limitations not even touched upon in this work4 ,conformity to his accompanying music1 for instance1 is alone a matter of careful study4 ,in former generations1 before the present relative importance of music1 the musical composer followed the scenario of the ballet1 which was composed first and independently4 ,nowadays--owing to causes as to which speculation is free--the procedure is reversed4 ,the ballet-master must not only follow phrasing as it is written2 he must move his people about the stage in felicitous group evolutions1 basing their steps on a fixed number of musical bars and beats4 ,this requirement disposed of1 he should interpret the music's changing moods with appropriate steps4 ,taking as an example a bit of the ,ballet of the ,hours in ,gioconda3 the music of the hours before dawn is largo and dreamy1 breaking into a sparkling allegro as the light comes1 increasing in speed and strength until a forte tells of the full-fledged new day4 ,there are steps and combinations to render these motives with the utmost expressiveness4 ,failure to employ them does not represent lack of competence on the part of the director1 so often as it does inadequacy of the human material at his disposal4 ,in ,america1 at present1 the task of producing effects with people whose incapability he must conceal is perhaps the most serious embarrassment the ballet-master has to face4 ,the dancer's supreme virtue is style4 ,if1 beginning as a naturally graceful youngster1 he has been diligent for from four to seven years in ballet school1 he will have it2 some acquire it by study alone4 ,with practice from two to four hours every morning1 and half an hour to an hour before each performance1 he is likely to keep it4 ,what style is1 is not for words to define4 ,to preserve mathematical precision in a series of definitely prescribed movements1 while executing those movements with the flowing sweep of perfect relaxation2 to move through the air like a breeze-wafted leaf1 and alight with a leaf's airiness2 to ennoble the violence of a savage with a demi-god's dignity2 to combine woman's seductiveness with the illusiveness of a spirit--these things are not style1 but the kind of thing that style makes possible1 the magic results from the perfect co-ordination of many forces1 both sthetic and mechanical4 ,some of the latter1 as to theory1 are readily enough understood4 ,of the ballet dancer's ever-surprising defiance of the law of gravity1 the more obvious means are the pli1 to soften a descent1 and a manner of picking up the weight so quickly that the body seems buoyant4 ,of perhaps no less value1 though not so obvious1 is the straight knee4 ,to the eye it gives a sensation of sure architectural support--doubtless through the suggestion of a column4 ,the mechanical importance of the straight supporting knee is no less than the sthetic1 since a firm foundation is essential to perfect control of body1 arms and head4 ,when the knee 8slumps10 the usual consequence is a softened back and a collapsed chest4 ,the muscles of the body 8let down10 the fine1 hypersensitive control of head and arms is gone4 ,crisp movement being impossible to them without a sound1 springy body as a base to work on1 the work becomes monotonous and soggy4 ,the theory of a straight supporting axis applies also to the foot as soon as it rises sur la pointe4 ,the foot of ,madame ,pavlowa en arabesque 7see reproduction of her photograph7 illustrates the principle4 ,mechanically1 there is definite advantage in an absolutely vertical support2 while the spectator's visual impression asserts without hesitation that the figure above the foot is without weight whatever4 ,the superb line of the ankle1 continuous in sweep over the instep1 is not the least of the wonders of what1 if one were writing in ,spanish1 one could without extravagance refer to as 8that little foot of gold40 ,it should not in the least modify admiration of this superlative bit of technique to dispel the not uncommon belief that rising on the toes is a cause of physical torment1 a feat requiring extraordinary strength1 or in itself an achievement to insist upon4 ,quite the contrary4 ,like every other position in the dance1 any half-trained performer or student can get it1 all except the quality4 ,as soon as a pupil has acquired the equilibrium that ought to precede toe-work1 the necessary muscular development has taken care of itself1 as a general rule2 and she takes position on the point without special effort4 ,help is given the foot by the hard-toe slipper1 combining as it does the support of a well-fitted shoe with a square1 blunt toe4 ,the latter1 though of small area1 furnishes some base to stand on4 ,stiffening in the fore-part of the shoe protects the toes against bruising in the descent from leaps4 ,position on the point justly claims attention as an acrobatic wonder1 when it is taken barefooted4 ,and a dancer who1 barefooted1 can perform steps on the point1 supporting herself easily with one foot off the floor1 is simply hyper-normal in strength of ankles1 feet1 and legs4 ,miss ,bessie ,clayton is such a one1 and very likely the only one4 ,it is a feat whose absence from formal dancing is not felt1 though its use would be effective in some of the re-creations of ,greek work4 ,there is evidence that the early ,greeks practiced it1 as before noted4 ,in our own times1 there is only one instance1 among the stories ever heard by the authors1 of barefoot work on the point being done in public2 and that performance1 oddly enough1 took place in precedent-worshipping ,spain4 ,the occasion was one of those competitions that ,spaniards love to arrange when two or more good dancers happen to play the same town at the same time4 ,tremendous affairs2 not only does rivalry approach the line of physical hostilities among the spectators1 but the competition draws out feats of special virtuosity that the dancers have practiced secretly1 in anticipation of such contingencies4 ,la ,gitanita 7the ,little ,gipsy71 one of the competitors in the event referred to1 had1 for some years1 put in a patient half-hour a day on the ends of her bare toes1 without the knowledge of any but the members of her family4 ,when1 therefore1 at the coming of her turn in the competition1 she threw her shoes to the audience1 and her stockings behind a wing1 and danced a copla of las ,sevillanas on the point1 the contest was settled4 ,most of the spectators never had heard even of the existence of such a thing as toe-work1 because it does not exist in ,spanish dancing4 ,the experience to them was like witnessing a miracle2 so it happens that ,la ,gitanita1 many years dead1 is still talked of when ,spanish conversation turns to incredible feats of dancing4 ,with such rare exceptions as the above1 however1 the person who is happy in seeing difficulties overcome is best repaid by watching the manner instead of the matter4 ,there is hardly a step but can be floundered through1 if real execution be disregarded4 ,the difficulties that take years to master1 that keep the front rank thin1 are those of nobility1 ease and precision of action4 ,naturally1 it is harder to preserve these qualities through a renvers than in a pas de ,basque2 but there is no merit in exhibiting a renvers badly done4 ,the latter is a pertinent instance of things difficult to do well4 ,a fouett tour 8inward0 is not safely attempted by any but the most skilful2 nor is either a fouett or a rond de jambe1 finishing in arabesque4 ,to keep the movement continuous1 imperceptibly slowing it down as the arabesque settles into its final pose1 requires ability of a rare grade4 ,as the little alternating steps furnish the means of regaining equilibrium after a big pas or tour1 it follows that their elimination from an enchainement represents a tour de force4 ,this is especially true if the big steps be taken at a slow tempo 7as an adagio1 so called72 and difficulties are compounded if the artist performs the entire adagio on the point4 ,few there are in any generation who can attempt such a flight4 ,but there are many qualities justly to be demanded of any artist who steps before an audience4 ,crisp1 straight-line movements should be cleanly differentiated from the soft and flowing4 ,an entrechat not as sharp-cut as a diamond represents incompetent or slovenly workmanship4 ,the same applies to other steps of the staccato character--as battements1 briss1 pirouettes sur le cou-de-pied4 ,each dancer rightly has his own individuality2 and the movements of one will be dominated by a liquid quality1 while another's will be brilliant1 or 8snappy40 ,but a dancer who is truly an artist has1 within his scope1 a good contrast between the several types of movement4 ,lack of such contrast may cause a sense of monotony even in very skilful work4 ,elevation also is important in preserving a sense of variety4 ,not only pli and rise are made to serve2 raisings of the arms add immensely to the sense of vertical uplift when height is sought4 ,a certain conformity to geometrical exactness is necessary to the satisfaction of the spectator's eye1 and is observed by all but the incompetent4 ,not that movement should be rigid--very much to the contrary4 8,geometry0 is a sinister word2 interpreted in a sense in which it is not meant1 it would be misleading4 ,an example is sometimes clearer than attempted definitions or descriptions4 ,if1 having given an order for a grandfather's clock1 the recipient found on delivery that it did not stand quite straight1 he would be annoyed4 ,suppose then that further observation revealed that the face of the clock was not in the middle1 that the centre of the circle described by the hands was not the centre of the face1 that the face was no more than an indeterminate approximation of a circle1 and that the numerals were placed at random intervals2 the eye of the clock's owner would be offended4 ,various sthetic and psychological arguments might be applied to the justification of his feeling1 but they are not needed4 ,the futility of near-circles1 approximate right angles and wobbly lines is felt instinctively4 ,yet the eye rejoices in the 8free-hand0 sweep of line correct in placement1 though not subjected to the restrictions of straight-edge and compass4 ,asking for acceptance in such sense of the terms 8geometrical0 and 8precision10 we may return to our discussion of the ballet4 ,the decorative iniquity of the hypothetical clock attaches to all dancing that fails to give to precision the most rigourous consideration4 ,the imaginary circle described in a pirouette for example1 is divided into halves and quarters4 ,let us suppose the pirouette to end in arabesque1 stopping on the half-circle1 bringing the dancer in profile to the audience3 a very few degrees off the half-circle are1 from the ballet-master's point of view1 about of a kind with a few centimetres separating the misplaced clock hands from their proper situation in the centre of the dial4 ,the petit rond de jambe has its imaginary quarter of the great circle in which to play1 and which it must fill4 ,in a fouett1 the sweep of the foot starts at the quarter-circle 7marked by an imaginary lateral plane through the dancer's body71 and reaches back just to the half-circle 7defined by a similar plane1 drawn longitudinally74 ,the lateral elevations of the legs are likewise subject to law1 the imaginary vertical circle described by the leg as radius being divided into eights1 to allow the leg to use the angle of forty-five degrees2 experience shows that this diagonal1 half a right angle1 is pleasing to the eye and not disturbing to the senses4 ,the hands and forearms are turned in such a way as to eliminate elbows1 the coincidence of a contour of the arm with an arc of a big 7imaginary7 circle being always sought4 ,the convention of 8toeing out0 has as an object the showing of ankles and legs to the best advantage4 ,on the flat foot the advantage is not so apparent2 but experiment shows that pointing out and down greatly helps the appearance of a foot in the air4 ,the supporting foot and leg also show the benefit of the device as soon as the dancer rises to the ball of the foot or the point4 ,moreover1 it is obvious that the pointing of a supporting foot forward would necessitate changes from the classic form of many steps4 ,recent years have brought out a volume of protest to the effect that the classic ballet's restriction of movement too severely limits expression4 ,the protest is right or wrong according to point of view1 and point of view is a matter of historical period4 ,the ,french school comes to us from a time when men kissed hands and drew swords in exact accordance with accepted forms1 and the favoured house-decoration was a tapestry designed on lines purely architectural4 ,the present is a moment of much concern about freedom of the individual1 and its expression4 ,curiosity is at boiling-point4 ,narrative is sought4 ,we want something to happen1 all the time4 ,and those who fail to see the actual occurrence want the story of it to be graphic4 ,moving pictures are very satisfying to the majority4 ,acres of popular pictures are painted in boisterous disregard of order or harmony of line and form4 ,it would be very pleasant for those who enjoy optical beauty1 if public taste required beauty as a first requisite for popularity4 ,nevertheless1 popular pictures as they are do no particular harm1 probably1 either to those who like them or to those who do not4 ,but1 if the world's great and beautiful mural decorations were suddenly painted over with frenzied or sentimental illustrations1 to 8modernise0 them1 it would be a different matter4 ,that little public to whom beauty is as a necessary sustenance--by coincidence the same public that includes the leaders of thought in each generation--would have a good deal to say in the line of objection to such desecration4 ,now1 the ballet is essentially a mural decoration1 potentially very great in power to exalt4 ,if a large element should have its way1 the next few years would see that decoration painted over with a huge choreographic story-picture1 sentimental or frenzied1 realistic2 and beauty be hanged4 ,this anarchistic mania is in no wise a doctrine of the ,russians4 ,but their undiscerning admirers1 seeing in their work only the lines of departure from old-established formul1 shout to heaven that any restraint of individual caprice is wrong4 ,innocent of suspicion that such things as sthetic principles exist1 they force their expression of 8individuality0 to the limit of their invention4 ,and some of them certainly are inventive4 ,fortunately the great dancer is great largely because of his perception of the value of order and form4 ,the best of the ,russians are great dancers2 great artists in the full sense of the word4 ,they are the ones who will profoundly influence the sthetic thought of the present generation1 and their influence will be sound and good4 ,opposing it will be many a 8hit0 by skilful characters1 and a dangerous numerical force among the public4 ,it is easily possible that the latter influence may prevail4 ,the grand ballet is still an experiment in the ,america of this generation4 ,it was here thirty years ago1 and fell into the hands of ,philistines1 who shaped it into the silly thing they thought they wanted1 and then were forced to abandon it because it was silly4 ,than the present1 there never was a more important crisis in the cause of choreographic good taste4 ,the outcome depends upon the manner and degree in which those who stand for good taste assert themselves during the next few years4 ,,chapter ,v ,,the ,,golden ,,age ,,of ,,dancing ,louis ,,xiv brought public interest in the ballet to a point of eager excitement2 indeed1 the influence of a monarch's consistent patronage1 including the foundation of a national academy1 added to the example of his prominent participation in about thirty allegorical dancing spectacles1 could not fail to be powerful4 ,with the growth of public interest and intelligence1 the ballet and the technique of dancing developed commensurately4 ,the two enthusiasms of public and artists reacted on each other to the advantage of both2 in the uninterrupted enrichment of the ballet the public never failed to find its attention repaid in ever-increasing fascination4 ,dancers1 composers and directors1 on their side1 abandoned themselves to their work with the zeal that comes of certainty that no good thing will pass unnoticed4 ,such conditions bring good results more than can be foreseen even by those actively engaged4 ,as1 in fiction1 the miner in trying to loosen a nugget usually uncovers a vein1 so it may occur in the arts4 ,for instance1 ,camargo found that her entrechat was difficult and ineffectual under the weight and length of the fashionable skirt of the period4 ,she therefore had a skirt made reaching midway from knee to foot4 ,a simple solution8 ,certainly4 ,but it was thought of only after centuries of submission to clothes that considered fashion and disregarded the problems and possibilities of the dancer's art4 ,and it represented the species of decision that risks acting counter to an accepted1 unquestioned institution4 ,it was not an effort to draw attention by means of a spurious originality4 ,camargo's work explained the change4 ,the public understood and approved4 ,the ballet was directed toward its costume2 a long journey lay ahead of it1 but it was rightly started4 ,liberty of movement so attained at once put a premium on higher and more open steps2 technical invention was set to work as never before4 ,the ballon1 various pas battus and ronds-de-jambe that followed immeasurably enhanced the scope of the ballet as an instrument of ocular-orchestral expression4 ,new enchainements1 striking in the contrast of little work with big1 soon made the court dances--which for a period had constituted the ballet's working material--look old-fashioned4 ,the stage now required considerable elevation1 decided contrasts1 increasing scope4 ,and1 whatever the cost in skill and energy1 there were dancers eager to expend the energy and to give the needed years to acquiring the skill4 ,since the days of the ,roman ,empire1 masks had been worn to identify characters4 ,not a bit of cloth to cover the face1 merely2 but cumbersome things with plumes1 wings1 metallic spikes 7i4 e41 the rays of the sun worn by ,louis ,,xiv in the ,ballet of ,night7 or what-not1 so extended that they restricted the action of the arms1 so heavy as to interfere with steps4 ,it was a clumsy convention1 but it was as integrally a part of stage representation as scenery is to-day1 and the few who wished its abolition were outvoted by a cautious majority4 ,at last1 according to her custom of helping an enterprise that is doing well1 ,fate took a hand4 ,auguste ,vestris failed to appear for a certain performance2 as the time for his entrance drew near1 the anxious stage director asked ,gardel to 8go on0 in ,vestris' part4 ,gardel1 an until-that-time ineffectual rebel against the mask1 consented2 but with the condition that the mask be omitted4 ,in default of arrangements more to his satisfaction1 the director consented4 ,the public at once saw the advantage of the change1 and were pleased with ,gardel's appearance4 ,so began the end of the dominion of the mask4 ,of the notable personalities that the early rays of the eighteenth century illuminated1 the aforementioned ,auguste ,vestris was the interesting son of a more interesting father4 ,the latter was a genius of the very first water1 with a conceit so incredibly exaggerated that it is almost lovable4 8,this century10 he was accustomed to observe1 8has produced but three great men--myself1 ,voltaire1 and ,frederick the ,great40 ,he sometimes signed himself 8le ,diou de la ,danse02 himself a ,florentine1 the relation of ,french spelling to pronunciation was contrary to his ideas4 ,the phrase as he put it had a special merit1 and as 8le ,diou de la ,danse0 he was known through his long life4 ,a lady1 having stepped on his foot1 expressed a hope that she had not hurt him4 8,le ,diou0 depreciated the hurt to himself1 but informed the lady that she had put ,paris into a two-weeks' mourning4 ,of his son's leaps he said that if ,auguste did not remain in the air forever1 it was because he did not wish to humiliate his comrades4 ,the foundation of the ,opera was another of the impulses to act favourably1 if indirectly1 upon the interests of dancing4 ,its modest beginning had been made a few years after that of the ballet academy4 ,the two arts at once combined to produce a new variety of musical spectacle1 namely1 opera4 ,great music came to the fore in response to the added encouragement--but digressions must be repressed4 ,contemporary with ,camargo and ,sall was a dreamer of dreams too great to be realized in his own time1 but whose ideas take place among the lasting good influences in art4 ,garrick called him 8the ,shakespeare of the ,dance03 his name was ,noverre4 ,to the post of ballet-master at the ,opera he brought the experience of years in similar service in ,stuttgart1 ,vienna and ,st4 ,petersburg4 ,his work he regarded with the broad vision of cultivated understanding of painting1 music1 story1 acting and dancing1 and the functions of each4 ,his genius was1 above all else1 constructive2 his ideal was to bring the arts into a harmonious union1 to which each should contribute its utmost1 while all should be informed with and dominated by a single sthetic purpose4 ,the obstacle always blocking his path was not incompetence of aides and artists1 not lack of money1 nor any of the btes noires to which more recent idealists are accustomed4 ,his enemy was the inert1 impalpable and almost invincible force of custom1 paradoxically persistent despite the public's demand for new things4 ,it was custom that the composer of a ballet should always arrange for the introduction of the specialties of the several principals1 irrespective of motives4 ,custom obliged him to arrange entrances in the inverse order of the artists' relative ranks--he of least rank 8going on0 first1 the star being the last to appear4 ,noverre broke up this usage1 and characters thereafter entered at times consistent with plot-development4 ,plots had been crippled by accepted beliefs that certain dance sequences were unalterable2 a ,gavotte1 for instance1 had to be followed by a ,tambourin and a ,musette2 the sequence had not been questioned4 ,noverre saw the possibilities of dancing as an instrument of expression2 he insisted that steps and enchainements should be composed to intensify the motive of the passage4 ,scenery1 he held1 should contribute in the same way to the mood of the act it decorates4 ,pretty it had been1 and executed by capable painters2 but ,noverre found its composition lacking in consideration of proper relationship to the other elements of the production4 ,with himself he associated ,boucher and one or two other decorators of lesser name2 under his comprehension of the scene's dramatic intent1 settings were designed that reasserted in line1 form and colour the argument of the scene's plot1 music and dance4 ,in this department he was less successful than in others4 ,boucher made beautiful sketches1 some of which are extant4 ,but one has only to consider opera in his own day to realise that any influence ,noverre exercised toward the unification of scenery with music and plot1 was not strong enough to last4 ,stories taken from legend1 set among surroundings as realistic as skill can paint them2 tragic scenes among architecture and foliage coloured in the key of care-free frivolity--to enumerate the familiar discrepancies is unnecessary4 ,tradition specifies a bright first-act 8set0 for ,carmen1 and grey for the prison interior in ,faust4 ,but the profound correlation of colour and line with the explicit mood of the piece has remained for the ,russian1 ,lon ,bakst4 ,in the recent volcanic renaissance of dancing effected by his fellow-countrymen1 ,m4 ,bakst and his ideas have been a force second only to the marvellous work of the dancers themselves4 ,his scenery strikes the note of the drama1 attunes the spectator with its mood1 at the rise of the curtain4 ,his knowledge of pictorial composition he has extended to the designing of costumes2 his broad artist's intelligence he has applied to the composition and direction of ballets6 ,it is his happy rle to realise ,noverre's dream4 ,in music ,noverre worked with ,gluck1 in certain productions at least2 and happily4 8,instead of writing the steps on prescribed airs10 in a free translation of his own words1 8as is done with couplets of familiar tunes1 ,i composed--if ,i may so express myself--the dialogue of my ballet and had the music made for each phrase and each idea4 ,it was just so that ,i dictated to ,gluck the characteristic air of the ballet of the savages in ,iphigenia in ,tauris2 the steps1 the gestures1 the expressions of the different personages that ,i designed for him gave to the celebrated composer the character of the composition of that beautiful bit of music40 ,the abolition of the mask was among ,noverre's desires2 its fortuitous accomplishment at a later time already has been described4 ,in his ideals for costume reform in general he was only partly successful4 ,what he strove for seems to have been costuming in something of the sense of its present-day interpretation by the ,russians2 garments wholly in character with the beings represented1 in regard to race and period1 yet conceding enough in line and colour to enable them to be used as part of the material of abstract interpretation4 ,at the beginning of his administration of the ,opera he found each performer dressed1 for the most part1 according to individual choice3 either the drawing-room costume of the period1 or the same with shortened skirt1 la ,camargo4 ,to this was added the mask1 an enormous wig 7unrelated to the character7 and some such symbol as a leopard skin1 a wreath of flowers1 or more likely a property such as a bow and quiver of arrows1 or a pair of bellows4 ,in the order mentioned1 such articles represented a bacchante1 ,flora1 ,cupid1 and ,zephyrus4 ,excepting the superadded marks of identification1 artists provided their own wardrobe4 ,the lack of consistent supervision and its natural consequence is exemplified in an anecdote of a member of the corps de ballet in ,le ,carnaval et la ,folie3 in the performance she exhibited a series of gowns of ,adrienne ,lecouvreur1 which she had thriftily picked up at a sale of the recently deceased tragedienne's effects4 ,in the ballet of ,the ,horatii1 of ,noverre's own composition1 8,camilla wore a huge hooped petticoat1 her hair piled up three feet high with flowers and ribbons4 ,her brothers wore long-skirt coats1 set out from their hips by padding40 ,and so forth4 ,it is to be noted that ,roman and ,greek mythology lived and flourished1 but no longer excluded other lore from the composer's use4 ,a list of ,noverre's ballets d'action includes ,the ,death of ,ajax1 ,the ,judgment of ,paris1 ,orpheus' ,descent into ,hell1 ,rinaldo and ,armida1 ,the ,caprices of ,galatea1 ,the ,toilette of ,venus and the ,roses of ,love1 ,the ,jealousies of the ,seraglio1 ,the ,death of ,agamemnon1 ,the ,clemency of ,titus1 ,cupid the ,pirate and ,the ,embarkation for ,cythera4 ,his work of permanent value1 still read by composers and ballet-masters1 is his book ,letters on the ,imitative ,arts4 ,for his light composition1 ,les ,petits ,riens1 the music was by ,mozart4 ,notwithstanding his failure to accomplish all he hoped in the several departments of his organisation1 and in spite of his rather pessimistic opinions of early eighteenth-century conditions affecting the ballet1 the dance was entering its golden age4 ,pantomime--largely owing to the enrichment he had given it out of the fruits of his study of ,garrick's methods--had exponents who could touch the heart4 ,writings began to show intelligent and explicit criticism1 and that of a nature to prove that choreographic execution had reached a high point4 ,the added scope afforded by new acquisitions of material in the steps allowed artists to go far in development of individuality4 ,camargo charmed by perfection of technique2 8she danced to dance1 not to stir emotion40 ,her special steps are enumerated3 besides the entrechat1 she shone in jets battus and a frictionless entrechat coup4 ,about her work there was a healthy public controversy1 a vigourous minority protesting against idolisation of one who they asserted had virtuosity only4 ,and the protests show analytical understanding of the dance4 ,sall's more deliberate1 probably more feeling work1 has been noted in an earlier chapter4 ,her popularity hardly could have been less1 all told1 than that of her rival4 ,mlles4 ,allard and ,guimard were two stars who followed a little later in the same period4 ,the former combined extraordinary vigour with pathetic pantomime4 ,the work of ,guimard was delicate1 pretty1 light4 8,she is a shadow1 flitting through ,elysian groves10 one of her contemporaries wrote of her4 ,certainly she had the art of pleasing1 on the stage or off4 ,the list of eminent competitors for her affection is eloquent not in its length1 but in the number of occupants of high station--including three princes of the ,church4 ,with a passion for theatrical and political intrigue she combined a spirit of the utmost generosity4 ,to her the painter ,david owed his professional beginnings2 he was an art student without means to study1 and engaged in house-painting for a livelihood1 when ,guimard secured him a pension that afforded him study at ,rome4 ,some of ,fragonard's best decorations were made for her establishments4 ,her refusal to have any rival about her kept the ,opera in an uproar4 ,perfectly appointed little theatres in both her country and city homes enabled her1 with her taste1 means1 and popularity among the people of the stage1 to give performances for which invitations were most highly prized4 ,for these performances she made a practice of setting dates to coincide with court receptions1 knowing from experience that the best wit and most of the elegance of ,paris would make excuses to the court4 ,from this estate she was reduced1 partly by the storm of the ,revolution1 to a condition of miserable poverty lasting until her death2 which was delayed until her seventy-fourth year4 ,men did not fall short of women in merit and recognition4 ,beside the ,vestris1 father and son1 fame touched ,javillier1 ,dauberval1 and the comedy dancer ,lany4 ,maximilian ,gardel1 he who substituted for ,auguste ,vestris on condition of appearing without the mask 7,apollo1 in ,castor and ,pollux was the rle71 was a composer of note as well as a dancer4 ,his brother ,pierre added to these qualities skill as a violinist4 99 99 99 99 99 ,the progress of the ballet was halted by the ,revolution4 ,gardel headed an effort to keep it in motion with the aid of a spectacle ,la ,marseillaise as vehicle2 but the people were on the streets1 dancing la ,carmagnole1 and nobility were as far from ,paris as possible4 ,it is probable that the ballet was set down as an aristocratic institution4 ,napoleon included a corps de ballet in the equipment of the campaign in ,egypt2 but it signified nothing to the advantage of the art4 ,immediately after the ,terror1 eighteen hundred dance-halls were opened in ,paris1 to furnish1 seven nights a week1 relief for fever and frenzy4 ,even ,england was too preoccupied to offer the ballet a dwelling2 its organisation1 for the time being1 was lost4 ,but only for the time being4 ,history records a bit of international negotiation indicating ,europe's readiness to return to the realities of life and the happiness thereof4 ,in #ahba an ambassador of a great power acted officially as an impresario of dancers4 ,england1 whose best public taste never has been satisfied with the work of her own people1 was1 within a few years after the peace1 again seeking dancers in ,france4 ,efforts to get the best were handicapped4 ,the national character of the ,french ,academy makes its pupils and graduates wards of their government1 in effect2 government permission is and was necessary as a condition to leaving the country4 ,negotiations therefore were put into the hands of the ,british ambassador1 less formal dealings apparently having failed to produce results4 ,the agreement was incorporated in the form of a treaty1 ,france agreeing to lend ,england two first and two second dancers1 ,england in return agreeing not to attempt to engage any others without the ,academy's consent4 ,m4 ,albert and ,mlle4 ,noblet were the first two artists to be taken to ,london under the new arrangement1 at salaries of #agjj and #aejj respectively4 ,during the same period1 and for years after1 ,her ,majesty's ,theatre had the services of ,carlo ,blasis1 one of the most capable ballet-masters of his time1 father of several virtuosi1 and the writer of books of lasting value on the subject of his profession4 ,dancing reached a popularity that would seem the utmost attainable1 were it not for disclosures to be made in the years soon to come4 ,beauty and its appreciation will carry a public to a condition of ecstasy4 ,if to this be added the incessant discussion attendant on a controversy1 with the hot partisanship that accompanies the coexistence of rival stars1 the devotional flame is augmented by fuel of high calorific value4 ,not without cause were the hostilities of ,pylades and ,bathyllus1 of ,sall and ,camargo1 associated with great public enthusiasm4 ,to artistic appreciation they added the element of sporting interest4 ,in ,marie ,taglioni and ,fanny ,ellsler1 ,europe had the parties to a years-long competition that was ,olympian in quality and incredible in its hold on the sympathies of the public4 ,both goddesses in art1 their personalities and the genres of their work were at opposite extremes4 ,in ,pendennis ,thackeray asks1 8,will the young folks ever see anything so charming1 anything so classic1 anything like ,taglioni80 ,of ,ellsler1 ,flitch quotes words equally enthusiastic--and less coherent--from the pen of ,theophile ,gautier1 who was an incurable maniac and copious writer on the subject of dancing3 8,now she darts forward2 the castanets commence their sonorous clatter2 with her hands she seems to shake down clusters of rhythm4 ,how she twists6 how she bends6 what fire6 what voluptuousness of motion6 what eager zest6 ,her arms seem to swoon1 her head droops1 her body curves backward until her white shoulders almost graze the ground4 ,what charm of gesture6 ,and with that hand which sweeps over the dazzle of the footlights would not one say that she gathered all the desires and all the enthusiasms of those that watch her80 ,this referred to a ,cachucha that she had brought from ,spain2 a dance whose steps have been recomposed under other names1 its original name forgotten except in association with the name and the art of ,ellsler4 ,it was a perfect vehicle for the exploitation of the ardent qualities that the little ,austrian was made of1 and on her rendering of it was based a great part of her fame4 ,taglioni1 in contrast1 was a being of spirit1 innocent of mortal experience1 free from ties of the earth4 ,her training was strictly within the bounds of the classic ballet2 during her career she greatly amplified its range1 yet she always kept within its premise4 ,though born in ,stockholm1 her father was an ,italian ballet-master1 and two of her aunts were dancers of reputation4 ,her achievements represented a triumph of choreographic inheritance and training over an ill-formed body2 in childhood she is said to have been a hunchback4 ,with training her figure became normal in strength1 and attained a quality of form in keeping with her selected rles4 ,but overstrong features deprived her of the dancer's adventitious aid of facial beauty4 ,her triumphs were achieved by art alone4 ,vienna she conquered at the age of twenty1 in #ahbb1 the year of her dbut4 ,paris was not so readily moved2 but a success in that capital was a practical necessity to a great career1 and ,taglioni never rested until she secured its approval1 expressed in terms that penetrated ,europe4 ,business generalship was not the least of the attributes of the ,taglioni1 father and daughter2 they recognised the propitious hour for an engagement in ,london4 ,the contract included pensioning a number of their family1 and #ajj a performance4 ,results more than justified the terms2 ticket sales for ,taglioni's nights usually were of the nature of riots4 ,it is as fair to connect with this box-office success1 as with any quality of the artist herself1 the story of her 8holding up0 a performance until the management of the theatre should make a substantial payment on an account due4 ,it is unlovable in an artist to keep an audience waiting1 and put a manager to the necessity of making explanations4 ,it is unlovable in a coal dealer to discontinue supplies until a debt is settled4 ,taglioni paid as heavily for the excellence she put into her work as ever did miner or merchant for the goods he put on his scales4 ,her training began in early childhood1 and covered probably twelve years before her dbut4 ,her professional career1 with its inevitable anxieties1 in no wise reduced the rigour of study1 discipline1 and precaution4 ,under her father's eye she practiced hours daily4 ,she went to the length of having installed in her ,london lodgings a stage built to duplicate the slope of the stage in the theatre4 ,apart from the possession of ideals of sheer execution that undoubtedly were higher than any that her predecessors had dreamed of1 and whose attainment involved almost superhuman effort and patience1 ,taglioni was a productive inventor of new steps4 ,flying briss and other arial work make their first appearance in her work1 according to ,mme4 ,gene's historical programme of ballet evolution4 ,we infer that her effort was directed toward the illusion of flight2 a writer of the period refers to an arabesque that conveyed that sensation with striking reality4 ,the great addition she made to elevation may naturally be attributed not to any interest in that property for its own sake1 but rather to an endless search for lightness4 ,and that1 above all others1 was the quality she made her own4 ,la ,sylphide 7not the composition recently popularised by the ,russians7 was the part with which she was most unified in the minds of the public4 ,her work appears always to have had the creation of fairy fantasy as a definite purpose4 ,in pantomime she was limited4 ,she had none of the stage artist's familiar tricks devised to capture the audience1 nor did she avail herself of any vivid contrasts in her costume4 ,she dressed her hair in ,madonna fashion1 surrounded by a wreath of little roses2 further adornment she deliberately avoided4 ,ellsler was six years the younger2 and1 at some sacrifice of time in the acquisition of fame1 she reserved ,paris as the last of the great cities in which to appear4 ,taglioni therefore was well established when her destined rival first showed her steps to the ,parisians4 ,in fact1 she occupied a box at ,ellsler's first ,paris performance1 where it is said she silently wept before the end of the other's first number4 ,the ,swede had succeeded almost in spite of circumstances2 ,ellsler's natural endowment contained almost everything the gods in a generous mood can give4 ,the perfection of proportion of hands1 feet1 wrists and ankles were hers1 as well as a ,greek perfection of figure4 ,though her legs were of steel1 and her strength in general that of an athlete1 not a line suffered in sculptural grace nor a movement in freedom4 ,her face had a beauty that captivated an audience at the moment of her entrance on the stage1 and a range of expression covering the moods of the human mind4 ,her training1 like ,taglioni's1 had begun early4 ,mozart1 for whom ,ellsler's father worked as copyist and otherwise1 had interested himself in her to the extent at least that her early years were not misspent4 ,with her technical tuition--whatever it may have been--she absorbed stage experience almost from the days of infancy4 ,she danced in a children's ballet in ,vienna when she was six years old4 ,before appearing in ,paris she had succeeded in ,naples1 ,berlin and ,london4 ,the audience of l',opra therefore saw her first at the full maturity of her art and equipped with ample knowledge of how to present it to the best advantage4 ,her success was not in doubt for a moment4 ,the opening number was a riotous triumph1 the morning papers were undivided in praise of the newcomer4 ,taglioni felt that ,ellsler had been brought to ,paris expressly to undermine her1 and the appearances are that ,ellsler lost no time in putting herself on a war footing4 ,london theatre-goers soon were in a position to question whether1 after their elaborate provisions to get good dancers1 they had not made a rather embarrassing misplay4 ,ellsler had danced at ,her ,majesty's ,theatre2 the public had enjoyed her work1 but1 owing either to her lack of a great continental reputation or their own misgivings about the soundness of her work1 had refrained from very hearty demonstration4 ,on the first night of the engagement1 the manager of l',opra--who was in ,london to form an estimate of the ,austrian's work--signed her for the following season4 ,contrary to the metier of her rival1 ,ellsler's art consisted of a romantic glorification of life's physique4 ,one gathers that she gave1 instead of an ordered and consecutive poem1 a thrill of delighted astonishment4 ,she was of a newly forming romantic cult that worshipped the torrid1 the savage1 the violent4 ,her most pronounced success was on her rendering of the dances of ,spain2 she used her hips and her smile1 and men--more than women--went into rhapsodies4 ,gautier1 who had seen the best dancers in ,spain1 wrote that none of them equalled ,ellsler4 ,which is credible1 with reservations and conditions4 ,if the sole aim of ,spanish dancing is to express fire and temperament1 to astonish and inflame1 it is more likely to be realised by a clever ,northerner than by a ,spaniard4 ,the headlong enthusiast is not bothered by delicate considerations of shading1 development1 and truth of form2 seizing the salient and exotic1 an exaggeration of these and the elimination of all else is sure to produce a startling result4 ,execution at an abnormally rapid tempo will conceal inaccuracies from all eyes but those trained to the dance1 and backed by a knowledge of its true forms4 ,all this by no means intends to assert that ,ellsler was not a dancer of a high degree of skill1 and perhaps of some degree of greatness4 ,it is significant1 however1 that her encomiums concern themselves only with that which1 boiled down1 amounts to praise of a beautiful woman1 performing evolutions at that time novel and surprising1 and frankly--withal in a perfectly clean manner--appealing to sex4 ,the quality that might be called decorative truth does not appear to have been an impressive element of her work4 ,assuredly that is the foundation of dancing entitled to any consideration in connection with the quality of greatness4 ,temperament1 expressing what it will1 of course is as necessary to animate the form as true form is to begin with2 but temperamental exuberance cannot take the place of a proper substructure4 ,granting the inadequacy of data1 and speculating on a basis of indications only1 one is justified in wondering if ,ellsler coming to life to-day could repeat her impression on ,paris1 with its present knowledge not only of ,spanish dancing1 but also of feats of supreme virtuosity4 ,years only augmented the heat of the feud between the two goddesses4 ,europe divided itself into acrimonious factions of ,taglionites and ,ellslerites4 ,the latter were shocked1 however1 when1 to bring to a flat comparison the question of merit1 ,ellsler announced her intention to play ,la ,sylphide4 ,taglioni had made the part her own2 for another to undertake it was at least an act of doubtful delicacy4 ,nor was the idea better advised on grounds of strategy4 ,la ,sylphide in its composition was a tissue of the ethereal1 even if ,taglioni had not made it so by association with herself4 ,ellsler was insistently concrete4 ,effects followed causes4 ,her most ardent partisans could not say after the performance that the attempt spelled anything but failure4 ,america's first vision of a star dancer was the direct consequence of ,ellsler's vexation over the fiasco4 ,our fathers and grandfathers unharnessed the horses from her carriage1 and counted it an honour to get a hand on the rope by which the carriage was drawn2 carpeted the streets where the carriage was to pass1 strewed flowers where the divinity was to set her foot1 and in all ways comported themselves as became the circumstances1 during the period of two years that she stayed on this side of the ,atlantic4 ,ellsler's professional collapse was connected not with art1 but politics4 ,after her return from ,america she danced several seasons in ,milan4 ,the ballet academy of la ,scala had been founded in #ahaa1 interest in the art ran high1 and was fed by the ,austrian government as a hoped-for means of distracting the public mind from the revolutionary sentiment of the mid-century4 ,in #ahdh1 on the occasion of a performance especially provided to smooth over a crisis1 it was arranged that the people of the ballet should wear a medal recently struck1 representing the pope blessing a united ,italy4 ,ellsler conceived a suspicion that the idea represented an intent to insult her as an ,austrian2 she refused to go on unless the medals be taken off4 ,meantime the corps de ballet had made its entrance1 wearing the medals4 ,they were removed at the first opportunity1 and promptly missed at the ballet's next entrance4 ,the explanation of the change travelled through the house2 the premire1 when she entered1 was received with hisses4 ,tense with political excitement1 the audience saw in her only the representative of the power that controlled the ,italian sceptre4 ,her efforts received no answer but furious insults4 ,she fainted4 ,after three comparatively uneventful years she retired1 rich and--in the main--popular4 ,her contributions to religion and charity had been impressive and so continued until her death in #ahhd4 ,her wealth was estimated at one and a quarter million dollars4 ,taglioni's end was in miserable contrast2 during part of her latter years she held a petty position as teacher of deportment in a young ladies' school in ,england4 ,she died lonely and forgotten1 after a most unhappy old age4 ,among the many dancers brought out by the period of enthusiasm were three women of whose work the records have only the highest praise4 ,to ,carlotta ,grisi1 ,gautier gave the credit of combining the fiery abandon and the light exquisiteness of the two great luminaries of the day4 ,fanny ,cerito and ,lucille ,grahn were ranked with her4 ,for ,queen ,victoria there was arranged a pas de quatre by ,taglioni1 ,grisi1 ,cerito1 and ,grahn4 ,that performance1 in #ahde1 represents one of the climaxes of ballet history1 including as it probably did the greatest sum total of choreographic ability that ever had been brought together4 ,but it was the milestone at the top of a high mountain1 from which the road turned downward4 ,except in ,england1 ,taglioni's prestige was dimmed4 ,queen ,victoria's reign1 however uplifting in various important respects1 undeniably was depressing in its influence on all the imaginative arts2 and it was an influence that reached far4 ,furthermore1 the elements that constituted opera began to assume new relative proportions4 ,the voice of ,jenny ,lind called attention to the factor of singing4 ,in the present day of subordination of the dancer to the singer1 it is almost incredible that opera of seventy years ago assigned to the dancer the relative importance that the singer enjoys now2 especially difficult is this conception to any one whose acquaintance with opera is confined to its production in ,america4 ,general indifference has reduced operatic ballet in this land to a level compared to which its condition in continental ,europe is enviable4 ,though reduced from past importance1 in countries that support academies it has at least retained standards of execution4 ,but the strictly modern interpretation of opera1 minimising choreography1 has been accepted4 ,new operas are written in conformity with the altered model4 ,it is likely that the present renaissance of dancing1 though no less vital than any that have gone before1 will effect little change in the art's importance in opera structure1 which has become a distinct organism to be heard rather than seen4 ,aroused interest and intelligence inevitably will force improvement on old organisations1 new appreciation will justify it from the box-office point of view4 ,but the ,american dance-lover's hope lies in the new-old form of ballet pantomime4 ,this is the expression that the great new romantic movement has taken1 as though in express recognition of those of us to whom the use of ears has not atrophied eyes4 ,against the suddenly discovered passion for singing1 the art of ,grisi1 ,cerito1 ,grahn and their colleagues could not hold public attention4 ,steadfastly the ,french and ,italian academies held to their creeds of choreographic purity4 ,upon their fidelity to ideals the latter nineteenth-century reign of artistic terror made no impression2 to their preservation of the good is due the ability of the present romantic renaissance to come into its complete expression without the intervention of a century of rebuilding4 ,russia and ,austria too had founded national academies for instruction along the lines made classic by ,paris and ,milan4 ,others followed4 ,but it appears that the technical virtuosity of ,taglioni had set a pace that was both difficult and misleading4 ,being a genius1 perfection meant to her a means of expression4 ,during a period in which no great genius appeared1 efforts to win back the lost kingdom took the form of striving for technique as an object4 ,the public was unjustly damned for failure to respond to marvellously executed students' exercises4 ,with equal lack of justice1 it became fashionable to include the whole school of the ballet's art in the accusation of stiffness and artificiality4 ,the half-century ending about #aijh1 during which the stage was given over to all the flashy choreographic counterfeits that mediocrity could invent1 was saved from complete sterility by the dances that are rooted in the soil4 ,jigs and ,reels1 ,hornpipes and ,tarantellas held their own like hardy wild flowers in a garden of weeds2 like golden1 opulent lilies1 the ,seguidillas of ,spain held their heads above malformation and decadence4 ,this is a fitting point at which to consider the nature of some of these ancient expressions of the heart of men who dwell away from courts4 ,,chapter ,,vi ,,spanish ,,dancing ,since earliest ,occidental history1 the dances of ,spain have been famous4 ,to-day their richness1 variety and fundamental nobility give them a position in advance of any other group of national dances of the ,occidental type4 ,whether certain of the ,oriental expressions are superior to the ,spanish is wholly a matter of point of view on dancing4 ,but dancers and dance-lovers1 of all beliefs and prejudices1 unite in conceding to ,spain the highest development of 8characteristic0 or national dancing4 ,more even3 though the ,french and ,italian ballets in general hold their schools to be the very fountainhead of the choreographic art1 not a few disciples of the academies of ,milan or ,paris concede to ,spanish dancing superiority over all1 in that aspect of beauty that is concerned with majesty of line and posture4 ,it is as though ,terpsichore herself had chosen the dwellers of ,iberia to guard her gifts to mankind4 ,gadir1 the city now called ,cadiz1 was a little ,paris in the day of the ,carthaginian1 with dancing as its most highly developed art and notable among its diversions4 ,when the ,romans took the city they were delighted with the dancers they found there2 for centuries after1 ,spanish dancers remained a fashionable adjunct of great entertainment in the capital1 and ,cadiz the inexhaustible source of their supply4 ,when ,rome1 too infirm to resist1 left ,spain to be overrun by the ,visigoth1 she left the arts of the peninsula to the mercy of a destroying barbarian4 ,architecture and statuary he demolished1 books he burned4 ,dancing eluded his clumsy hand2 in places of retirement children were taught the steps and gestures that had crossed the sea from ,egypt in the days of the ,phnicians4 ,in the eighth century came the ,moor3 slayer1 organiser1 builder2 fanatic1 dreamer1 poet2 lover and creator of beauty in all its manifestations4 ,his verses were epigrams of agreeable and unexpected sounds1 formed into phrases of eloquent metaphor4 ,his architecture and its ornament1 too1 were epigrams2 combinations of graceful and simple lines and forms into harmonious symbols more eloquent than description4 ,to him the dance was verse and decoration united1 with music added2 entertainment and stimulus to contemplation4 ,under his guardianship and tuition the ,spanish dance strengthened its hold on the people1 and increased in scope4 ,a certain class of it retains to-day a distinctly ,moorish flavour4 ,the 8,century of ,gold0 that followed the expulsion of the ,moors and the discovery of ,america found the dance surrounded by conditions than which none could have been more favourable4 ,gold looted from the new continent was lavished on masques and fiestas that emulated those of neighbouring monarchies2 courtiers were so preoccupied with the diversion that a memoir of the period contains a complaint that 8sleep in any part of the palace has become impossible1 since persons of all degrees have taken to continuous strumming of the music of the zarabanda40 ,the less exalted had in the dance ,illustration3 8,,la ,,malague,a ,y ,,el ,,torero0 ,eduardo and ,elisa ,cansino ,to face page #abb an expression for every emotion1 an exercise whose magic ennobled1 and a magic whose exercise raised them above the reach of sordid cares4 ,in the ,church1 while bishops in other parts of ,europe were questioning or protesting the dance as an act of worship1 their brothers in 8la tierra de ,maria ,santisima0 were insisting upon it as a most appropriate part of the highest ritual4 ,colonies and dependencies fell away2 the stream of gold flows in other channels4 ,uncomplaining the ,spaniard retires into the house that once was animated with great companies of guests and hordes of servants4 ,reduced8 ,not at all6 ,a few intimates drop in after dinner1 bringing friendship and wit4 ,there is always a glass of wine4 ,his daughters will step some of the old dances in the patio2 their younger brother has 8hands of gold to touch the guitar40 ,an entertainment at once agreeable and becoming--the latter1 if for no other reason1 because it is ,spanish6 ,to an extent there are grounds for the anxiety1 sometimes expressed1 that modernism is melting away this tradition-worship4 ,in ,madrid there is an ,english queen2 tennis and tea become a cult to be followed with what semblance of gusto one can assume4 ,san ,sebastian is the summer resort of royalty1 and of pleasure-seekers from all parts of ,europe2 its modernism is that of ,paris or ,vienna4 ,other cities1 to the number of perhaps half a dozen1 show consciousness of twentieth-century conditions4 ,among which conditions is1 of course1 an indiscriminating fondness for novelties for their own sake4 ,and there is always at hand a numerous class of dancers to provide novelties in exchange for a moment's applause4 ,in another country the national art would deteriorate under these hostile influences4 ,but in ,spain1 not readily4 ,her dances are an organism1 rooted in the soil1 with forms as definite as the growth of a flower4 ,mention dancing to an ,aragones1 and it means to him the jota of his province4 ,let other steps be added to it1 he will resent them2 in his eyes they occupy about the same place as a third arm would on a drawing of the human figure--a monstrosity1 and uninteresting4 ,no less than ,aragon have other regions their local dances and their choreographic creed1 with stupendous pride in both4 ,the steps are handed down like the tunes of old music1 with the ideals for their execution4 ,and1 high in importance as conservers of their classic national forms1 there exists a fine spirit of artistry among a number of the prominent masters4 ,jose ,otero of ,seville and ,antonio ,cansino1 a ,sevillano who for some years has taught in ,madrid1 are prominent among a number to whom the preservation of ,spain's choreographic purity is almost a holy cause4 ,the dancing of ,spain divides into two schools3 the purely ,iberian1 exempt from ,gipsy influence1 which is known as the ,classic2 and the work of ,gipsy origin and character1 which is generically known as the ,flamenco4 ,the two overlap to the extent of a few dances that partake of the elements of both1 and lend themselves to execution in the manner of either4 ,on either side of this common ground the two schools are completely distinct in style1 and almost equally so in gesture and posture1 having in common only a limited number of steps4 ,in general effect their individualities are absolute4 ,the work of the ,gipsy is1 above all1 sinuous4 ,his body and arms are serpentine4 ,his hips1 shoulders and chest show a mutual independence of action that would worry an anatomist1 but which allows the dancer limitless freedom for indulgence in the grotesque4 ,he delights in the most violent contrasts4 ,a series of steps of cat-like softness will be followed by a clatter of heels that resembles ,gatling-fire1 the two extremes brought into direct juxtaposition4 ,his biggest jump will be preceded by movement so subtle that it is less seen than sensed4 ,in all circumstances the ,gipsy is an irrepressible pantomimist4 ,of the word and the gesture of his ordinary communication1 it is highly probable that the gesture is of the greater importance4 ,he likes to talk1 and his words come at a speed that makes them indistinguishable to any but a practised ear1 the confusion heightened by the free intermixture of ,gipsy argot4 ,but the continuous accompaniment of facial expression1 movement of body and play of hands is sufficient by itself4 ,the dance gives full employment to the ,gipsy's mimetic powers1 and in fact serves primarily as an emotional expression4 ,his dances are not composed1 or 8routined40 ,he has his alphabet of steps and choreographic movements1 and with these he extemporises4 ,by some telepathy most puzzling to those who know the most about ,gipsy dancing1 the accompanists are not disturbed by any of the dancer's changes of mood1 however sudden4 ,the instant drop from extreme speed to the opposite never traps the guitarist into a mistake2 and his air is remarkable1 too1 in preserving the sentiment as well as the time of the dance4 ,anything like the full scope of ,gipsy dancing is rarely revealed to any not of that race2 because1 done with abandon1 it is an intimate revelation of nature4 ,el ,gitano is conscious of his racial and social inferiority1 despite the arrogance he likes to assume4 ,he is a vagabond living in waste places and by means1 usually1 of petty imposture1 tolerated because of his impudent but very genuine wit4 ,for these reasons a dance for pay becomes a scheme to extract the most money possible for the least work4 ,and the work itself1 though skilful1 is accompanied by a self-consciousness directly opposed to the essentially ,gipsy element of his dance4 ,a ,spaniard who has got past the ,gipsy's reserve is ,eduardo ,cansino1 the dancer4 ,as such it is an object for him to see their work at its best2 from their all-night parties he has acquired steps4 ,his diplomatic equipment consists1 first1 of an acquaintance with the ,gipsy language1 along with ability to make himself agreeable4 ,understanding of ,flamenco dancing enables him to aid intelligently in the jaleo1 that accompaniment of finger-snapping1 hand-clapping and half-chanted1 half-shouted phrases that make the ,spanish dancing atmosphere what it is4 7,in ,gipsy dancing the jaleo is 8tricky10 owing not only to suddenness of changes1 but to frequent digressions into counter-time47 ,when asked to dance1 ,eduardo's hold on the company's respect is brought to a climax1 as there probably is no better performer among the men of ,spain4 ,and withal he is willing to buy manzanilla as long as expediency suggests4 ,according to ,eduardo1 it is the exception when a dance performed at a ,gipsy party fails to tell a story4 ,usually the story is improvised from a suggestion of the moment4 ,satire is popular2 if one of the company has undergone an unpleasant experience in love1 trade1 or dealings with the guardia civil1 it is capital for the dancer4 ,imitations of carriage and mannerisms of the persons represented are carried to that degree of realism made possible by the ,gipsy's eternally alert observation and his expressive body2 and he has no artistic creed to cause him to question the value of literal imitation4 ,but the quality of greatness is not what one expects in ,gipsy dancing2 its contribution is the extreme of skilful1 surprising grotesquery4 ,notwithstanding the limitations that accompany an insistence on physical facts1 the ,gipsy's rendering of the great emotions is said to be impressive at the moment1 even though it fails to record any lasting impression4 ,love1 as in the dancing of almost all peoples1 is a favourite motive1 with its many attendants of allurement1 reticence1 jealousy1 pursuit and surrender4 ,but the repertoire is limited only by the ,gipsy's scope of emotion--hatred1 revenge1 triumph and grief--his heart is probably about the same as any one's else1 only less repressed by brain4 ,so far is dancing from being merely an act of merriment that it is used in mourning the ,gipsy dead4 ,flamenco dances as seen in theatres and cafs are compositions made from the elements of ,gipsy work2 choreographic words grammatically related as is necessary1 among other considerations1 for accompaniment by orchestras of sober and dependable beings4 ,the task has been admirably done2 la ,farruca1 el ,tango1 and el ,garrotin1 the most popular ,flamenco dances at present1 preserve to admiration the ,gipsy qualities4 ,no less credit is due the composers of their accepted musical accompaniments2 the indescribable ,oriental relation of melody and rhythm1 the ,gipsy passion for surprise1 they have preserved and blended in a manner charming and characteristic4 ,it is only within the past fifty years that the process of adaptation began4 ,jose ,otero1 in his chatty ,tratado del ,baile1 traces the movement to its beginning2 which like many another beginning1 was the result less of foresight than of desperation4 ,the case was of a dancer whose ,classic work failed to earn him a living4 ,he strung together some ,gipsy steps as a last resort and without hope1 and was allowed to try them in a caf cantante in ,seville4 ,their success was instantaneous1 and continues unabated4 ,even in the absence of the ,gipsy's inimitable pantomime1 there is comfort in seeing his dances under conditions of freedom from argument about extra charges for nothing at all1 whines concerning starvation and sickness equally imaginary1 care not to lose one's watch1 and pressure to buy useless and foolish souvenirs at shameless prices4 ,parties to visit the ,triana of ,seville or the ,albaicin of ,granada are great fun1 but a terrible strain on the patience of the person who accepts the responsibility for his friends' amusement4 ,if the ,tango and its ,flamenco kinsmen fail to conquer a permanent place in the ,spanish repertoire1 it will be through their exclusion from the respectable ,spanish family4 ,the daughter of the house does not learn dancing of the ,gipsy type except in the unusual case that she is preparing for a dancer's career4 ,the ,flamenco has picturesqueness and 8salt10 but of dignity less4 ,to the ,spaniard1 that which lacks dignity is vulgar1 however witty or graceful4 ,witty or graceful things may be enjoyed1 though dignity be lacking2 but the doing of such things is another matter4 ,the ,gipsy's untutored point of view on obscenity is a further argument against their admission into the home4 ,it is not a structural part of any of the ,flamenco work4 ,but association has ,illustration3 ,,typical 8,,flamenco0 ,,poses4 7,from work of ,seorita ,elisa ,cansino47 ,the ,garrotin4 ,the ,garrotin4 ,the ,tango4 ,the ,tango4 ,the ,garrotin4 created a sentiment1 and against sentiment logic is helpless4 ,la ,farruca probably exploits more completely than any of its fellows the varied resources of the ,flamenco4 ,after one becomes accustomed to it sufficiently to be able to dominate one's own delight and astonishment1 one may look at it as a study of contrasts1 carried to the nth power4 ,now the performers advance with undulation so slow1 so subtle1 that the ,saracenic coquetry of liquid arms and feline body is less seen than felt4 ,mystery of movement envelops their bodies like twilight4 ,of this perhaps eight measures1 when--crash6 ,prestissimo6 ,like ,gatling-fire the volley of heel-tapping4 ,the movements have become the eye-baffling darting of swallows4 ,no preparation for the change1 no crescendo nor accelerando2 in the matter of abruptness one is reminded of some of the effects familiar in the playing of ,hungarian orchestras4 ,another use of contrast produces a sensation not unlike the surprise you get when1 in the course of drinking one of those warm concoctions of sweetened claret1 you unexpectedly bite a piece of cinnamon1 and during a few seconds taste vividly the contradictory flavours of both spice and sweetness4 ,the music is moving in a flowing legato4 ,in counter-time to the notes is a staccato of crisp taps--of light1 8snappy0 hand-claps1 and dry-sounding sole-taps on the floor1 two varieties of accent alternating one with the other4 ,success of the effect depends on the very perfection of tempo1 to begin with1 and after that on a command of the quality of sound in the taps4 ,a good deal of attention is given to the cleanness and brilliancy of the tone of these notes1 as well as the cultivation of a good sparkling 8tak0 in snapping the fingers4 ,many performers carry in each hand a series of three ringing finger-snaps1 loud enough to carry sharply to the back of their smallish theatres4 ,it is in respect to finesse of such details that most non-,spaniards condemn themselves to the mediocre when they attempt ,spanish dancing4 ,the mere steps can be learned by any one with an intelligence and two sound legs4 ,many students approximate the style4 ,but the seemingly little things often act as the big pit-falls4 ,the castanets1 for instance1 expose cruelly the lack of finish of many a pretender to laurels in the ,spanish field2 in the hands of their master they can ring1 or sing1 or click1 or purr1 as the mood of the dance suggests4 ,to an amateur it would be illuminating to see the care a professional exercises in mating the little instruments in pairs4 ,they vary in pitch1 and have almost personal whims4 ,for instance1 in cold weather they fail to do themselves justice unless they are carried to the performance in an inside pocket4 ,but this is straying from the ,flamenco2 castanets are in the main an adjunct of the ,classic4 ,returning to the subject of contrasts1 the ,flamenco1 more than any other style in the world1 perhaps1 insists on difference between the work of man and woman4 ,it is seen in the greater relaxation of the woman's body1 the more complete elimination of angles from her movements4 ,the degree of rigidity that the man's body should maintain is a point of justifiable difference between artists2 so with the extent to which his movements should follow the lines of curves4 ,but that curve should be the theme controlling the woman's movement and carriage1 all agree4 ,the result is to the eye as a duet of guitar and flute is to the ear4 ,following the comparison further1 the dance duet does not confine itself to unison--identical movements of the two performers--any more than does the duet of music2 and this correlation of two harmonised parts is not the least of the causes of madness imparted to spectators of good dancing4 ,in all dances evolved to the plane of art1 a common device is to end a phrase with a turn--a pirouette1 or something simpler1 according to the character of the work4 ,this general rule the ,spanish follow4 ,but look how the ,farruca makes such a turn the opportunity for one of its myriad contrasts6 ,the renvers of the ballet has a kindred turn in la vuelta quebrada4 ,both are executed with an arm always extended1 so as to describe the maximum circle2 of the vuelta quebrada the movement is low and horizontal1 with everything done in such a way as to give the impression of a smooth1 oily roll4 ,the ,farruca leads the woman up to this turn1 or vuelta1 through a series of short steps4 ,now visualise the man's part at the same time3 as the woman enters her flowing vuelta1 a mighty leap lands the man in the position of stooping2 instantly he starts rising with a spiral movement that takes the form of a pirouette and so continues through the circle4 ,the surprise the eye receives from the harmonised contrast between the extended horizontally moving sweep and the vertical spiral uplift1 with its kaleidoscopic change of levels1 seems never to grow less4 ,and if the man makes it a double pirouette instead of a single1 why1 one simply shouts aloud with the joyous discovery that the law of gravitation and a lot of other cumbersome things have suddenly been abolished4 ,the ,tango at the present moment familiar in ,north ,illustration3 8,,flamenco0 ,,poses4 ,the ,farruca3 devices to mark counter-time4 ,the ,farruca3 typical group4 ,the ,tango3 finish of a turn4 ,the ,farruca3 man's preparation for a pirouette4 ,the ,tango3 start of a turn4 ,the ,farruca3 pito or finger-snapping4 7,from work of ,eduardo and ,elisa ,cansino47 ,america found its way here from ,argentina4 ,in the form it takes here1 its relation to the ,tango of ,spain is little more than a coincidence of names4 ,in none of the ,spanish dances does the man's arm ever go around the woman's waist--the purely ,spanish1 that is4 ,off-shoots and corruptions to be found in the ,latin ,americas do not signify4 ,the ,spanish ,tango is of the ,flamenco group4 ,it is a solo for a woman4 ,by convention she performs it wearing a man's hat1 the manipulation of which gives some grotesquely graceful occupation to her hands4 ,apart from this it is distinguished from the others of the group mainly by the sequence in which steps are combined2 in spirit1 elemental steps and poses1 it conforms to the type of its family4 ,el ,garrotin is distinguished by the importance it gives the hands4 ,they repel1 warn1 invite2 half the time they are held behind the back4 ,so indirect are their hinted communications1 so alien are their movements to anything in the ,occidental way of thinking1 that they unite with the girl's over-the-shoulder smile in an allurement no less than devilish4 ,other dances of the same school are ,marianas and ,alegrias1 long familiar4 ,new ones introduce the names of las ,moritas and ,bulerias4 ,each has its personality1 but all are composed of the ,gipsy steps1 performed in the sinuous manner1 and rich with contrasts of fast and slow1 soft and energetic movements4 ,all are adorned with the stamping1 sole-tapping1 clapping and finger-snapping already described2 though ,marianas1 as a quasi-,classic1 may be performed with castanets4 ,all moreover1 are costumed alike1 as indicated in the sketches and photographs1 most of which in this chapter were made possible by the courtesy of ,eduardo ,cansino and his sister ,elisa1 of the family of one of the most capable masters in ,spain4 ,the man's suit is the habitual street dress of the ,andalusian torero4 ,it may represent a retiring taste by being of grey or brown cloth4 ,but if it belong to one of those typical ,sevillanos who believe that a man is an important decorative feature of the landscape1 it may be of velvet--blue1 wine-colour1 purple in any of its shades1 or jet-black4 ,with the little pendant coat-button ornaments of gilt1 as they may be2 the silk sash1 rose or scarlet1 just showing under the waistcoat2 with the shirt ruffled1 and the collar fastened with link buttons1 as it ought to be2 and the whole animated with the game-cock air that the torero assumes as befitting a public man1 it is a costume not lacking in gallantry4 ,for the woman1 convention has strained for a substitute for the inanely garish1 shapeless garments of the ,gipsy sister--a good note of colour they make on the hillside1 but in all truth1 a poor model for dressing when placed among formalised surroundings4 ,the conclusion is a compromise shocking1 on first impression1 to the ideals of the ,spanish dance4 ,but1 as though to confirm the argument of the futurist painters1 that colour-harmony is a matter of what you are accustomed to1 you grow into an acceptance of it4 ,many people even like it4 ,it has indeed this merit1 that it is a realisation of the ,gipsy's dream of elegance4 ,beginning with the manton--the long-fringed flowered shawl--half of these bailarinas of the ,flamenco seem to patronise some special frenzied loom that supplies their class alone4 ,the richness of design that you saw on the manton of the lady in the next box at last ,sunday's corrida you find replaced here in el teatro de variedades by an anarchy of colour1 and poppies of the size of a man's hat4 ,the skirt is stiffened in the bell-shape surviving other days1 and well adapted to composition with ,spanish steps2 but the colours are of the piercing brilliancy attainable only by spangles4 ,orange1 carmine1 emerald-green and cerulean-blue are the favourite palette from which the scheme is selected1 with the unit of design of a size that makes more than two of them impossible on the same skirt4 ,nevertheless1 one accepts it with custom1 aided by the seduction of the dance--which has been known to secure for its performers pardon for transgressions graver1 in some eyes1 than crimes against colour4 ,artists there are1 of course1 who use the colour and spangles with taste and style1 just as there are those of high ability and seriousness who select the ,flamenco on which to build reputation4 ,for dignity1 however1 we turn sooner or later to the ,classic4 ,in ,andalusia1 the first dance you will hear named is las ,sevillanas--unless you happen to be in ,seville1 where the same dance is known as ,seguidillas4 ,the latter word lacks explicit significance4 ,it applies to a form of verse1 thence to analogous phrasing in musical composition1 then to a structure of dance4 ,in general it denotes a composition of three or more stanzas1 or coplas1 repeating the same music but changing the theme of the step4 ,various provinces and even vicinities have their special ,seguidillas4 ,the number of these and other dance-forms indigenous to ,spain is uncounted1 so far as we know2 certainly any complete description of them individually would furnish material for many hundred pages of print1 especially if the list should include the widely scattered derivatives4 ,mexico1 ,cuba1 and various countries of ,south ,america have their local compositions2 but of these many are mere degenerations of their original models1 and many are compounded with steps of the ,indians4 ,since none has contributed anything of consequence1 this chapter's necessary concentration on the work of ,spain itself involves little real sacrifice4 ,illustration3 8,,las ,,sevillanas40 ,grouping at pause in first copla4 ,school of ,don ,jose ,otero1 of ,seville4 ,it is ,sevillanas whose easier movements are among the first undertaken by every well-reared ,andalusian child1 whose adequate execution is half the fame of most great ,spanish dancers4 ,of all the dances1 ,otero calls it 8the most ,spanish40 ,yet it gives the spectator few detached pictures to carry away in memory4 ,its merit is in its cumulative choreographic argument4 ,very broadly speaking1 the prevailing foot-work of the ,seguidillas family is the pas de ,basque--or1 in ,spanish1 paso de ,vasco4 ,turns1 advances and retreats are almost incessant4 ,variety of step is secured by frequent fouetts and fouett tours 7figures #dc to #df72 the leg sweep in the latter being usually 8inward10 the foot1 with most performers 7at present7 raised more than waist-high4 ,swinging steps1 it will be noticed2 choppy elements such as battements1 entrechats and the like are1 by distinction1 the elements of the sharper work of the ,north4 ,sevillanas makes the feet less important than the hands and arms4 ,these1 however bewildering they are made to appear1 follow a simple theme of opposition1 as for instance3 7#a7 left arm horizontally extended to the side1 right arm across the chest2 7#b7 right arm extended upward1 left forearm across the back4 ,as the simplest movement of club-swinging is incomprehensible to the person to whom it never has been explained1 so with the arms in ,sevillanas1 with the bewilderment multiplied by the play of line effected by the arms of a couple4 ,the body is held with a combination of erectness and suppleness that is ,spain's own2 sympathetic to every move of hand or foot1 yet always controlled and always majestic4 ,the essence of this queen of dances is not in step or movement1 but in its traditional style plus a steadily increasing enrichment through the successive coplas--an enrichment that depends principally on the perfection of team work at a rapid tempo1 and one that adds greatly to the subtle difficulties4 ,many performers will inform you that a sixth copla does not exist4 ,of those who can execute it adequately1 the majority reserve it for competitions to present as a surprise4 ,the scope of moods from beginning to end of ,sevillanas gives play to the lyric and the epic2 allurement and threat2 coquetry and triumph4 ,it is a blend of the wine ,illustration3 8,,el ,,bolero0 ,typical moment in first copla 7#a7--;,finish of a phrase 7#b7 ,to face page #ach ,illustration3 8,,la ,,jota ,,aragonesa0 ,type of movement ,kneeling position ,a pirouette ,finish of a turn ,woman's sitting position ,to face page #aci of ,andalusia with her flowers and her latent tragedy4 ,not that it is particularly a vehicle for pantomime4 ,rather its suggestions are conveyed as are the motives of flowers1 or architecture--by relations and qualities of line and form that work upon the senses by alchemy no more understood than that of music4 ,the accumulating intricacy has been so artfully designed that1 as the dance progresses1 its performers actually seem to free themselves from the restrictions of earth4 ,each new marvel tightens the knot of emotion in the throat2 shouts invoking divine blessings on the mother of the bailarina--8,que ,dios bendiga tu madre68--unite with the tumult of the jaleo4 ,for shouting may save one from other emotional expressions less becoming4 ,the music contributes to this hysteria1 of course4 ,but1 with no accompaniment but their own castanets1 a good team can work the magic4 ,that might be considered a test of the quality of composition in a dance1 as well as of execution4 ,so gracious1 so stately1 so rich in light and shade is ,sevillanas1 that it alone gives play to all the qualities needed to make a great artist4 ,when1 a few summers ago1 ,rosario ,guerrero charmed ,new ,york with her pantomime of ,the ,rose and the ,dagger1 it was the first two coplas of this movement-poem that charmed the dagger away from the bandit4 ,the same steps glorified ,carmencita in her day2 and ,otero1 now popular as a singer in the ,opera in ,paris4 ,all three of these goddesses read into their interpretation a powerful idea of majesty1 which left it none the less seductive4 ,taking it at a comparatively slow tempo1 the perfection of every detail had its highest value4 ,a new generation of performers has been rather upset by a passing mode of rapid foot-work1 and under its influence too many of them tend to rush the dance and so detract from its majesty4 ,true it is that a great work of art can stand a good deal of abuse2 but any menace to such a work as the one discussed1 points out the need of a national academy1 where the treasures of the dancing art could be preserved from possible whims of even an artistically intelligent public1 and the compliance of a non-resisting majority of artists4 ,unlike most great ,european nations1 ,spain has no national academy of the dance4 ,illustration3 ,,two ,,groups ,,in 8,,las ,,sevillanas40 ,fanny ,ellsler electrified the ,america of our fathers' boyhood days with her interpretation of la ,cachucha4 ,zorn's ,grammar presents a choro-stenographic record of it1 showing few elements that do not occur in ,sevillanas4 ,la ,cachucha itself has disappeared from the ,peninsula--practically at least1 if not absolutely4 ,its existence is in printed records and a few old people's memories4 ,the inference is that it was at a high pitch of popularity at the time of ,ellsler's sojourn in ,spain1 and that ,sevillanas subsequently absorbed it4 ,showing the operation of an old process3 8,our buildings and our weapons of war are renewed from day to day4444 ,chairs1 cupboards1 tables1 lamps1 candlesticks are also changed4 ,it is the same with our games and dances1 our music and songs4 ,the ,zarabanda has gone2 ,seguidillas are in fashion2 which1 in their turn1 will disappear to make room for newer dances40 ,so wrote ,mateo ,aleman1 in the sixteenth century4 ,he might a little more exactly have said 8reappear in0 instead of 8disappear to make room for40 ,sevillanas1 as was said before1 is ,seville's special arrangement of ,seguidillas4 ,valencianas and ,aragonesas are among the modifying geographic words also in use2 ,vuillier quotes also ,gitanas1 ,mollaras1 ,gallegas and ,quipuzcoanas4 ,these terms as localising modifications of ,seguidillas may be no longer current4 ,but their existence is significant1 as indicating a parent trunk from which many local dance forms have branched4 ,it seems pretty safe to infer that acquaintance with the general characteristics of the ,seguidillas type gives us an idea of the essentials of some of the dances of very early times1 by whatever names they may have been known4 ,like ,sevillanas and la ,cachucha1 el ,fandango 7which as a name has retired into the mountains of the ,north1 and otherwise is preserved in the opera ,la ,nozze de ,figaro7 is recorded as being a species of ,seguidillas4 ,the castanets are a link that binds the family1 logically or otherwise1 to earliest history4 ,the ,fandango1 though restrained in the theatre1 seems at all times to have been danced in less formal gathering places in a manner more or less worldly4 ,a story pertaining to it was written in the seventeenth century4 ,the ,pope 7according to the story7 heard that the ,fandango was scandalous1 and as a means of stopping its practice1 proposed excommunication as a penalty for its performance4 ,a consistory was debating the issue1 when a cardinal proposed that the accused was entitled to an opportunity to defend itself4 ,this seemed reasonable1 and the dancers were summoned4 8,their grace and vivacity10 says ,davillier1 8soon drove the frowns from the brows of the ,fathers1 whose souls were stirred by lively emotion and a strange pleasure4 ,one by one their ,eminences began to beat time with hands and feet1 till suddenly their hall became a ballroom2 they sprang up1 dancing the steps1 imitating the gestures of the dancers4 ,after this trial1 the ,fandango was fully pardoned and restored to honour40 ,whatever the lack of basis for the tale1 it is a fact that the ,church in ,spain has recognised the dance as an art that1 like music1 lends itself to religious ritual4 ,seville ,cathedral still has occasions for the solemn dance of los ,seises4 ,in #agfb1 dancers were taken from ,valencia to help celebrate the laying of the foundation-stone of ,lerida ,cathedral4 ,instances might be multiplied at length4 ,the costume most picturesque and romantic that woman has at her disposal for these dances is that of the madroero--the network dotted with little black balls1 draped over the hips4 ,imagine the bodice black velvet1 and the skirt golden-yellow satin1 and you have a spot-and-colour translation of ,andalusia4 ,but the dress of the madroero is not often to be seen2 the spangled ,flamenco costume is publicly accepted as the dress of a ,spanish dancing girl4 ,the manton should be draped over the shoulders like a shawl in la ,jota ,aragonesa and other dances indigenous to central and northern provinces4 ,it is ,flamenco to fold it diagonally to form a triangle1 and wrap it around the body in such a way that the depth of the triangle lies on the front of the body2 the apex points downward1 and is arranged to fall to one side of the centre4 ,the other two ends are crossed over the back and brought forward over the shoulders2 or one end may be tucked in1 and the more made of the end that remains in sight4 ,the dance in which we see the white mantilla to which the ,spanish girl owes a portion of her fame is la ,malaguea y el ,torero4 ,perhaps owing to the weight of the man's costume proper to the dance1 it is not often performed2 for the bullion-adorned dress of the torero is of a weight suggestive of anything but airy foot-work4 ,the characters of the piece--it is one of the very few ,spanish mimetic dances--are represented1 as might be expected1 in a little flirtation4 ,of the three movements1 the first is an animated paseo1 or promenade1 the torero wrapped in the capa de gala prescribed by ceremony as essential for matadores and banderilleros during their entrance parade into the bull-ring4 ,the torero is followed by the girl1 her face demure in the half-shade of the overhanging mantilla4 ,a manton carried folded over her arm1 suggestive of a torero's cape1 gives to the pantomime the key of fantasy2 and her weapon of coquetry is a fan4 ,an elaborate series of advances1 turns1 meetings and passings prepares the torero to acknowledge that he notices the girl4 7,mr4 ,bernard ,shaw was not the original discoverer of feminine initiative in man-and-woman relations47 ,he looks at her and is delighted4 ,the music changes1 and the second movement1 la mimica1 begins4 ,he will spread his capa for her to walk over2 but first he must flourish it through a couple of the movements familiar to patrons of the corrida4 ,a veronica--8,ol60 roars the crowd1 whose memory instantly correlates with the writhing cape the vision of a furious bull4 ,a farol throws the brilliantly coloured cloth like a huge flower high in the air3 a suerte de capa always magnificent1 one of the ever-recurring flashes of surprise that make the corrida irresistible despite its faults4 ,in consecutive movement the capa opens and settles fanlike before the girl1 the boy kneeling as she passes4 ,rising1 he tosses1 his cap for her to step on4 ,a touch of realism1 this6 ,andalusian usage permits this compliment1 with the spoken wish that ,god may bless the seorita's mother4 ,the second copla draws to a close with the boy's pantomime merging into dance step as he becomes more attracted to the girl4 ,she is now evading1 alluring1 and reproving1 while her movements insensibly succumb more and more to the dance music which has replaced the promenade tempo of the first part4 ,the third copla is the dance--el baile2 capa1 fan and manton are discarded for castanets4 ,the steps are of the ,seguidillas type2 the number ends with the incredibly sudden transformation of a series of rapid turns into a group as motionless as statuary4 ,this abrupt stop is a characteristic of ,spanish dancing in general that always has been commented on1 and approvingly1 by its non-,spanish observers4 ,las ,malagueas also employs mantilla and fan4 ,this sprightly member of the ,seguidillas family has no elements peculiar to itself1 yet its insistent use of little steps adapts it to rapid foot-work4 ,manchegas is of the ,illustration3 ,,groups ,,in 8,,la ,,malague,a ,y ,,el ,,torero40 7,from work of ,eduardo and ,elisa ,cansino47 same nature4 ,the two are often performed immediately after dances of less action1 for the sake of variety4 8,the ,fandango inflames1 the ,bolero intoxicates10 wrote an enthusiast of other days4 ,and in respect to the latter the truth of his observation may be proved1 since the ,bolero is still with us1 and always intoxicates every one of its spectators that is not deaf and blind4 ,its composition is attributed to ,cerezo1 a famous dancer of the early part of the eighteenth century4 ,material for speculation is furnished by one of its steps in particular1 the cuarta1 identical with the ballet's entrechat-quatre4 ,the invention of the entrechat is credited to the ,french dancer ,camargo1 who was not born until after the advent of the ,bolero4 ,the question is3 ,did the ,bolero take the cuarta from ,camargo1 or did she1 a progressive in her day1 merely invent the name 8entrechat0 and apply it to a 8lifted0 cuarta8 ,certain it is that it fits its requirements in the ,bolero like a key in its lock4 ,it is used in a passage dedicated to brilliancy1 to which motive this twinkling1 gravity-defying step is suited above almost all others4 ,as rendered by the woman1 it is dainty1 as in the ,french ballet4 ,but the ,spanish man treats it in a manner that puts it into a category by itself1 and transforms it from a little step to an evolution that seems suddenly to occupy the entire stage4 ,the cuarta at the height of the leap is only his beginning4 ,as he descends1 he kicks one foot up and backward1 in a manner to give him a half-turn in the air4 ,the leg movement opens up the lines of the elevated figure1 giving it a sudden growth comparable to one of those plants that the ,oriental magician develops from ,illustration3 ,,miscellaneous ,,spanish ,,notes4 ,los ,panaderos3 group turning4 ,the ,jota of ,aragon3 typical group4 ,las ,sevillanas3 use of primitive foot position4 ,the ,bolero3 a turn in the air4 ,castanets3 ,classic1 tied to finger4 ,flamenco1 tied to thumb4 ,seises of ,seville ,cathedral4 seed to maturity while you wink4 ,the expansion is augmented by the extension of the arms at the opportune moment4 ,altogether1 the spectator is prepared to believe that all physical law has been suspended in deference to the convenience of poetic motion4 ,davillier's observation that 8the ,bolero intoxicates0 is wholly inadequate4 ,the dance is in triple time1 and arranged in three parts4 ,the second divides the work of the two performers into solos1 admitting whatever sensational steps each chooses to present1 so long as they conform to the strong1 aggressive style that tradition gives the dance4 ,in this part are the cuartas1 which good ,spanish performers execute as cleanly as any ,french premire4 ,the man's work may include a series of jumps1 straight up1 opening the legs out to horizontal2 not in itself an attractive step1 but an exaggeration of the idea of the ,bolero4 ,throughout1 the work is vigourous and sharp1 of the character created by battements great and small1 coups1 and choppily executed briss4 ,the management of the castanets is a difficult addition to such vigourous foot-work1 and important4 ,to sustain1 or rather constantly augment the excitement proper to the dance1 the crash of the recurrent 8tr-r-r1 tak-ta6 tr-r-r-1 tak-ta60 must never be dulled for an instant1 nor fail of perfection in rhythm4 ,the double control is seldom acquired by any but ,spaniards1 if ever1 and even in ,spain it is none too common4 ,every lover of dancing probably thinks of his favourite compositions as personalities4 8,queenly ,sevillanas0 inevitably is the way of thinking of that flower of ,andalusia4 ,in similar manner memory puts together words1 8the noble ,bolero40 ,brusque but fine1 strong and justly proud1 it sings of iron in the blood1 as ,sevillanas exhales the spicy fragrance of hot night air4 ,illustration3 ,,two ,,groups ,,in 8,,los ,,panaderos40 7,from work of ,eduardo and ,elisa ,cansino47 ,of los ,panaderos the introductory measures are dedicated to the elaborate salutations appropriate to the etiquette of other days4 ,the dance in general follows the motive of light coquetry through a pantomimic first part1 concluding with a dance of the ,seguidillas type1 with castanets4 ,interest is enriched by the dance's proper costume4 ,the girl's vestido de madroos has been described in connection with another dance1 and the same reserved indulgence in the ornate is seen also in the attire of the man4 ,the velvet jacket permits subdued but opulent colour2 instead of buttonholes it has a lively design of cord loops4 ,down the sides of the breeches runs a broad band of colour that would be too violent were it not broken up by a superimposed band of heavy black cord lace1 through the open pattern of which the background silk twinkles like jewels4 ,it is a costume to make an impression at a distance or to tickle the eye on close inspection2 the tasselled leather leggings are delicately adorned with scroll-pattern traced in stitching1 and other details are elaborated with the same minute care4 ,of all the energetic dances of the land of the dance1 the one farthest from any concession to physical infirmity is la ,jota ,aragonesa4 ,here is no vehicle for ,andalusian languor nor yet for the ceremonies of courts4 ,the industrious peasant of ,aragon is hard of muscle and strong of heart1 and so is his daughter1 and their strength is their pride4 ,for indolence they have no sympathy1 be it in ermine or rags2 and certainly if indolence ever forgets itself and strays into the ,jota1 it passes a bad five minutes4 ,it is a good1 sound fruit of the soil1 full of substance1 and inviting to the eye as good sound fruit may be4 ,no academy's hothouse care has been needed to develop or protect it2 the hand of the peasant has cultivated without dirtying it4 ,and that1 when you look over the history of dancing in some more progressive nations1 is a pretty significant thing4 ,the people of ,aragon are not novelty-hunters4 ,perhaps that is why they have been satisfied1 while perfecting the dance of their province1 not to pervert it from its proper motive--which is to express in terms of poetry both the vigour and the innocence of rustic1 romping1 boy-and-girl courtship4 ,a trace of stiffness of limb and angularity of movement1 proper to the ,jota1 imbue it with a continuous hint of the rural grotesque4 ,yet1 as the angular spire of the ,gothic cathedral need be no less graceful than the rounded dome of the mosque1 so the ,jota concedes nothing in beauty to the more rolling movement of the dance of ,andalusia4 ,it is broad and big of movement2 the castanets most of the time are held strongly out at arm's length4 ,one of its many surprises is in the manner of the pauses3 the movement is so fast1 the pauses are so electrically abrupt1 and the group 7or 8picture10 as our stage-folk call it7 in which the dancers hold themselves statue-like through a couple of measures is so suddenly formed1 that a layman's effort to understand the transition would be like trying to analyse the movements of the particles in a kaleidoscope4 ,out of a dazzle of cross-tied white legs there snaps on to your retina a vision of a couple face to face1 each on one knee2 one1 two1 three1 four--on each count the supporting knee comes up1 its mate rhythmically bumps the floor4 ,one measure2 again they are in flight4 ,another stop1 as from a collision with some invisible but immovable body--the girl is established in a seated position on the floor1 madly playing her castanets1 the boy flashing pirouettes around her4 ,bien parada1 palomita6 pero anda6 ,another cyclone1 a crescendo of energy in the thump of sandalled feet and the pulse-lifting clatter of castanets1 and--dead stop6 ,she is impudently perched on his knee4 ,raised with the paisanos around you to the plane of the happy gods1 you too are standing1 shouting your rhythm-madness1 tearing at scarf-pin1 bouquet or anything to throw to the performers4 ,down to the tuning of the castanets is emphasised the difference between this dance of the stalwart uplanders and the more liquid expression of ,andalusia4 ,it can be understood how1 with the instruments fastened to the thumb1 and hanging so as not to touch the palm1 vibration is not interrupted after a blow from the finger2 consequently they will ring when touched4 ,the successive taps of four skilful fingers on a castanet so hung will make it sing1 as is appropriate to the flowing dance of the ,south4 ,but change the tie from the thumb to the two middle fingers and you change the voice3 the blow of a finger presses together the two halves of the instrument1 and throws both against the palm of the hand2 vibration is stopped1 and the report is a dry 8tak0 or 8tok10 which is consistent with and contributory to the crisp staccato sentiment of the ,jota1 with its kicking treatment of a running pas de bourre1 swift pirouettes1 and abrupt starts and stops4 ,illustration3 ,,part ,,of ,,the 8,,jota0 ,,of ,,aragon4 ,showing rapid foot-work to slow music4 ,steps indicated by accents under music4 ,the melody above quoted is that of the old ,jota4 ,there is a certain paradoxical relationship between the motives of step and music1 perhaps peculiar to ,spain1 that asserts itself most clearly in the ,jota4 ,that is1 the setting of brilliant dance-movement to the accompaniment of melodies of a sadness sometimes unearthly4 ,the juxtaposition does not always occur4 ,when it does1 as in the old ,jota of ,aragon and las ,soleares of ,andalusia1 it is the very incarnation of the mysterious magic of a magic land2 it is the smile forcing back the tear1 words of wit spoken by the voice of sorrow4 ,or is the foreigner mistaken8 ,the peasant himself sees no sorrow in the tunes1 any more than in life4 ,thumping the foot-beats gives an idea of the rhythm so far as related to the sound2 but this fails more than to hint at the effect of the music in combination with the dance1 because the dance so fills the conscious attention that the music is less heard than felt4 ,the melody itself is unnoticed2 but its underlying melancholy persistently cuts its way into the heart during the very moments that vision is most madly happy4 ,true to her modest and serious character1 the peasant woman of ,aragon puts on her manton like a shawl1 sternly concealing her figure4 ,her full1 rustic skirt is of dull-coloured cotton4 ,for her no high-heeled shoes2 her foot-wear--and her grandfather's--is the practical cord-soled sandal 7alporgata7 tied on with black cords1 which1 on their background of white stocking1 have a coquettish look in spite of her4 ,the man's dress is a representation of simple strength1 saved from sombreness by well-disposed contrasting accents1 few but brilliant4 ,the lacing of the breeches slashed at the knee echoes the tie of the sandals4 ,the waistcoat and breeches are black2 the sash--worn very broad--may be either dull or bright2 but the kerchief tied around the head is of colour as strong as dyes will produce4 ,red with a design of little black squares is characteristic ornament of the province4 ,valencia1 too1 has its ,jota1 but of movement more fluid than that of ,aragon4 ,la ,jota ,valenciana is superficially distinguished by its employment of the tambourine2 the only dance in ,spain--with possible unimportant exceptions--to accompany itself with this instrument4 ,in structure it is of the ,seguidillas type1 the coincidence of the term ,jota being without significance4 ,to go into a discussion of the dances of the northern provinces--,catalua1 the ,basque provinces1 ,galicia1 ,leon and others--would in most instances be to digress from the theme of ,spanish dancing in any but a geographical sense4 ,the dances of the northern region that are ,spanish in type are of the ,seguidillas family already described1 and without special pertinence to the locality4 ,conversely1 the dances that are indigenous to and characteristic of the ,north are not of the type generally and properly known as ,spanish1 but1 in respect to everything but geography1 pertain to the character dances of western ,europe4 ,true1 the ,fandango is seen in the ,basque provinces2 but it is a stray from other parts4 ,galicia has a pantomime of oafish courtship4 ,a dance characteristic of ,quipuzcoa was described to us by ,tencita3 glasses of wine were set on the floor1 of the same number as the dancers1 all of whom were men4 ,at a given time every one would jump--from a considerable distance and to a good height--with the aim of missing his glass by a minimum margin4 ,this exercise--or dance1 by charity of definition--is performed after important matches of the provincial game of pelota4 ,being of the general style of racquets1 control of placement of the feet follows4 ,many of the dances1 says ,tencita1 are rounds4 ,of these the salient feature is the man's lift of his partner4 ,some of those iron-shouldered mountaineers1 grasping the girl's waist in two big hands1 lift her straight up to arm's-length4 ,but this1 to repeat1 is ,spanish only by grace of political boundary lines4 ,the same feat is described in a ,french rustic dance of the ,middle ,ages4 ,so long as the tradition of round dancing joins the performers' hands to one another1 choreographic art can hardly exist4 ,it is doubtful if the ,north has carried to the superlative any of the qualities of real dancing4 ,in pure decorative beauty2 variety and force of expression2 scope of motive2 happy contrasts of treatment--briefly1 in the art of the dance1 ,andalusia speaks the final word4 ,who wishes natural pantomime need only call a ,gipsy4 ,mimica more delicate is that of ,toreo ,espaol or el ,vito1 both narrating the placing of banderillas1 defence with the cape1 and the final despatch of a bull4 ,in a combination of strong movement with speed and grace1 there does not exist in this world a dance-form to excel the ,jota of ,aragon4 ,the home of ,spanish dancing is south of the latitude of ,madrid1 in the flowery region that the caliphs ruled4 ,the pilgrim in search of dancing1 therefore1 shall not unsaddle until the nearest hilltop shows the ruins of a ,moorish castle4 ,by that token he will know that he has come to the land of grapes and fighting bulls1 destitution and wit1 black eyes1 guitar and song1 enchantment4 ,there he may sell his horse2 where falls the shadow of a castle of the ,moors1 on that soil blooms the dance4 ,,chapter ,,vii ,,italian ,,dances ,past are the splendid pageants of the ,medici1 nor do the floors of ,castel ,san ,angelo remember the caress of the winged feet of choral dancers4 ,the classic ballet1 heir of the dances and masques of courts1 preserves their stately charm2 while their choreographic wit lives on in dances that are at once their ancestors and their survivors4 ,an intermediate generation of dances represented the day of a society cultivated to artificiality4 ,the dances of the people1 on the contrary1 are rooted in the soil and cared for by wholesome tradition4 ,including1 as they do1 many of the steps from which the ballet was derived1 there is material for interesting speculation in their continued vigour4 ,in the ,forlana of ,venice1 with its old-fashioned steps1 is found a delicate mimetic synopsis of the world-old tale of the young wife1 the elderly husband1 and the dashing interloper2 the theme immortalised by the pen of ,boccaccio1 in his collection of the stories that passed the time during the ten days when the court exiled itself in the hills to avoid a pestilence in ,florence4 ,the accompanying illustrations of the dance have the benefit of the knowledge of two graduates of the academy of la ,scala1 both children of teachers in that institution3 ,madame ,saracco-,brignole and ,stephen ,mascagni4 ,both are enthusiastic performers of their country's character dances2 ,mascagni1 indeed1 with his wife as ,illustration3 8,,la ,,tarantella0 ,opening of the dance ,a poor collection ,they gamble for it3 the game ,la ,morra ,she wins ,he wins ,illustration3 8,,la ,,tarantella0 ,an arabesque ,finish of a phrase ,a typical moment ,finish of a phrase partner1 makes the ,tarantella an important feature of his repertoire4 ,the trio in la ,forlana was completed with the assistance of ,mlle4 ,louise ,la ,gai1 as ,columbina1 ,madame ,saracco-,brignole and ,sr4 ,mascagni representing ,doctor ,pantalone and ,harlequin1 respectively1 completing the little cast4 ,as a stock character in other pantomimes and farces1 ,doctor ,pantalone's characteristics1 both mental and physical1 are so clearly defined that he has the reality of an acquaintance4 ,in brief1 he represents self-sureness and self-importance1 with a weakness of revealing complete misinformation through indulgence in a habit of correcting the statements of others4 ,light-headed ,columbina and mischief-making ,harlequin are their familiar selves4 ,the ,forlana is a composition essentially of tableaux1 with steps of the dance serving to lead from one picture to another4 ,harlequin's freedom with ,columbina is resented by the elderly husband1 who threatens the intruder with a cane4 ,the frivolous young people dance away1 after a mock-heroic pretence by ,harlequin of protecting his inamorata from her husband4 ,they begin a series of groups made to tantalise the dotard1 whose possession of the young woman has clearly ceased to exist4 ,harlequin embraces her1 gazes into her eyes1 raises her to his shoulder1 kisses her1 and is otherwise familiar1 while ,pantalone storms and pleads4 ,perching aloft with her partner's support in the various ways known to dancers of an acrobatic genius1 ,columbina reaches out to her spouse the tip of a finger1 in smiling sarcasm4 ,pantalone later is reduced to kissing the little foot that from time to time kicks upward as the lovers play4 ,when at length even that is the occasion of a dignified protest from ,harlequin1 the defeated one withdraws from an unequal competition and gives the couple his blessing4 ,pantalone1 apart from his relation to the ,forlana1 is one of a group of characters attached to the various ,italian states as allegorical representatives4 ,to ,sardinia1 for instance1 pertains a soldierly looking youth called ,maschara ,sarda4 ,bologna has its ,doctor ,balanzone2 ,florence1 ,stenterello2 ,rome1 ,rugantino2 ,naples1 ,pulcinella--and this is to enumerate only a few out of a number slightly in excess of the number of states4 ,these mythical beings are neither heroes nor caricatures1 nor are they supposed at all to portray the qualities typical of the population they represent4 ,their associations seem to be without underlying significance1 but they are none the less indissoluble in the mind of the ,italian4 ,those who have most cause to love them are the writers of popular comedies2 the simple device of putting a ,balanzone or a ,rugantino among the characters of the play makes possible a direct expression of ideas purporting to be those of the state itself4 ,such lines1 regardless of the literary tone of the play1 are customarily delivered in the local dialect of the region represented4 ,it is the ,tarantella that the world at large accepts as ,italy's national dance2 and rightly enough1 since there is none whose popularity is more nearly general through the land4 ,it is rather identified with ,naples4 ,there it is said to be the amusement that the younger working people think of first1 when leisure allows the thought of any amusement at all2 but it is very popular1 too1 through the ,south4 ,it is a breezy1 animated dance1 varied with pantomime not very profound1 to be sure1 but at least merry ,illustration3 8,,la ,,tarantella0 ,opening of the dance ,a turn back-to-back ,a pause after rapid foot-work ,illustration3 8,,la ,,forlana0 ,mme4 ,elise ,saracco-,brignole1 ,mlle4 ,louise ,la ,gai1 and ,sr4 ,stephen ,mascagni ,doctor ,pantalone patronized2 defied2 pleads2 accepts the inevitable and is ridiculed ,to face page #aei with character4 ,the mimetic action concerns the varying luck of la morra1 that game that consists in guessing at the number of fingers open on the opponent's suddenly revealed hand2 perhaps the only gambling game for which every one is born with full equipment of implements4 ,to a votary1 every glance at his own five fingers must seem a temptation to seek a game4 ,for whatever reason1 it seems to be a necessary element in the life of the ,italian labourer4 ,the moment of the ,tarantella given over to la morra is1 as it were1 an acknowledgment of its place among the people's recreations4 ,as castanets are to the dances of ,spain1 the tambourine is to those of ,italy4 ,like castanets1 the tambourine produces an amazing variety of tones when handled by an expert4 ,the effect its jovial emphasis of tempo has on the enthusiasm of dancer and spectator need not be dwelt upon2 again sobriety succumbs before rhythm's twofold attack on eye and ear together4 ,vivacity is insistent1 too1 in the colours of the ,neapolitan costume4 ,the tambourine is dressed in ribbons1 characteristically the national red1 white1 and stinging green4 ,stripes as brilliant as caprice may suggest adorn the girl's head-dress1 apron and skirt4 ,nor must her more substantial finery be forgotten2 until a responsible age is attained by children of her own1 she is guardian of an accumulating collection of necklaces and earrings1 bracelets and rings that are as a family symbol of respectability4 ,just as in other nations the inherited table silver is brought out to grace occasions of rejoicing1 the ,neapolitan young woman on like occasion exhibits gold1 silver and gay red coral in adornment of her person--adding much to the sparkle of the ,tarantella4 ,the boy 7in these and the pictures of la ,ciociara represented by ,mlle4 ,la ,gai7 has a necktie as red as dyes will yield1 and a long fisherman's cap of the same colour4 ,it is ,italian stage tradition1 by the way1 that the ,neapolitan fisher boy's trouser-legs should be rolled up to slightly different heights4 ,the dance itself is full of pretty groups1 well spiced with moods4 ,the steps are happily varied and well composed4 ,there are many turns1 the boy frequently assisting with the familiar spiral twist of the girl's upraised hands--a device that1 with any execution back of it1 always produces a pleasant effect4 ,the turns also are highly enhanced in value when1 as they frequently do1 they terminate so as to bring the dancers into an effective embrace4 ,preparation for a pirouette by both dancers is utilised1 at one point1 as a pretext for some delightfully grotesque poses4 ,it is a dance worthy of study and performance by artists1 and of the enthusiasm of appreciators of good work4 ,in ,corinne occurs a passage reflecting its impression on ,madame de ,stal4 ,the following selections seem most suggestive of the effect produced3 8 444 beating the air with her tambourine--in all her movements showing a grace1 a lissomeness1 a blending of modesty and abandon1 which gave the spectator some idea of the power exercised over the imagination by the ,indian dancing-girls1 when they are1 so to speak1 poets in the dance1 expressing varied feelings by characteristic steps and picturesque attitudes4 ,corinne was so well acquainted with the different attitudes which painters and sculptors have depicted1 that by a slight movement of her arms1 holding the tambourine sometimes above her head1 sometimes in front of her1 while the other hand ran over the ,illustration3 8,,la ,,ciociara0 ,opening promenade 7#a1 #b7--;,end of promenade 7#c7--;,he has 8made eyes0 at a spectator 7#d7--,opening of dance 7second movement7 7#e7 ,to face page #afj ,illustration3 8,,la ,,ciociara0 ,rustic affection ,again caught in perfidy ,tries to make amends ,without success ,removed from temptation ,to face page #afa bells with incredible swiftness1 she would recall the dancing girls of ,herculaneum1 and present before the eye of the painter or artist one idea after another in swift succession4 ,it was not ,french dancing1 so remarkable for the elegance and difficulty of its steps2 it was a talent much more closely related to imagination and feeling4 ,the mood was expressed alternately by exactness or softness of movement4 ,corinne1 dancing1 made the onlookers share her feelings1 just as if she were improvising1 playing the lyre1 or designing figures2 every motion was to her as expressive as spoken language40 ,the similarity between the words ,tarantella1 and 8tarantula10 a large and poisonous spider1 causes endless speculation to the end of establishing a more than etymological relation between the two4 ,one author seriously affirms that the dance is a standard rural remedy for the bite of the insect1 the energetic movement starting a perspiration that relieves the system of poison4 ,various ,german physicians have written reports on the subject1 generally ending with a statement that the said antidote for poison is of doubtful efficacy6 ,approaching the subject from another angle1 the word tarantismos is discovered3 a species of hysteria common in ,calabria and ,apulia1 and 7by etymology7 attributed to the bites of tarantulas to be found in those parts4 ,but along comes another learned person who finds that tarantismos is not due to tarantula bites1 but to certain molluscs that ,calabrians and ,apulians customarily include in their food rgime6 ,he harks back to a certain dancing mania that was more or less epidemic in ,europe during a period of the ,middle ,ages1 a hysterical condition found curable by violent dancing4 ,whence he induces that the ,tarantella derives its name from tarantismos1 and that it originated as a cure for neurasthenia4 ,still another finds that the ailment causes hysterical movements1 8similar to dancing60 and flatters the ,tarantella with this spasmodic origin4 ,again1 a grave experimenter finds that tarantulas1 placed on floats in water so that they will be disinclined to run away1 will move their feet in time to music4 ,he does not ask us to infer from this that the steps of the dance were so originated and composed1 but in the cause of general joyousness he might have1 and that without much damage to the accumulated erudition on the subject4 ,all the ,latin countries1 no less than ,scotland and ,ireland1 have their ,jig4 ,in ,italy1 as elsewhere1 it is a composition of rapid clog and shuffle steps4 ,more than most ,occidental countries ,italy has a lingering fondness for pantomime2 doubtless as a heritage from the theatre of ,rome1 and increased through centuries of political intrigue that sometimes made the spoken word inadvisable4 ,like the ,forlana1 la ,ciociara of ,romagna is an example of choreographic pantomime carried to a high pitch of narrative quality4 ,it represents a heavy-footed shepherd and his wife1 and their unpaid efforts to collect coins for music and dancing during their visit to the village4 ,after a little promenade to the music of the pipe1 or piffara1 that has descended unchanged from the days of the shepherds on the slope of ,mount ,ida1 and the tambourine of equally venerable age1 the tambourine is passed before an imaginary circle of auditors4 ,the imaginary coins failing to come forth1 the couple impulsively decide to dance anyway1 for their own amusement4 ,the dance proper is of the flowing style of the ,tarantella1 but includes only the simpler steps4 ,an important contribution to the amusing character of the performance is a bit of by-play that begins after the work has apparently terminated3 the shepherd1 oaf though he is1 expresses an interest in a pretty face in the audience1 and even a belief that his interest is reciprocated4 ,he is roundly scolded by his wife1 soothes her feelings1 and at last retires under a not misplaced surveillance4 ,the ,saltarello1 an old and lively step-dance identified with ,rome1 and including several steps of the ,tarantella1 completes the list of popular dances for which ,italy is famous4 ,other names there are in abundance1 but of dances identified with their localities4 ,la ,siciliana is a delicate but insufficiently varied product of the island from which it has its name4 ,messina has a pantomimic dance known as la ,ruggera2 ,florence its ,trescona1 and so on indefinitely4 ,of these1 such as have any choreographic interest are said to owe it to the ,tarantella4 ,of many the interest is chiefly historical1 since they are woven into one tissue with old songs and old legends4 ,poetic and altogether fascinating as such compositions frequently are1 however1 their prevailing lack of the essential qualities of dancing makes discussion of them inappropriate to a book on that subject4 ,on the other hand1 the highly characteristic flavour of the music and the words of their accompanying songs makes them a fascinating study under the heads of folk-lore and folk-music1 in which connection they are the subject of several writings of great interest4 ,,chapter ,,viii ,,european ,,folk-,,dancing ,,in ,,general ,to people who toil long hours at confining work that requires care and skill1 there comes at the end of the day a craving for exercise that will release the mind from the constraint of attention1 that will let the muscles play with vigour and abandon4 ,in response to this demand of nature there exists one class of folk-dancing--the genre of the careless1 energetic romp of people bedecked in bright colours1 joining hands now to form themselves in rings1 or again in interweaving lines1 improvising figures1 heedless of step except the simplest skipping and balancing4 ,acting contrariwise to the influence of daily labour involving skill and attention1 is the force of habitual work that does not require enough precision to satisfy the healthy craving for fine co-ordination of muscle1 nerve and mind4 ,the latter condition1 too1 moves to the dance4 ,but here1 in the case of a people whose potency of skill is not spent in the day's work1 the dance is likely to assume forms of such precision and elaboration that its performance requires considerable training1 and such beauty that it attains to the plane of art4 ,these two divisions are far from exact2 many influences modify them4 ,but they serve as a beginning of the process of separating the gems of folk-dancing from the mass of that which bears a superficial sparkle but is without intrinsic choreographic value4 ,illustration3 ,,scotch 8,,sword ,,dance0 ,miss ,margaret ,crawford and partner ,the steps and jumps bring the feet as close to the sword as is possible without touching it ,illustration3 ,,the 8,,scotch ,,reel0 ,use of the battement 7#a7--;,a pirouette 7#b7--;,characteristic style 7#c1 #d7--;,a turn 7#e7 ,to face page #afe ,the second supposition1 of a people engaged at work not sufficiently exacting in finesse to satisfy their craving for skilled co-ordination1 may be taken to indicate a merely healthy race whose daily tasks require no finer technique than the ordinary labour of a farm2 in such category might be put the peasants of ,aragon4 ,the same relation would exist between a people less virile and a form of daily labour still less concerned with skill1 as the ,andalusians4 ,or again1 it is valid in the case of a community engaged in crafts requiring fine workmanship1 if that community be of people endowed with nervous energy in excess of the requirements of the day's work2 and that is the condition in those eternally youthful nations1 ,scotland and ,ireland4 ,national sense of beauty is a factor in the determination of the dances of a country4 ,the ,latins have it4 ,the ,italians and ,spanish have the leisure to practice its expression4 ,the ,french1 on the contrary1 direct their energies into work of pecuniary value1 and their acceptance of the doctrine of accumulation keeps their attention where it will be paid4 ,pierre and ,laurette frolic with the neighbours on the green1 in the moonlight1 in what they call a dance4 ,it gives them exercise and many a laugh4 ,but when they would see beauty1 they patronise its specialised exponent1 the ballet4 8,folk-dancing0 is practically synonymous with 8character dancing10 or1 as the word is frequently formed in literal translation of its ,french original1 8characteristic dancing40 ,it means what it implies1 an exposition of the characteristics of the people to whom it pertains4 ,energy or dreaminess1 fire or coolness1 and a multitude of other qualities are bound to assert themselves1 automatically2 to any one who can even half read their language1 character dances are an open book of intimate personal revelation4 ,the portrayal of sports or trades1 which is the sort of thing with which many folk-dances are concerned1 does not detract from their interest as expositors of national temperament4 ,though it may be noted that1 in general1 the more a dance occupies itself with imitation1 the less its value as a dance4 ,not least of the elements of interest attaching to these dances is the measure they apply to national vitality or the lack of it4 ,through the form and execution of its dance1 the nation as yet half-barbarous reveals vital potentiality2 the people that has luxuriated in centuries of power displays its lassitude of nerve2 and the young political organism shows marks of senility at birth4 ,the aboriginal savage1 huge-limbed1 bounds through dances fitted to the limitations of muscles that cannot be controlled by brain1 and the limitations of brain that cannot invent or sustain attention2 his dance exposes him as of a race not in its youthful vigour1 but in the degeneracy wrought less by time than by manner of living4 ,the ,indian of ,north ,america is dying of age2 the ,russian is in his youth4 ,the list of forces that make and preserve at nation's dances is incomplete without the addition of the sometimes powerful element of national pride4 ,this undoubtedly enters into the high cultivation of the dances of ,scotland4 ,the industry1 thrift and all-round practical nature of the ,scotch need not be enlarged upon4 ,though they do not lack appreciation of beauty1 they consider it a luxury for only limited indulgence1 except as it is provided by nature4 ,but the ,sword ,dance and the ,fling of their warring ancestors are as though associated with the holy cause of freedom4 ,on many a ,highland battlefield they have been stepped2 they have wet their scurrying feet in spilled blood4 ,to learn ,scotch dancing takes time1 precious time4 ,but it is time spent on a decent and a fitting thing2 they are ,scotch6 ,scotch as the thistle itself6 ,from pulpits have come1 at times1 objections to them2 from armed camps and lairds' halls of other days has come the answer1 far but clear3 that ,scottish chiefs1 godly men as well as brave1 trod their ,flings in celebration of victories dear to memory4 ,it is enough4 ,the cult of the dance has continued1 unchecked by the inability of occasional well-meaning divines to see its significance4 ,csar 8commented0 upon the fighting qualities of the ,picti1 built a wall to keep them off from the ,anglia that he had conquered1 and decided not to push his conquests farther north4 ,the fighting spirit of those tartaned clansmen never has softened and has had much occupation throughout the subsequent centuries2 and attaching to it is an epic1 a saga1 in the shape of the ,sword ,dance4 ,around the ,sword ,dance in particular the ,scotch people group associations4 ,in earlier times its performance was customary on the eve of battle to relieve tension1 to exhibit self-control1 and1 perhaps most important of all1 to test fortune4 ,to touch with the foot the crossed sword or scabbard between and about which the dancing warrior picked his steps was an omen of ill for the individual or his comrades4 ,in present-day competitions1 the ill luck following this error is evident2 to touch the sword or scabbard with the foot eliminates the offender from the contest4 ,the ,highland ,fling1 in distinction from the above1 symbolises victory or rejoicing4 ,with the other dances of ,scotland1 it has been highly formalised4 ,moreover1 its routine1 steps1 and the proper execution of each are so clearly defined and generally understood that any change in them is immediately resented by any ,scotch audience4 ,every one has seen ,scotch dances2 any detailed analysis of them would be superfluous4 ,exhilarating as ,highland whiskey1 sharp as the thistle1 they are carried to a high plane of art4 ,through them all runs a homogeneous angularity of movement that literally translates the sentiment of 8,caledonia1 stern and wild40 ,to the dances of ,italy and ,andalusia they are as wind-blown mountain pines in contrast to orange trees fanned by ,mediterranean zephyrs4 ,the theme of the sharp angle is kept absolutely intact1 unmodified by any element of sweep or curve that the eye can detect4 ,the essential steps are two1 with variations3 the kicking step of the ,schottische ,militaire1 of frequent mention on ballroom programmes of twenty-five years ago2 and battements1 great and small4 ,it will be seen that these are perfectly of a kind4 ,the surprising thing is the variety derived from combinations of these two elements with simple turns1 simple jumps1 and little if anything else of foot-work4 ,the result serves1 from a purely analytical point of view1 as an admirable demonstration of the value of a simple theme intelligently insisted on4 ,spirit1 of course1 is another factor of great importance in making ,scotch dances what they are4 ,a ,scotch dancer without spirit could not be imagined4 ,spanish dancers sometimes work coldly1 ballet dancers often2 but a ,scotch dancer never4 ,the first note of the bagpipes inflames him4 ,with the rigourous definition of step1 technique and style that attaches to these dances1 and the thoroughness ,illustration3 ,,the 8,,shean ,,treuse0 ,the promenade 7#a1 #b7--,the thematic step 7#c7--;,finish of a phrase 7#d7 ,to face page #afh ,illustration3 ,,the 8,,sailor',s ,,hornpipe0 ,look-out ,hoisting sail ,hauling in rope ,rowing ,type of step ,type of step ,hoisting sail ,to face page #afi of popular understanding of all that pertains to them1 the ,scotch public is qualified to exercise upon dancing the essential functions of a national academy4 ,standards are maintained by knowledge on the part of spectators4 ,indifference of performance or freedom with forms is quickly reproved4 ,nor1 on the other hand1 need any performer remain in ignorance as to just what details of his execution are lacking2 among his friends there are plenty of capable critics4 ,we noted the same conditions in ,aragon1 where the general love of the ,jota probably would have kept its standards of execution1 even without the aid of professional teachers--and certainly do protect it against the subtracting process effected by adding novelties4 ,in ,italy the ,tarantella is cultivated in the same way1 in ,little ,russia the ,cossack ,dance1 and in ,hungary the ,czards4 ,and it is the force of educated public interest behind them that sustains them in a class approached1 in requirements of skill1 by few other character dances4 ,the accompanying illustrations from work by ,miss ,margaret ,crawford and partner demonstrate the interesting fact that the ,scotch1 developing their school of execution along the lines dictated by their own keen discernment1 arrive at a conclusion in important respects identical with the creed of the classic ballet4 ,it is possible that the dances of mountain and heather were influenced by the ,pavane and the ,minuet in their day--for ,queen ,mary had her masques and balls and pageants1 like other monarchs of her time4 ,but even that will not account for the clean1 sharp brilliancy of a ,highlander's battement or ballon4 ,in so many essentials his dances are at variance with those of the seventeenth-century courts that their excellence must be attributed to a national instinct for true quality of beauty4 ,the splendidly erect carriage of the body1 the straight knee of the supporting leg during a step1 as well as the crisp1 straight-knee execution of a grand battement 7the ,scotch and other dancers do not use the ,french designation of steps1 but the general observer may well do so for the sake of clearness71 might have come direct from the ,french ,academy4 ,this identity is in manner1 it will be understood1 more than in matter4 ,like all character dancing1 the ,scotch includes in its vocabulary positions and steps that the ballet ignores4 ,placing the hands on the hips2 the heel on the ground and the toe up2 and a 8rocking0 step1 consisting of rolling from side to side on the sides of the feet--these and other devices are of the dances of outdoors4 ,in the case of the ,scotch they are so admirably incorporated into the scheme of sharp line and movement that go to make a staccato unit that--through the sheer magic worked by cohesion of theme--they avoid the plebeian appearance into which such movements fall when not artfully combined4 ,the ,scotch ,reel has a good deal in common with the ,fling1 and is of the same general character4 ,it is customarily performed by two couples4 ,its distinguishing feature is a figure eight1 traced by a little promenade1 each of the performers winding in and out among the other three4 ,even this promenade is performed in a sharp skipping step1 that the dance may lose none of its national flavour4 ,a variation of this dance is the ,reel of ,tulloch1 popular in all parts of ,scotland1 and distinguished principally by its history4 ,legend places its origin in a country church1 in winter2 while the congregation waited for the belated minister1 they danced to keep warm1 and in the course of the dancing evolved a choreographic composition that made their village famous4 ,the ,strathspey alluded to in literature appears also to have been a variety of the ,reel4 ,the ,shean ,treuse1 a rollicking dance that covers a good deal of ground1 is--according to legend--the representation of a small boy's delight with his first pair of trousers4 ,naturally1 it is based on a series of prancing steps1 in each of which the leg is brought to horizontal to keep the trousers in evidence4 ,this concludes the list of the well-known dances of ,scotland4 ,of the number the most representative1 or one may say classic1 are the ,sword ,dance and the ,fling4 ,england has to her credit one dance1 notwithstanding all that has been said and written to the disparagement of her originality in the arts2 and1 with execution to help it1 a very respectable dance it is1 as well as a monument to a social element that has contributed powerfully to ,england's rank among the nations4 ,the dance is the ,sailor's ,hornpipe4 ,it is a dance of character in the truest sense1 being based on the movements associated with the sailor's duties4 ,accompanying himself with a tuneful patter of foot-work1 the performer pantomimes hauling at ropes1 rowing1 standing watch1 and sundry other duties of the sea-dog who dealt with sails and not with coal4 ,the hands are placed on the hips palm out1 to avoid touching the clothing with the tar that--as everybody knows--always covered the palms of the deep-sea sailor4 ,while not in any sense a great dance1 it is uncommonly ingenious and amusing in its combination of patter of steps and earnest pantomime4 ,it is literally a sailor's chantey sung in the terms of movement instead of words of mouth2 even to its division into short stanzas 7one for each of the duties represented7 the parallel is exact4 ,its place in the dancing art might be defined as the same as the position of the sailor's chantey in music4 ,in ,england there has been a recent and earnest revival of the ,morris ,dances1 accompanied by a good deal of writing on the subject4 ,in ,england they have the importance of being ,english4 ,they are 8quaint10 it is true4 ,they reflect the romping1 care-free spirit of ,merry ,england2 they bring to the cheek of buxom lass the blush of health2 they are several centuries old2 they follow the antique usage of performance to accompaniment sung by the dancers4 ,but their composition--and its absence--commends them to the attention of the antiquarian and the sociologist1 rather than that of a seeker after evolved dancing4 ,the word 8,morris10 according to the suggestion offered by certain scholars1 is a corruption of 8,moorish02 which theory of its derivation is not confirmed by step1 movement or sentiment to be found in the dance4 ,what does seem reasonably possible is that it is of ,gipsy derivation4 ,gipsies are sometimes known--in ,scotland at least--as 8,egyptians02 so why not1 by a similar abeyance of accuracy in ,england1 as ,moors8--a process of near-reasoning the value of whose conclusion is nothing at all4 ,at any rate1 the ,morris dancers have a tradition of hanging little bells around their arms and legs1 and decorating themselves with haphazard streamers of ribbon1 which is ,gipsy-esque4 ,stories are recorded to the effect that there have been performers who tuned their bells1 and by the movements of the dance played tunes on them4 ,the stories offer no definite information as to the quality of dance or music4 ,the ,morris seems to have been a dance for men only1 in which respect it was unique among the old ,english forms unearthed in the recent revival of interest4 ,many of these dances certainly are interesting1 if not in actual choreographic merit1 in association4 ,their very names are rich in flavour1 such as ,all in a ,garden ,green1 ,the ,old ,maid in ,tears1 ,hempstead ,heath1 ,greensleeves 7mentioned in ,the ,merry ,wives of ,windsor71 ,wasp's ,maggott1 ,dull ,sir ,john1 and others equally suggestive of rustic naturalness and fun4 ,their revivals by ,miss ,coles and ,miss ,chaplin include full directions for performance1 which is simple4 ,several of them preserve the ancient usage of saluting the partner with a kiss--which is not mentioned as a warning1 but as an observation merely4 ,england has been among the nations to preserve the institution of dancing around a pole--among the ,english-speaking so commonly known as the 8,maypole0 that its use in the celebration of anything but the coming of spring seems incongruous4 ,other peoples1 nevertheless1 incorporate it into religious celebrations and what-not4 ,the device of suspending ribbons from the top of the pole1 and weaving them around it by means of an interlacing figure described by the dancers1 seems to be universal4 ,the steps employed are the simplest possible--those of the ,waltz1 ,polka1 or ,schottische1 varied perhaps with an occasional turn4 ,it is another instance of a semiformalised romp called by the title of dance4 ,in passing it may be noted that the ,maypole has become a part of the ,mayday celebration of the ,new ,york public school children--and those of other cities1 for anything we know to the contrary4 ,some hundreds of poles distributed over a green1 each with its brightly coloured group twinkling around it1 tickles the eye with a feast of sparkle1 at least4 ,the same outing is the occasion of an exhibition of the character dancing that the children have learned as part of their school work during the preceding year4 ,the exhibited skill is higher than one would expect1 and remarkable1 considering the difficulties in the way of imparting it4 ,in one direction the celebration probably attains to the superlative3 its participants numbering as they do well up in the thousands1 and occupying about a quarter-section of ground1 there is nothing in history to indicate that it does not constitute1 in point of sheer size and numbers1 the biggest ballet the world has ever seen4 ,ireland has a group of dances exclusively her own1 unique in structure1 and developed to the utmost limit of their line of excellence4 ,their distinguishing property is complicated rhythmic music of the feet4 ,the ,jig1 the ,reel and the ,hornpipe of ,ireland are at once the most difficult and the most highly elaborated dances of the clog and shuffle type that can be found4 ,in them are passages in which the feet tap the floor seventy-five times in a quarter of a minute4 ,they have1 too1 the art that interprets the character of their people4 ,but it is not the ,irishman of the comic supplement that they reveal4 ,rather1 by means of their own vocabulary of suggestion1 the eloquence of which begins where words fail1 they present the acute ,hibernian wit that animates the brain of ,irishmen like ,shaw4 ,intricate combinations of keen1 exact steps1 the ,irish dances are a series of subtle epigrams directed to the eye4 ,and like the epigrams that proceed from true wit1 they are expressed so modestly that their significance may be quite lost on an intelligence not in sympathy with the manner of thought that lies back of them4 ,to the end ,illustration3 ,,irish ,,dances ,mr4 ,thomas ,hill and ,mr4 ,patrick ,walsh ,the ,jig 7#a1 #c1 #d7--,the ,hornpipe 7#b1 #e7--,the ,reel 7#f1 #g1 #h7 ,illustration3 ,a 8,,four-,,hand ,,reel0 ,preparation for woman's turn under arms 7#a7--;,characteristic style 7#b7--;,a turning group figure 7#c7 of convincing us onlookers that this everyday world is made up of nothing but happiness1 the music of tapping shoe flatters our senses without shame1 chloroforms reason and shows us the truth--that our minds at least will float in the air like dancers' bodies1 if we but abandon them to the rhythmic charm that coaxes them to forget their sluggishness4 ,irish dancing has too often been the victim of caricature4 ,in all truth1 its refined intricacy makes it cousin rather to the ,book of ,kells1 whose ancient decoration of rich yet simple interlacement gives it place among the masterpieces of the book-designer's art4 ,the intent of the art of ,irish dancing is the sooner understood by a word of negative description to begin with3 namely1 it is at the opposite pole from dancing of posture1 broad movement1 or pantomime4 ,all its resources1 on the contrary1 are concentrated in making music of the feet4 ,happy music it is1 with lightness of execution as a part of it4 ,that no incident may distract attention from foot-work1 the body is held almost undeviatingly erect1 and the arms passive at the sides2 and this is in accordance with unquestioned usage4 ,among the dancers represented in the accompanying photographs is ,mr4 ,thomas ,hill1 four times winner of the championship of ,ireland4 8,the thing of greatest importance in ,irish dancing10 ,mr4 ,hill says1 8is the music of the shoes4 ,in the eleven years that ,i have been dancing1 the greater part of my attention has been spent on the development and control of the variety of tones that can be produced by taps of heels and soles on the floor and against each other4 ,style is necessary1 of course1 as in any other dancing1 and so is exactness in #8tricky' time4 ,but control of a good variety of sounds1 which is the most difficult part of ,irish dancing1 is the most important because it is the most ,irish40 ,once in a great while coincidence puts one in the way of hearing the work of a virtuoso on the snare-drum4 ,within a minute the effect is found to be nothing less than hypnotic4 ,every one within hearing is patting time1 swaying with the time1 restraining the most urgent impulse to do something that will bring every fibre of his body into unison with that inebriating rhythm4 ,now1 the feet of a fine ,irish dancer are drumsticks as amenable to control as the drummer's2 notes long and short1 dull and sharp--he has all the drum's variety4 ,no resource of syncopation1 emphasis1 or change is unknown to the ,irish dances2 the rhythm gets into the blood--with double the seductiveness of sound alone1 since every tap on the tympanum is reinforced by the same metric beating on the vision4 ,joined to the resulting exhilaration is the peculiar excitement always felt in the presence of suspended gravitation2 for no less than suspended gravitation it is when the foot of a man taps the ground like the paw of a kitten1 and the body floats in the air like a bird that has paused but will not alight4 ,the good ,saint ,basil was not only eloquent when he asked what could be more blessed than to imitate on earth the dancing of the angels4 ,his question carries with it the important indication that he had seen an ,irish ,reel in his day4 ,because1 among all the dances that are stepped on this mortal earth1 what other is so light that the saint could see in it the pastime of angels8 ,for the sake of accuracy1 let it not be thought that the steps of the ,reel and the ,jig1 and the ,hornpipe as well1 were not old while ,christianity was new4 ,mr4 ,patrick ,j4 ,long1 himself at once a dancer of pronounced ability and a well-read scholar on ,irish history1 writes for this chapter3 8,in the days of ,druidism1 the ,irish nation celebrated an annual feast lasting six days2 three days before the first of ,november1 and three days after4 ,coming after the season of harvest1 it probably was like a ,thanksgiving4 ,the celebration was called in ,gaelic a ,feis 7pronounced #8fesh'74 ,now it was the custom1 at the time of the ,feis for the nobles of ,ireland1 and their ladies1 and bards and harpists from far and near1 to gather at the castle of the king2 and there for six days there were competitions in all kinds of music and dancing4 8,the dance that was popular with the nobles and their ladies was called the ,rinnce ,fadha 7pronounced #8reenka faudha'74 ,this we know was a dance for several couples4 ,it was a favourite of ,king ,leoghaire 7pronounced #8,leery'71 who ruled ,ireland when ,st4 ,patrick came to convert the people from paganism4 ,from it was derived in a later century the form of the ,sir ,roger de ,coverley2 from the ,sir ,roger came the ,virginia ,reel of ,america4 8,the dances of ,ireland are variations on the ,reel1 ,jig and ,hornpipe4 ,the ,reel is probably the most classic2 it is executed in a gliding movement1 and is speedy and noiseless4 ,the ,jig and the ,hornpipe have a good deal in common4 ,both use clogging and shuffling2 that is1 taps of heel or sole on the floor1 and light scrapes of the sole4 ,of the two the ,hornpipe contains the more clogging4 ,but it is richer than the ,clog ,dance that it resembles more or less4 ,it is less mechanical1 more varied and has prettier foot-work4 8,the ,reel and the ,jig are danced as solos by man or woman1 by two men1 two women1 a couple1 two men and a woman1 two1 three1 four or eight couples4 ,in #8set dances1' as they are called when performed by a #8set' of couples1 the steps are simpler than in solo work2 and the time also is simpler in the music of set dances than in the airs used to accompany solos and the work of teams of two4 ,there are ,hop ,jigs1 ,slip ,jigs1 ,single and ,triple ,jigs in #i-h time4 ,another peculiarity of ,irish dancing1 due to the character of the music1 is in the irregularities of repetition of the work of one leg with the other leg4 ,the right leg may do the principal work through eight bars2 the same work is naturally to be repeated then with the left leg2 but often the composition of the music gives the left leg only six bars4 ,this is good because unexpected1 but it adds a great deal to the difficulty of learning ,irish dancing40 ,the above-named dances represent the utmost development of clogging1 which is tapping of heels1 and shuffling1 or scraping of the sole on the floor4 ,foot-work1 especially that of short and rapid steps1 is the element impossible to show in pictorial form4 ,accompanying photographs1 therefore1 give little idea of the charm of the art of ,mr4 ,hill1 ,mr4 ,long1 ,mr4 ,walsh1 ,miss ,murray and ,miss ,reardon1 from whom they were taken4 ,thanks to the ,american branch of the ,gaelic ,league and its activity in the cause of ,ireland's arts1 ,irish dancing is in a flourishing condition in this country4 ,in intelligent public interest1 standards of excellence and number of capable performers1 ,america now leads even ,ireland4 ,mr4 ,hill attributes this to a combination of well-directed enthusiasm1 and the practice of holding four important competitions each year4 ,these are divided among as many cities4 ,capable management ,illustration3 ,,the 8,,irish ,,jig0 ,miss ,murray1 ,miss ,reardon1 ,mr4 ,hill1 ,mr4 ,walsh--,single figure1 ,mr4 ,patrick ,j4 ,long ,to face page #agh attracts competitors of good class and large numbers1 and they are classified in such a way that there is hope for all4 ,liberality in prizes is an added stimulus4 ,all told1 ,mr4 ,hill says that one feis of the four annually held in this country accomplishes as much in the interest of dancing as is done in ,ireland in a year4 ,dublin and ,cork each has its annual feis1 with an interval of half-a-year between the two4 ,each has the dancing championship competition among its features2 ,mr4 ,hill's title was won in #aiji1 '#aj and '#aa at ,cork1 also in #aiaa at ,dublin4 ,as the ,gaelic ,league has prominent among its purposes the restoration to popular use of the ,gaelic language1 dancing is only one of several artistic contests4 ,singing1 elocution1 and conversation1 all in the ancient ,irish tongue1 have their respective laurel-seeking votaries4 ,superiority in the playing of violin and flute is rewarded1 as in playing the war pipes and union pipes4 7,war pipes1 as may not be universally known1 are the ,scotch form of bagpipes1 played by lung power2 the wind for union pipes1 in distinction1 is supplied by bellows held under the arm47 ,and until within a couple of years lilting has been competed in--the old singing without words1 8tra-la-la-dee0 sort of thing4 ,the irreverent called it 8pussy-singing40 ,athletic games are included for the sake of variety4 ,prizes in all events are usually medals4 ,the feis in ,america follows the same model4 ,dancing enjoys a gratifying popularity4 ,good work always incites the spectators to shout their enthusiasm4 ,with a prevailing eagerness to learn to judge it more exactly1 and a highly respectable knowledge of it at the present moment1 there exists also that most wholesome adjunct to interest1 a division of beliefs as to school4 ,the ,cork technique is comparatively short in step1 and very precise2 ,limerick favours a rather looser type of movement4 ,and there comes in the world-old argument between the ,academic and 7by whatever name it matters not7 the ,impressionistic creeds4 ,each claims to represent the true ,hibernianism4 ,sweden1 during a period beginning a few years ago1 has taken up an enthusiastic revival of the dances of the ,scandinavian world4 ,the movement began with the foundation by the late ,dr4 ,hazlius of the ,museum of the ,north1 and is carried on by his son4 ,the ,museum was planned to bring together a representation of ,scandinavia of old1 in such a complete way as to show not only products and methods of manufacture1 but modes of life and social customs4 ,the result is unique among undertakings of the kind4 ,in a park called the ,skansen are preserved the ,scandinavian flora and fauna1 in appropriate surroundings4 ,farms are cultivated in the manner of the various provinces1 and on the farms are their appropriate buildings1 characteristic in every detail4 ,to complete the re-creation of antiquity1 churches and all the other structures pertinent to community life are included4 ,the numerous people required to animate such an establishment1 including as it does accommodations for visitors1 are the expositors of the national dances4 ,farmers1 shoemakers1 waiters in the cafs1 are required to learn and practise them1 and present them publicly three times a week4 ,it goes without saying that they dress at all times in the costume of the locality of which they are representatives4 ,the influences of the ,skansen have been of a sort to gratify its founder4 ,society now1 as a custom1 dresses itself for garden parties in the picturesque gaiety and brilliant colour of old ,scandinavia1 and dances the ,skralt and ,kadriljs of the peasants4 ,a saying has sprung up that 8dancing is a form of patriotism40 ,the sentiment has impressed itself no less upon the working people than upon the rich4 ,children receive dancing instruction gratis in the ,skansen1 and knowledge has spread into all parts of ,sweden4 ,now1 instead of the ,polka1 which fifty years ago swept over ,scandinavia and fastened itself on the land with a hold that smothered every other dance1 are to be seen the merry steps and forms that are distinctively of the ,norseland1 accompanied by the old music4 ,a princess of the royal house sanctions the revival of ,scandinavianism 7if the word be permitted7 to the extent of dressing herself and the servants at her summer-place according to the new-old modes4 ,she is popular and the movement is strengthened accordingly4 ,the dances are simple in step1 though often complicated in figure2 lively and gay in manner1 and rich in pantomime4 ,accepted standards of execution require decided grace and a good style4 ,gustavus ,,iii1 when he visited ,france1 is said to have been deeply impressed by the exquisite dancing of ,marie ,antoinette and her court4 ,the element of beauty to be seen in ,swedish dancing is supposed to be due in part1 at least1 to that royal visit4 ,one of the most pleasing dance-arrangements is inspired by the work of the weaver1 with the happy changes of effect constantly wrought by the action of the loom4 ,the ,vafva ,vadna this dance is called4 ,it is highly complicated1 the stretched threads are simulated in the lines of performers1 through whom flashes back and forth the girl who represents the movements of the shuttle4 ,rich variety is gained by involved intercrossings of the lines of boys and girls4 ,the taming of womankind is the motive of the pantomimic ,daldans4 ,over the head of the meekly kneeling woman the man swings his foot1 as a symbol2 in another figure the woman's coquetry reduces the man to helplessness4 ,the ,vingakersdans pantomimes the competition of two women for the same man4 ,the favoured one seats herself a moment on the man's knee1 and finishes the number by waltzing with him2 while the defeated charmer bites her nails with vexation4 ,these are characteristic specimens of a very numerous group4 ,their revival seems to progress more rapidly in the villages than in the big cities--interesting as a case of the country leading the cities in a movement of modernism4 ,many of the pantomimes are based on work from which the rural population is less remote than are those who dwell in cities4 ,the movements of making a shoe are known to every villager2 he has watched the cobbler many a time1 and known him usually as the local philosopher4 ,upon the village1 therefore1 no touch of character in the ,cobblers' ,dance would be lost4 ,the humours of harvesting might in like manner fail to reach a city audience without the aid of spoken word2 harvest1 with other elemental work1 provides many of the ,scandinavian dance motives4 ,holland and ,belgium are alike unproductive of dancing of much choreographic value4 ,the strength of the people is not accompanied by either the lightness or agility found in dancing nations4 ,as a coincidence1 it is notable that dancing does not flourish in regions of wooden shoes4 ,the ,dutch have a species of sailors' dance called the ,mtelot1 performed by groups of men and women2 but it is a romp and little or nothing more4 ,this is characteristic of the dances of the ,netherlands1 as is confirmed by genre pictures from the time of ,teniers down to the present4 ,the ,waltz1 it should be said at this point1 is universal4 ,if ever it is asserted that the people of a locality do not dance1 an exception may be made to cover the ,waltz1 so long as the locality referred to is in the ,occident4 ,the seeming caution with which peasants perform their ,waltzes practically removes them from the category of dancing1 though not from that of humour4 ,france1 the ,eden of the ,grand ,ballet1 the home of a race of lovers of beauty1 might be expected to abound in rich character dances2 but the exact reverse is true4 ,the people of the country are1 first of all1 workers2 the dances that enliven their ftes are the careless celebration of children released from confining tasks4 ,the principal cities have their opera ballets2 through them is supplied the national demand for choreographic beauty4 ,the old name of la ,bourre survives in ,auvergne4 ,in its present form it bears no resemblance to the old ,bourre of eighteenth-century courts1 but is one of those informal frolics of an indefinite number of couples1 hand-clapping1 finger-snapping1 and energetic bounding1 mingled with shouts of joy4 ,the ,farandole is popular in the ,south of ,france4 ,under its name a chain of boys and girls1 united by handkerchiefs that they hold1 8serpentines0 and zigzags in directions dictated by the caprice of their leader1 perhaps traversing the length of the streets of a village4 ,from time to time the leading couple will halt and form their arms into an arch for those following to pass under2 or again stop the procession in such a way as to wind up the line into a compact mass4 ,again the game partakes of the nature of 8follow the leader10 the whole party imitating the leader in any antic he may perform4 ,the ancient ,contredanses--which word ,england changed to ,country ,dances1 of frequent mention in story--were the roots of modern ,quadrilles4 ,these1 however1 are polished out of any semblance to character dances2 they are of the ballroom and infinitely removed from the soil4 ,germany1 with its fondness for legend and care in its preservation1 would be a fertile field for search on the part of a compiler of ancient observances more or less allied to dancing4 ,a specimen of the latter is the ,perchtentanz of ,salzburg4 ,perchta is another name for ,freya1 ,woden's consort and the mother of the ,northmen's gods4 ,she is powerful even in these modern times1 and malicious unless propitiated by proper formul of actions and words4 ,placing a spoonful of food from each dish of the ,christmas dinner for her on the fence outside the house is one of the tributes4 ,she has spirit-followers3 some kindly1 called 8schn ,perchten10 others wild and fierce1 known as 8schiachen ,perchten40 ,the latter alight on houses and scream mischievously1 lure men into danger and punish undiscovered crimes4 ,at irregular intervals is performed the ,perchtentanz2 not apparently as an act of propitiation1 but presumably having that motive as its origin4 ,good and evil ,perchten both are represented4 ,on an accompanying page of ,european miscellany is a drawing of one of the 8beautiful40 ,the huge plaques are covered with sparkling trinkets and adorned with braid1 ribbon and embroidery4 ,stuffed birds are also popular for their decorations2 a dozen of them may be affixed to the lower plaque1 a ,illustration3 ,,from ,,various ,,folk-,,dances4 ,scandinavian4 ,hungarian4 ,from the ,perchtentanz of ,salzburg4 ,russian4 ,scandinavian4 ,bavarian4 ,russian ,court 7,princess ,chirinski-,chichmatoff47 smaller number to the upper2 an ambitious crown to the whole is sometimes seen in the form of a peacock with spread wings4 ,the structure is supported by a rod running down the bearer's back1 and fastened to him by belts4 ,its weight prohibits any movement to which the word 8dancing0 applies except as a convenience2 but a series of slow and necessarily careful evolutions performed by the wearers of these displays is called a dance1 nevertheless4 ,meantime the 8fierce ,perchten10 made up with masks as demoniac as possible1 run about among the legs of the crowd and do their best to startle people4 ,the spirit accompanying the celebration is levity1 modified only by the sincere admiration considered due the serious decorations4 ,they represent a great deal of work and considerable money4 ,in various parts of ,savoy is performed on ,st4 ,roch's ,day what is called the ,bacchu-ber4 ,on a platform erected in front of a church1 and decorated with garlands and fir-trees1 a group of men dance with short swords2 passing under bridges of swords1 forming chains by grasping one another's weapons1 and so on4 ,that its origin is pre-,christian seems a reasonable conjecture2 but nothing specific is known about it4 ,munich celebrates with dancing an episode connected with an epidemic of cholera3 the guild of coopers decided that the care the people were taking against exposure was defeating its purpose1 since it was keeping them indoors to the detriment of health4 ,they therefore went out and enjoyed themselves as usual1 for the sake of example4 ,others did the same1 and the plague ceased4 ,periodically the brave coopers are honoured1 therefore1 by dances of large companies of people1 who carry garlanded arches and execute triumphal figures4 ,illustration3 ,,the 8,,schuhplatteltanz0 ,herr and ,frau ,nagel ,a swing ,a turn ,a turn1 man passing under a woman's arms ,a swing1 back-to-back ,the mirror ,to face page #ahf ,illustration3 ,,the 8,,schuhplatteltanz0 ,,of ,,bavaria ,preparing a turn 7#a7--;,a lift 7#b7--,starting woman's series of turns 7#c7--,start of woman's turns 7#d7--,man fans her along with hands 7#e7--;,finish of dance 7#f7 ,to face page #ahg ,the foregoing instances are no more than a specimen of the varieties of tradition that dancing may commemorate4 ,europe collectively doubtless will produce thousands of such dances1 when the task of collecting them is entered upon with the necessary combination of leisure and zeal4 ,bavaria's ,schuhplatteltanz is altogether delightful in itself1 without aid from history or tradition to supplement its interest4 ,it is full of a quaint ,tyrolean grace mingled with happy and delicate grotesquery4 ,women it causes to spin as though they were some quaint species of combination doll and top2 the atmosphere that surrounds a marvellous and pretty mechanical toy is preserved in a delicate unreality in the pantomime and in the treatment throughout4 ,it is accompanied by zithers1 instruments which themselves sing of a world suspended somewhere in the air4 ,in silvery1 floating tones they play less a waltz than the dream of a waltz1 in sounds as unmaterial as the illusive voice of an olian harp4 ,a little opening promenade2 a few bars of the couple's waltzing together--in steps infinitesimal1 prim with conscious propriety4 ,the man raises the girl's hand and starts her spinning4 ,she neither retards nor helps1 being a little figure of no weight1 moved solely by power from without itself4 ,her skirt stands out as straight and steady as though it were cardboard2 her partner must lean far over now1 not to touch it and spoil the spin4 ,now she is whirling perfectly2 with a parting impulse to her arm1 he releases her4 ,on she turns1 at a speed steady as clockwork1 revolving1 as a top will1 slowly around a large circle4 ,her partner follows1 beating time in a way that bewilders eye and ear alike2 for his hands pat shoes and leather breeches with a swiftness incredible and ecstatic4 ,of this perhaps sixteen bars when1 as though his partner were beginning to 8run down10 he starts blowing her along with vigorous puffs4 ,nevertheless1 she is slowing down2 the skirt is settling4 ,he reaches over it1 gets his hands on her waist4 ,to the last the spinning illusion is preserved by an appearance of her rotary motion being stopped only by the pressure of the man's hand as a brake4 ,the foregoing interpretation is suggested by the delicate work of ,herr and ,frau ,nagel1 and the company with which they are associated4 ,it is a dance whose fancy easily could disappear under its mechanics1 if performed without imagination4 ,having caught his partner after her spin1 waltzed again with her for a few bars1 and lifted her up at arm's length in sheer playfulness1 the man joins arms with her in such fashion as to form almost a duplicate of the 8mirror0 figure of the ,minuet4 ,the courtliness of the cavalier in the ,minuet is matched by adroitness on the part of the schuhplatteltanzer2 he contrives to draw his partner's head nearer and nearer to his1 as they walk around in a lessening circle4 ,finally1 when the circle of the promenade can become no smaller1 and the faces have come close to the imaginary mirror framed by the arms1 he suddenly but daintily kisses her lips4 ,germany is the home of the ,waltz1 of which it has evolved several varieties4 ,the ,rheinlander ,waltz is perhaps the most popular4 ,in one form or another it has spread through the ,balkan countries2 not1 however1 with any apparent detriment to the native dances1 because of these dances' natural crudeness4 ,servia1 ,montenegro and the neighbouring monarchies celebrate weddings and christenings and enliven picnics with a 8round0 called in ,servian language the ,kolo1 that employs the simple old figures of the bridge of arms and the like1 but which1 as to step1 is quite formless4 ,colour in the costumes goes far to provide spectacular interest to these exuberant frolics4 ,the linen gowns of the women are embroidered in big--and good--designs of two distinct reds1 scarlet and rose2 emerald-green and a warm yellow-green2 the most brilliant of yellows2 wine-colour and blue4 ,as is frequently found in a region that has kept a scheme of design through a sufficient number of generations to allow the formation of traditions based on long experiment1 the seemingly impossible is accomplished by the peasant women of the ,balkans3 the colours whose enumeration on the same page would seem outrageous are1 in practical application1 brought into harmony4 ,it is a question of proportionate size of spots of colour1 and their juxtaposition4 ,the results of using the same colours in new designs is to be seen in the expressions of sundry new schools of painting that refuse to acknowledge limitations4 ,men's sleeves and waistcoats are frequently embroidered in the same way as the jacket and sleeves of the women1 as exemplified in the accompanying photographs of ,madame ,koriti4 ,loose linen trousers1 which are sometimes worn1 may be likewise decorated4 ,in the sunlight and in appropriate surroundings1 a performance of the ,kolo should be a sight to dispel trouble1 whatever its deficiencies from the point of view of dancing4 ,greece1 too1 diverts itself with rustic rounds1 as formless as in other lands4 ,of the ,hellas that gave the ,occident its civilisation there remain some architectural ruins1 to which latter-day inhabitants of the land may have given some care2 and certain statues1 preserved in the museums of other lands4 ,for ,hellenic ideals and ,attic salt1 search the hat-boy at the entrance to the restaurant4 ,the ,greek of to-day is a composite of ,turk and ,slav2 his dances have neither the grace of the one nor the fire of the other4 ,the discovery in ,greece of survivors of ancient dances--which discovery is occasionally asserted--may have a basis in fact2 but more likely its foundation is in a similarity between an ancient and a modern word4 ,but enough of disappointments and of great things lost4 ,hungary1 ,russia and ,poland have a family of strictly national dances that not only take a position among the world's best character dances2 without departing from their true premise as expressions of racial temperament1 some of them attain to the dignity of great romantic art1 combined with optical beauty of the highest order4 ,a ,czards in one of the ,pavlowa programmes 7season #aiac-ad7 showed qualities of choreographic composition that were equalled1 in that entertainment1 only by the ballet arrangements of the most capable composers whose works were represented4 ,the juxtaposition of ballet and character numbers1 performed with the same skill and accompanied by the same orchestra1 furnished an uncommonly good measure of the folk-dances' actual merit4 ,the ,czards1 the ,mazurka and the ,cossack ,dance of ,russia and the ,obertass of ,poland form a group that occupy in the dance the place that ,liszt's 8,hungarian ,rhapsody0 fills in music3 they are the candid ,illustration3 ,,the 8,,kolo0 ,,of ,,servia ,madame ,koriti ,start of a turn ,progress of a turn ,a bridge of arms ,an emphasis ,a lift ,illustration3 ,,poses ,,from ,,slavonic ,,dances ,miss ,lydia ,lopoukowa ,coquetry ,petulance ,indifference ,emphasis ,jocular defiance revelation of the heart of a people simple1 sympathetic1 unrestrainedly romantic1 violently impulsive4 ,each represents an exciting diversity of ammunition1 fired in one rousing volley2 an expression to which one may become accustomed1 but which always remains unfamiliar1 and which always produces an intoxicating shock4 ,the abrupt changes of movement from slow to fast1 from furious speed to a dead standstill2 the recurrent crescendo from short1 close movement to broad sweeps1 open jet turns1 and the lowest of 8dips02 the diverse effects gained by play of rhythm--such effects are indescribable in word or picture4 ,fortunately1 however1 characteristic poses are within the range of the snapshot2 so also1 to an extent1 is the expression of human moods--if portrayed by rare pantomimic ability4 ,possession of such ability1 backed by the unfettered imagination of the ,tartar and accompanied by superlative artistry1 describes ,miss ,lydia ,lopoukowa4 ,to her great kindness this book is indebted for the accompanying photographs representing characteristic poses and moods of northern ,slavonic dancing4 ,taken from the work of such an artist1 the pictures represent an idealisation1 or perfection1 of their subjects4 ,they show movements of the dances themselves1 in their spirit1 without the usual limitations imposed by physique4 ,the clean-cut definition of pose2 the co-ordination of pose and features in all the expressions of allurement1 appeal1 petulance1 esctasy--these represent a standard at which the merely mortal dancer aims1 but a conjunction of conditions that one may hope to see accomplished few times in the course of one life4 ,yet1 as noted before1 the dances are so composed that1 performed with a degree of skill not uncommon in their native land1 they are rich and surprising4 ,in steps1 the ,russian1 ,austrian and ,polish group have most of their material in common3 naturally1 since they are united by ties of race4 ,the salient point by which each dance is distinguished1 in the eye of the spectator1 is one big step4 ,the ,czards employs a long glided step that is all its own4 ,the active foot is started well to the rear1 and glided forward2 the glide is accompanied by a very low pli of the supporting knee2 as the active foot comes into advanced position1 the dancer sharply straightens up1 rises to the ball of the supporting foot1 and continues the advancing foot forward and upward in a rapid kick4 ,the masculine version drops the body lower1 and kicks higher1 than the feminine2 but even the latter's change of elevation remains fixed in the memory4 ,in the ,obertass1 the man goes into the low stooping position1 in connection with executing a very individual rond de jambe4 ,at the moment1 he is face to face with his partner1 his hands on the sides of her waist1 her hands on his shoulders2 after a swift step-turn in the usual direction1 he takes a long step backward 7she forward71 and1 keeping his right leg extended before him1 stoops until he is squatting on his left heel2 the right leg1 held straight1 is swept rapidly around to the rear2 meanwhile the couple continues to turn4 ,the man's momentum turns him until he faces in the same direction with his partner4 ,he springs up on her right side1 and goes with her into a short1 fast polka-step4 ,during the turn1 the woman keeps hold of the man to prevent centrifugal force from flinging him into space4 ,in the ,mazurka 7not the ballroom version7 the same ,illustration3 ,,poses ,,from ,,slavonic ,,dances ,miss ,lydia ,lopoukowa ,negation 7#a7--;,fear 7#b7--,supplication 7#c7--;,an emphasis 7#d7 ,illustration3 ,,poses ,,from ,,slavonic ,,dances ,miss ,lydia ,lopoukowa ,characteristic gesture 7#a7--;,characteristic step 7#b7--;,characteristic gesture 7#c7--;,characteristic step 7#d7--,same1 another view 7#e7--;,ecstasy 7#f7--,the claim of beauty 7#g7 step1 modified as to elevation1 is performed by both man and woman1 alternately1 during certain passages4 ,the ,szolo1 a ,hungarian dance introduced into ,america by ,mr4 and ,mrs4 ,hartmann1 gives the woman a unique turn in the air4 ,the woman standing at her partner's right1 the two join their crossed hands above her head1 she reaching up1 he downward4 ,she is turned by being swung through the air--in a horizontal position--finishing on her partner's left side4 ,the arms1 of course1 have 8unwound0 from their first position1 and re-crossed in its converse position4 ,this movement1 masterfully executed1 is one of the devices by which the dance contradicts gravity4 ,ill done1 of course1 it would be as painful for spectator as performer4 ,but these dances are not often ill done--at least by the people to whom they belong4 ,we are credibly informed that the problems of involved steps and tricky tempo1 exacting requirements of agility and expression1 are met with a laugh2 that1 while great virtuosity is naturally rare1 real elegance of execution is the rule4 ,which leads back1 of course1 to national choreographic traditions and ideals4 ,the artistic level they occupy in ,russia 7and presumably ,hungary and ,poland7 is indicated in a few lines of a letter to the authors from ,princess ,chirinski-,chichmatoff1 of ,moscow4 ,apart from its value as quite the finest statement of the meaning of character dancing that is to be found in the literature of choreography1 the paragraph has the interest of showing one of the reasons why the folk-dancing of northeastern ,europe is good3 ,in every dance the principal things are the harmony 7#a7 of movements with the rhythm of the music1 7#b7 of movements with the subject that the music represents1 and 7#c7 of the sentiments with the pantomime1 to give a certain impression2 and finally this1 that it should be a dance which has exclusively the national character1 with the movements natural familiers to a certain people and to a certain epoch4 ,in the dance the artist ought to show all the richness of his soul2 ought to instil into his movements all of that which the sculptor puts into his marble2 while above the idea and the mood ought to be felt the beauty and freedom of movements and lines4 ,quite a difference between that and some other national ideas of character dancing6 ,describing her national dance 7i4 e41 the ,cossack ,dance and its derivatives7 she writes3 8,the ,russian dance is composed in two parts1 ,adagio and ,allegro4 ,in each part we see the traits most natural to the people1 and which were formed in historic times1 under other conditions4 8#a4 ,adagio3 length1 freedom1 tranquillity of movement with much dignity and grace1 and with a little softness and simplicity2 all relating to the traits that were formed during the period when all ,russian women passed the whole time in their trmas 7house of ,russian style71 retired from the world1 working and singing1 thinking melancholy thoughts about life but never seeing it in reality1 never leaving the house nor being seen except on the rare occasion of visits4 8#b4 ,allegro3 expresses1 with the gay and popular songs1 the vivacity1 the carelessness1 the humour and the pleasantry that were born in a people still a little barbarous and simple1 whose sadness and gaiety were somewhat nave4 ,all the traits natural to the ,russian people are portrayed in their national dance and in the simple music created from the most popular and beloved songs40 ,within the form so sketched there is room for a wide variety of interpretation4 ,the peasant expresses the motives of happiness and vivacity in movements that translate the joy of an almost wild man4 ,an advance while maintaining a low squatting position1 the spring for each step coming from a leg bent double1 is a grotesquery trying to the strength of the toughest thighs4 ,still more difficult and as grotesque is a movement of squatting on one heel1 and rapidly tracing circles with the extended leg held straight1 as though it were the arm of a compass4 ,the feminine version of the movements is less violent2 but the ,allegro portion of the woman's work is nevertheless tremendously animated in the rustic version of this dance4 ,as the court of seventeenth-century ,france took the dances of the peasant and modified them into adornments of ceremonious occasions1 so polite society has done in ,russia4 ,the ,court ,dance is the result4 ,refinement has not robbed it of the national qualities described by ,princess ,chirinski2 her own performance of it demonstrates1 in almost spiritual terms1 the 8dignity and grace10 the 8little softness and simplicity10 the 8sadness and gaiety0 that she puts into words4 ,through her performance1 too1 runs an undercurrent of the indefinable--a hint of latent mystery that is not ,european4 ,it is a quality not infrequently sensed in the work of artists of ,tartar blood2 it is a trace of the ,orient4 ,,chapter ,,ix ,,oriental ,,dancing ,from a race of artists ,mohammed took away the freedom to paint or model representations of living things4 ,yet the prohibition was a seed from which sprang a garden of expression more graphic than paint1 a school of symbolism perhaps the most highly wrought the world has seen4 ,artist the ,arab is1 whether measured by tests of his command over abstract symbol or--in such media as his religion permits--vivid portrayal of nature4 ,of concrete things and occurrences he has the alert observation of a reporter4 ,upon what he sees he ponders2 intensely religious1 he sees the hand of ,allah in many things1 draws morals1 and seeks meanings4 ,his nomad forefathers mastered the geography of the stars1 in search of a celestial message4 ,though the message be still unread1 mathematical problems that vex the learned in academies amused the ,arab when the race was young4 ,written numerals he invented1 occult relations he sees in their functions4 ,and1 underlying all1 he has a passion for intellectual order4 ,geometry is the educated ,arab's plaything2 from long practice he can project its figures upon the wall of imagination1 free of the need of pencil4 ,owing to this practice1 perhaps1 his thoughts express themselves in the form of images4 ,his literature is crowded with them1 vivid sketches thrown before the mind's eye2 each a ,illustration3 ,,arabian 8,,dance ,,of ,,greeting0 ,by ,zourna ,called upon to dance1 she reveals herself 7#a7--,salutation 7#b7--,profile view of same 7#c7 ,illustration3 ,,arabian 8,,dance ,,of ,,greeting0 7,continued7 8,for you ,i will dance0 7#d7--8;,from here you will put away care0 7#e1 #h7--8;,here you may sleep0 7#f7--8;,here am ,i0 7#g7 ,to face page #aig symbol more eloquent than description1 a metaphor more compelling than logic4 ,as astronomy was born of the search for meanings in the stars1 so the search for mystic functions among the figures of geometry evolved a school of decoration that drowns the eye in pleasure1 baffles the mind to explain4 ,from square and compass spring the best of the interlaced ornament of the palace of ,alhambra--the ornament that raises material things to a plane almost exempt from material limitations4 ,and not the designer alone gleaned from the geomancer's play with line4 ,experiments profitless to the magician yielded of their magic to the architect1 to the end that he was able to make of a gateway a song of thanksgiving1 of a square tower a hymn of aspiration--and these1 if it suited him1 by the magic of proportion alone1 without the aid of any adornment whatever4 ,such a race1 if it could have painted and drawn1 would have produced artists superlative in more than one direction4 ,clear observation and the wit to discern significances would have made satirists and commentators of the most subtle kind4 ,in picture1 the ,arab metaphor would have been better expressed1 even1 than in words1 which often seem a weak translation of a graphic symbol in the ,arab story-teller's mind4 ,as to decoration1 it seems inevitable that with knowledge of the figure and freedom to use it1 the ,moors that adorned ,alhambra's inner walls could have painted such designs as are not even dreamed of2 for their designing--so far as its field extended--was to ,occidental designing in general as evolved musical composition is to arrangement by guess-work4 ,all these things the ,arab must have done as a painter4 ,yet despite the injunction depriving him of life as material for picture and sculpture1 and indeed because of it1 he has evolved an art in which painting and sculpture unite to express the human emotions through the medium of the human form4 ,that art1 of course1 is dancing4 ,he has dignified it with his accumulated knowledge of decoration1 imbued it with the mystic symbolism of his speculative mind4 ,in light mood it narrates the passing occurrence or the amusing anecdote4 ,and not the least of the wonders of the ,arab dancing is the emphasis it places upon the beauty of womankind4 ,instead of movement1 as in most ,european dancing1 its essential interest is in a series of pictures1 charged with significance and rich in harmony of line4 ,the eye has time to dwell upon a posture1 to revel in the sensuous grace into which it casts body and limb4 ,to complete the task of sculptural composition1 the ,arabic dancer studies to a rare completeness the art of eliminating the many natural crudities of position that prevent arms1 legs and body from showing to the utmost advantage their physical perfection4 ,though the material body does not--in the work of a genuine artist--distract attention from sculptural nobility of pose1 neither is physical attractiveness lost sight of in the beauties of the abstract4 ,that the treasure-house of ,arabian choreography never has been really opened to ,occidental eyes is probably due1 as much as to anything else1 to the ,arab's inability to contribute any explanation to a thing which1 by his way of thinking1 explains itself4 ,he has seen no dancing except that of his own race4 ,to him ,arabian dancing is not ,arabian2 it is just dancing4 ,in his eyes the mimetic symbols are as descriptive as spoken ,illustration3 ,,arabian 8,,dance ,,of ,,greeting0 7,continued7 8,and should you go afar0 7#i7--8,may you enjoy ,allah's blessing of rain0 7#aj7--8;,and the earth's fullness0 7#aa7 ,illustration3 ,,arabian 8,,dance ,,of ,,greeting0 7,continued7 8,may winds refresh you0 7#ab7-- 8,wherever you go0 7#ac7-- 8,and your slave0 7#af7 8,here is your house0 7#ad7-- 8,here is peace0 7#ae7 words4 ,except he could see them with ,occidental eyes1 he would see nothing about them to explain4 ,europe has seen the ,arabic work1 and enjoyed it for its ocular beauty4 ,grome1 ,constant1 ,bargue and others have painted its sinuous elegance with admirable results4 ,but no insight into its motives has become general1 nor has any key to its meaning heretofore been printed1 so far as can be ascertained1 in any ,european language4 ,america still further than ,europe has been excluded from satisfactory acquaintance with the ,oriental1 because it has been so rarely presented here except in a manner to defame it4 ,at the ,world's ,fair in ,chicago1 where we saw it first1 its sinuous body-movement caused a shock4 ,along that line opportunist managers saw profit4 ,sex--an institution whose existence is frankly admitted by every civilisation except our own--was1 under managerial inspiration1 insisted upon to the exclusion of every other motive of the dance2 and insisted upon in such a manner as to make it repulsive4 ,ruth ,st4 ,denis has gone far in removing the resulting stigma from the art of ,india and ,egypt4 ,that the prejudice is not going to persist in the face of a national common-sense and love of beauty is further indicated in the reception met by the work of ,fatma a couple of seasons ago in ,the ,garden of ,allah2 a ,moroccan woman1 doing work unreservedly typical of her country1 always received with delight by the audience1 and never regarded from the wrong point of view4 ,the mission of calling ,western attention to that which lies below the surface of ,arabic dancing1 however1 appears to have remained for ,zourna1 the ,tunisian4 ,to her it is possible1 by virtue of a point of view resulting from a dual education1 ,mohammedan and ,european4 ,zourna is the daughter of an ,arab father and a ,french mother1 who lived in ,tunis4 ,in childhood she was taught the ,arab girl's accomplishments1 dancing included2 but an occasional visit to ,france enabled her at all times to see her ,african way of living somewhat as it would appear to the ,european4 ,in the natural course of events she married2 destined1 however1 to a short time of enjoyment of the dreamy dancing of the sheltered harem4 ,the death of her husband and loss of fortune drove her to dance in cafs4 ,that genus of work she had time to learn well before ,fate again intervened4 ,a chain of circumstances brought her an opportunity to study ballet in the ,french ,academy4 ,it was not her medium of expression1 but it gave her a clear measure of the difference between the ,oriental and ,occidental philosophies of the dance4 ,of formulated dances the ,arab has few1 and those no more set than are the words of our stories3 the point must not be missed1 but we may choose our own vocabulary4 ,in terms of the dance1 the ,arab entertainer tells stories2 in the case of known and popular stories she follows the accepted narrative1 but improvises the movements and poses that express it1 exactly as though they were spoken words instead of pantomime4 ,somewhat less freedom necessarily obtains in the narration of dance-poems than in the recital of trifling incident2 but within the necessary limits1 originality is prized4 ,in the mimetic vocabulary are certain phrases that are depended upon to convey their definite meanings4 ,new word-equivalents1 however1 are always in order1 if they ,illustration3 ,,arabian 8,,dance ,,of ,,mourning0 ,by ,zourna ,the body approaches 7#a7--,the body passes 7#b7--8;,i hold my sorrow to myself0 7#c7 ,to face page #bjj ,illustration3 ,,arabian 8,,dance ,,of ,,mourning0 7,continued7 8,he has gone out of the house and up to ,heaven0 7#d7--8;,farewell0 7#e7 ,to face page #bja can stand the searching test of eyes educated in beauty and minds trained to exact thinking4 ,nearly unlimited as it is in scope1 delightful as it unfailingly is to those who know it1 ,arabic dancing suits occasions of a variety of which the dances of ,europe never dreamed4 ,in the caf it diverts and sometimes demoralises4 ,in his house the master watches the dancing of his slaves1 dreaming under the narcotic spell of rhythm4 ,on those rare occasions when the demands of diplomacy or business compel him to bring a guest into his house1 the dancing of slaves is depended upon to entertain4 ,his wives dance before him to please his eye1 and to cajole him into conformity with their desires4 ,even the news of the day is danced1 since the doctrines of ,mohammed depress the printing of almost everything except the ,koran4 ,reports of current events reach the male population in the market and the caf4 ,at home men talk little of outside affairs1 and women do not get out except to visit others of their kind1 as isolated from the world as themselves4 ,but they get all the news that is likely to interest them1 none the less2 at least the happenings in the world of ,mohammedanism4 ,as venders of information of passing events1 there are women that wander in pairs from city to city1 from harem to harem1 like bards of the early ,north4 ,as women they are admitted to women's apartments4 ,there1 while one rhythmically pantomimes deeds of war to the cloistered ones that never saw a soldier1 or graphically imitates the punishment of a malefactor in the market-place1 her companion chants1 with falsetto whines1 a descriptive and rhythmic accompaniment4 ,thus is the harem protected against the risk of narrowness4 ,in the daily life of the harem1 dancing is one of the favoured pastimes4 ,women dance to amuse themselves and to entertain one another4 ,in the dance1 as in music and embroidery1 there is endless interest1 and a spirit of emulation usually friendly4 ,one of the comparatively formalised mimetic expressions is the ,dance of ,greeting1 the function of which is to honour a guest when occasion brings him into the house4 ,let it be imagined that coffee and cigarettes have been served to two grave gentlemen2 that one has expressed bewilderment at the magnificence of the establishment1 and his opinion that too great honour has been done him in permitting him to enter it2 that the host has duly made reply that his grandchildren will tell with pride of the day when this poor house was so far honoured that such a one set his foot within it4 ,after which a sherbet1 more coffee and cigarettes4 ,when the time seems propitious1 the host suggests to the guest that if in his great kindness he will look at her1 he--the host--would like permission to order a slave to try to entertain with a dance4 ,the musicians1 squatting against the wall1 begin the wailing of the flute1 the hypnotic throb of 8darabukkeh40 ,she who is designated to dance the ,greeting enters holding before her a long scarf that half conceals her2 the expression on her face is surprise1 as though honour had fallen to her beyond her merits or expectation4 ,upon reaching her place she extends her arms forward1 then slowly moves them1 and with them the scarf1 to one side1 until she is revealed4 ,when a nod confirms the command to dance1 she quickly drops the scarf to the ,illustration3 ,,arabian 8,,dance ,,of ,,mourning0 7,continued7 8,he slept in my arms0 7#f7--8,the house is empty0 7#g7--8,woe is in my heart0 7#h7 ,to face page #bjb ,illustration3 ,,arab ,,slave ,,girl',s ,,dance ,by ,zourna ,a non-narrative dance1 for the exhibition of personal attractions ,to face page #bjc floor1 advances to a place before the guest and near him1 and honours him with a slave's salutation4 ,then arising she proceeds to her silent greeting4 8,you are implanted in your house10 says a movement see photographs4 8,here is food1 here may you sleep well4 ,when you go forth1 go you ,east1 ,west1 ,north1 ,south indicating quarter-circles by pointing the toe1 yet you are here4 ,may ,allah's blessings descend upon you4 ,may the breezes blow upon you1 may the rain refresh you1 may abundance be showered upon you2 yet may you remember that here you are in your house1 and that here is your slave40 ,that is the lifeless skeleton of the story1 without grace1 or the animation of movement1 or the embellishment of expression4 ,to try to force words into an equivalent of the semi-ritualistic splendour of the dance would be attempting to build a ,moorish palace of dry grains of sand4 ,in ,occidental entertainment1 when a performer has gained the sanctuary of the platform1 he is practically immune from interruption until his 8number0 is finished--unless exception be made of 8amateur night0 in vaudeville houses1 where offenders are forcibly removed with a hook1 or suddenly enveloped in darkness4 ,with that probably unique exception1 however1 the audience confronted by an indifferent performer can only summon patience4 ,the ,orient offers no such security1 to the dancer at least4 ,at the first sign of failure to interest1 a signal1 perhaps no more noticeable than the raise of an eyelid1 commands the dancer to cease4 ,not later1 but instantly4 ,to interrupt a dance of movement without regard to its argument would be worse than interrupting a story4 ,it would not only undo the preceding work2 it would be very likely to arrest the artist in a transitional position1 in itself weak4 ,at all events1 such an interruption would painfully mar an entertainment programme4 ,but the ,arabian dance is not a dance of movement2 it is a dance of pictures1 to which movement is wholly subordinate4 ,each bar of the music accompanies a picture complete in itself4 ,within the measure of each bar the dancer has time for the movements leading from one picture to the next1 and to hold the picture for the instant necessary to give emphasis4 ,at whatever moment she may be stopped1 therefore1 she is within less than a second of a pose so balanced and sculptural that it appears as a natural termination of the dance4 ,the ,oriental's general indifference to the forces of accumulation and climax are consistent with such a capricious ending4 ,in his dance1 each phrase is complete in itself2 it may be likened to one of those serial stories in our magazines1 in which each instalment of the story is self-sufficient4 ,to the ,occidental unused to ,oriental art1 the absence of crescendo and climax1 and the substituted iteration carried on endlessly1 is uninteresting4 ,nevertheless1 a few days of life among ,oriental conditions suffice to throw many a scoffer into attunement with the ,oriental art idea4 ,which is to soothe1 not to stimulate4 ,moorish ornament is an indefinitely repeated series of marvellously designed units1 each complete in itself1 yet inextricably interwoven with its neighbours4 ,in music the beats continue unchanging through bar after bar1 phrase after phrase4 ,the rhythmic repetition of the tile-designs on the wall1 the decorative repetition of the beats of music1 produce a spell of dreamy visioning comparable only to the effect of some potent but harmless narcotic4 ,to the foregoing generality exception must again be made of the dancing in cafs4 ,while it conforms to the structure of a picture-complete-in-each-bar1 its treatment is more or less at variance with the idea of soothing4 ,but the symbolism is likely to lack nothing of picturesqueness4 ,the ,handkerchief ,dance is characteristic of the type4 ,of the two handkerchiefs used in this dance one represents the girl herself1 the other her soon-to-be-selected lover4 ,she first takes a corner of each handkerchief into her teeth1 warming them into life4 ,she lays them parallel on the floor and indifferently dances around and between them1 to state her power to cross the line and return free from entanglements of lover's claims4 ,into the waistband of her trousers she tucks opposite corners of both handkerchiefs so that they hang as panniers3 the hands pushed through show the panniers empty2 she would receive gifts4 ,to show1 too1 that she can give1 a flourishing gesture releases a corner of each1 to spill the imagined contents4 ,interest progresses until as a climax she kisses one of the fluttering cloths1 slowly passes it downward over heart and body1 and throws it in a wad to the elected one4 ,the token is his passport to her2 and its return at any later time is announcement that she no longer interests him4 ,one dance the ,arabs have that is not associated with the idea of symbolism1 but is rather a vehicle for the display of technical skill for skill's own sake4 ,it is the ,flour ,dance4 ,on the floor a design is drawn in an even layer of flour--a favourite figure is the square imposed on a circle1 familiar in ,saracenic ornament4 ,the dancer's first journey over the figure establishes a series of footprints2 a successful performance consists in planting the feet in the same tracks during subsequent rounds4 ,difficulties can be added by crossings of the feet1 turns and other involutions1 and multiplied by increasing speed4 ,this dance was mentioned in connection with the ancient ,greek ,dance of the ,spilled ,meal1 of which it may reasonably be supposed to be either a direct descendant or a surviving ancestor4 ,there are a number of little dances popular in light entertainment4 ,in one1 a woman in the act of eavesdropping is startled by a lizard dropping on her back4 ,her efforts to get rid of it attract her husband from his imagined conversation on the other side of the curtain4 ,she must now explain why she was standing at the curtain1 and above all she must appear calm4 ,the comedy opportunity lies in her efforts not to squirm away from the imagined lizard4 ,another of these one-character sketches tells of the lazy washerwoman4 ,she enters steadying on her head an imaginary basket of linen4 ,arriving at the edge of the stream she puts down the basket1 kneels1 and indolently begins mauling and scrubbing the garments over the half-submerged rocks4 7,and she turns the movements into poetry67 ,but her attention wanders from uncongenial work4 ,whose hasn't8 one sympathetically asks oneself as one watches4 ,she looks up the stream1 and down2 her eye sees beauties1 and her mind finds subjects to wonder about4 ,she falls a-dreaming1 and then asleep--still kneeling4 ,when she wakens1 the other women have finished their work and gone1 and it is late4 ,not stopping to wring out the clothes that she hurriedly collects from the ,illustration3 8,,handkerchief ,,dance0 ,,of ,,the ,,caf,s ,by ,zourna ,the handkerchiefs symbolizing the lovers are animated with the breath of life1 but kept dissociated 7#a7--;,brought into semi-association 7#b7--,separated and dropped 7#c7 ,illustration3 8,,handkerchief ,,dance0 7,continued7 ,she can dance about1 between or away from them1 indifferently 7#d7--,made into panniers1 the panniers express her willingness to receive1 turned inside out1 her willingness to give 7#e7--,one of the two handkerchiefs is thrown to the selected lover 7#f7i pool1 she throws them into the basket4 ,humour is put into the artist's mimicry of the poor woman's efforts to avoid the dripping water1 while carrying the weight of a basket of wet clothes balanced on her head4 ,embodying as it does both dream-sentiment and comedy1 the little pantomime is a pretty vehicle for versatility4 ,a serious story is that of the ,mohammedan woman who1 against her father's wishes1 has married a ,jew4 ,the representation opens with the woman's entrance to the room where her father lies dying4 ,her hair falls loose in token of mourning or penitence4 ,she kneels beside the death-bed1 and strips off her many jewels4 ,her vow to re-enter the fold of ,islam she shows by drawing a strand of her hair across her mouth1 suggesting the face-covering of the women of ,mohammedan faith4 ,the father offers his hand to be kissed4 ,grateful1 she slowly rises1 crosses the room1 closes and bolts the door1 in token of shutting out all but the paternal faith4 ,the dance of mourning for the dead is a fixed composition only to the extent of including certain accepted postures2 their sequence is not prescribed4 8,here he lies dead2 ,allah takes him4 ,i am as a fallen tree2 ,i am alone4 ,he held me in his arms2 we played together2 and he was my protector40 ,in such manner runs the widow's lament for her departed husband4 ,pulsing through all is the solemn beat of 8darabukkeh0 undertoning the wails of mourners4 ,the ,bedoui of the desert celebrate marriage1 peace-compacts1 declarations of war and other happy occasions with a gun-dance1 which is known as a ,fantasia or ,fantaisie4 ,it in no way conforms to the fundamentals of ,arabic dancing1 and in fact it is a dance in name only4 ,but it is joyous exceedingly4 ,approximately rhythmic rifle-firing is continuous from beginning to end4 ,performers both mounted and afoot leap and whirl in maniac confusion1 shooting up1 down and all around in merry abandon4 ,dust1 howls and powder-smoke attack ears1 eyes and throat in unison1 and the only unhappy ones in the gay assemblage are those that ,allah wills to have been shot1 stepped on by horses1 or both4 ,tangier is the setting of an occasional savage celebration of religious fanaticism2 and these celebrations1 too1 fall into a category of quasi-dancing4 ,they are demonstrations of a sect styled the ,hamadsha4 ,to a deafening accompaniment of fifes and drums1 a few leaders start a crude hopping dance in the market-place4 ,the number of participants grows rapidly2 excitement increases with the number1 until1 at a point of frenzy1 the leaping fanatics begin hacking their heads with axes4 ,the example is so contagious that small boys dash into the mle and snatch axes from the hands of men1 to inflict the same castigation4 ,christian spectators frequently faint at the spectacle1 but fascination holds them at their windows until they are overcome4 ,during the four hours or more that the blood-spilling continues1 as well as during a period before and after1 the street is a dangerous place for the unbeliever4 ,ostrander1 the traveller1 while in ,constantinople1 found himself unaccountably in the midst of a celebration differing in character from those of the ,hamadsha of ,tangier only in the respect of being held at night4 ,the resemblance in all essentials indicates the existence of ,mohammedan undercurrents completely unknown to the ,western world4 ,egypt1 notwithstanding centuries of ,arab domination1 preserves--or re-creates--in her dancing the style shown in the carvings of the ,pharaoh dynasties4 ,in contrast to the softly curving ,arab movements1 the ,egyptian's definitely incline to straight lines4 ,gestures change their direction in angles1 rather than curves4 ,poses of perfect symmetry are sought4 ,even when symmetry is absent1 the serpentine1 plastic character of ,arab movement is pertinently avoided4 ,the sentiment of architecture is cultivated2 the head is not turned on the shoulders1 nor the torse on the hips1 except as such relaxation is required in the interest of pantomime4 ,in movement and position the ,egyptian seeks verticals1 horizontals and right angles4 ,to the beauty of the work the severely geometrical treatment adds an architectural quality almost startling in its surety and majesty4 ,egyptian form 8toes out0 the artist's feet1 so that they are seen without perspective when the performer is facing the spectator4 ,whether the dances of the ,valley of the ,nile established the conventions of early relief carvings1 or whether1 on the other hand1 the carvings determined the character of the dances1 is a question neither possible nor necessary to decide4 ,both arts certainly were the expression of rigid religious ceremonialism1 and likely are twins4 ,to-day the records in granite are the subject of conscious study on the part of dancers4 ,in the past1 too1 they undoubtedly have been chart and compass to the sculpture of ephemeral flesh and blood1 that unguided might have perished in any one of the thousands of generations of its existence4 ,in type of subject and motive the dances of ,egypt resemble those of the ,barbary ,states1 as above described4 ,mourning1 homage and incident are narrated in about the same vocabulary1 the dissimilarity of technique being comparable to a dialectic difference of pronunciation of a language4 ,on their commercial side the two are identical4 ,in tourist-ridden cafs of ,cairo and ,port ,said1 as in those of ,tangier and ,algiers1 girls dance what the tourist expects and wishes4 ,in the ,coptic town of ,esneh1 dwelling in the ruined temples1 is a community of people known as ,almes4 ,they are literally a tribe of dancers1 removed by a khedive in former times from ,cairo on grounds of impropriety4 ,dancing as they do in the temples of five thousand years ago1 they form a curious link with antiquity4 ,their work1 however1 is said to be shaped to the tourist demand4 ,such dances1 however1 despite the insistence with which they are pushed upon the attention of tourists1 are not of the kind with which the name of ,egypt deserves to be associated4 ,the mystic still dwells along the shores of the ,nile2 but its votaries do not commercialise it1 nor is it a commodity that lends itself to sale and purchase1 even were there a disposition so to degrade it4 ,one of the dances illustrated by ,zourna symbolises in terms as delicate as the most ethereal imaginings1 the awakening of the soul4 ,the body's initial lack of the spiritual spark is represented by the crossed hands1 as bodies are carved on sepulchres4 ,an imperceptible glide through a series of poses so subtly distinguished from one another that movement1 from one moment to the next1 is unseen1 creates an atmosphere mysterious and almost chill in its twilight gloom4 ,gropingly the arms rise to the ,illustration3 8,,dance ,,of ,,the ,,soul',s ,,journey0 ,by ,zourna ,the soulless body 7#a7--;,asks for the light of life 7#b7--,vision dawns 7#c7--;,inexpert in life1 she walks gropingly 7#d7 ,illustration3 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 ,she draws aside the veil of the future 7#e7--,life is seen full and plenteous 7#f7 ,to face page #baa position that symbolises prayer for the divine light--the hand below the chin emphasising the upturn of the face1 the upper hand suggesting the flame4 ,with awe the new intelligence gazes upon the world1 open-eyed2 then it must draw aside the veil of the future4 ,fulness of life is seen awaiting1 which the dancer expresses by a gesture representing roundness1 the accepted ,oriental representation of completeness and richness4 ,but wait6 she will grow old1 and with bent back will walk stumbling at the heels of a camel4 ,but a defiance to age and the future6 ,now she is young2 her body is straight and her limbs round4 ,a defiant expression of the joy of life follows1 yet undertoned withal with unforgettable sadness2 movements of happiness1 a face of tragedy4 ,the sombre majesty of the pictures1 especially those of the search into the future2 the reverence-compelling mystery of the somnambulistic movements--a hundred things about this dance raise it to the very uppermost plane of its kind of art4 ,so far beyond mere skill are its movements1 so completely alien to anything in ,occidental knowledge1 that to ,occidental eyes they are as unearthly as they are imposing4 ,reason fails1 chloroformed by beauty2 the real becomes the unreal1 the unreal the real4 ,imagination is released from the tentacles of fact and time4 ,the future8 ,it could be seen for the trouble of turning the head to look2 but what profit foreknowledge either of cuts or caresses8 ,curiosity is for the very young4 ,better and wiser the lot of ignorance4444 ,hypnotism of a kind8 ,granted4 ,finely rendered1 this dance represents the utmost development of the co-ordination of rhythm1 sentiment1 and appropriateness of movement4 ,that combination in its turn is undoubtedly the essence of the ,oriental magic that1 since the world was young1 has enabled men to dream dreams and see visions4 ,among the newer civilisations the emotional power of rhythm is as unknown as it is untried4 ,the ,egyptian's passion for decoration is served by the dance1 no less ably than is his love of the metaphysical4 ,in the homes of the rich there is said to be a form of decorative choreography1 like a ballet in structure1 that duplicates and animates a painted or sculptured frieze on the walls of the room4 ,the dancers enter one at a time1 taking their positions in turn under the figures of the frieze1 copying each in pose as they come into place under it4 ,the intervals between poses are of course enriched by carefully related movements1 so that the line of dancers1 advancing together from figure to figure1 shall move as a harmonised unit4 ,the scheme creates a manifold interest3 the line of dancers represents an animated version of the frieze2 though it is seen to move1 its figures remain in a sense unchanged2 yet to watch any one performer is to see her change constantly4 ,the human line and the mural frieze collectively form a background for the work of a leading dancer1 who flits from place and duplicates the poses of such figures as she may choose4 ,in another entertainment1 descriptions tell of huge vases carried in and placed back of the dancing space1 as though they were decorative adjuncts forgotten until the last moment4 ,they are placed1 and the servants retire1 just before the first dancer opens the programme4 ,a spectator unfamiliar with the diversion would notice that the vases were elaborately ornamented with carved figures4 ,these one by one relax their archaic severity ,illustration3 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 ,but old age will come 7#g7--;,grief will visit 7#h7--,she shall walk with her nose close to the camel's foot 7#i7 ,to face page #bab ,illustration3 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 ,yet now1 from the crown of her head 7#aj7--,to the soles of her feet she is perfect 7#aa7 ,to face page #bac of pose and very slowly come to life4 ,keeping the colour of the stone and without wholly losing its unbending character1 each dances her allotted number and returns to her pose on the vase4 ,the foregoing is by no means a complete list of ,egypt's dances of decorative interest or occult significance4 ,dance representations of subjects of everyday interest are also popular2 there is one that sketches a series of incidents connected with a hunt with a falcon4 ,but1 as stated in another place1 the choreographic taste of ,egypt has many points of similarity with that of the ,arabs of all the southern coast of the ,mediterranean4 ,egyptian technique is distinct1 its interpretation of the abstract is marvellously developed1 its union of the dance with architecture is its own4 ,but its taste in pantomimes of light motive is already characterised without the addition of further examples4 ,following ,oriental dancing eastward toward ,india1 its probable birthplace1 it is found to preserve with approximate consistency certain general characteristics4 ,the combined pantomimic and decorative use of the arms1 subject to regional ideas as to what comprises decorative quality1 runs through it all4 ,the apparent freedom of chest1 abdomen and hips from any restricting inter-relationships1 is an attribute of it emphasised in some localities more than others2 it decreases toward the north1 generally speaking4 ,the women of ,turkey compare with those of the ,barbary ,states in phenomenal flexibility and control of the abdominal muscle--resulting in capability for a species of contortion not at all agreeable when exaggerated4 ,a principle of all ,oriental dancing is its frank acknowledgment of avoirdupois4 ,it employs none of the devices by which lightness is achieved1 choosing as its aim1 rather1 the representation of a plastic quality that exploits rather than denies the meatiness of flesh texture4 ,the heel is not often raised high from the ground1 and indeed the foot is often planted flat4 ,a mannerism intensely characteristic of the ,oriental use of the foot is a trick of quickly changing its direction after it is set on the floor but before the weight of the body is shifted to it2 the twist may leave the heel stationary as a pivot1 or the ball4 ,the effect is as though the dancer were making a feint to deceive the spectator as to the direction of the next turn1 and doubtless such contribution to interest is the intent4 ,it at least adds intricacy1 and directs attention to a pretty foot4 ,of the latter adornment1 whether covered with little ,turkish slipper with turned-up toe1 or bare1 possessors are impartially proud4 ,mystery of movement in certain parts is a further characteristic distinguishing the ,oriental work from anything to be found in the ,occident1 with the exception of certain tricks of the ,spanish ,gipsy--tricks which1 after all1 furnish no exception1 since they are ,moorish absolutely4 ,the ,oriental covers little space in her work4 ,a space large enough to kneel on would admit all that her art requires4 ,she has no leaps to make1 nor open leg-movements4 ,much of the time she has both feet on the floor1 is active chiefly in arms and body4 ,much more of the time her feet are engaged in steps hardly noticeable4 ,the foregoing observations on ,oriental work apply more particularly to the low latitudes than to lands farther removed from the equator4 ,china and ,japan have a choreography like that of the ,southern regions in some respects2 but their custom of bundling the dancer ,illustration3 ,,miscellaneous ,,oriental ,,notes4 ,dancing girls of ,biskra4 ,turkish ,sword ,dance4 ,egyptian bas-relief1 ,metropolitan ,museum1 ,n4 ,y4 ,japanese ,dance of ,war4 ,japanese ,flower ,dance4 ,the ,hula-,hula ,dance1 ,hawaiian ,islands4 up in clothes is the cause also of differences so pronounced that they had best be considered as of a different category4 ,purely as a convenience1 therefore1 let it be understood that ,japanese and ,chinese dancing shall be referred to by those names2 and that the word ,oriental shall be understood to signify the dances of the sinuous-body type1 to which pertain those of the ,arabs of ,north ,africa and elsewhere1 the ,persians1 ,turks and some others4 ,to the dancing of men1 where any is done1 generalities as to the style of ,oriental dancing fail to fit in many cases4 ,exceptions are not numerous1 however2 because1 if for no other reason1 far the greater part of ,oriental dancing is done by women4 ,of the few exceptions some are dances of religion1 others of war4 ,an intoxicating ,sword ,dance is practiced in ,turkey4 ,like almost everything else that is danced 7or sung or acted7 its merit of course depends in great degree on the quality of its interpretation4 ,well done1 this ,turkish ,sword ,dance shows itself a composition of rare individuality and a fine1 wild beauty2 for good measure1 it is a sword combat of a reality that threatens the spectator with heart failure4 ,the two combatants advance and retreat1 accenting the music with clashes of sword on shield2 the interest is that of a barbarously beautiful dance as long as they continue to face each other4 ,notwithstanding rapidity1 the chances are against a mishap4 ,but when of a sudden both launch themselves on a series of lightning rond de jambe pirouettes1 the scimitars sweeping around fast enough to cut a man in two if he should fail to parry1 the affair becomes a sporting event1 and that of a kind to harrow the nerves4 ,turkey also is the place1 or one of the places1 where ,illustration3 8,,dance ,,of ,,the ,,soul',s ,,journey0 7,continued7 ,rejoices in the perfect body 7#ab7--;,and in all good things 7#ac7--,runs from the scene 7#ad7 ,to face page #baf ,illustration3 ,,characteristic ,,pantomime ,,in ,,dancing ,,of ,,modern ,,egypt ,by ,zourna ,express sorrow 7#a1 #c7--,represents a prayer directed downward and back2 i4 e41 to spirits of evil 7#b7 ,to face page #bag ,whirling ,dervishes are educated for their curious calling4 ,mr4 ,h4 ,c4 ,ostrander is authority for the statement that an apprenticeship of a thousand days is considered a necessary preparation for proper performance of this apparently simple act of devotion4 ,since nothing whatever is attempted in step beyond that which the ballet-dancers call 8,italian turns10 it must be supposed that the art of the ,whirling ,dervish has qualities that do not appear on the surface4 ,it is taught in monasteries scattered through the mountainous regions4 ,the ,caucasus1 that land less known than fabled1 has dances of a fame as persistent as it is vague4 ,its map is dotted with names immortalised in the ,arabian ,nights4 ,it is the setting of ,scheherazade and ,sumurun2 a region whose inhabitants declare their intention never to become ,occidentalised1 and whom no power is likely to push in any direction4 ,being under the ,czar's dominion1 most of its few visitors are ,russians2 they alone among ,occidentals possess any definite knowledge of its choreography4 ,princess ,chirinski-,chichmatoff1 at present making it an object of special study1 writes the following in reply to an inquiry from the authors3 8,lezgink1 the ,oriental ,dance of the ,caucasus1 was born in the mountains of a beautiful country whose nature is wild and grandiose2 among a people courageous and energetic1 who have preserved much of the savagery and temperament of the ,oriental races4 8,the men of these people 444 have the custom of never parting from the poniard4 ,they pass the greater part of their time horseback1 always prepared to meet an enemy and to defend the happiness and honour of the family4 ,to this day they retain the custom of answering for every spilling of blood with a revenge2 each victim has his victim4 ,there still exists the custom of abducting the fiance from the paternal house and carrying her away to one's own4 ,the women have all the timidity of beings who live under the strongest of despotism4 ,they have preserved all the softness and grace of daughters of the ,orient1 with body accustomed to careful attention and not to any physical work2 who seek only to rest1 to look at themselves1 and to enjoy the gifts by which they are favoured by nature and usage4 ,under this exterior the woman keeps covered many passions which sleep until the first moment of provocation1 when they break forth like the eruption of a volcano--surrounding her with fire that sweeps with it any imprudent one that happens to be near4 ,passion is the principal theme in the life of an ,oriental woman1 and that sentiment she can vary like a virtuoso4444 8,you see her quiet1 beautiful1 relaxed1 in the calm of a great fatigue1 with softness enveloping face and movements4 ,suddenly one detects an unusual sound1 a look cast1 a movement--she is fired1 she becomes fierce and wild like all the ,nature around her4 ,you see before you a tigress1 beautiful1 live and strong1 ready to spring on the prey1 playing and attracting1 making mischief and exhausting herself at the same time4 ,after which her movements become few1 slow1 tired and melancholy40 8,thus is ,oriental dancing built on contrasts2 sentiments and moods change unexpectedly4 ,gentle1 relaxed and melancholy1 of a sudden it is brusque1 animated1 fiery4 ,it has much coquetry1 passion1 and often tragedy40 ,in ,india dancing is sharply divided into the classes of sacred and profane4 ,in the latter division are to be ,illustration3 ,,from ,,the ,,dances ,,of ,,the ,,falcon ,by ,zourna ,shock as the bird strikes his quarry 7#a7--,rejoicing as he overcomes it 7#b7 ,illustration3 ,,dancing ,,girls ,,of ,,algiers ,to face page #bai ,illustration3 ,,reliefs ,,on ,,tower ,,of ,,the ,,temple ,,of ,,madura 7,,india74 found dances of ceremony1 pantomimic representations of wide variety1 and eccentricities that almost trespass on the domain of sleight-of-hand4 ,the best known is a ,dance of ,eggs4 ,the performer1 as she starts whirling1 takes eggs one by one from a basket that she carries1 and sets them into slip-nooses at the several ends of cords that hang from her belt4 ,centrifugal motion pulls each cord taut as soon as it receives the weight of an egg4 ,finally all the cords1 numbering from a dozen to twenty1 are extended1 each bearing its insecurely fastened egg4 ,the dance is completed by collecting the eggs and returning them unbroken to the basket4 ,another diversion is the ,cobra ,dance popularised in ,america by ,miss ,ruth ,st4 ,denis--assisted by numerous imitators4 ,one hand is held in a shape to suggest the form of a cobra's head1 and huge jewels add a striking resemblance to the creature's eyes4 ,the performer of the cobra representation sits cross-legged4 ,the hand suggesting the snake's head glides over the body1 with frequent sudden pauses to reconnoitre2 the arm following it--in the case of ,miss ,st4 ,denis so amazingly supple and so skilfully made to seem jointless that it suggests the snake's body almost to reality--takes the appropriate sinuous movements around shoulders and neck4 ,the free hand completes that which at times is almost an illusion by stroking and semi-guiding the head4 ,miss ,st4 ,denis herself watches the hand with just the alertness and caution to convey an impression of latent danger of which she1 the snake charmer1 is not afraid1 but which she must anticipate with keen attention4 ,withal she never for an instant slips from her high key of grace1 rhythm and style4 ,it is to ,miss ,st4 ,denis that ,america and western ,illustration3 ,,persian ,,dance1 ,,princess ,,chirinski-,,chichmatoff ,to face page #bbj ,illustration3 ,,representative ,,oriental ,,poses ,miss ,ruth ,st4 ,denis ,votive offering 7#c poses7--,decorative motives 7#c poses7--,disclosure of person 7#a pose7 ,to face page #bba ,europe owe the greater part of their impressions of the dancing of the ,far ,east4 ,she has given the subject years of study2 with the object1 far more comprehensive than an imitation or reproduction of specific dances1 of interpreting the ,oriental spirit4 ,to this end ,miss ,st4 ,denis uses the structural facts of the various dances as a basis for an embodiment of their character in such form that it shall be comprehensible to ,western eyes and among ,western surroundings4 ,the loss inseparable from the adaptation of such a creation to the conventions of the stage1 she compensates--perhaps more than compensates--by a concerted use of lights1 colour and music1 co-operating to produce a sense of dreamy wonder1 and to unite in the expression of a certain significance4 ,her ,nautch ,dance1 with its whirling fountain of golden tissue1 she sets in the palace of a rajah1 where it serves a social purpose similar to that of the ,dance of ,greeting already described4 ,the ,spirit of ,incense is an interpretation of the contemplative spirit that accompanies ,buddhistic thought and worship4 ,the ,temple--with which ,miss ,st4 ,denis remains an inseparable part1 in the mind of every one who has seen it--throws the spectator into an attitude of something like awe at the rise of the curtain1 so perfectly considered is an indefinable relationship of magnificence and semi-gloom in the setting4 ,an idol occupies a shrine in the centre of the stage4 ,after a stately ritual executed by priests1 the idol 7,radha7 descends and performs a ,dance of the ,five ,senses1 glorifying physical enjoyment4 ,interwoven with increasing manifestations of pleasure in the senses is a counter-expression of increasing despair4 ,the opposed sentiments reach their climaxes simultaneously4 ,radha resumes her shrine1 and the attitude of endless contemplation1 in token that peace of spirit lies only in denial of sensual claims4 ,the technical character with which ,miss ,st4 ,denis invests the ,indian representations is1 first1 the elimination of any movement that might detract from a feeling of continuity4 ,every action proceeds in waves2 a ripple slowly undulates down the body1 and even seems to continue on its way into the earth2 like a wave running the length of a cord1 a ripple glides from body through the extended arms and fingers1 to go on indefinitely through the air4 ,rapid movements are employed only enough to meet the demands of variety4 ,long gesture1 long line1 deliberate action and even colour quality are held in an indescribable rapport with the insistent tempo with which the whole is bound together2 there is no escape from acceptance of the resultant multiple rhythm2 it is inevitable4 ,a simple1 rapid movement1 therefore1 introduced with due consideration of all the parts of the complex1 magic mechanism1 has the dramatic power literally to startle4 ,the success of the composition as a whole1 in its purpose of conveying an impression of the very essence of an aspect of ,india1 is asserted most emphatically by those to whom that mysterious land is best known4 ,to regard the production as an exposition of ,indian dancing would be quite beside the point4 ,the dances1 though wholly consistent with their originals in point of character1 are only a part of a whole4 ,nor do they pretend to exploit the complete range of ,indian choreography2 ,miss ,st4 ,denis herself would be the first to disclaim any such intention4 ,as she explains her work1 she uses the dancing of a people as a basis on which to ,illustration3 ,,javanese ,,dancer1 ,,modern ,to face page #bbb ,illustration3 ,,relief ,,carvings1 ,,temple ,,of ,,borobodul1 ,,java ,dance of ,greeting 8 7#a7--;,dance of ,worship 7#b7--;,an ,arrow ,dance 7#c7 ,to face page #bbc compose a translation of that people's point of view and habit of thought4 ,to exactly the same process ,bizet subjected the music of ,spain to produce the score of ,carmen2 ,le ,sage to construct ,gil ,blas4 ,than the latter there is nothing in ,spain that could more quickly acquaint a foreigner with certain aspects of 8,espaolism40 ,a link with antiquity is furnished by multitudinous carvings of dancers on ,hindu and ,buddhistic temples in ,india and ,java4 ,the temple in ,java1 some of whose sculpture is here reproduced1 was recently rediscovered after several centuries of burial in a jungle4 ,it is known to be at least eight hundred years old4 ,a comparison between the style of the dancers there represented1 that of the little ,javanese present-day dancer shown in a photograph1 and that which is indicated in line drawings 7from photographs of temples in ,india7 hints at indefinite age back of ,oriental dancing as we know it1 as to style1 technique and spirit4 ,the photographs1 including those from which the line drawings were made1 are from the collection of ,mr4 ,h4 ,c4 ,ostrander4 ,with variations1 the ,india type of movement and pantomime1 with the practice of striking a significant pose at regular intervals1 continues eastward as far as the ,hawaiian ,islands4 ,the ,hula-,hula of the graceful ,hawaiians has been well exemplified recently in an interpolation in ,the ,bird of ,paradise4 ,essentially1 the ,hula-,hula is a dance of coquetry2 its thematic position1 which recurs like a refrain1 is that shown in one of the accompanying drawings4 ,any effort to trace the path of ,oriental dancing farther east than the ,hawaiian ,islands leads to the shoals of unsubstantial speculation4 ,aztec ruins are said 7on authority not vouched for7 to bear carvings that show the early existence of the ,india type of dancing in ,mexico4 ,there are said to be traces of ,india influences in the dancing of ,mexican ,indians of to-day4 ,but the interest of such fact--even if it is a fact--is more closely related to ethnology than choreography2 because it is pretty certain that any trace of ,india dancing that may exist will be an almost unrecognisable corruption4 ,the study of dances on grounds of oddity1 ethnological curiosity or legendary association leads away from the study of dancing for its own sake1 and that of its inherent beauty4 ,it is in the endeavour to keep within the lines of reasonably pure choreography that this book has been restrained from digressions into the quasi-dancing of ,american ,indians1 ,african negroes1 various ,south ,sea ,islanders and many other interesting folk4 ,dancing has an immense importance in religious worship of most of the many denominations of ,india4 ,priestesses are trained to it2 corps de ballet into which they are organised are maintained in the temples under a system like that of ancient ,egypt4 ,their rites are unknown--or practically so--to those outside of their own faith4 ,in other cults the rites are performed1 in part1 by laymen4 ,the latter ceremonies include a not-to-be-described orgy periodically celebrated in certain ,hindu temples1 by women1 with the motives of propitiating ,vishnu4 ,china has a school of rhythmic pantomime1 the movement of which hardly justifies its consideration as a branch of real dancing--so far as known to the authors4 ,an annual religious spectacle is to be noted3 in it are employed animals' heads1 recalling the ,snake ,dance of the ,hopi ,indians4 ,japan1 by means of sundry additions to the older ,chinese school of mimetic posturing1 has converted it into an organism to which the name of dancing is quite appropriate1 and which constitutes by far the greater portion of her national choreography4 ,it appears that the dances of occasional merry-makers1 priestesses1 and the much-misunderstood ,geishas have a common characteristic of slow1 even movement1 small steps1 and a highly abstract pantomime4 ,of a style distinct from these are certain dances of men1 including a stirring dance of warriors2 in which group is seen vigourous action1 a good proportion of open movement1 and genuine steps4 ,the accepted classification of the ,japanese1 as ,n1 or sacred dancing1 and profane1 doubtless has its merits2 but the division previously indicated1 distinguishing between dances of posture and those of movement1 which is the one established by the eye1 is at least convenient4 ,with choral posture and gesture the ,japanese celebrate auspicious conditions of nature or happy events in the family4 ,the coming of spring2 the cherry blossoms2 the season of fishing with cormorants2 flowers in general2 rice-harvest--in honour of a thousand occurrences may be imagined groups of gaily coloured kimonos enveloping little figures1 softly and rhythmically swaying over the green1 from each kimono protruding a fan or a bouquet held in a cloth-enshrouded hand4 ,in the tea-house the ,geisha 7who is a skilled professional entertainer1 no more and no less7 pantomimes1 in delicate symbol1 the falling of the petals of flowers1 the hearing of distant music--any motive is suitable1 apparently1 so long as it is pretty1 dainty1 fanciful4 ,movement conforms to the same manner of thinking2 much of it barely disturbs the silken folds of the kimono4 ,a thousand meanings are hidden in little turns and twists of the fan2 but1 when explained1 the connection of act and meaning is often so tenuous that it seems less mysterious1 or suggestive1 than merely vague4 ,nevertheless1 taking it on its own premise as a demonstration of ,japanese-doll prettiness1 which is not concerned with any but the lightest emotions1 this type of dancing is pleasing4 ,its virtue is its gossamer frailty4 ,the dances of war fall into a distinct class4 ,some of the drawings of ,hokkai represent them3 combats between swordsmen1 or between a swordsman and a spearman4 ,the dances themselves are charged with a vigourous spirit and executed with big1 noble movement of flourished weapons4 ,the poses follow the indefinable angularity which1 through the very consistency of its use1 is an agreeable element in the more virile school of ,japanese drawing2 and the spicy effect of sharpness so produced combines to admiration with the crab-like design of old ,japanese armour4 ,other men's dances1 equally vigourous1 are recorded in drawings4 ,but any exact study of these or any other dances of ,japan is almost hopelessly handicapped by a scarcity of individuals who possess the desirable combination of definite knowledge and personal reliability4 ,the ,japanese theatrical dancing1 so called1 leads into a labyrinth of pantomime both subtle and involved1 and movement so slight that a troop of dancers can continue in action four consecutive hours1 without relays4 ,that is almost too much for real dancing1 under existing ,illustration3 8,,nautch ,,dance0 ,miss ,ruth ,st4 ,denis ,to face page #bbf ,illustration3 ,,japanese ,,dance ,miss ,ruth ,st4 ,denis ,to face page #bbg human limitations of heart and muscle4 ,the ballet dancer is entitled to a rest after a solo of four minutes2 to the ballet1 therefore1 it would be well to return1 for the certainty that the discussion is safe again on the solid ground of reality4 ,,chapter ,x ,,the ,,ballet ,,in ,,its ,,dark ,,age ,when a plant has passed a climax of luxuriant blossoming1 a heedless owner is likely to leave it to the mercies of weather and worms1 while he turns his interest to other plants whose season of bloom is just beginning4 ,taglioni and ,ellsler faded about the middle of the nineteenth century4 ,cerito1 ,grahn and ,grisi were1 at best1 unable to surpass them4 ,jenny ,lind set people talking about singers1 and spending their time listening to songs4 ,dancers1 desperately straining to recatch the lost interest1 multiplied entrechats and pirouettes1 jumped higher and more bravely than ever4 ,straining for technical feats1 they forgot motive2 the public called the ballet meaningless1 its work a stupid form of acrobatics1 its smile a grimace4 ,a genius could have made such words seem the words of fools2 in the default of a genius1 the words were accepted as of more or less true judgment4 ,the years that followed produced a certain amount of dancing that was good1 notably some of the operatic ballets of ,europe1 and a few ballet spectacles of the seventies and eighties2 more that could not exactly be called bad2 and1 lastly and principally1 a series of monstrosities that were nearly infinite in both number and ugliness4 ,in trying to find something that would suit the new and unsettled state of the public taste1 managers apparently tried any concoction that could be devised by stage1 paint-bridge1 property room or box-office4 ,montmartre dance-halls evolved the ,can-can2 half of ,paris caught its fever2 ,england1 and thence ,america1 were engulfed in the lingerie of high kickers4 ,not dancers1 just high kickers4 8,one1 two1 three1 ,,kick60 was their vocabulary--or is1 for they are not all dead yet4 ,in ,england several managers at various times offered good productions1 with casts of capable artists4 ,of such productions the most fortunate made small profits2 the majority lost whatever money was put into them4 ,managers said the public did not want good work--a deduction apparently justifiable4 ,they devised the elaborate scenic production--,aladdin's-cave sort of thing1 with millions of jewels the size of roc's eggs1 delirious with yards and furlongs of red1 yellow and green foil-paper1 acres of chrome-yellow1 and 8magic transformation scenes02 with one hundred people on the stage1 one hundred1 obviously making two hundred legs1 every one of which was considered thrilling and dangerous in those days4 ,of all those legs displayed in all their amplitude1 usually not one pair could dance a step2 but they did not need to dance4 ,that was the form of art called the extravaganza4 ,it was a naughty thing to patronise4 ,its inanities1 without its 8stupendous0 cost of production1 survive in the present-day burlesque4 ,in the morbid conditions of ,montmartre there came into favour a species of acrobats whose aim was to produce the illusion that their legs and spines were out of joint1 if not broken4 ,although of an ugliness demoniac1 their work was called dancing4 8,wiry ,sal0 in ,england and 8,ruth the ,twister0 in ,america were the illuminating pseudonyms associated with the specialty4 ,perhaps a specimen of the kind might still be unearthed in a dime museum4 ,enter ,lottie ,collins1 she of 8ta-ra-ra-boom-de-ay40 ,to high kicking and contortion1 and the ,skirt ,dance vogue of the moment1 she added action so violent that it seemed a menace to life itself4 ,the combination of attractions was irresistible2 ,europe and ,america made her rich4 ,her master-stroke was bending back until her body was horizontal1 and violently straightening up to emphasise the 8boom0 of her song4 ,for no less than a dancer she was a singer6 ,the two talents were employed together4 ,and hordes of little plagiarists of her act1 as of every other 8hit10 brought delight to the many and despair to the few4 ,lottie ,collinsism left no territory to be explored in its direction4 ,so an eager world turned to the inanity of sweetness4 ,the dear little girl had been discovered4 ,evil among days6 ,preferably she was dimpled4 ,she wore a blond wig with curls falling artlessly over her shoulders4 ,her eyebrows were painted in a smoothly curved arch extending around on to the sides of her face1 and her eyes were shaded with the luxuriant lashes begot of heavy 8beading02 they1 too1 were carried out an indefinite distance to the sides4 ,she dressed as a child of twelve1 with a sash that conveyed the idea of being dressed for ,sunday-school2 imagination always supplied a cent gripped in her fist4 ,she wore 8cunning0 little low-heeled shoes1 with straps4 ,it was not amiss that she have some sort of sunbonnet1 of lace1 slipped carelessly off her flaxen head and hanging down her back4 ,rouge1 with a bloom of rice powder1 gave her a perfect peaches-and-cream complexion4 ,grease paint widened and shortened her lips1 curved them into an infantile cupid's bow4 ,and from that cupid's bow emerged1 in piercing calliope tones1 inflectionless recitals of her devotion to her dear old mother4 ,at the end of each stanza she had a little dance--usually a slow polka-step1 one1 two1 three and kick6 7,an irreproachably discreet little kick1 to the side47 ,repeat four times each side1 and on to the next stanza--which instead of 8mother0 and 8other10 will avail itself of the felicitous rhyme of 8roam0 and 8home10 or 8heart0 and 8part40 ,lest the enumeration of the foregoing horrors should be criticised as out of place in a discussion of dancing1 be it recorded at this point that the said horrors went under the name of dancing within easy remembrance of people now living1 that there are still people living who call them dancing1 and--for artistic sins of the world as yet unexpiated--they still influence the dancing situation in these ,united ,states4 ,the ,black ,crook is a name that stands for superlatives4 ,it was the most lavish spectacle ,america ever had seen4 ,it made such a 8hit0 as rarely has been duplicated since4 ,its dancing features1 which were of the first order1 made more of an impression than had any dancing in this country since ,ellsler's tour1 in #ahdj1 '#da and '#db4 ,its origin was in part due to the sometimes favourable factor of accident4 8,in consequence of the destruction by fire of the ,academy of ,music1 this city10 writes ,j4 ,allston ,brown in his ,history of the ,new ,york ,stage1 8,jarrett and ,palmer1 who were to have produced ,la ,biche au ,bois there1 had on their hands a number of artists brought from ,europe4 ,they made an arrangement with ,william ,wheatley to utilise the ballet troupe1 the chief scenic effects1 of which they had models1 and the transformation scene40 ,from those beginnings grew ,the ,black ,crook4 ,with ,marie ,bonfanti1 ,rita ,sangalli1 ,betty ,rigl and ,rose ,delval as principal dancers1 it opened at ,niblo's ,garden in ,september1 #ahff4 ,the run closed in ,january1 #ahfh1 after #dge performances4 ,a return to ,niblo's in ,december1 #ahgj1 yielded #abb performances4 ,december of the following year added #eg to the score4 ,a revival in ,august1 #ahgb1 brought into the company the ,kiralfy family1 dancers1 among whom were the brothers destined to fame as managers and producers4 ,this #ahgb revival ran twelve weeks4 ,in #ahgd1 ,kiralfy ,brothers appear as lessees of the ,grand ,opera ,house4 ,they initiated their term with ,the ,black ,crook1 with ,bonfanti as premire4 ,of ,american appreciation of good dancing pantomime1 during that period1 at least1 there is no question4 ,it must be borne in mind that the ,new ,york performances above mentioned represent only a fraction of the production's total business4 ,the tours that largely occupied the intervals met the same success4 ,the box-office measure of public enthusiasm is incomplete1 moreover1 without mention of ,humpty ,dumpty1 also a spectacular pantomime with good dancing4 ,of its first run 7in ,new ,york1 and largely coinciding with the first run of ,the ,black ,crook in point of time7 the gross receipts were #a1djf1jjj4 ,it was commensurately profitable as a 8road0 attraction4 ,pertinent to the quality of its dancing1 we have a few words of its manager1 ,clifton ,w4 ,tayleure1 as quoted by ,brown3 8 444 principal dancers were not easily to be found4 ,a quarrel between ,vestvalli and ,sangalli enabled me to secure the latter4 ,betty and ,emily ,rigl1 who had previously seceded from ,niblo's1 were also secured40 ,notwithstanding desertions1 ,the ,black ,crook maintained its high standards4 ,its ballet has never since been equalled in ,america1 according to ,mme4 ,bonfanti1 in the classic style of work4 ,for its managers1 at least1 dancing had earned fortunes4 ,to the ,kiralfys it was evident1 too1 that the kind of dancing ,america wanted was good dancing4 ,to produce their ,excelsior in #ahhb they brought from ,paris ,sr4 ,ettore ,coppini1 now ballet-master of the ,metropolitan ,opera2 and ,george ,saracco1 now ballet-master of the ,brussels ,opera1 as a leading dancer4 ,nor did ,jarrett and ,palmer modify their faith in quality4 ,their ,white ,fawn1 with an excellent ballet1 was little less successful than ,the ,black ,crook4 ,the fame of such works is food for parasites2 creatures incapable of discerning the quality of successful works1 and upon whom the goodness of the successful dancing had made no impression4 ,black ,crook and ,white ,fawn companies overran the country like a flood of counterfeit money--one part fine1 ninety-nine parts base4 ,plausible advertising protected the deception1 but only for a time4 ,it was not long before lovers of good dancing began to realise that they were being defrauded4 ,in a similar contingency1 the supporting public of a baseball club loses no time in applying to that club's manager whatever pressure may be necessary as a means to correcting shortcomings1 as far as within him lies4 ,the source of their ability to do this is twofold3 they can analyse the game1 and they have a vocabulary in which to express themselves4 ,baseball had not so many enthusiasts in those days as dancing had4 ,but the appreciators of dancing lacked analytical knowledge of the art1 and the language in which to discuss it4 ,promoters of counterfeits were not taken to task1 therefore1 as would have been to their own good4 ,instead1 the names of ,black ,crook1 ,white ,fawn1 dancing and pantomime became synonyms for theatrical imposition1 and ,america laid aside interest in them and all their appurtenances4 ,of all the consequences of the above incidents1 perhaps the most unfortunate was a generally accepted managerial deduction that ,america does not like dancing after all4 ,though the ,russian ballet has shaken that belief1 the belief is not dead yet4 ,there is a saying that no man is indispensable2 that1 after his removal1 there is always another to take his place4 ,the saying is not true4 ,pantomime--not dancing to be sure1 but so closely related to it that the prosperity of either usually means that of both--at one time had the alliance of ,augustin ,daly4 ,he believed in it as a great art1 and contemplated increasingly ambitious productions4 ,to those closely associated with him he declared himself willing to lose money on it for three years1 and more if necessary2 he was confident that eventually it would attain to great popularity in this country4 ,but after producing ,l',enfant ,prodigue and ,pygmalion and ,galatea1 death stepped in and took away from the stage one of the best influences it ever had1 and from dancing a possible friendship of the kind it sorely needed4 ,in the eighties there was in ,chicago a child who had considerable fame as a temperance lecturer4 ,her name was ,loie ,fuller4 ,she was moved to take dancing lessons2 but 7according to biographers7 gave them up after a few lessons1 on account of difficulty4 ,after a certain amount of voice culture1 she qualified as an actress with a singing part4 ,during an engagement in this capacity she received1 from a friend in ,india1 a present of a long scarf of extremely thin silk4 ,while playing with it1 delighting in its power to float in the air almost like a vapour1 ,miss ,fuller received the idea that was to bring her before the world1 the ,serpentine ,dance4 ,the dance was there in its essence1 needing only arrangement and polish1 and surety of keeping a great volume of cloth afloat without entanglement4 ,steps were of no consequence1 nor quality of movement in arms or body4 ,the cloth was the thing1 and ,miss ,fuller lost no time on non-essentials4 ,the success of the ,serpentine was not one of those victories gained after long experimenting for a perfect expression1 patiently educating the public1 and years of disappointments4 ,it was instantaneous and complete2 a few weeks sufficed to make ,loie ,fuller a national figure4 ,a period of tremendous popularity followed1 popularity amounting to a fashion4 ,and still another impulse was to come1 second only in importance to the use of the gauze itself4 ,in ,paris ,miss ,fuller had a sketch in which she1 a solitary figure1 stood on a height at dawn1 silhouetted against the sky4 ,the rising sun was arranged to illuminate1 one after another1 the prominences in the landscape falling away into the distance4 ,the figure1 on being touched by the rays1 represented its awakening by the fluttering1 raising and full play of its hundred yards or so of drapery4 ,it happened that an audience mistook the intent of the effect1 and greeted it as a dance of fire4 ,the upward rush of the cloth1 obviously1 had suggested flame4 8,la ,loe0 lost not a moment in seeing the possibilities1 nor an hour in setting to work on their development4 ,stage electric lighting was new2 so new that it acknowledged no limitations4 ,electricians were enthusiastic over new problems1 because new problems were being solved by new and sometimes sensational inventions4 ,to lighting ,miss ,fuller turned to make the effect of the fire dance unmistakable and startling4 ,with the result that the colours and movement of flame were almost counterfeited4 ,variously coloured glasses lent their tints to the rays of spot lights2 set into discs made to revolve in front of the lamp1 they simulated the upward rush that helps make flame exciting4 ,as a precaution against theft of ideas1 the essential parts of the electric arrangements are said to have been trusted exclusively to ,miss ,fuller's brothers4 ,la ,danse de ,feu1 consistently prepared as such1 created an enthusiasm in ,paris probably equal to the 8hit0 of the ,serpentine in ,america4 ,indeed ,miss ,fuller was practically adopted into the ,french nation1 where she was affectionately and widely known as 8,la ,loe40 ,french is the language in which she wrote her memoirs4 7,mes ,mmoires1 ,loie ,fuller47 ,her work1 always startling1 never failed of being agreeable also4 ,by a loose application of the word it was justified in being called dancing4 ,strictly speaking it was not1 from the point of view of step1 movement or posture4 ,interest in steps the work frankly disclaimed by its own terms2 an easy movement from place to place1 with reference always to the drapery1 was all that was undertaken in the department of foot-work4 ,the arms were equally subordinated to the drapery2 their movements1 as interpretation or decoration1 meant nothing4 ,the performer held in each hand a short pole as aid to manipulation of the cloth1 in which her arms were buried most of the time4 ,they committed no awkwardness1 nor did they contribute to the effect except as they furnished motive power4 ,as to the drapery1 any idea of making it a vehicle of controlled lines would obviously have been out of the question4 ,colour without form was the result2 and form1 when all is said and done1 is the essence not only of dancing1 but of any art that would attempt to convey a message to the senses as well as pleasure to the eye4 ,imitators affected ,miss ,fuller very little4 ,so closely were her means guarded--it is said that no one of her designers and sewing-women knew more than a part of the construction of her draperies--that attempts to reproduce her work were generally laborious compromises with failure4 ,but the musical comedy stage underwent an inundation of illuminated dry-goods4 ,with the mechanical problem simplified by the distribution of the hundred yards of drapery among forty people1 there followed a sea of cavorting rainbows and prisms that lacked even a semi-careful selection of colours4 ,the ,world's ,fair in ,chicago brought to ,america a variety of dancers1 most of them good4 ,the novelty element was the work of the ,orient4 ,the ,oriental point of view differs from that of ,england and ,america2 it accepts as natural the existence of sex4 ,in all its expressions1 whether literary1 sculptural1 pictorial1 or choreographic1 the subject of sex is neither avoided nor emphasised4 ,it takes its place among the actuating dramatic motives exactly as it has done in the expressions of all civilisations of all times1 except those of our ,anglo-,saxon civilisation since about #afbj1 in which it is evaded1 and of certain decadent civilisations1 where it is an obsession4 ,the ,world's ,fair crowd was so amazed by the ,oriental disregard of ,puritan tradition that it could see nothing in dances of ,india and ,north ,africa except obscenity4 ,instead of trying to acquaint the public with the wealth of poetic symbolism of the dances1 and their unlimited scope of meaning1 every manager on the ,midway at once adopted the motto of the majority of his profession3 8,give the public what it wants40 ,that at least is the inference from conditions4 ,before the fair was a month old there was hardly an ,oriental dancing attraction on the grounds that did not claim1 in the sly-dog language of naughty suggestion1 to surpass all competitors in lewdness4 ,and it verily seemed as though most of them were justified in their claims4 ,they all made money4 ,and they created against ,oriental dancing a prejudice just beginning to melt now at the end of twenty years2 the majority of the public is still convinced that no ,oriental dancing is anything but a pretext for offensiveness4 ,for any physical quality truly is offensive the moment it is unduly insisted upon4 ,and with few exceptions the managers of the unhappy ,arabs dancing in this country have inspired their charges to exaggerate one quality to the almost complete exclusion of every other one4 ,the ghastly reaction of such a state of affairs is on dancing in general4 ,in this present year1 #aiac1 one of the most prominent and successful managers in ,america said3 8,there are two ways to succeed with dancers4 ,if they have a sensational acrobatic novelty that never has been seen before1 that will make money4 ,otherwise you've got to take their clothes off1 if you want anybody to look at 'em4 ,duncan8 ,st4 ,denis8 ,what does the ,american public care about art8 ,they have succeeded because they took their clothes off40 ,it sounds unreal1 it is so demonstrably silly4 ,but it was what that manager said4 ,in his profession there are several who hold contrary beliefs2 but the one quoted is of the opinion common among the present custodians of the dancing art in ,america4 ,in their offices is determined what character of dancing shall occupy the stage2 to their beliefs the lover of good dancing must give heed4 ,any refutation of the above cynicism as affecting ,miss ,duncan and ,miss ,st4 ,denis is superfluous4 ,their work has at all times been charged with a big1 romantic or mystic meaning4 ,imitators1 basing their activities on the manager's creed above quoted1 have furnished an illuminating experiment to determine exactly what interest the public finds in the work of the two artists named4 ,invariable failure has accompanied their approximate nudity1 despite the fact that many of them are pretty in face and figure4 ,great dancers have come1 been seen1 but--until the coming of the ,russians--have achieved few victories of lasting value4 ,gene is an exception2 to delight in her work is to be added a real influence in favour of real art4 ,carmencita1 ,otero and ,rosario ,guerrero1 all great artists of expression conveyed through the medium of the dances of ,spain1 have had good seasons in this country4 ,even though their influence on taste did not seem far-reaching1 it must be believed that they helped prepare the way for great things that were to come4 ,but the real force of the coming change1 the change that was to take its place among the important revolutions in the history of all art was quietly preparing itself in an ,american village4 ,,chapter ,,xi ,,the ,,romantic ,,revolution ,there are few people who are complete in any one direction4 ,the statesman hesitates at a measure that will wreck his political organisation1 unless he is a complete statesman4 ,the yachtsman will lose a race to pick up a man overboard1 unless he is an unscrupulous or complete racing fiend4 ,a corporation manager who disregards every consideration except his end may be a law-breaker1 but before that he is a complete business man4 ,cromwell and ,luther were complete reformers4 ,most people in the arts are incomplete artists1 because they hesitate to depart from accepted means of expression4 ,they cripple impulse with logic1 and accommodate their course more or less to other people's opinions4 ,noverre was a complete stage director4 ,isadora ,duncan is a complete disciple of beauty4 ,beauty in all its natural manifestations is her religion4 ,waves and clouds and running water1 the nude body and its natural movements are the tokens by which it is revealed to her4 ,its high priests1 by her creed1 were the ,greeks of old4 ,and1 conversely1 all other priests are false4 ,in the soul afire with a cause there is no room for adjustment of points of view2 such adjustments bear the form of compromise4 ,that which is not right is wrong--not even partly right1 but hopelessly1 damnably wrong4 ,a state of mind exactly as it should be in a person with an idea1 and exactly as it must be if he is going to carry the idea to fruition4 ,miss ,duncan is not in attunement with the ballet1 and never was4 ,she is a worshipper of nature2 not as translated into abstract terms1 but as nature is1 as revealed in the waves and clouds and running water4 ,if she were a leader in a logical controversy instead of one of taste1 it would be in order to question how she tolerates modern music1 instead of insisting on a reversion to the music of the winds in the trees2 for certainly the piano is no less a man-made convention than the dancer's position sur la pointe1 and orchestration is far from the sounds of nature4 ,but the controversy is not an affair of logic1 and it follows that any question prompted by logical considerations becomes illogical1 automatically4 ,the point at issue is that ,miss ,duncan1 complete disciple of beauty1 is a complete opponent of beauty expressed otherwise than in the way revealed to her4 ,again1 lest this analysis bear any resemblance to criticism1 let it be affirmed that her attitude is exactly as it should be in relation to her destiny4 ,at an early age she was fascinated by the representations of dancing to be found on ,greek ceramics1 and in ,tanagra and other figures4 ,a work of art means many things to many people4 ,what ,miss ,duncan saw in the early representations was a direct and perfect expression of nature4 ,among other elements1 she noted in them a full acknowledgment of the law of gravity1 which is an obviously natural quality4 ,now1 ,miss ,duncan's essay ,the ,dance shows in her mind not the first stirrings of a question as to whether gravity may not be an unfortunate mortal limitation4 ,on the contrary1 it is natural1 therefore right4 ,therefore the ballet1 in ,illustration3 ,,isadora ,,duncan ,to face page #bdb ,illustration3 ,photograph by ,claude ,harris ,,greek ,,interpretative ,,dance ,mme4 ,pavlowa ,to face page #bdc denying gravity1 is wrong4 ,the ,greeks usually danced without shoes2 bare went the feet of ,miss ,duncan4 ,let it not be supposed that her ideal contemplated an imitation of natural actions1 or had any relation to realism4 ,natural qualities1 not actions1 she proposed to interpret1 not imitate1 by means of natural movements4 ,that is at least the inference pointed by the essay referred to1 confirmed by her work4 8,natural movements0 would be defined1 if the same process of inference may be followed1 as movements whose execution are possible by a normal body without special training4 ,from this it does not follow that uncultivated movements would be acceptable by the terms of the proposition4 ,to raise an arm is a natural movement1 hence acceptable to this code4 ,to learn to raise it gracefully1 a ,duncanite would need to put in just as much time and thought as a ballet student1 standards of grace being equal4 ,it does1 however1 follow that any gravity-defying step would be unacceptable by the terms of the proposition4 ,without special training it cannot be executed1 badly1 or at all2 which1 from the ,duncan point of view1 would throw it into the class of unnatural movements4 ,to fix the meaning of the idea of interpreting natural qualities1 nothing better can be done than to quote a paragraph of ,miss ,duncan's own words3 8,these flowers before me contain the dream of a dance2 it could be named3 #8,the light falling on white flowers4' ,a dance that would be a subtle translation of the light and the whiteness--so pure1 so strong1 that people would say1 #8,it is a soul we see moving1 a soul that has reached the light and found the whiteness4 ,we are glad it should move so4' ,through its human medium we have a satisfying sense of the movement of light and glad things4 ,through this human medium1 the movement of all nature runs also through us1 is transmitted to us from the dancer4 ,we feel the movement of light intermingled with the thought of whiteness4 ,it is a prayer1 this dance1 each movement reaches in long undulations to the heavens and becomes a part of the eternal rhythm of the spheres40 ,fifteen years ago a creed of interpreting qualities in the manner above indicated1 by means of dancing1 was quite as alien to the ,united ,states as was the ,greek costume that left the legs uncovered and the feet unshod4 ,the costume probably was as surprising on the stage then as it would be in a ballroom now4 ,and right there comes in the complete artist4 ,miss ,duncan knew she was right1 and she went ahead4 ,perhaps she anticipated the snickers with which a new idea is usually greeted2 more likely she was sublimely heedless of immediate effects4 ,illustration3 ,,impressions ,,of ,,isadora ,,duncan4 ,it was in #ahii1 or thereabout1 that she gave a recital in the little theatre of a dramatic school in ,chicago1 before an audience principally of dramatic students1 painters and sculptors4 ,after the performance1 which took place in the morning1 the painters and sculptors unconsciously grouped themselves into informal committees to exchange verdicts4 ,the general conclusion--arrived at after hours of acrimonious argument1 in most cases--was that the young woman had an idea1 but that clairvoyancy was required to understand it4 ,at that time1 it should be added1 ,miss ,duncan was far from mature in grace1 surety or any other of the technical qualities2 and her art1 nave though it be1 has its technical requirements just as surely as any other art4 ,it is now necessary to transfer attention to certain people whose path and ,miss ,duncan's were beginning to converge4 ,in ,russia the ballet is as definitely a ward of the government as the army is4 ,no more carefully are candidates for a national military academy selected than are applicants for admission to the ,imperial ,ballet ,academy4 ,those admitted are cared for as though each were an heir to the throne1 given an all-round art education that could not be duplicated anywhere else in the world1 and rigourously drilled in dancing six days a week for seven or eight years4 ,as they qualify for it1 they appear on occasion in the corps de ballet of the ,imperial ,opera1 dear to the hearts of nobility and a theatre-going public4 ,by the terms of agreement with the government1 they are assured employment at specified pay for a specified number of years in the ballet1 after which they retire on a pension4 ,the pay is not high1 but with it is an assured career and an honourable one1 and a likelihood of considerable emolument through instruction1 imperial gifts and government favours4 ,withal a thing not lightly to be thrown away4 ,like their contemporaries in ,paris and ,vienna1 the people of ,st4 ,petersburg and ,moscow 7homes of the two ,imperial ,opera ,houses and of the two arms of the ,academy7 were dissatisfied with their ballet4 ,beyond the vague charge of lack of interest they could not analyse their complaint4 ,they were puzzled4 ,training more careful than that given in their ,academy could not be4 ,nor was any school of the dance superior to the composite ,french-,italian on which the ,russian ballet was based4 ,each detailed objection was answered2 yet a decided majority agreed that something was wrong4 ,miss ,duncan1 rightly believing that ,europe was more attentive than ,america to a new idea1 had left her native land after a period of neither success nor failure in any pronounced degree4 ,she had interested ,paris1 startled ,berlin1 and set ,vienna into a turmoil of wrangling4 ,st4 ,petersburg waited1 with interest aroused by echoes from ,vienna4 ,before the end of the ,st4 ,petersburg performance1 ,m4 ,mikail ,fokine1 a director in the ,academy1 had not only declared ,miss ,duncan a goddess1 as he had a perfect right to2 he1 with others1 had invited her to give a special performance in the ,academy1 and that was against the rules4 ,the special performance was given2 the ,romantic ,rebellion dates from that hour4 ,in no time at all the secessionists were a body including some of the ablest of both masters and pupils4 ,with ,miss ,duncan's technical limitations or virtuosity they were not concerned4 ,what she brought ,illustration3 ,,mlle4 ,,lopoukowa ,,mlle4 ,,nijinska ,,mlle4 ,,pavlowa ,with the famous instructor1 ,sr4 ,e4 ,ceccetti4 ,from an amateur photograph taken in their student period4 ,to face page #bdf ,illustration3 ,,mlle4 ,,lydia ,,kyasht ,,and ,m4 ,,lytazkin 8,harlequin and ,blue-bird0 ,to face page #bdg them was the vision of the ballet now known to the world as ,russian4 ,to lost pensions and the certain displeasure of a firm-handed government they gave no heed4 ,they were complete idealists1 bent on a big purpose4 ,of the stories of that secession that we have had from various participants1 not one shows the faintest reflection that any of the band thought of the possible sacrifice of his career4 ,they were not estimating material prospects4 ,they simply saw the vision of something that looked better to them than the art they had known2 into the path indicated by that vision they turned without vacillation1 and without emotion save enthusiasm4 ,with the fact that they were the advance guard of a movement that was about to assume a significance equal to that of the ,barbizon ,school in painting and of ,victor ,hugo in literature1 these ,russians--boys and girls in age1 most of them--were as supremely unconcerned as were ,adam and ,eve with the destiny of the race of which they were founders4 ,to a group of incomplete artists the epic romance of the thing would have appealed1 and there would have resulted columns and reams of print to tell about the inspiration1 and all the rest of it4 ,in the consciousness of these ,russians--and make no mistake1 most of them are alert1 intellectually vigourous people--there was no concern about their own value as figures in a romance4 ,they were filled with the excitement accompanying the possibility of radically improving their work4 ,spontaneously the pieces of the new structure came together4 ,to ,m4 ,fokine the group looked as head4 ,in him they had a choreographer of the highest order1 with the imagination of an epic poet4 ,nijinski and ,bolm were prominent men of the group2 heading the list of women were ,miles4 ,pavlowa1 ,lopoukowa1 and ,karsavina4 ,as a matter of exact history1 ,mr4 ,joseph ,mandelkern points out to us that the enlistment of ,mordkin1 ,volinine and other important recruits occurred somewhat later2 being in the ,moscow arm of the school1 their first receipt of the romantic impulse was connected with ,miss ,duncan's appearance in ,moscow1 which occurred after the ,st4 ,petersburg engagement4 ,the secession at ,moscow was largely a repetition of the occurrences at ,st4 ,petersburg4 ,the new cause gained1 without delay1 the alliance of the musical composers1 ,glazounov1 ,rimski-,korsakov4 ,tcherepnin1 and others of stature little less4 ,among the forces most important in contribution to the new-born art1 moreover1 was ,lon ,bakst1 the decorator4 ,m4 ,bakst1 for a number of years1 had enjoyed a high and steadily improving position in his craft2 he had been variously honoured1 he had executed responsible commissions to the satisfaction of every one--with the possible exception of himself4 ,in a comparatively recent interview he is quoted as saying--in effect--that he believed that the function of a painter was to express emotion rather than to record fact4 ,taking as an instance an architectural sketch before him1 he said that if a change of certain classic architectural proportions would add impressiveness1 he would not hesitate to make the necessary changes4 ,in other words1 he regarded fact as material and not as an object to be recorded for its own sake4 ,so it may be inferred that his success in rather conservative decoration1 notwithstanding that it did not lack the note of individuality1 was not satisfying to him4 ,illustration3 ,photograph by ,schnieder1 ,berlin ,,mlle4 ,,pavlowa ,,in ,,an 8,,arabesque0 ,to face page #bdh ,illustration3 ,m4 ,,mikail ,,mordkin ,,in ,,an 8,,arrow ,,dance0 ,to face page #bdi ,for material for new compositions in which the new creed could be exploited1 ballet-master1 musician and painter turned unanimously to the legendary lore of ,russia and ,persia1 the intervening land of the ,caucasus1 and the near-by realm of ,egypt4 ,strange new plots they found2 plots of savagery1 passion1 and mystery4 ,while dancers translated lofty motives into choral and solo steps1 musicians worked with mad zeal to render them into tone and tempo4 ,new music was composed1 old was seized with avid hand and pounded into its appointed place in the new romantic structure4 ,bakst--and other painters allied with him--revelled1 now in a deep and ominous palette that should spell mystery1 again in ardent and seemingly impossible harmonies that sang wild opulence4 ,in short1 the secessionists had attained to a point that marked nothing less1 and something more1 than a re-creation of the mimetic drama of the best days of ,athens4 ,they had achieved that at which the early patrons of opera had consciously but unsuccessfully aimed4 ,the ,russian achievement is not to be measured except by a glance back into history4 ,in the great spaces of the ,greek outdoor theatres1 actors found their voices inadequate4 ,in consequence1 we must accept as essentially true the belief that dramatic representation underwent a more or less definite division into two forms4 ,one body1 complying with the world-old demand for explanatory statement to accompany dramatic action1 adopted a device to magnify the voice2 that device was a small megaphone1 concealed by means of a mask4 ,to the unimaginative audience1 the resulting falsification of the voice was not objectionable4 ,that species of audience1 to this day1 is deaf and blind to the message of quality or to delight in it4 ,its interest centres on narrative and it welcomes diagrammatic aid to its understanding of that narrative4 ,the mask1 therefore1 was rather satisfying than otherwise to the patrons of the drama that it typified4 ,in labelling character1 it was a boon to the intellectually toothless2 to whom1 moreover1 its immobility of expression would not be offensive4 ,that the spoken drama was the popular form1 the mimo-drama the aristocrat1 seems an unavoidable inference4 ,to artists and audience versed in the language of symbol1 as opposed to imitation2 of suggestion1 as opposed to diagram2 of abstraction1 as opposed to material fact--to such performers and connoisseurs the vastness of stage and auditorium presented no inconvenience whatever4 ,to both performer and auditor1 the eloquence of pose1 step and gesture was sufficient4 ,indeed1 we may suppose that they regarded the spoken word as limiting1 rather than amplifying1 the meaning of the action it accompanied4 ,the high-heeled cothurnus the pantomimist avoided1 for the sake of perfect freedom of foot4 ,to him was open the full resource of facial expression1 posture and dance4 ,all of these means1 in whole or in part1 were denied the wearer of mask and cothurnus4 ,rome1 consistent with its own level of artistic mentality1 chose the less imaginative of the ,greek forms4 ,it follows that ,greek popular drama is identical with the so-called classic ,roman drama4 ,when the originators of opera set themselves1 in the seventeenth century1 to the task of recreating a classic form1 it is a matter of record that they turned to ,rome for their model4 ,thus1 in availing themselves of advances in the arts of music1 scenery and costume1 both opera and ballet have strayed from pure classic tradition4 ,and there is no harm in that1 per se4 ,but a point to be most strongly emphasised is this3 that the ,russian ballet has re-created1 in its essence1 the best of classic drama4 ,employment of the full eloquence of step1 pose and facial expression1 without the restriction that the spoken word imposes upon meaning--that is the paramount distinction of the ,russian ballet's dramatic form4 ,hardly second in importance is its independence of elaborate stage mechanism as a means to effects4 ,the first opera busied itself with mechanical contrivances to an extent that was commented upon--with amusement--by writers in its time4 ,how far its originators were justified in believing that they had re-created a great classic form needs no further comment4 ,that the ,russians1 searching for the great fundamentals of art1 devised a form practically coincidental with that accepted by the best intelligence of the best period of ,athens1 is a chapter of dramatic history whose importance is not likely to be exaggerated4 ,we left the secessionists1 on an earlier page1 in the position of having defied a strong-handed government4 ,in this crisis1 ,m4 ,sergius ,diagilew enters the narrative1 not as an artist1 but as one of art's indispensable allies4 ,he it was who1 some years before1 had arranged the exhibitions that first acquainted western ,europe and ,america with modern ,russian painting4 ,when the rift occurred in the ,ballet ,academy1 ,m4 ,diagilew1 by virtue of experience and sympathies1 was the one man to perform certain needed diplomatic services in the interest of the rebels4 ,their situation lacked little of being politically serious4 ,m4 ,diagilew performed the felicitous miracle of turning a fault into a virtue4 ,to proper government authorities he outlined a plan which in itself deserves a place in diplomatic history4 8,contract-breakers these people are10 he admitted1 8and on a par with deserters from the army4 ,but instead of punishing them1 ,i have another suggestion4 8,they have created a new and great art4 ,their combined work represents a greater expression than any living man has seen1 perhaps the finest thing of its kind that ever has existed in the world4 8,europe respects ,russia for her force1 not for her thought4 ,its common belief is that ,russia is a nation of savages1 because it has seen no purely ,russian art that it would call great4 8,my proposal is that these people be reinstated in the ,opera and the ,academy1 that they be granted a long leave of absence1 and that ,i be commissioned to arrange for them a season in ,paris1 as an exhibition of representative ,russian art1 sanctioned by the ,russian government40 ,the capital necessary for a full equipment of costumes and scenery was provided by ,baron ,ginsberg4 ,and there followed the first season of le ,ballet ,russe at the ,chtelet ,thtre1 in #aije4 ,paris1 like every other progressive city in the world1 was surfeited with plays that would better have been enclosed between the covers of books on law1 sociology or medicine4 ,its ballet1 though fighting valiantly against the effect that time works on old governments1 old religions1 old institutions1 had settled into the ways of habit1 and could no longer fire the mind or the imagination4 ,as to all that miscellany of 8musical comedies0 that1 with their ,illustration3 ,,mlle4 ,,lydia ,,lopoukowa1 ,m4 ,,mikail ,,mordkin1 ,,in ,a ,,bacchanal ,to face page #beb ,illustration3 ,,mlle4 ,,lydia ,,lopoukowa ,to face page #bec concomitant novelties1 were wallowing in a gaudy slough of despond ten years ago1 ,parisians had come to regard them as a highly improbable means even of amusement1 leaving edification quite out of account4 ,the success of the ,russians was assured from the first curtain4 ,here was something that conveyed a message of noble beauty1 executed with the skill of the craftsman possessed of all that education can give1 fired with enthusiastic genius4 ,above all1 it was a thing that released thought from earth-bound conditions and1 with the persuasion of its multiple beauty1 invited it to roam the unlimited domain of poetry and magic4 ,full appreciation required time1 naturally4 ,here was a creation new in freedom of movement and pantomimic vocabulary3 dressed in costumes never seen before2 backed by scenery in colours never dreamed of1 with a species of line-composition like an alien language2 and accompanied by music of a type unfamiliar1 to many individuals unknown4 ,wagnerian music to the unaccustomed ear is confusing as well as overpowering4 ,the ,russian ballet presented its equivalent in three different forms acting simultaneously4 ,the ,russian ballet season is now one of the institutions of the ,french capital4 ,the ,russian government annually grants several months' leave of absence to the necessary number of artists1 and ,paris for several months crowds their performances4 ,the annual increase in quantity and depth of thought bestowed upon them1 as measured in magazine writings1 indicates that public satisfaction with the organisation and its work has not yet found its limits4 ,the seasons of #aiji-aj and #aiaj-aa found a small but admirable ,russian ballet in the ,metropolitan ,opera of ,new ,york4 ,pavlowa1 ,lopoukowa1 ,mordkin1 ,volinine and ,geltzer were of the number4 ,they presented many divertissements in opera performances as well as a number of ballet pantomimes4 ,as to their impression on the public1 it is most briefly to be expressed by calling attention to the fact that the dancing enthusiasm now strongly rooted in ,america dates directly back to these ,russian ballet seasons in the ,metropolitan ,opera4 ,naturally1 the public's lack of knowledge of the language of pantomime and choreography stood in the way of such an immediate 8hit0 as the same company had made in ,paris4 ,but in spite of incomplete understanding1 ,new ,york was charmed from the first1 and appreciation grew rapidly through the two seasons4 ,the contract was not renewed1 nor has the ,metropolitan ,opera undertaken anything great in choreography since that time1 in which it is probably right4 ,notwithstanding the popularity of the ,russians1 they did not increase box-office receipts commensurately with the heavy cost of salaries1 transportation and incidental expenses4 ,it is natural1 when service is needed1 to turn to those whose fitness for such service has been proven4 ,but the opera company1 by its service to music1 has earned exemption from added responsibilities to art4 ,since its organisation1 the stockholders' dividends have had the form of deficit statements every year until two years ago4 ,every year the stockholders wrote their checks to aggregate a quarter of a million dollars or more that opera cost in excess of its receipts4 ,the past two years have turned the balance into the other column4 ,if they chose to1 the same set of gentlemen could1 in a few years1 put the ballet-drama on the same footing2 but the sacrifice of money and effort is more than the public has a right to ask4 ,against appalling odds1 the ,metropolitan took up the cause of popularising opera4 ,that the task proves other than a labour of love is due neither to skimping nor to lowering of standards1 but to quite the contrary policy4 ,the undertaking has succeeded2 those connected with it are entitled to a period of enjoyment of their rewards4 ,the ,american ,academy of ,dancing1 when it is organised1 is not morally their responsibility4 ,for its own good1 moreover1 it had best be an independent organisation1 with music definitely relegated to the secondary importance4 ,as an auxiliary to music1 the dance has not progressed as it should2 only as the sole occupant of one of the pedestals to which the great arts are entitled will it receive the attentive care that it deserves and needs4 ,but this is anticipation of the matter of another chapter4 ,since the ,metropolitan engagement1 ,russian ballets have seldom been seen in ,america except under misrepresentative conditions4 ,not through intentions to misrepresent1 but through tactical errors easily understood in the light of subsequent knowledge1 they have been too often advertised in such terms as to prepare their audiences for sensationalism rather than art4 ,a company including some of the best dancers that ,russia has produced was headed by a vaudeville performer whose prominence proceeded from genius in imitations1 and whose choreographic aspirations were based on two years 7the programme confessed the period7 of ballet study4 ,it was believed that her name would be of service to the box-office2 it was demonstrated that1 by the standards of the supporting company1 she was not a dancer4 ,so she did not dance4 ,obviously1 the function of subordinates is to be subordinate2 so1 perforce1 they did not dance1 either4 ,people who came expecting to see great things inevitably felt that the ,russian ballet was1 to say the least1 an overrated institution4 ,a consequence even more unfortunate is that many managers draw1 from this hapless alliance and its consequences1 the deduction that ,americans do not like high-class dancing4 ,illustration3 ,,mme4 ,,pavlowa ,,in ,a ,,bacchanal ,to face page #beg ,,chapter ,,xii ,,the ,,russian ,,academy ,,and ,,its ,,workings ,a student in the ,russian ,academy does not risk discovering1 after some years of study1 that he cannot stand the physical training1 nor does he learn1 when it is too late to turn back1 that his road to high places is blocked by defect of health1 structure1 or proportion4 ,as a candidate for admission he undergoes an examination by a board of physicians1 painters and sculptors4 ,if he enters1 it is after their approval1 the examiners measuring the candidate by the standards of their respective arts4 ,he knows1 and his parents know1 that he is starting1 free from handicap1 on the road to an at least respectable position in a respectable profession1 with which he will be associated and by which he will be supported through life4 ,his studies will be guided by the best instruction that can be secured2 if he has genius it will receive the most favourable of cultivation4 ,at all times his life will be surrounded by conditions as favourable to physical health as they can be made by science and free expenditure4 ,his payment for these advantages is complete renunciation of every interest apart from those of the ,academy's curriculum4 ,to one not passionately fond of his art1 the enforced devotion to work would spell loss of liberty4 ,as a matter of fact1 however1 this does not often seem to be felt as a privation4 ,the interests of the school are so varied1 and the dance is possessed of such endless allurement1 that life within the academic walls is generally felt to be complete in itself4 ,in other words1 the contract binding the pupil is not usually felt as a tether1 notwithstanding that its operation covers the most restless years in a boy's or girl's life4 ,seven or eight is the age for entrance1 and the contract binds the pupil for nine years of training--which may be reduced to eight if proficiency warrants4 ,at the expiration of this time the government has all rights to the dancer's services1 at a moderate salary1 varying according to the rank for which he qualifies in the ballet organisation4 ,from the graduates of the ,academy are recruited the ballets of the two ,imperial ,opera ,houses3 the ,marianski ,theatre in ,st4 ,petersburg1 and the ,opera ,house in ,moscow4 ,in both houses1 ballet pantomimes are presented twice a week1 approximately4 ,graduates with an aptitude for teaching are so employed4 ,all of which must cost the government a great deal less than would the alternative of hiring corps de ballet1 premiers and premires1 and ballet-masters from ,paris and ,milan4 ,in fact1 until half a century ago1 foreign talent was depended on for the important work4 ,from its continued use1 it may be inferred that the present system is the more satisfactory4 ,naturally1 a member of the ,imperial ballet must have government consent to leave his country2 departing without such consent1 he automatically forfeits his pension4 ,a few individuals have chosen the high salaries to which their work entitles them in other parts of the world1 and deliberately stayed away at the expiration of a leave of absence4 ,to the great majority1 however1 the pension and artistic conditions attaching to their home organisation have been the greater inducement4 ,illustration3 ,,mlle4 ,,lydia ,,lopoukowa ,an aid to secure footing1 the toes of ballet slippers are usually darned ,to face page #beh ,illustration3 ,,mlle4 ,,lydia ,,lopoukowa ,to face page #bei ,between performances and their preparation1 and teaching1 it will be seen that the members of the ballet never need pass an unoccupied hour4 ,they are insured against such deterioration as might result from lack of constant work4 ,on the other hand1 they are protected against the danger of overwork4 ,think of the difference between such conditions and those created by competition6 ,between engagements1 the generality of ballet people under the latter conditions study and train1 if at all1 at their own expense2 and competent coaching costs money4 ,during engagements1 the number of supreme efforts of which they are capable each week is considered only by those in whom are combined good fortune and conscience2 others arrange their work to economise strength1 or else break down4 ,of the curriculum of the school we have been told in some detail by ,miss ,lydia ,lopoukowa4 ,during the first year1 which is a period of probation1 pupils are allowed to visit their parents on ,sundays4 ,after that they remain in the direct charge of instructors1 in the school1 in the opera-houses1 and in carriages going and coming2 visiting with parents or others is confined to stated times1 and is done in the school4 ,if this arrangement seems severe1 the answers are to be found in results3 if any students of any art attain to full artistic development and perfection of artistry in an equal length of time without similar concentration1 enforced either by self or by regulation1 then the detachment effected by the ,russian ,academy is carried to an unnecessary degree4 ,the curriculum may1 for convenience1 be divided into two departments1 pertaining respectively to technical and general education4 ,the latter is the equivalent of the ,continental ,european gymnasium1 which carries the student to a point somewhat more advanced than that which he reaches in the ,american public high school4 ,on the technical side1 the training begins with the breadth of a general conservatory's course in the arts4 ,as the pupil's aptitude and tastes begin to crystallise1 his instruction becomes increasingly specialised4 ,the first year's work covers1 besides dancing1 a beginning in music1 acting1 and a certain amount of drawing4 ,the music includes theory and piano4 ,acting embraces the beginnings of pantomime1 along with enunciation1 expression and the rest of it4 ,the dancing tuition is based absolutely on the ,french-,italian ballet4 ,the undisputed success of the romantic movement1 and the prevailing sympathy with its motive1 have not shaken faith in the classic as a necessary framework for the support of expression and adornment4 ,an orthodox and unreconstructed ,italian ballet-master remains in charge of this department2 his influence is not modified until after the pupil has acquired the equilibrium1 in short the discipline that is a tradition of the classic school alone4 ,parallel with this training1 however1 is instruction and drill in plastic gymnastics1 which concerns itself with training the body in grace and expression4 ,the separation of the two courses naturally enables the pupil to keep classic precision clear in his mind2 while1 having at the same time mastered the more fluid treatment of the plastic gymnastics1 he is ready to unite the two understandingly when the proper time arrives1 and to combine with their graces the eloquence of pantomime4 ,music has sometimes been found to be the natural mtier of students whose original intention was dancing4 ,in other instances the embryonic dancer has revealed a genius for acting4 ,in such cases the pupil is encouraged to follow the line of natural aptitude4 ,the ranks of both opera and drama in ,russia include women whose ultimate vocations were discovered after they had become proficient dancers4 ,while such cases are not common1 neither are they rare2 which is rather illuminating as to the quality of the musical instruction4 ,an acquaintance with musical theory is insisted upon as a part of the dancer's equipment1 though there be no probability of his ever applying his knowledge in any of the usual ways4 ,music and dancing are so interwoven that the latter's full meaning can hardly be expressed1 or understood1 without musical knowledge as an aid4 ,moreover1 of every class of youngsters a certain number are destined to be choreographic composers2 to these a knowledge of orchestral possibilities and limitations is indispensable4 ,indeed it is an asset of the utmost practical utility to any dancer2 any rehearsal demonstrates its value4 ,in respect to this department and its lifelong value to those who have had its training1 graduates of other academies unite in approval of the ,russian4 ,the course in drawing and painting seems to aim at critical appreciation of beauty1 as expressed in the abstract qualities of grace in line and harmony in colour2 this in distinction to the regulation art school discipline in proportion and anatomy of the figure4 ,the practical value of such training1 in sharpening the power of constructive criticism of dancing1 is obvious4 ,to the accomplishment of all this work--and more that need not be detailed--the pupils are not driven2 they are led4 ,everything is fun4 ,play is made contributory to the general purpose of training artists4 ,as an escape from realities into that world of make-believe that children crave1 pantomimes are practiced evenings after dinner2 self-expression is encouraged on these occasions1 criticism no more than hinted4 ,as a playground for the girls1 a large garden is provided4 ,but the boys1 to relax from the restraint of a daily two-hour lesson in ,french ballet1 delight in class fencing lessons4 ,the health of all is under unobtrusive but constant supervision4 ,in each of the girls' dormitories a nurse is on watch every night1 alert for the first unfavourable symptom--and ready1 too1 we may be sure1 with sympathy for any little attack of loneliness4 ,miss ,lopoukowa's remembrances are not of any rigours of work1 but rather of a protecting gentleness4 ,diet is studied2 the children are trained into hygienic positions in sleep6 ,hair1 teeth1 skin1 heart1 lungs1 digestion and nerves are cared for by the most capable of specialists4 ,by no means last in importance to a dancer are his feet2 the ,academy has its chiropodist always in attendance not only to rectify trouble1 but to prevent it4 ,as the academic years draw toward their close1 the pupil receives instruction in supplementary branches necessary to the finished artist4 ,character dances are not only performed2 they are studied in relation to the temperaments of their respective nations4 ,make-up receives its due attention2 with paint and false hair young ,russians practice transforming themselves into ,japanese1 ,egyptians1 ,italians4 ,when they leave the ,academy1 they know their trade4 ,somehow such an institution seems too good to last2 yet its excellence is far from being the product of any momentary enthusiasm4 ,its beginning was made in the first half of the eighteenth century4 ,ballets had been ,illustration3 ,,mlle4 ,,lydia ,,lopoukowa ,,in 8,,le ,,lac ,,des ,,cygnes0 ,to face page #bfb ,illustration3 ,m4 ,,alexander ,,volinine ,to face page #bfc presented before the ,imperial ,court as early as #afge4 ,peter the ,great had insisted on ,western dancing as one of the means to his end of bringing ,russia abreast of the times4 ,indeed he is supposed to have learned it and taught it himself1 as he did shipbuilding4 ,in #agce the ,empress ,anne engaged a ,neapolitan composer and musical director and a ,french ballet-master1 and bade them present a ballet every week4 ,cadets from the military academy were at first impressed into service2 which may be contributory to the military exactness of the organisation of the ,ballet ,academy4 ,as ballet material1 the cadets were gradually 7according to ,flitch7 replaced by boys and girls of the poorer classes1 whom the ballet-master trained free of charge4 ,the assignment of quarters to them in the palace1 the appointment of a coachman's widow to take care of them1 an appropriation of extra pay to the ballet-master for teaching1 may be said to mark the beginnings of the ,academy4 ,its existence has been uninterrupted1 and1 under the almost idolatrous ,russian love of ballet representations1 its growth has been steady4 ,a composite ,french-,italian technique was adopted1 as before stated1 and kept unmodified until the recent romantic movement had proven its worth4 ,italian principal dancers were employed until1 a generation ago1 the need of them was ended by the ,imperial ,academy's arrival at a condition of adequacy4 ,the difference between the romantic ballet and the classic could not be described in an infinity of words1 but it can be summarised in a few1 and its character suggested in a few sketches4 ,briefly1 the difference consists in liberty to depart from classic restriction of pose and movement1 wherever such emancipation will contribute to expression4 ,this freedom inevitably clashes with ballet tenets that have been unquestioned for a hundred and fifty years4 ,the classic keeps the shoulders down2 the romantic does not hesitate to raise them1 one or both1 to portray fear1 disdain1 or what-not4 ,in the eyes of the classicists1 straightness of body 7its detractors call it rigidity7 is of absolute importance2 romanticists1 in their ,oriental representations1 for instance1 do not hesitate to exploit the body's sinuosity to the utmost4 ,yet1 in their apparent disregard of choreographic law1 they have preserved rigourously the underlying truth of choreographic structure4 ,than their brilliant steps those of no dancer are cleaner or more perfect2 in equilibrium1 in exactness1 in all that makes for style and finish1 they have no superiors4 ,nevertheless some of the classic ballet people1 especially the ,milan element1 still protest that the romantic idea1 with all its appurtenances1 is a heresy4 ,m4 ,legatt1 of the ,st4 ,petersburg ,academy1 is said to group all the new elements into one category3 ,duncanism6 ,as the painter ,bakst 7and with him may be mentioned ,boris ,anisfeldt and others of the same artistic creed71 while preserving recognisable national character in his scenes and costumes1 does not scruple to subordinate historical facts to his motives1 so does the romantic ballet-master disregard the natural limitations of folk-dances that he may choose to employ in his composition4 ,if it suited the dramatic intention of ,m4 ,fokine to bring an ,arabian dancer on to the point1 or to introduce into her work a pure pirouette1 it is fairly safe to assume that he would do so1 despite the fact that ,arabic dancing itself knows no such devices4 ,it is to be added that although he should make such amendment to an ,illustration3 ,,representative ,,russian ,,ballet ,,poses ,,and ,,groups4 ,two groups at top from ,thamar1 ,m4 ,bolm and ,mme4 ,karsavina1 ,mlle4 ,nijinska2 ,,mm4 ,govriloff and ,kotchetovski2 ,m4 ,seilig and ,mlle4 ,stachko1 all in ,thamar4 ,figure with peacock1 ,mme4 ,astafieva in ,le ,dieu ,bleu4 7,courtesy of ,comoedia ,illustr47 ,arabic dance as known to its own people1 his product would express as forcibly the quality of ,orientalism as would any dance to be found in ,bagdad4 ,the essential difference would be that the composition of ,m4 ,fokine would serve the immediate intention of grief1 rage1 or whatever might be the desired emotion1 as well as emphasising ,oriental quality4 ,it will be seen that the means of expression above indicated relieves the ballet pantomime of any limits of scope4 ,the classic1 generally speaking1 is by its nature confined to fairy fantasies1 the play of elves and spirits1 ,pierrot and ,columbine4 ,all that is dainty it renders to perfection4 ,the new school1 on the contrary1 can treat with complete dramatic impressiveness all the mystic1 epic and sometimes terrible imaginings of the ,tartar mind4 ,to its advantage it has among its disciples a full supply of dancing men2 lack of them has crippled the classic expressions for many years4 ,the woman doing a boy's part becomes ridiculous as soon as dramatic action departs from the lyrical mood4 ,for this reason1 perhaps1 both opera ballets and academies of ,europe outside of ,russia have long lost the custom of staging pantomimes of greater consequence than operatic divertissement4 ,whereas the ,marianski ,theatre and the ,moscow ,opera dedicate two nights a week to ballet pantomimes exclusively1 and have done so for many years4 ,the mimetic dramas that have sprung into life with and as part of the new school draw material from legends dark and savage1 lyrical and dreamlike4 ,cleoptre is a story of love and a cruel caprice of an idle queen of fabled ,egypt4 ,prince ,igor presents a background of the ever-threatening ,mongol1 a myriad savage horde encamped outside the eastern gate of ,europe4 ,illustration3 ,,representative ,,russian ,,ballet ,,poses ,,and ,,groups4 ,prince ,igor 7,m4 ,bolm74 ,thamar 7,mlle4 ,tchernicheva74 ,l',oiseau de ,feu 7,mme4 ,karsavina74 ,thamar 7,mlle4 ,hoklova74 ,l',oiseau de ,feu 7,m4 ,boulgakow1 ,m4 ,fokine74 ,le ,dieu ,bleu 7,m4 ,nijinski74 7,courtesy of ,comoedia ,illustr47 ,scheherazade is tropic passion marching undeviatingly into tragedy4 ,in contrast to these are such ethereal creations as ,le ,spectre de la ,rose1 ,le ,carnaval1 ,les ,sylphides1 ,le ,lac des ,cygnes1 and ,le ,pavillon d',armide4 ,le ,spectre de la ,rose1 composed to the melting music of ,weber's ,invitation la ,valse1 is a fantasy of a girl who falls asleep in her chair after returning from a ball4 ,in her hand she holds a rose which1 in her dreams1 turns into a spirit that dances with her1 kisses her1 and departs4 ,le ,carnaval brings to life and unites in a slight plot a group of such fabled personages as ,pierrot1 ,harlequin1 ,columbine1 ,pantalone and ,papillon1 animated by ,schumann music with ,russian orchestration4 ,armide is a figure on a tapestry1 who1 by magic spell1 comes forth in courtly dance with her companion figures and enchants a traveller sleeping in the apartment4 ,le ,lac des ,cygnes and ,les ,sylphides are practically plotless reveries in the field of pure beauty2 of tissue as unsubstantial as the rainbow4 ,still a third division is exemplified in ,l',oiseau de ,feu and ,le ,dieu ,bleu4 ,as though to test to the utmost the romantic ballet's range of expression1 these last deal with occult ,eastern religion1 calling for a treatment purely mystic4 ,,chapter ,,xiii ,,social ,,dancing ,,of ,,to-,,day ,the present vogue of dancing is sometimes characterised as a fad4 ,as a matter of fact1 it is no more than the resumption of a normal exercise4 ,it is not extraordinary that people should wish to dance every day4 ,it was extraordinary that there should have been a period of sixty years in which people did not wish to dance every day4 ,occidental history recalls few periods when the dance1 natural as speech and exalting as music1 underwent such neglect as it suffered during the latter half of the nineteenth century4 ,self-expression was in bad taste4 ,a phantasm of misinterpreted respectability standardised conduct4 ,the resulting caution of movement sterilised the dance1 and sterility all but killed it4 ,as that which might conveniently be called the ,renaissance of ,individuality began to be felt1 within the past few years1 the endless iteration of one step in each dance became inadequate to interpret feelings4 ,people learned that their own ideas were worth at least a trial2 forms fell automatically4 ,but1 no one being at hand to show how dancing might be made an expression1 people turned to other recreations4 ,then came the ,russian ballet4 ,it showed that dancing1 more completely perhaps than any other action within mortal scope1 is a means of expression of every emotion humanity may feel4 ,it showed1 too1 how inconceivably beautiful may be the human body when it is made to conform to the laws of beauty--which are identical with the laws of choreography4 ,and so perfect was the artistry of these demigods from out of the ,north that 8difficulty0 became a forgotten word4 ,every man thought that he felt within himself at least a portion of the essence that animated ,volinine1 ,mordkin1 ,nijinski2 every woman knew she had latent some of the magic of ,pavlowa1 ,lopoukowa1 or ,karsavina4 ,and they were right4 ,every normal human is in greater or less degree an artist4 ,sudden reactions are usually attended by more violence than discrimination4 ,the appetite for sheer quantity is satisfied before the need of restraint is felt4 ,so with the new dancing that gratified hundreds of thousands of feet suddenly freed from conventional weights on their movements4 ,the ,turkey ,trot 7name to delight posterity7 raced eastward from ,san ,francisco in a form to which the word 8dancing0 could be applied only by exercise of courtesy4 ,literally1 caricaturists could not caricature it2 it made caricatures of its devotees4 ,but they were not concerned with that4 ,they were in the exaltation of rediscovery2 they were happily1 beneficially mad with varied rhythm1 marked by free movements of their own bodies4 ,the 8trot0 was easily learned2 the problem became one of finding space in which to dance it1 so quickly did its performers fill every floor within hearing-distance of a piano4 ,the cynical inference that morals or their lack bore any relation to the phenomenon of this dance's rapid spread1 is beside the point4 ,of the original 8trot0 nothing remains but the basic step4 ,the elements that drew denunciation upon it have gone from the abiding-places of politeness2 yet its gains in popularity continue unchecked4 ,as though to emphasise its superiority to former mannerisms1 it is just now urbanely changing its name3 it prefers to be known as the ,one-,step4 ,and in the desire for a new appellation it is justified1 since no history ever so vividly recalled the fable of the ugly duckling4 ,the hypothetical turkey whose trot it once portrayed proves1 as it matures1 to be a creature closely resembling a peacock4 ,the peacock it was whose designation 7,spanish pavo7 furnished the name of the old ,pavane2 and the ,one-,step1 moved by some force more potent than coincidence1 is now tending strongly toward the form of that favourite of seventeenth-century courts4 ,with the ,turkey ,trot came out of the ,west the ,bunny ,hug1 the ,grizzly ,bear1 and perchance the bearers of other names reminiscent of the zoo4 ,they treated ,europe to a mixture of amusement and irritation1 but were not destined to long life on either side of the ,atlantic4 ,while ,north ,america turkey-trotted1 the ,argentine ,tango was delighting and scandalising ,paris4 ,a dance of curious history1 the ,tango4 ,certain details of its execution justify the assignment of its remote origin to the ,gipsies of ,spain4 ,argentina is an attractive market for ,spanish dancing2 undoubtedly the original ,tango1 composed of ,gipsy steps and movements1 was shown in ,argentina soon after its first exploitation in ,spain1 some forty years ago4 ,to change it from a solo for a woman into a dance for couples needed only rearrangement1 plus modification of movements that might not be considered respectable4 ,the latter being a purely relative term1 disagreements followed the dance's appearance in ,paris--,argentinian synonym for ,paradise4 ,it is to ,paris that the prosperous ,argentinos go for refreshment2 and there they introduced their form of the ,tango4 ,robert1 a popular ,parisian teacher of social dancing1 arranged a version of it to conform to conservative standards1 and its spread followed4 ,the ,boston ,waltz 7the latter word is generally omitted71 born in the period when ,sousa's marches and two-steps were omnipresent1 existed as little more than a theory until1 with the advent of the new dances1 it was found to be in tune with the times4 ,with the ,tango and ,one-,step it has come into a family relationship1 now borrowing from them for its own embellishment1 again lending them a step for the good of their variety4 ,add to these the ,brazilian ,maxixe and the ,hesitation ,waltz1 and we complete the list of dances which1 at the moment of writing1 animate social gatherings on both sides of the ,atlantic2 inspire restaurant-keepers to provide dancing floors1 hotel managers to give ths dansants1 with periodical competitions1 and instruction if desired2 the dances that are successfully demanding for themselves a new and unobjectionable species of dance-hall1 and causing grave scientists to debate over them as symptoms--with profound allusions to the so-called 8dancing mania0 of an earlier century4 ,the extent of the vogue needs neither record nor comment in this place4 ,that which has not been duly noted in the periodical press is the fact that a fashion of rhythmic exercise is proving to be a well-spring of good spirits and a fountain of youth for millions of men and women4 ,every one benefits by it4 ,none discontinue it4 ,the only people not seeking new steps for their repertoire are those who have not yet found time to make a beginning1 or who have been dismayed by the forbidding number of ,illustration3 ,,the 8,,waltz ,,minuet0 ,mr4 ,john ,murray ,anderson1 ,miss ,genevieve ,lyon ,characteristic style 7#a7--,variation1 position of hands 7#b7--,preparation for a turn 7#c7--,the mirror figure ,to face page #bgb ,illustration3 ,,the 8,,gavotte10 ,,showing ,,present ,,tendencies ,characteristic style 7#a1 #b7--;,a curtsy 7#c7--;,arabesque to finish a phrase 7#d7 ,to face page #bgc new names1 both of steps and of dances4 ,for their benefit1 it is in order to make a digression at this point4 ,let it be emphatically understood that the dances above enumerated are the only ones that have any present significance in ,french1 ,english or ,american ballrooms4 ,so-called 8new0 dances1 bearing names of summer and winter resorts1 heroines and what-not1 are presented in endless succession2 but analysis always shows their almost complete lack of individuality4 ,their claim to recognition regularly consists of a minor variation of a familiar bit of one of the ,waltzes1 the ,tango1 or the ,one-,step4 ,around this nucleus are gathered steps taken from the other dances directly2 and the 8composition0 is supposed to contribute publicity to some progressive teacher or performer4 ,at the present moment a 8,spanish0 something-or-other is claiming attention1 on grounds which1 examined closely1 consist in a drawing of one foot up to the other1 with a slight accompanying body movement4 ,spanish dancing does use this movement1 it is true4 ,so does the ,one-,step2 the ,turkey ,trot had it on its birthday4 ,examples of such efforts might be multiplied1 but one is sufficient to show the needlessness of concern over strange and unproved titles4 ,the steps and figures hereinafter described are standard4 ,the list cannot be complete1 since the ,tango alone has figures to a number variously estimated at from about fifty to more than a hundred2 nor is it desirable that it should be4 ,many of those figures are wholly alien to the true ,tango character1 contribute nothing of beauty or interest1 and might well be allowed to perish4 ,others are of such slight variation from basic forms that they can be learned in a moment by any one familiar with the principles4 ,embellishments are easily added1 once the structure is solidly built4 ,the instruction that follows was prepared under the careful supervision of a teacher whose good taste is unquestionable and whose broad familiarity with dancing in all its aspects qualifies him to foresee and estimate tendencies with extraordinary precision3 ,mr4 ,john ,murray ,anderson1 previously introduced in these pages in connection with the old court dances4 ,the photographs illustrating the text were made from the work of ,mr4 ,anderson with his partner1 ,miss ,genevieve ,lyon2 collective possessors of a favourable and growing popularity as performers4 ,these photographs may be studied with full reliance upon their value as guides to the style of each of the dances described4 ,to the beginner1 the diagrams and text will serve as a grammar1 by whose guidance the steps can be put into practice4 ,familiarity will accustom the limbs and body to the mechanism of the steps1 and the mirror will go far in revealing the faults inseparable from any new undertaking that requires skill4 ,at that point the photographs have their special value4 ,as soon as the student is reasonably conversant with his grammar1 he should begin to avail himself of opportunities to put his knowledge to practical use4 ,also1 if he wishes to dance with distinguished grace and style1 he should put himself for a term under the eye of a capable teacher4 ,ambitious professional performers1 possessed of the knowledge and skill derived from years of concentrated study of their art1 periodically submit themselves to rigourous coaching4 ,the amateur1 though measured by much less exacting standards1 has commensurately less preliminary training on which he may depend to give him the qualities that make for graceful execution4 ,no dancer can see his own work truly4 ,all need at least the occasional oversight of a skilled eye2 and a teacher's experience in detecting the causes of imperfections enables him to cure them in a minimum of time4 ,the figures 7enchainement7 composing the new dances have no set order of performance2 their sequence is at caprice1 usually suggested by the music4 ,nor is there yet any indication that their increasing number has reached its limit4 ,every one is at liberty to test his powers of invention and composition1 to experiment with the adaptation of steps of one dance into another1 and1 in general1 to give play to his individuality4 ,but1 to hasten the uniform acceptance of a certain set of figures as a standard basis of each dance1 it would be best to postpone indulgence in fantasies until after the subjoined figures have been learned4 ,at present the progress of the ,tango1 in particular1 is hampered by the fact that hardly two people in the same ballroom will be found in agreement as to what steps constitute that dance4 ,and1 as noted before1 a preliminary learning of the fundamentals will enable him who dances to decide intelligently what new steps may be added to a dance appropriately1 and what are out of harmony with that dance's character4 7,the discussion of theme1 in the chapter on ballet technique1 deals with composition of steps47 ,explicit verbal description of steps is possible only by use of the accepted designations of positions of the feet4 ,if they do not impress themselves on the memory clearly1 the reader should by all means copy the diagram on a separate slip1 and keep it before him as he experiments with the translation of text and diagram into practice of the steps4 ,illustration ,it will be seen that the designations of positions differ from those of the ballet in the respect that the feet 8toe out0 at an angle of #de to an imaginary line of advance1 instead of the #ij prescribed by the classic ballet4 ,modifications of the simple positions1 such1 for instance1 as anterior or posterior position of either foot1 open or closed position1 etc41 will explain themselves readily4 ,the relative positions of partners are 7#a7 closed position1 7#b7 side position1 and 7#c7 open position4 ,closed position is that of the individuals facing each other1 shoulders parallel1 each looking over the other's left shoulder1 the man's left hand holding the woman's right hand1 and his right hand on her back4 ,side position moves the figures 7holding each other practically as before71 each to his left or each to his right1 far enough to take each away from in front of the other4 ,coming toward the spectator1 the couple in side position shows the width of both bodies4 ,open position places the man and the woman side by side1 facing in the same direction1 joined by his hand on her waist1 or by holding hands4 ,necessary preliminaries disposed of1 we are ready to proceed with the actual mechanism of the dances1 of which the first to be considered is ,,the ,,one-,,step #a4 ,,the ,,castle ,,walk 7invented and introduced by ,mr4 and ,mrs4 ,vernon ,castle74 ,this is a walking step of direct advance and retreat1 not used to move to the side4 ,the couple are in closed position1 the woman1 therefore1 stepping backward as the man steps forward1 and vice versa4 ,the advancing foot is planted in fourth position1 the knee straight1 the toe down so that the ball of the foot strikes the floor first4 ,the walk presents an appearance of strutting1 although the shoulders are held level1 and the body firm2 a sharp twist that punctuates each step is effected by means of pivoting on the supporting foot4 ,the shoulder and hip movements that originally characterised the 8trot0 are no longer practiced4 ,in all the following floor-plan diagrams1 the right foot is indicated by solid black1 the left foot by outline4 #b4 ,,the ,,turn is a walking step1 pivoting on one foot to change direction4 ,illustration ,the right foot comes from the preceding step to the place of starting2 while it makes two successive long steps 7#a1 #b7 the left foot turns 8on its place40 ,the turn's completion brings the right foot into anterior fourth position4 ,the woman's steps are the converse of the man's1 her left foot making the long steps1 while her right foot turns on its place4 ,the turn gains smoothness by means of allowing the right knees to touch each other lightly4 #c4 ,,the ,,dip4 ,starting with 7say7 the right foot in posterior fourth position3 during the first beat1 sink 7for form see photograph72 on the second beat1 rise1 transferring the weight to the left 7advanced7 foot1 gliding the right foot up to third position1 on arriving at which it instantly receives the weight again1 if the dip is to be repeated4 ,in that case the left foot again glides to anterior fourth position1 and the step is effected as before4 ,frequently several dips are made in succession4 ,they often succeed a turn1 the latter's finish leaving the feet in appropriate 7fourth7 position for the purpose4 ,the dip is executed in any direction1 with the performers in any position of the couple4 ,it occurs in other dances1 but its technique is always the same4 #d4 ,,the ,,grape-,,vine is an alternation of second and fourth positions of the feet2 one foot travelling sidewise on a straight line1 the other foot going from anterior to posterior fourth position1 and vice versa4 ,the step travels to the woman's right 7the man's left71 without turning4 ,illustration ,the man's steps are the converse of the woman's1 he starting with his left foot4 ,the step is executed in closed position of the couple1 and is usually performed several times in succession4 ,the arrival of the feet in fourth position 7i4 e41 the steps marked 8#b0 in the diagram7 is usually punctuated with a slight dip4 #e4 ,,the ,,one-,,step ,,eight1 so called from the number of beats it occupies1 is distinct from the ,tango ,huit1 described later1 which describes a figure #h on the floor4 ,the eight of the ,one-,step is a simple walk1 with turn4 ,illustration ,the man's steps are the converse of the woman's2 she pivots on her right foot1 he on his left foot4 ,executed in closed position of the couple4 ,illustration #f4 ,,the ,,square1 originally a ,tango figure1 is equally effective in the ,one-,step4 ,from posterior third position1 the right foot steps to 7#a7 anterior fourth position2 left foot glides to 7#b7 second position2 right foot glides into 7#c7 first position2 left foot steps back to 7#d7 posterior fourth position2 right foot steps to 7#e7 anterior third position4 ,it is usually repeated several times4 ,executed in closed position of the couple4 ,execution of the figure occupies two measures of music2 steps done in half-time are indicated by the word 8and10 instead of a number4 ,the learner will find it useful to chant the count aloud1 avoiding stress on the half-count of 8and40 ,let it be understood that the word 8and10 used in counting1 has the above significance in descriptions to come4 #g4 ,a figure whose execution occupies three measures4 ,the steps of the first bar are quick1 those of the second slower2 the difference of speed should be emphasised4 ,illustration ,first bar3 ,as the left foot crosses over to 8#c10 it will be noted that the next placement of the right foot is marked 8and02 this is done because the time occupied by the little movement is only one-half beat4 ,in practice the steps are counted1 one1 two1 three and four4 ,the left foot's step marked 8#d0 is a coup2 as the foot is planted1 it displaces the right foot2 which takes a position extended to the rear1 raised from the floor4 ,second bar3 ,the space between the last place of the right foot in the first bar and its place in 8#a0 in the second bar1 does not represent proportionate progress across the floor2 the steps of the three bars are diagrammed consecutively1 to avoid the confusion of superimposed lines4 ,on count 8#a0 of the second bar1 advance the right foot from its raised posterior position to anterior fifth position4 ,fill in the count of 8#b0 with a slow advance of the left foot to fourth position1 which it reaches on count 8#c02 upon which it receives the weight1 the right foot simultaneously being raised from the floor in posterior fourth position on count 8#d40 ,third bar3 ,on 8#a10 plant the right foot in posterior fourth position and slowly sink the weight back on it2 on 8#b10 glide the left foot back slowly 7#c7 to reach third position on count 8#d40 ,the figure is executed in open position of the couple4 ,its manner is smooth1 without dips4 ,it is usually repeated several times in succession4 ,illustration #h4 ,,the ,,murray ,,anderson ,,turn3 a turn en arabesque4 ,the man crosses the right foot in front of the left1 and transfers his weight to it 7i4 e41 the right foot74 ,simultaneously the woman1 holding his hand in her hand 7open position of couple71 begins a walk around a circle of which the man's right foot is the centre4 ,as his legs 8unwind10 he rises to the ball of the right foot1 extending the left leg easily to the rear 7see arabesque1 chapter on ballet technique7 and raising the left foot from the floor4 ,the woman's walking movement should be smooth rather than accented4 ,after repeating the turns ad lib41 it is found that the ,one-,step ,eight follows harmoniously after the turn4 #i4 ,a cross-over with a woman's turn4 ,this figure looks complicated in the diagram and in performance4 ,as a matter of fact1 it is not especially difficult4 ,illustration ,the diagram represents the cross-over1 which precedes the turn4 ,the turn is described in words4 ,in preparation for the cross-over1 the couple changes from closed to side position1 the man on the woman's left4 ,the man's steps are the converse of the woman's2 and his travel back and forth counters hers1 so that the two pass and repass--in the side position of the couple1 he is now on the her left side1 now on her right1 and so on4 ,keeping track of the woman's steps on the diagram1 read the man's steps one by one1 correlating them with the woman's4 ,illustration3 ,,development ,,of ,,an ,,arch 8 ,,la ,,pirouette0 ,cross to right 7#a7-- ,cross to left 7#b7-- ,start of turn 7#c7 ,to face page #bhb ,illustration3 ,,the 8,,one-,,step0 ,the ,kitchen ,sink2 position of couple 7#a1 #b7 ,,the 8,,brazilian ,,maxixe0 ,characteristic position of advanced foot 7#c7 ,to face page #bhc ,after taking side position on the woman's left1 the man takes two walking steps forward1 right1 left2 crossing the right foot in front of the left1 he changes to the woman's right side4 ,still walking forward1 right1 left1 two steps bring him to the end of the third measure4 ,finish in first position of the feet4 ,note3 ,in the work of both man and woman1 the turn in the first two measures1 and the half-turn in the third1 involve only simple walking steps1 plus a pivot to change direction4 ,the interaction of arms suggests itself in practice4 ,the fourth bar marks the woman's turn--or pirouette1 as it is often and usually mistakenly called4 ,the man's left hand holding the woman's right hand1 the woman executes a turn--a real pirouette 7q4 v47 is permissible--under the man's raised left arm1 finishing in closed position of the couple4 7,see photographs47 ,the turn under the arm is sometimes called the arch la pirouette4 #aj4 ,a woman's turn1 varying the preceding1 with which it is identical up to the end of the second bar4 ,having completed the turn occupying the first and second bars1 the woman lets go her partner's hand and walks around behind him1 completing the circuit in four steps4 ,these must be measured so that the fourth step brings her into readiness to go into closed position of the couple2 and timed so that1 after going into closed position1 the couple has neither to wait nor to hurry in order to move with the next beat4 ,during the walk around1 the woman lightly glides her left hand around the man's neck4 ,the man remains stationary1 his left arm extended horizontally before him4 ,the woman's right hand takes the man's left hand as she comes into closed position4 ,the foregoing movements of the ,one-step must be executed not only with fine regard to rhythm1 but also to continuity4 ,if they are not made to flow one into another1 the effect is jerky and uncertain-looking4 ,,the ,,boston ,the distinguishing step-combination of this very attractive dance is complete in one measure4 ,its essence is in a certain effect of syncopation1 secured by keeping the weight on the same foot through two successive beats--contrary to the practice of transferring the weight with each beat1 as in the old ,waltz4 ,another peculiarity of the ,boston is the carriage of the weight counter to the line of direction of travel1 giving an effect of holding back4 ,the dance is performed with deliberation2 its execution aims at a rather grand style4 ,the dip characteristic of and named for the ,boston is1 in execution1 the same as the dip described in connection with the ,one-,step 7see photographs74 ,the management of a sequence of dips as they occur in the ,boston is1 however1 a matter for special attention1 which will be given it in its place4 #a4 ,the essential step3 ,illustration ,on count 8#a10 the entire weight is thrown upon the right foot2 and there it continues through the remainder of the bar4 ,on count 8#b10 swing the left foot forward into anterior fourth position1 straightening the left knee1 touching the floor with the point1 as far forward as is possible without taking any of the weight off the ,illustration3 ,,the ,,waltz ,a position of the couple in the ,waltz ,minuet 7#a7--;,correct position of man's hand on woman's back 7#b7--;,a position also assumed in the ,one-,step ,eight 7#c7--;,a ,dip 7#d7 ,to face page #bhd ,illustration3 ,,the ,,waltz ,showing correct positions ,of couple 7#a7--,of feet1 in short steps 7#b7--,of feet1 in ,dip 7#c7--;,another view of the ,dip 7#d7 ,to face page #bhe right foot2 meanwhile the right foot rises to the ball4 ,on count 8#c10 lower the heel of the right foot to the floor4 ,turn by pivoting on the supporting foot1 continuing to touch the point of the free foot to the floor4 ,in the bar that follows1 the left foot takes the first step1 as before4 ,to accomplish this the weight must be kept on the right foot4 #b4 ,the step backward is the converse of the foregoing4 ,the diagram indicates1 as start1 the position in which the feet were left by the preceding step4 ,illustration ,for the sake of simplicity1 the diagrams indicate a straight advance-and-retreat movement4 ,it will be understood that1 in practice1 this is varied to effect turns1 i4 e41 by pivoting on the supporting foot4 ,the execution above indicated applies to the ,long ,boston4 ,in the ,short ,boston each beat is--or was--made the equivalent of two counts for the feet4 ,the resulting jerkiness and lack of sweep excluded the ,short ,boston from any lasting popularity4 #c4 ,the ,,boston ,,dip is1 in practice1 a series of three successive dips1 executed in reverse turning movement4 ,each of the three occupies a whole measure1 and a fourth measure is used in returning to the regular ,boston walking step4 ,in putting the step into practice from the diagram1 the student will greatly simplify the process by chanting the count3 right'1 left1 right2 left'1 right1 left2 right'1 left1 right1 etc41 accented as indicated1 on the first beat of each measure4 ,because the foot designated by the accented count receives the weight2 and the more nearly the disposal of the weight can be made to take care of itself1 the more attention the student has for other details4 ,illustration ,the dip begins on the first beat1 completing the recovery on the third4 ,it always is made with the right foot in posterior position4 ,in fact1 the right foot does not get out of posterior position4 ,now1 on measures where the left foot takes the first count1 as in the first measure 7above diagram7 this is easy4 ,but in alternate measures the right foot takes the first beat1 and just here begins confusion from which few find any escape except by means of practice4 ,perhaps owing to a rhythm that the dip has in common with the old ,waltz1 the right foot has a tendency to go1 in its turn1 into the anterior position4 ,but it must be kept back4 ,it must be kept1 broadly speaking1 on the outer of two curving paths1 of which the left travels the inner4 ,note the appearance of this on the diagram showing turns4 ,if the learner succeeds1 at this point1 in performing the dip to the satisfaction of a candid and intelligent critic1 let him by all means proceed to the next section1 praising ,allah for the gift of facility4 ,if not1 let him be cheered by the fact that it is as difficult for any one else as for himself4 ,a semblance of it is easily acquired4 ,to insure reality1 return to the figure on page #bhf4 ,observe that in bars where the right foot takes the first count 7the even-numbered measures1 beginning with the second7 the right foot does not step out in advance of the left foot4 ,instead1 it sweeps out to the side2 the movement is accompanied by pivoting on the left foot4 ,a short step of the left foot to place 8#b0 marks the cadence and preserves its anterior fourth position4 ,on the other hand1 in measures where the left foot takes the first count1 it keeps its anterior position almost automatically4 ,illustration ,as an added expression of the difference of treatment between the alternate measures1 it is here reduced to the form of a straight advance4 ,the ,boston ,dip carries with it the possibility of beauty commensurate with its difficulty4 ,on the other hand1 its good execution is none too common4 ,the exhilaration that attends its performance appears1 sometimes1 to flatter the performer into a belief that his style is as agreeable as his sensation4 ,it is1 therefore1 more than others1 a step in which every one should submit his execution to rigourous and intelligent criticism4 #d4 ,an embellishing enchainement1 complete in six measures1 of which each is filled by one step4 ,until the 8#f0 count1 the figure represents a straight advance and retreat4 ,the diagram departs slightly from that form in order to avoid the confusion of superimposed lines4 ,illustration ,as an aid1 count as follows3 ,step1' ,dip1' ,point'-dip1 ,step1' ,dip1' ,turn4' ,turn in the regular direction1 not in reverse2 and accompany the turn also with a dip4 ,in the third measure1 the left foot recedes quickly from its anterior position 7where it points7 to its posterior position4 ,in the third1 fourth and fifth measures1 note that the left foot makes three successive movements4 #e4 ,another embellishment4 ,without turns1 its theory is as follows3 ,illustration ,each count represents one measure4 ,with turns included1 the figure works out as follows 7for instance73 ,illustration ,the couple is in closed position4 ,the above diagrams represent the man's steps2 the woman's are the converse4 ,repeat at will4 ,,the ,,hesitation ,,waltz ,this new evolution preserves all the charm of the old-fashioned ,waltz1 and by means of certain embellishments has given it new life and interest4 #a4 ,its ,,theme is readily understood by means of a diagram3 ,illustration ,this key step is complete in two measures4 ,it will be noted that the first measure is devoted to a walking step4 ,elevation3 the 8#a0 beat in the second bar is accompanied by a slight dip4 ,toward the last of the second bar the dancers slowly draw themselves up until1 on 8#c10 they are raised to the ball of the supporting foot4 ,the man's right leg1 as it draws the right foot up to place 8#c10 is distinctly relaxed4 ,note1 in the second bar1 that the right foot continues to move during the second beat4 ,the step is performed in either open or closed position of the couple4 ,if the former1 the woman's steps are identical with the man's2 if the latter1 the converse4 ,if in open position1 the travel is forward4 ,to turn in the regular direction1 the step indicated in the second measure is in use4 #b4 ,,the ,,reverse is effected by an alternation of ,boston ,dips with an equal number of measures of old-fashioned ,waltz 7see ,boston ,dip74 ,dip in measures where the right foot is in posterior position without aid of a shortened step or of a left-foot pivot2 in other words1 measures in which the right foot is forced into posterior position4 #c4 ,a variation of the theme3 ,illustration ,for convenience1 count the time3 one1 two1 three1 pause4 ,on the word 8pause10 throw the weight strongly on to the left foot1 the right remaining easily in second position with the edge of the sole resting on the floor4 ,in repeating1 move at right angles to the direction followed in the preceding measure4 ,the man's direction turns toward his left1 the woman's toward her right4 #d4 ,the ,,lyon ,,chasse3 an effective figure in open position of the couple4 ,complete in one measure2 advantageously repeated several times4 ,illustration3 ,,the 8,,tango0 ,mr4 ,anderson and ,miss ,lyon ,characteristic style 7#a1 #b1 #d7--,woman circles man 7#c7 ,illustration3 ,,the 8,,tango0 ,characteristic style ,to face page #bia ,illustration ,count one1 two and three4 ,description of the man's steps3 ,advance right foot to fourth position1 where it receives the weight 7#a72 cross left foot over in front of right foot1 pivoting on the latter with the swing of the left foot1 so that the left foot when planted is in anterior fourth position 7#b72 cross right foot behind left 7and7 step out with left foot in the direction of starting4 ,the travel effected is a straight advance4 ,the woman's steps are the converse of the man's1 bringing the couple face to face on 8#b40 ,,the ,,argentine ,,tango ,to some people the ,tango seems to be an object of suspicion4 ,in a previous incarnation1 three or four years ago1 it did1 in all likelihood1 fall short of the requirements for acceptance in ,anglo-,saxon ballrooms4 ,yet1 notwithstanding the correction of its shortcomings1 or the transformation of them into virtues1 there lingers a semifashion of nagging at it4 ,of those volunteers for its reformation who make specific complaints1 no two factions have a point of belief in common2 the factions are numerous1 and their observations not very logical4 ,indeed1 it would be illuminating as well as entertaining if dictagraphic reports could be collected1 of all the discussions the ,tango has inspired since its introduction in ,paris4 ,such reports should be given to one of the serious-minded critics of the dance for compilation1 with his own comments4 8,the movements employed in the ,tango1 soberly viewed as a measure of respectability0--some such title as that the treatise should have1 to be representative of a species of misgiving of which expression has not wholly subsided4 ,it is time that the ghost should be laid1 since the ,tango is now1 and has been for a year or more1 a beautiful and irreproachable dance--assuming1 of course1 its performance in the clean spirit usually found in good society4 ,any dance can be made suggestive or offensive4 ,so can walking4 ,but that is no reflection on the intrinsic quality of either dance or walk4 ,the measure of the beauty or character of a dance is to be found in the movements which1 by common acceptance1 that dance prescribes2 a rendering that departs from those movements fails to measure those attributes1 in so far as it violates the accepted form4 ,now1 a couple of specimens of the movements that bring criticism upon the ,tango4 ,of its characteristics1 one is a manner of touching the point to the floor1 the foot pointing straight forward2 followed by a quick raise of the foot1 the raise accompanied by a turn outward of the heel4 ,the effect is1 undoubtedly1 exotic2 that is part of its charm4 ,it is criticised1 however1 on grounds of respectability6 ,one more movement carries this offending step to the attention of a wholly different set of censors4 ,these latter have found no fault with the touch of the foot to the floor in 7say7 second position1 and its raise in the indicated manner4 ,but now1 the same foot moves back to fourth position4 ,just that4 ,the same old fourth position1 without innovation or adornment4 ,and thereupon1 with all seeming earnestness1 the second informal committee of censors protests on grounds of respectability6 ,why8 ,is it because1 in coming to that fourth position1 two steps were taken in succession by the same foot8 ,no1 that is not it2 it seems that fourth position is at fault1 per se4 ,the character of the objections suggests the existence of an apprehension that an unqualified acceptance of the ,tango would be risqu4 ,there is no other explanation for the hostility1 under present conditions of the dance4 ,yet1 idle as are the objections1 they cannot be quite overlooked4 ,a certain number of vacillators are listening now to one voice1 to another to-morrow3 however great or small their influence1 in ratio to its strength it will tend to denature a product that now has a flavour to interest discerning taste1 yet hardly to imperil the weak-headed4 ,dropping the above issue1 the ,tango's trick of the foot continues to be interesting2 this time in relation to the interest of character4 ,the sharp in-twist of the foot is one of the points of individuality both of the ,tango and the dance of the ,arab4 ,now1 probable family relationship puts the ,tango under no obligation to family traits1 for the sake of family dignity2 that is beside the point4 ,but1 in its own interest1 the ,tango would do well to take a careful look at the work of the ,arab1 to see that it is deriving equal profit from the same resources4 ,which it is not4 ,by current usage 7in the ,united ,states at least7 the ,tango makes a practice of toeing forward1 or even in1 to an extent that is not only monotonous1 but which robs the quick in-turn device of the value of surprise4 ,the ,arab woman1 on the other hand1 places her feet at a natural angle2 moreover1 she precedes the sharp turn-in with an outward turn sufficiently marked to give the former a telling contrast4 ,the same is true of the ,flamenco dances in ,spain4 ,their superior use of the trick justifies attention on the part of those under whose influence the new dance is determining its final form4 ,in point of merit1 the ,tango measures up to a standard which1 though by no means a true measure of quality1 has a certain practical value3 it is sufficiently picturesque to cover the faults of a half-good dancer4 ,conversely1 as a vehicle for the equilibrium and style that unite in a very good dancer1 it is not excelled by any social dance of modern times4 ,it should be noted that the most suitable music is among the compositions of the ,argentinos themselves4 #a4 ,,the ,,tango ,,walk 7,spanish1 el ,paseo2 ,french1 la ,promenade7 is used as a variety to figures4 ,the man moves forward1 starting with the left foot1 the woman backward4 ,the step brings the advancing foot to position squarely in front of the supporting foot1 both 7by the present mode7 pointed straight forward4 ,the full weight is transferred to the advanced foot as soon as possible1 the knee of the leg in posterior position promptly relaxed1 the posterior foot resting1 for a moment1 lightly on the point4 ,the step in advance is made with a light gliding movement4 ,in turning1 follow the reverse direction invariably4 ,technique of the step backward3 ,start the foot with a glide1 letting it rise from the floor toward the end of the step1 meanwhile toeing inward2 plant the foot squarely to the rear of the supporting foot4 ,at the moment of placing the retreating foot1 the knee of the advanced leg is relaxed1 and the advanced foot is turned ,illustration3 ,,the 8,,tango0 ,the two upper pictures represent phases of the 8,scissors0 figure4 ,the two lower show characteristic style of the 8,tango04 ,to face page #bid ,illustration3 ,,the 8,,tango0 ,the ,reverse 7semi-open position7 7#a7--,the regular ,tango walking step 7#b7--a and #b apply also to the ,one-step ,eight--,style of movement 7#c7--,position of hands sometimes assumed to emphasize the end of a phrase 7#d7 ,to face page #bie inward1 the heel remaining placed as a pivot4 ,the same directions apply to man and woman4 #b4 ,,the ,,corte4 ,illustration ,starting in first position3 ,put the weight on the right foot 7#a72 step forward with the left foot1 quickly bringing the right up to third position1 both steps accomplished on 7#b72 bring the left foot back to fifth position1 rise on balls of feet 7#c71 drop heels to floor with pli of knees 7#d74 ,the second measure finds the right foot in anterior fifth position4 ,the first beat brings it back to posterior fifth position and throws the weight upon it4 ,continue same as first measure4 #c4 ,,the ,,scissors4 7,spanish1 las ,tijeras2 ,french1 les ,ciseaux47 ,illustration ,the 8#a0 count is marked by a touch-and-turn of the foot2 touch the point to the floor1 and instantly raise it1 sharply1 throwing the heel out2 set foot on place 8#b40 ,with the turn of the foot1 allow the hips 7but not the shoulders7 to turn also in such manner as to bring the right foot1 for the moment1 into posterior fourth position4 ,this applies to beat 8,i40 8,ia0 represents the pointing of right and left foot respectively4 ,a variation of the same is effected as follows3 ,illustration ,turning may be accomplished by 7a7 the man crossing the right foot over the left1 and 7b7 the woman 8unwinding0 him by moving around him executing scissors steps1 turning to her right4 ,done in closed position of the couple4 #d4 ,,the ,,media ,,luna 7,french1 la ,demi-lune74 ,illustration ,start in first position4 ,right foot to anterior fourth position 7#a72 left foot to second position 7and7 right foot glided to first position 7#b74 ,left foot to posterior fourth position 7#c72 right foot to second position 7and7 left foot to first position 7#d74 ,the place and position of start and finish are identical4 #e4 ,,the ,,eight 7,spanish1 el ,ocho2 ,french1 le ,huit74 ,start in first position4 ,cross right foot in front of left 7#a72 bring left foot to first position 7and7 right ,illustration3 ,,the 8,,tango0 ,the ,corte 7#a7--;,characteristic style 7#b7--;,a variation 7#c7--,start of a turn 7#d7 ,to face page #bif ,illustration3 ,a 8,,tango0 ,,step ,man's foot displaces woman's 7#a7--,woman's foot displaces man's 7#b7--;,each displaces the other's foot 7#c7 ,to face page #big foot to posterior fourth position 7#b72 cross left foot over in front of right 7#c71 right foot to first position 7and7 left foot forward to fourth position4 ,illustration ,executed either in open or closed position of the couple4 ,in the latter1 the woman's steps are the converse of the above4 ,in open position the same steps are used by both partners2 their travel describing a zigzag figure4 #f4 ,a ,,waltz ,,turn4 ,to change from one figure to another1 the couple may make several turns in reverse direction1 by means of ,waltz step4 ,illustration ,first measure3 ,with the rise on the left foot1 the right foot would best be considered1 for simplicity's sake1 as leaving the floor1 and remaining in the air until 8#a0 of the second measure4 ,second measure3 ,on 8#a10 the weight goes back upon the right foot2 consider the left foot in the air1 until 8#a0 of the third measure4 ,third measure3 ,same as first measure4 ,fourth measure3 ,cross right foot over left foot and simultaneously rise 7#a72 hold the position until 8#b40 ,sink with sufficient pli to give softness of movement4 ,pick up the right foot smartly at the end of the last measure in which this step is used4 ,in character with the ,waltz1 the above movements are made to flow together in execution4 ,but a thorough grasp of their sequence must be acquired primarily4 ,the turn is used to separate enchainements1 in the manner of the reverse of the ,hesitation ,waltz1 to which it is analogous in structure4 #g4 ,an easy step4 ,illustration ,on 8#c10 bend the right knee1 at the same time slightly raising the left foot from the floor 7posterior fourth position74 ,on 8#d10 pick up left foot sharply4 ,in execution1 pivot on supporting foot1 to turn in regular direction4 ,illustration3 ,a ,,north ,,american ,,figure ,,in ,,the 8,,tango0 ,preparation 7#a7--;,after the twist 7#b7--;,finishing with a ,dip 7#c7 ,to face page #bih ,as the right foot does its touch-and-turn1 incline the body away from it2 and vice versa4 ,note same as a ,tango principle4 #h4 ,the same1 to the rear4 ,illustration ,in this and the preceding figure1 8#b0 indicates the ,tango's manner of touching the point to the floor and quickly raising the foot1 at the same time turning the heel out sharply4 ,this 7a7 bends the knee and 7b7 throws the hip slightly forward4 ,give reasonable play to both tendencies4 #i4 ,a ,north ,american figure1 used principally by exhibition dancers4 ,illustration ,start in first position4 ,advance left foot to fourth position1 stamp 7#a72 advance right foot to fourth position1 keeping it in the air 7#b72 a rond de jambe half-turn1 very fast1 pivoting on left foot1 to bring right foot to anterior fourth position 7#c72 very low dip or kneel 7#d74 ,exhibition dancers frequently adorn the rond de jambe with a little circle 7from the knee as pivot7 described by the foot1 executed during and without interrupting the big sweep4 ,the little movement adds dazzle to the rapidly executed big movement4 ,performed in open position of the couple4 ,the half-turn brings them about-face1 facing each other in the course of turning4 7,see photographs47 #aj4 ,,el ,,volteo 7the ,whirl7 is the name of a figure of which descriptions come from ,paris4 ,the mechanism of the step is identical with that of the grapevine of the ,one-,step4 ,,the ,,brazilian ,,maxixe ,this is1 virtually1 a revival of the ,two-,step1 plus certain ,tango steps and enchainements4 ,instead of the ,tango's touch-and-turn-in of the foot1 it employs a device of resting the heel on the floor1 the foot pointed upward1 while the body assumes a bent-over posture not particularly attractive4 ,illustration3 ,,the ,,first ,,step4 ,as in other present-day dances1 usage requires no set sequence of figures4 #a4 ,execute the first measure with the body somewhat supple1 and a good deal of rise and sink in the steps4 ,the effect may be varied by inclining the body rather sinuously from side to side4 #b4 ,a ,,flying ,,two-,,step3 a two-step in which the advanced foot points upward1 touching the heel to the floor--except on turns4 ,continue as many measures without turning as is found interesting2 eight are not too many4 ,illustration3 ,,another ,,step4 #c4 ,man's steps3 ,starting in first position1 advance right foot to fourth position 7#a72 glide left foot to second position 7#b72 glide right foot to posterior third position 7#c72 carry left foot to posterior fourth position1 pause en attitude1 and1 plant it1 transferring weight to it and raising right 7advanced7 foot1 point down 7#d74 ,woman's steps3 ,advance left foot to posterior fourth position 7#a72 glide right foot to second position 7#b72 glide left foot to posterior third position 7#c72 plant right foot in anterior fourth position and raise the left foot from the floor 7#d74 ,during the pause on 8#d10 the woman leans slightly forward4 ,until the third beat1 her steps are the converse of the man's4 ,then1 it will be noted1 her position becomes the same as the man's3 each1 through a half-beat1 is supported on the right foot1 the left extended back en attitude4 ,the count of 8#d0 again finds the couple in converse positions1 the man's right foot being pointed forward while the woman's is extended back4 #d4 ,,an ,,arch ,a ,,la ,,pirouette4 ,holding his partner's right hand in his left hand1 the man executes four polka-steps forward2 while the woman1 by means of four polka-steps1 makes a complete turn toward her left4 ,the engaged hands are raised to allow her to pass under the arms4 #e4 ,miscellaneous4 ,the foregoing may be varied with slow walking steps1 one to each measure2 running steps1 two to each measure2 and polka-steps1 with a dip on the first beat4 ,owing partly to its facility1 the ,maxixe is likely to be remembered as of the group whose spread over the ,occident has represented a striking social phenomenon4 ,of the ,maxixe1 the ,one-,step1 the two ,waltzes and the ,tango1 the leap into popularity has been so incredibly sudden1 and the popularity so far-reaching1 that it suggests a great1 curious story2 a story with dances and nations as characters2 a story whose capacity for surprises is so well proven that all the world keeps asking itself1 8,what next80 ,that the tendency is not in the direction of the grotesque is evidenced in the history of the ,turkey ,trot4 ,so far the layman may read for himself4 ,for more definite opinion1 we turn to those who1 by intimate association with the art in the capacity of teachers and performers1 are situated to observe the attitude of the public toward the art2 and who also1 by virtue of a broad ,illustration3 ,,the 8,,brazilian ,,maxixe0 ,characteristic style 7#a7--;,a ,dip 7#b7--,variations 7#c1 #d7 ,to face page #cjb ,illustration3 ,,the 8,,brazilian ,,maxixe0 ,preparation for a turn 7#a7--;,finish of a turn 7#b7--;,characteristic style 7#c7--;,a ,dip 7#d7 ,to face page #cjc knowledge of dancing1 are capable of relating their observations to choreographic geography and history4 ,madame ,pavlowa1 of the world2 ,mr4 ,anderson1 now of ,america2 and ,miss ,nellie ,chaplin of ,london1 have committed themselves definitely as to future probabilities2 and with their opinion authorities generally are in full agreement4 ,to the effect that3 ,the dances of the seventeenth-century courts are the objective toward which present-day steps are moving directly4 ,they are a part of the curriculum of ,miss ,chaplin's famous ,london school4 ,a ,gavotte ,directoire presented by ,madame ,pavlowa1 one of her most popular numbers1 seems the very spirit of modernism4 ,she expresses the belief that the ,russian ,gavotte1 in which is preserved the courtly spirit1 is destined to wide acceptance4 ,mr4 ,anderson demonstrates points of step and style that link together most convincingly the old and the new4 ,familiarity with the court dances is the dominant influence in his treatment of the dances of to-day2 and the significant part of it is that the essential modernism of his manner1 in steps rapid or slow1 lies in a poise which1 until yesterday1 was supposed to be old-fashioned4 ,,chapter ,,xiv ,a ,,layman',s ,,estimate ,,of ,,conditions ,that great dancing is a useful and desirable addition to human happiness needs no argument4 ,its power to delight the vision and expand the imagination2 its value as an example and incentive to an exercise unsurpassed as an ally of health--these and other virtues are obvious4 ,more completely1 perhaps1 than any of its tributary arts1 dancing has the power to impart that indefinable mental well-being that great art aims to give its auditor or spectator4 ,as music is refreshment for one1 pictures for another1 so the contemplation of dancing is the means of ordering and energising the mind of a third4 ,we of the ,united ,states are a beauty-loving people in the main1 and almost unanimously attuned to the message of action--so long as we understand its meaning4 ,once really established among such a people1 dancing would take a position of importance second to no other source of national inspiration4 ,in the meantime1 there are unorganised cohorts of us to whom good dancing1 like good reading1 is something of a necessity2 and we should like to know what we have a right to expect from the near future4 8,the public gets what it wants10 is the sophisticated comment almost invariably drawn forth by any discussion along these lines4 ,which comment exposes its own superficiality2 the suggestion of the existence of any one public1 in relation to the arts1 is absurd4 ,patronising dancing there appear1 at the very first glance1 two publics as widely separated as inhabitants of different planets2 each public possessed of appreciations inconceivable to the other1 and even contemptible4 ,these are the public that applauds the buxom laziness which substitutes for dancing in the so-called 8amusement0 known as burlesque1 as distinguished from the public that responds to the pure beauty of opera ballet or well-performed ballet pantomime4 ,between these two extremes is an intermediate public that is the more or less innocent cause of endless confusion1 and whose good nature is an obstacle to the betterment of standards4 ,in the theatre1 even when the chaff outweighs the wheat1 it applauds everything4 ,the next day ,mr4 and ,mrs4 ,intermediate ,public advise their friends that the production is stupid4 ,decreasing attendance may warn the manager that something is lacking3 but what8 ,as a criticism1 absence is not very illuminating4 ,acts are changed1 cablegrams written and lines rewritten1 this man discharged1 a woman rushed over from ,paris4 ,and when all is said and done1 the performance perhaps continues to emphasise features that were the cause of bad impressions4 ,for this confusion1 the audiences are at least equally to blame with the manager4 ,they owe it to themselves as well as to others to express themselves frankly4 ,exactly what grade of dancing this intermediate public really wants is an unsettled question--and one of paramount importance1 since it involves a good part of the potential support of good things4 ,managers infer1 each according to his own disposition2 and there is rarely material for the formation of inferences in any way exact4 ,for one reason or another1 no undertaking serves the purpose of exact experiment2 experience does not lead to any unavoidable conclusion4 ,a few wholly good ballet productions have been given in the ,untied ,states during the past few years2 they have not been tremendously successful1 up to the present1 from the point of view of profits4 ,the optimist1 however1 counts even small profits a success1 in the circumstances4 ,here is an art that employs a language practically unknown to this country2 yet it has not failed to impress4 ,but the men who risked the money take another view of it4 ,they consider that they have had a narrow escape from disaster1 that the profits are not commensurate with the risks1 and that they are well out of a bad affair4 ,augustin ,daly1 at the time of his death1 was engaged in a course of instructing the public in the appreciation of pantomime1 expecting to lose money on it for two or three consecutive years4 ,but the present moment reveals no ,augustin ,daly among the potential managers of dancing in ,america4 ,few are willing to plant seed for a harvest long deferred4 ,and in justice be it added that the equipment and maintenance of ,pygmalion and ,galatea or ,l',enfant ,prodigue1 the vehicles of ,mr4 ,daly's missionary efforts in the interests of pantomime1 would be a small fraction of the expenses attaching to a first-class production of any of the great mimetic ballets4 ,the situation is1 in all essentials1 the same as that through which operatic and orchestral music passed a few years ago4 ,music lovers put their favoured art on a substantial basis by means of endowments4 ,any other course in relation to the ballet results in a matter of probabilities and possibilities1 but not of certainties4 ,the present interest in dancing1 left to itself1 may lead to great things4 ,or it may lead to nothing at all4 ,the renaissance of interest that followed the ,kiralfy successes in the sixties and seventies was killed by counterfeits4 ,the same hostile possibilities exist at present4 ,the above-indicated dependence of the dance on its ability to show immediate profits is only the first of its handicaps4 ,that difficulty would not be light1 even though every manager viewed conditions clearly and fairly1 as some of them do4 ,unfortunately1 however1 there is in the profession a class that has succeeded because of1 or in spite of1 a belief that good taste does not exist in ,america4 ,to prove this1 they shape every occurrence into an argument4 ,in gathering 8names0 for the interest of their advertising1 they engage a certain number of capable artists4 ,if the productions employing these artists succeed1 the cynical manager will construe such success as proof of ,american worship of reputation1 and its power to blind him to a mess of accompanying mediocrity4 ,if1 on the contrary1 failure attend the enterprise1 it proves ,american inability to appreciate good work4 ,for the success of a really good work of art1 these pessimists will find any explanation except that of good work duly appreciated4 ,skilful publicity1 novelty1 a public affectation of good taste1 the employment of ,oriental motifs1 any theory1 so long as it acknowledges no taste superior to their own4 ,these are the people who1 if ,madame ,pavlowa's present tour1 for instance1 makes a striking financial success1 will inundate the country with pseudo-,russian ballets1 perverting everything1 unable to see the need of beauty and artistry1 bringing all dancing into disrepute4 ,let it be clearly understood3 these people by no means represent the manager's profession4 ,but they are to an extent in control of the situation1 and the person who wants to see dancing is more or less dependent on them as the source of supply4 ,in the absence of any endowed institution1 no ballet can be seen except under commercial management--and1 as noted1 commercial management that cannot or will not knowingly invest in an enterprise that is going to require time to be understood4 ,the manager desirous of staging a work of genuine choreographic quality finds himself confronted by a discouraging scarcity of even semicompetent material for his ballet--that is1 here in ,america4 ,to bring a corps de ballet from ,europe1 with guarantees covering a minimum number of weeks of work1 transportation both ways1 and other proper and just requirements1 is commercially dangerous4 ,no reasonable blame can be attached to the usual course of engaging such girls as are easily available1 fitting steps to their limitations1 insisting on the girls and evading the dance1 and making much of draperies and coloured lights4 ,as a direct result of the scarcity of capable ballet people1 dance-lovers not infrequently lose the services of a rare artist4 ,no one artist can give a satisfying two-hour public performance of dancing4 ,saying nothing of variety as a desideratum in a programme1 the question of physical endurance enters4 ,to rest the premire between her flights1 a corps de ballet is indispensable4 ,without the latter1 the former is to be compared to a commander without an army4 ,but the particular case illustrates1 where general statement only explains4 ,on the face of things1 ,miss ,lydia ,lopoukowa's determination to take up residence in the ,united ,states would seem to mean that ,american dance-lovers might count on her art as a definite acquisition4 ,after her season with ,mordkin1 the young woman accepted a position as premire of a ballet1 as good as can be made from native material4 ,a divertissement is composed that pleases public and management1 and all concerned except the premire herself4 ,she finds her work circumscribed by the necessity of keeping down to a pitch beyond which the support cannot rise4 ,that the public is pleased is not sufficient2 with unrestricted self-expression1 and freedom of flight1 she could bring that public to a point of enthusiasm4 ,her art is belittled1 and she finds herself in a false position4 ,as soon as contracts permit1 she withdraws her energies from the effort to accomplish good in that direction4 ,so1 for the lack of a competent ballet1 the dance-loving portion of the population is robbed4 ,as to ,miss ,lopoukowa1 she has a taste for and demonstrated ability in the drama4 ,dancing will give her extraordinary distinction in plays that admit its union with the dramatic action4 ,but under better conditions1 her dancing need not have been subordinated to another art4 ,at this point a question might justly be raised as to whether the interests of the ballet are not being adequately cared for by some of the great opera companies4 ,to such possible question the only answer is negative4 ,nor are the companies chargeable with any neglect or shortcoming in not giving their ballet departments the relative importance of ballet in ,european opera organisations4 ,the task of popularising great music alone has been somewhat more than a labour of ,hercules4 ,opera as music now has a supporting patronage2 to change the ballet's relative importance would be disturbing1 in all probability4 ,moreover1 the ,metropolitan 7if not the others7 has done all that is humanly possible under present conditions1 with the principal result of demonstrating that those conditions are to be met by a ballet institution1 and nothing less4 ,at the time of the ,metropolitan's organisation1 it will be remembered1 the world's interest in ballet dancing was at a lower pitch than it ever had been since the dissolution of the ,roman ,empire2 that is1 about the middle of the ,victorian period4 ,had the undertaking been no more than that of producing opera in a land already friendly to it1 it would have been no more than natural if the ,metropolitan directors had accepted the ballet's status as they found it in ,england4 ,their task being1 however1 the production of opera in a country almost hostile to it1 a failure to simplify the problem in every possible way would have been bad generalship4 ,not finding itself expected to take rank with the ballets of other great opera organisations1 the ,metropolitan's department of dancing has gone its comfortable gait4 ,it has been under the direction of excellent ballet-masters2 but they become easy-going1 especially after proving to themselves that girls cannot successfully be asked to perform steps for which they lack the foundation of training4 ,to other mollifying influences is added that of a slippery floor in the room dedicated to ballet rehearsal2 a room so beautiful and a floor so perfect that to resin it would be a desecration4 ,the dancers1 in fear for the intactness of their bones1 walk through their numbers as best they can1 and ultimately perform them in a manner consistent with rehearsals4 ,as a step toward relieving the scarcity of ballet people1 the ,metropolitan founded1 about five years ago1 a ballet school--an enterprise from which1 up to the present1 the pupils have rather monopolised the material profits4 ,the arrangement between management and pupil is1 in brief1 that the pupil shall remain under the school's 7free7 tuition four years1 at the end of which period the ,opera has an option on her services for three years1 at a salary of twenty dollars a week1 a little more or less4 ,if she appears in the corps de ballet during her period of study1 she is paid proportionately4 ,the school work occupies two hours per day1 about nine months of the year4 ,the atmosphere of both school and ,opera is wholesome and good2 no fault can be found with the arrangement on a basis of fairness2 but the number of individuals the school has added to the ,opera's ballet is shockingly small4 ,every revue1 musical comedy1 and other light musical production includes a collection of young women called a ballet2 and each year of increased general intelligence in dancing matters adds to the desirability that these ballets should justify the name4 ,the pretty girl1 plus coloured lights1 drapery1 and lively cavorting1 no longer constitutes a perfectly secure grip on public approval 7except always in burlesque1 with which we are not concerned74 ,the result is an insatiable demand for girls who can even half dance4 ,and that demand1 in its turn1 is a steady drain on the ,opera's school4 ,before she has studied two years1 a girl can qualify for a position in an outside concern--a condition of which she never remains in ignorance very long4 ,she thinks it over4 ,two years more work in the school would insure her a position in the ,opera1 at weekly pay no greater than the present offer1 for a comparatively short season each year4 ,now1 if the ,metropolitan ballet had great prestige as a choreographic organisation--a prestige like that of the ,russian ballet1 for instance--its more capable members would be sought after as teachers4 ,a connection with it would confer artistic honour and material profit4 ,unfortunately1 such prestige is one of the elements that are lacking4 ,in rsum3 continuance with the school insures employment for about half of every year1 beginning at a later time1 with the chances of advancement almost zero4 ,whereas1 musical comedy and the like offer the probability of employment the year round1 minus the time of rehearsing new productions4 ,present profits are more attractive than the deferred kind2 and1 a consideration by no means unimportant1 a pretty face and a pleasing manner are reasonable grounds on which to hope for a 8part40 ,her contract8 ,the young girl of the present generation has had her own way about everything since the hour of her birth4 ,experience teaches her that the worst penalty reasonably to be expected is a harmless reproof1 soon ended4 ,and her experience is a true guide in this case4 ,as a matter of sentiment1 no one likes to oppose the wishes of a girl4 ,as a matter of business1 it would be of doubtful advantage for the opera company to take legal steps to enjoin its contract-breaking pupils from appearing in other concerns4 ,happenings connected with opera and the theatres have a high value in the newspapers2 no motive is more popular than that of the persecution of the poor but beautiful girl2 the publicity force of the musical comedy employing said girl would busy itself creating for her the rle of victim4 ,the opera management would find difficulty in securing a true and therefore comparatively uninteresting public statement of its case2 indeed1 it would be likely to be made to appear1 in the eyes of the multitude1 as a sort of ogre4 ,the ,metropolitan school furnishes a complete and conclusive test of the possibilities of an opera organisation1 as such1 in the province of dancing4 ,but even if the ,metropolitan ballet were right now at the highest conceivable pitch of perfection1 a radical change of policy would be necessary as a preliminary to giving the school its proper power to hold its pupils' allegiance4 ,that is to say1 the opportunity to appear in an occasional divertissement is not sufficient to hold an ambitious and capable young man or woman through long years of study4 ,in ,st4 ,petersburg1 the ,imperial ,opera ,house dedicates two nights a week to mimetic ballet4 ,the dancers' art on those occasions is subordinate to none4 ,the dance is the thing2 and the dancers1 according to ability1 are given the opportunity to interpret character and motive4 ,in short1 they are given the opportunity to express their art as individuals4 ,now1 one or another of the ,american opera companies might be willing and able to duplicate the above conditions--conditions without whose aid no ballet reaches a high plane of development4 ,the undertaking1 however1 would have at least twice the weight of the administration of either ballet or opera alone2 it would be accompanied1 too1 by a risk that the twofold interest would result in confusing or displeasing a portion of the music-lovers who constitute opera's support4 ,the creation1 development and maintenance of standards of a great ballet is a combined task and opportunity for dance-lovers themselves1 and an end to be reached through the medium of a ballet institution4 ,it may be added that the ,russian rgime puts music and ballet under the charge of two distinct and separate institutions4 ,opera companies whose traditions have been formed during recent years have naturally felt the force of the renaissance of dancing2 they have invested their ballets with an importance that would have been considered disproportionate if their formative period had coincided with the mid-,victorian period4 ,the ,philadelphia-,chicago company has had a better corps de ballet than could logically be expected in view of the limitations of ,american material2 credit is due ,sr4 ,luigi ,albertieri1 the ballet-master4 ,as premire danseuse the same company for some years has had ,signorina ,rosina ,galli1 a delightful little product of la ,scala4 ,in #aiac ,sr4 ,albertieri took the post of ballet-master of the new ,century ,opera ,company1 with ,miss ,albertina ,rasch1 formerly of the ,vienna opera1 as premire4 ,the public's readiness to recognise good work was demonstrated during the ,century's first presentation of ,the ,jewels of the ,madonna4 ,after the act in which the ,tarantella is danced1 the audience demanded that ,miss ,rasch respond1 with the two principal singers1 to the curtain-calls4 ,in ,canada1 the influence of the times may be noted in the ,canadian ,royal ,opera ,company's engagement of ,madame ,pavlowa and her company to provide the ballet portion of eight performances4 ,of present interest in the dance throughout ,north ,america1 there is no manner of doubt4 ,it is perfectly clear that appreciation of choreographic beauty and discernment of skill are rapidly advancing4 ,london has shown its capacity to support four great ballet attractions through the same season1 and that a long one2 the ,united ,states is influenced by ,england's taste in entertainment4 ,dancing exhibitions and pageants are now a part of the entertainments of smart society4 ,a masque produced by ,mrs4 ,hawkesworth1 in one of the private gardens of ,newport1 was of a nature to recall the historic festivals of ,catherine de ,medici4 ,and the nation's taste in entertainment is influenced by smart society4 ,all signs point to a continued and even growing interest in dancing4 ,and it is possible1 without other aid or guidance than that interest in dancing in general1 that dancing as a great art1 an art of deep emotional interpretation1 will take its proper place in this land4 ,but1 with the multitude of forces of vulgarity1 get-rich-quick commercialism1 and heedlessness opposed to it1 it is doubtful4 ,at the present moment1 the high art of dancing is pleasing1 and its emotional message partly comprehended4 ,if it were fully comprehended1 that art would be an indispensable source of refreshment to the ,american mind4 ,consistently repeated for a few years1 its idiom would be familiar to a large part of the population4 ,the conditions which this chapter has analysed show1 however1 that the sufficient and adequate repetition of ballet drama is by no means certain4 ,and this chapter's motive is to emphasise two things3 first1 if ,american lovers of dancing wish to insure for themselves the continuous opportunity to see fine representations of that art1 they must found a ballet1 and an academy upon which it may depend for its artists2 second1 for such a step no time can be more propitious than the present4 ,if the vision of an endowed ballet institution in the ,united ,states seems lacking on the practical side1 it is not amiss to recall a few facts of ,american history in its relation to music--than whose ambitions of yesterday nothing was thought to be less practical4 ,thirty years ago the attitude of the ,united ,states 7particularly the ,west7 toward classical music was less indifferent than scornful4 ,to confess a liking for orchestral or operatic compositions was to brand oneself as queer4 ,anything connected with music or musicians was deemed a fair mark for newspaper jokers2 and they knew their readers4 ,inevitably1 organisations that ventured a tour did so at their financial peril4 ,individual singers and performers were protected somewhat by their lesser expenses and their preparedness to render popular ballads2 but they too knew well the look of empty benches4 ,theodore ,thomas pointed out to a group of ,chicago people that never1 under such conditions1 would the adequate performance of great works be other than at rare and uncertain times2 that1 without fairly frequent hearing of those great works1 public taste never would improve4 ,obviously1 the programmes that ,mr4 ,thomas proposed to give1 and the manner and frequency with which he proposed to give them1 brought up the prophetic vision of considerable money loss2 but the funds were subscribed4 ,the result is the ,chicago ,orchestra3 a source of unending happiness to lovers of good music1 just pride to the city1 and material benefit in no slight degree4 ,chicago finds itself the place of residence of several thousand music students1 and a centre of attraction for many more thousands of occasional pilgrims to the ,orchestra's concerts4 ,lastly1 as though to show that idealism is not the idle dissipation that it seems1 the ,orchestra was reported several years ago to have reached a basis of self-support4 ,the same history has been virtually duplicated in perhaps a score of cities1 needless to enumerate4 ,even 8practical0 people admit that most of the orchestras so endowed1 though they may have passed through a period of begging people to accept passes to concerts1 are now paying their own expenses4 ,the general history of the ,metropolitan ,opera has already been outlined4 ,opera in other cities has gone through much the same train of events1 slowly changing indifference to interest1 and having now arrived at the stage of independence made possible by a demand that grows steadily in volume and intelligence4 ,the number of performances in each city shows a consistent annual growth4 ,certainly the taste for dancing of a high class is no less worthy of indulgence and cultivation than the taste for the sister art of music4 ,if music's dependence upon endowment was once more evident than is that of dancing now1 then so much less is the difficulty of financing a ballet institution2 proportionately less1 too1 are the hazards and delays to be undergone before the institution arrives at a paying basis4 ,for the organisation and conduct of such an institution1 the ,russian ballet and ,academy supplies a model that could be followed in most details4 ,american sentiment probably would rebel at so complete a separation of children from parents as the ,imperial ,academy requires2 but a less complete separation would not necessarily be detrimental to results4 ,for actual technical work in dancing1 plastic gymnastics1 pantomime1 music and other courses more than a few hours a day would be beyond the strength of very young pupils1 leaving half of each day to attend common school4 ,as the pupil advances1 his hours per day in the academy could increase2 he could acquire general education after his technical education is accomplished with just as good results as accompany the present reversal of that sequence4 ,the weak spot that appears in the plan is the possible interference of parents with the school's discipline4 ,the training of a dancer involves hard work and a great deal of it4 ,although the work be demonstrably beneficial in all ways1 the ,american parents' attitude toward that work and the accompanying discipline would be the question to be settled4 ,boys1 to be sure1 are sent sometimes at an early age to military schools1 and there brought up under a more or less exact rgime4 ,but public sentiment favours the indulgence of the girl in all her wishes4 ,it would be a matter requiring adjustment1 and probably susceptible of adjustment4 ,far greater difficulties have been overcome4 ,against the prevailing tendency to abandon the training in order to accept outside engagements1 by which the ,metropolitan ,opera ,school of ,ballet has been too often victimised1 the academy could protect itself by requiring each pupil to file a bond as a condition of entrance1 the amount to be forfeited if the pupil violates his agreement4 ,questions of payment1 ranking of performers1 amount of pensions and the like are details needless to consider in the general plan4 ,proper equipment would represent a considerable expenditure3 a modern theatre1 or the liberal use of one2 drill halls1 music rooms1 gymnasium1 baths1 etc4 ,as to instructors1 the right kind are available4 ,at the outset1 ballet-master and most of the dancers would have to be engaged from outside1 their number decreasing as the school's products reached the proficiency to take their places4 ,the employment1 at the beginning1 of finished dancers1 would be of advantage in establishing standards for students4 ,scenery1 costumes and orchestra are to be had at the cost of thought and money4 ,medical and other expenses1 taxes1 etc41 are minor considerations4 ,now to returns4 ,in considering which1 it is understood that such an undertaking may not make expenses at first4 ,but it is not impossible that good management should reduce the losing years to a very small number4 ,assuming 7say7 thirty performances in the home city during the first year3 the prestige of that number of performances1 kept up to a consistent pitch of excellence1 would be nation-wide4 ,as a result of that prestige1 a long tour and several short ones would undoubtedly return an excess over salaries and costs4 ,bear in mind that a commercial undertaking of the sort must figure on recouping a heavy initial expense1 and transportation of a company from ,europe and return4 ,special engagements of artists1 in groups or individually1 would net the institution a greater or less part of the receipts1 according to the terms of individual contracts4 ,considering conditions as they are1 and looking at the history of music as a fair analogy1 it would be safe to assume that local interest in dancing and the mimetic ballet would increase steadily after the institution's first year1 increasing income proportionately4 ,on the other side of the account1 expenses should begin to decrease after the third year4 ,a wardrobe and a stock of scenery would have been accumulated1 their cost reduced to upkeep and occasional additions4 ,more important1 pupils by that time would begin to qualify for the ballet1 decreasing the pay-roll of ,european dancers4 ,in eight years1 if the institution has been reasonably fortunate1 it should have a ballet recruited principally from its own school4 ,these alumni1 of whatever grade1 it would have at low salaries2 salaries at the same time satisfactory to the recipients1 whose popularity as private teachers would be about in ratio to the quality of work with which they identified themselves in performances4 ,stated hours of exemption from duties connected with the ballet and the school would open the way to such extra revenue4 ,the pay of the premire danseuse of l',opra of ,paris is small1 in relation to the requirements of her position2 but teaching and outside performances are said to yield her a comfortable income4 ,pension payments would represent a loss more apparent than real1 since many pensioners could1 with adjustments1 serve as teachers and aides in various capacities4 ,so far as can be learned1 the foregoing covers the principal elements of expense and possibilities of revenue4 ,the difficulties would be heavy1 but less so than those that have been met and overcome4 ,the ballet institution1 achieved1 would be a contribution to the fine arts no less glorious than any this country has yet received1 an organism whose service to broad sthetic cultivation has been equalled by few4 ,on the score of both public education and its correlative1 the steady increase of the ballet's earnings1 too much emphasis cannot be laid on the advantage the institution would have in its facilities for repeating great works at frequent intervals4 ,we have seen how ground gained by the first ,russian season in ,america was partly lost1 through conditions that made it impossible to follow up victories4 ,the choreographic idiom once understood in its fulness1 and its public having found itself1 the changes of fashion in popular taste would be powerless to affect the dignified status of the art4 ,under commercial conditions1 let the general level of taste sag1 or appear to sag1 and fine expression is no more4 ,the thousands who have half learned to love the good give it up1 and revert to the mediocre2 while those who are wholly in sympathy with the good say nothing1 stay away from the theatre1 and are supposed1 by managers1 not to exist4 ,good taste never dies out2 it only appears to4 ,the amalgamation of the aristocracy of taste that would be effected by the proposed institution would1 in itself1 have a tremendous importance4 ,any basis for computing the potential support for good and honest attractions would be of the utmost advantage to their proprietors4 ,disclosures of a substantial demand would encourage tours of the best in ,europe1 while a reliable measure of the limitations of such demand would be no less valuable as a warning against reckless expense4 ,certainly it is to the interest of the art that good attractions shall be materially profitable4 ,as to the thought of any tendency of such an institution to take the practice of dancing away from the laity1 and confine it to paid exhibitions1 the effect would be to the contrary4 ,it would1 however1 make for a rise of standards4 ,dancing clubs and pantomime clubs that a little fertilisation would bring to light would find in a quasi-public ballet an inspiration and a guide2 and the good to public health and spirits1 in the way of such clubs alone1 would be pronounced4 ,also1 prevalent impressions concerning the relationship between cleverness1 8individuality0 and genuine workmanship would be modified1 to the betterment of what is known as the ,american spirit4 ,greek poets found metre for their verses in the tapping of feet on the floor4 ,since the days of ,gluck and ,gretry1 the ballet has been among the foremost stimuli and guides in musical composition4 ,of late years1 the ,russian ballet's lift to romantic music is a matter of almost common knowledge4 ,is it a ballet that is awaited as the inspiration of an ,american school of music8 ,it is not impossible4 ,but that1 and a thousand other questions1 are not for present consideration4 ,the present issue is the institution itself4 ,,bibliography ,,la ,,danse ,,grecque ,,antique3 ,maurice ,emmanuel4--,traces the origin of a number of steps to ancient ,greece1 by analysis of poses of dancing1 figures on ceramics1 etc4 ,good explanation of ballet steps4 7,french47 ,a ,,grammar ,,of ,,the ,,art ,,of ,,dancing3 ,friedrich ,albert ,zorn4--,explains a system of choreographic writing by means of symbols to indicate positions and movements4 ,by means 7partly7 of symbols explains ballet steps1 also several ballroom dances4 ,exact and complete4 7,written in ,german2 translated into ,english and other languages47 ,l',,academie ,,imperiale ,,de ,,musique3 ,castil-,blaze4--8,histoire litteraire1 musicale1 chorographique1 pittoresque1 morale1 critique1 factieuse1 politique et galante de ce thtre40 7,from #afde to #ahee47 ,contains much history and anecdote of ,roman ,empire and ,middle ,ages1 with descriptions of medival ambulatory ballets1 etc4 7,french47 ,,les ,,pens,,es3 ,j4-,j4 ,rousseau4--,defends the dance against attacks of ,english4 ,rare2 frequently missing from 7supposedly7 complete editions of the author4 7,french47 ,,memoirs ,,et ,,journaux3 ,pierre de l',estoile4--,a collection of anecdotes of the court of ,henry ,,iii4 ,a mine of information and gossip in relation to masques1 etc41 in the period described4 7,french47 ,,des ,,ballets ,,anciens ,,et ,,modernes1 ,,selon ,,les ,r,,gles ,,du ,,th,,tre3 ,claude ,franois ,mnestrier4 #afhb4--;,author was a ,jesuit priest4 ,book includes extensive list of ballets produced in ,france up to year of its publication4 ,,orchesographie3 ,thoinet-,arbeau 7anagram of ,jean ,tabourot74 #aehi4--;,author was ,canon of ,langres and ,matre de ,chapelle of ,henry ,,iii4 ,the first book devoted to the dance4 ,comments on all aspects of dancing in ,france of his time4 7,french7 ,,the ,,code ,,of ,,terpsichore4--,,le ,,code ,,complet ,,de ,,la ,,danse4--,,trait ,,historique ,,th,,orique ,,et ,,pratique ,,de ,l',,art ,,de ,,la ,,danse1 ,,de ,,la ,,pantomime1 ,,des ,,ballets3 ,carlo ,blasis4--,of the three books named1 the first is in ,english2 its material is more or less repeated in the other two1 which are in ,french4 ,a standard for the use of ballet-masters especially4 ,authoritative on matters pertaining to ballet technique1 questionable on character dances1 wholly untrustworthy on ,spanish4 ,,lettres ,,sur ,,la ,,danse ,,et ,,les ,,ballets3 ,m4 ,noverre1 ballet-master of the ,duke of ,wrtemburg1 l',opra of ,paris1 and other operas4 #agfj4--;,classic4 ,author was the prophet of and leader to the modern ballet4 ,a broad and comprehensive work on art1 as well as authoritative on stage direction1 ballet technique1 and history4 7,french47 ,,de ,,la ,,saltation ,,th,,trale3 ,m4 de l',aulnaye4 #agij4--;,dancing and pantomime in antiquity4 ,contains a catalogue 7thought by some authorities to be complete7 of dances of ancient ,greece4 7,french47 ,,dancing ,,and ,,dancers ,,of ,,today3 ,caroline and ,charles ,caffin4 #aiab4--,special attention to biographies of contemporary dancers4 7,english47 ,,lettres ,,sophie ,,sur ,,la ,,danse3 ,a4 ,baron4 #ahbe4--;,history1 folk-dances and balls of ,middle ,ages4 ,a chapter is devoted to dancing of ,hebrews4 7,french47 ,,la ,,dictionnaire ,,de ,,la ,,danse3 ,g4 ,desrat4--,recent4 ,extremely useful4 ,in dictionary form presents wide range of information4 ,a ,,history ,,of ,,dancing3 ,g4 ,vuillier4 #ahih4--,translated from original ,french into ,english and ,italian4 ,readable history of the art from antiquity to latter #aith century2 many descriptions of early ballets and masques are quoted from ,mnestrier1 ,de l',estoile and others4 ,,modern ,,dancing ,,and ,,dancers3 ,j4 ,e4 ,crawford ,flitch4 #aiab4--;,history of ballet in ,england1 biographical-analytical sketches of individuals of latter #aith century1 details of ,russian ballet in ,london4 ,delightfully written4 7,english47 ,,tratado ,,de ,,bailes3 ,jose ,otero1 famous master in ,seville4 #aiab4--;,expression of the spirit of ,spanish dancing4 ,much amusing reminiscence4 7,spanish47 ,,dictionnaire ,,de ,,danse3 ,charles ,compan4 #ahjb4--;,detailed instructions in social dances of the period4 7,french47 ,,note4--,the above-named works are not arranged in order either of chronology or importance4 ,,index ,,adagio1 #ie4 ,albert1 dancer1 #aji4 ,albertieri1 ,luigi1 ballet-master2 definition ballon1 #gd2 ,century ,opera ,company1 #cad4 ,alegrias1 ,spanish dance1 #acd4 ,alexander ,,vi1 see ,pope4 ,allard1 ,mlle41 dancer1 #ajg4 ,allemande1 the1 court dance1 #eb4 ,almes1 the1 tribe of dancers1 #baj4 ,anacreon1 #h4 ,anderson1 ,john ,murray1 dancer2 old court dances1 #eb2 modern ball-room dances1 #bgb-cjc4 ,animals1 danced representations of1 #ai4 ,anisfeldt1 ,boris1 designer stage decorations1 #bfd4 ,anne of ,austria1 #di4 ,antoinette1 ,marie1 #ec4 ,arabesque 7posture71 #gh4 ,arabs1 dancing of1 #aif et seq4 ,arbeau1 ,thoinet 7anagram of ,jehan ,tabourot71 ,canon of ,langres1 choreographic historian4 ,ridicules opposition to dancing1 #ca4 ,hints on deportment1 #ee4 ,see also ,church4 ,ariosto1 ,suppositi1 performance in ,vatican1 #dd4 ,aristides1 #h4 ,aristodemus1 dancer as ambassador1 #h4 ,ark of ,covenant2 see ,david4 ,arms1 positions of1 ballet1 #fg4 ,see also ,flamenco1 ,arabs4 ,artificiality1 charge of against ballet1 #fb1 #fc4 ,assembl 7step71 #fi4 ,attitude1 #hd4 ,awakening of the ,soul1 dance1 ,egyptian1 #baj1 #baa4 ,,bacchu-,,ber1 ,savoyard observance1 #ahf4 ,bacon1 ,francis1 composer of masques1 #dh4 ,bakst1 ,lon2 designer stage decorations1 costumes1 choreographer4 ,compared to ,noverre1 #aje4 ,part in ,romantic movement1 #bdh4 ,ballet ,academy1 ,french ,national4 ,founded1 #di2 ,influence1 #ajj4 ,ballet ,academy1 ,metropolitan ,opera1 see ,metropolitan ,opera4 ,ballet ,academy1 ,russian ,imperial1 see ,russian4 ,ballet1 ,classic1 its artistic function1 #fj1 #fa2 #hi-ia1 #if4 ,see also ,expression4 ,ballet dancers1 effects of scarcity in ,america1 #cjh-cab4 ,ballet ,theater1 ,american1 outline for conduct of1 #cag-cbb4 ,ballet 7le7 ,comique de la ,reine1 #df4 ,ballet technique1 ballet steps1 #fe-ig4 ,ballet1 ,russian1 see ,russian ,ballet4 ,bolm1 dancer1 #bdg4 ,ballon1 #fj1 #gc4 ,baltarazini4 ,see ,beaujoyeulx4 ,bathyllus1 #be et seq4 ,battement1 #ga1 #gb4 ,beaujoyeulx1 ballet-master1 7ex4 see ,blasis below7 #de4 ,belgium1 dances of1 #ahb et seq4 ,bible1 ,the2 references to dancing1 #e4 ,black ,crook1 ,the1 #bca et seq4 ,blasis1 ,carlo1 ballet-master1 writer on dancing1 #aaj4 ,bolero1 the1 ,spanish dance1 #adf1 #adh4 ,bolm1 ,adolf1 dancer1 #bdh4 ,bonfanti1 ,marie1 dancer1 teacher1 #bcb4 ,boston1 ,the1 social dance2 relation to other social dances1 #bgb4 ,execution1 #bhd-bhh incl4 ,boston ,dip1 see ,dip4 ,boston ,waltz4 ,see ,boston4 ,boucher1 designed stage decorations1 #ajd4 ,bourre1 la1 ,french dance1 #eb1 #ed1 #ahc4 ,branle1 family of dances2 ,b4 du ,haut ,barrois1 ,b4 des ,lavandires1 ,b4 des ,ermites1 ,b4 des ,flambeaux1 #ee4 ,bris 7step71 #gc4 ,brunelleschi1 stage decorations1 #dd4 ,bulerias1 ,spanish dance1 #acd4 ,burlesque1 #bbi4 ,,cabriole1 #gb4 ,cachucha1 the1 ,spanish dance1 #aaa1 #adj4 ,canadian ,royal ,opera ,company1 ballet1 #cad4 ,camargo1 dancer1 #ej et seq4 ,place in art1 #ei et seq4 ,influence on costume1 #ajj4 ,quality of work1 #ajg4 ,can-,can1 ,the1 dance of ,montmartre1 #bbi4 ,cansino1 ,antonio1 teacher1 #abd4 ,cansino1 ,elisa1 dancer1 #ace4 ,cansino1 ,eduardo1 dancer1 observer of work of ,gipsies1 #abf1 #acd4 ,carmencita1 dancer1 #aci4 ,influence in ,america1 #bci4 ,carnaval1 le1 ballet drama1 #bfh4 ,caryatis1 dance4 ,sacred to ,diana1 #ac4 ,castanets1 ,spanish use of1 #aca1 #adg1 #adh1 #aea1 #aeb4 ,castle1 ,mr4 and ,mrs4 ,vernon1 dancers1 #bgg4 ,castle ,walk1 see ,castle4 ,caucasus1 ,the1 dancing in1 #bag4 ,cavallazi1 ,malvina1 preface4 ,cecca1 stage decorations1 #dd4 ,ceccetti1 ,e41 ballet-master1 teacher1 #gd1 #hi4 ,cerezo1 teacher1 #adf4 ,cerito1 ,fanny1 dancer1 #aah4 ,chaconne1 the1 court dance1 #eb1 #ee4 ,changement 7step71 #fi4 ,chaplin1 ,nellie1 reviver of old ,english dances1 teacher1 #agc4 ,opinion concerning ball-room dancing of to-day1 #cjc4 ,characteristic dancing1 contribution to ballet1 #ec4 ,charles ,i1 ,king of ,england1 #dh4 ,chass1 #fh4 ,china1 dancing in1 #bbd4 ,chirinski-,chichmatoff1 ,princess1 dancer2 defines characteristic dancing1 #aic4 ,russian ,court ,dance1 #aie4 ,dancing in the ,caucasus1 #bag4 ,church1 the ,christian1 ,st4 ,basil attributes dancing to angels1 ,emperor ,julian reproved by ,st4 ,gregory1 #cj4 ,canon of ,langres ridicules opposition to dancing1 #ca4 ,mozarabic mass1 ,st4 ,isidore1 #cb4 ,abuses complained of1 #cc4 ,anecdote of the ,fandango1 #ada4 ,lerida ,cathedral1 ,seville ,cathedral1 #adb4 ,scotland1 #afg4 ,church1 the ,christian1 relation to dancing1 see also ,pope4 ,cicero1 #bg4 ,ciociara1 the1 ,italian dance1 #afb4 ,clayton1 ,bessie1 dancer1 #ic4 ,cleopatre1 ballet drama1 #bff4 ,cobblers' ,dance1 the1 ,swedish1 #ahb4 ,cobra ,dance 7,india71 #bbj4 ,coles1 ,miss ,cowper1 reviver of old ,english dances1 teacher1 #agc4 ,collins1 ,lottie1 dancer1 #bcj4 ,columbina1 #aeg4 ,composition 7choreographic1 general principles71 #hi1 #ij1 #ia4 ,noverre's influences1 #aje4 ,arabic1 #aif et seq41 #bjd4 ,fokine 7hypothetical example71 #bfd4 ,see also ,expression4 ,contredanse1 type of dance1 #ahd4 ,coopers1 ,munich's dance of1 #ahf4 ,cordax1 ,ancient ,greek dance1 #bj4 ,corybantes1 taught mankind1 to dance1 #g4 ,coppini1 ,ettore1 dancer1 ballet-master1 #bcc4 ,corte1 the1 figure of ,argentine ,tango1 #bie4 ,cossack ,dance1 the1 ,russian1 #aij4 ,cou-de-pied1 sur le1 see ,pirouette4 ,counter-time1 ,spanish use of1 #abf1 #acj4 ,country dance1 see ,contredanse4 ,coup1 #fh4 ,courante1 the1 court dance1 #eb1 #ef4 ,court ,dances1 seventeenth century1 #eb et seq4 ,influence on modern ball-room dances1 #cjc4 ,crawford1 ,margaret1 #ec1 #afi4 ,cybele4 ,see ,corybantes4 ,czardas1 the1 ,hungarian dance1 #aij1 #aib4 ,,daldans1 the1 ,swedish dance1 #ahb4 ,danse caracteristique1 la4 ,see characteristic dancing4 ,dauberval1 dancer1 #ajh4 da ,vinci1 ,leonardo1 stage decorations1 #dd4 ,david1 danced before ,ark of ,covenant1 #e4 de ,botta1 ,bergonzio1 ballet masque1 #cg et seq4 de ,medici1 ,catherine4 ,place in history of ballet1 #dd2 organizer of1 performer in1 grand ballet1 #df4 de ,medici1 ,lorenzo1 #de4 ,decoration1 analogy to dance1 p4 #b of preface1 #if1 #ig1 #ih4 ,arabic1 #aif et seq4 ,egyptian1 #bji1 #bab4 ,see also ,composition2 ,bakst4 de ,stal1 ,madame1 appreciation of ,tarantella1 #afj4 de ,valois1 ,marguerite1 #ed4 del ,sarto1 ,andrea1 stage decorations1 #dd4 ,dervishes 7,whirling71 #ij1 #baf4 ,see also ,religions1 non-,christian4 ,developp1 #hd4 ,diagilew1 ,sergius1 manager1 #bea1 #beb4 ,dieu 7le7 ,bleu1 ballet drama1 #bfh4 ,dionysia1 dances1 sacred to ,bacchus1 #ac4 ,dip3 the2 of ,one-,step1 #bgh2 of ,boston1 #bhe1 #bhf1 #bhg4 ,duncan1 ,isadora1 dancer4 ,source of inspiration1 #aa4 ,her artistic beliefs1 #bda et seq42 early career1 #bdc et seq42 influence on ballet1 #bdf4 ,see also ,russian ,ballet2 ,expression4 ,,chapp1 #gj4 ,egypt1 ,ancient1 dancing in1 #d4 ,egypt1 latter-day1 dancing in1 #bji et seq4 ,eggs1 ,dance of 7,india71 #bbj4 ,eight1 the1 figure of ,one-,step1 #bgi4 ,elevation1 defined1 #ge4 ,elizabeth1 ,queen of ,england1 #dh4 ,ellsler1 ,fanny1 dancer1 #aaj et seq4 ,in ,america1 #aaf4 ,episode leading to retirement1 #aag4 ,influence1 #bbh4 ,see also ,taglioni4 ,emmeleia1 group of ancient ,greek dances1 #aa4 ,enchainement1 defined1 its function in composition1 #fa4 ,endymatia1 group of ancient ,greek dances1 #aa1 #ab4 ,entrechat1 step1 used by ,camargo1 #fj4 ,execution1 #gb1 #gc4 ,relation to ballet costume1 #ajj4 ,question of origin1 #adf4 ,ethologues1 school of pantomimists1 #af4 ,expression1 abstract1 #fj1 #fa4 ,in ballet composition1 #hi1 #ij1 #ia4 ,noverre's ideals1 #aje4 ,spanish ,gipsy1 #abd et seq4 ,sevillanas1 #ach1 #aci4 ,see also ,decoration1 ,composition4 ,st4 ,denis1 #bba4 ,duncan1 #bdc-bdf4 ,bakst1 #bdh1 #bdi4 ,russian re-creation of best ,greek dramatic form1 #bea4 ,extravaganza1 #bbi4 ,,fandango1 the1 ,spanish dance1 #ada1 #adb1 #aed4 ,fantaisie1 ,fantasia 7,arab71 #bjg4 ,farandole1 the1 ,french dance1 #ahc4 ,farruca1 the1 ,spanish dance1 #abg et seq4 ,fatma1 dancer1 #aii4 ,feet1 positions of4 ,ballet1 #ff4 ,social dancing1 #bgf4 ,feis1 ,irish festival1 #agg-agi4 ,feu1 la ,danse de1 see ,fuller4 ,fight with ,shadow4 ,ancient ,greek dance1 #ai4 ,flamenco1 type of ,spanish dance1 #abd et seq4 ,fling1 see ,highland ,fling4 ,flour ,dance1 ,the 7,arab71 #bje4 ,fokine1 ,mikail1 choreographer1 teacher1 dancer1 ballet-master1 #bdf4 ,heads ,romantic movement1 #bdg4 ,hypothetical instance of composition1 #bfd4 ,folk-dancing1 influences upon it4 ,place in dancing1 etc41 #afd et seq4 ,see also ,characteristic ,dancing4 ,forlana1 the1 ,italian dance1 #aef et seq4 ,fouett1 #ge1 #gf4 ,france1 folk-dances of1 #ahc et seq4 ,fuller1 ,loe1 dancer1 #bce et seq4 ,,gaditanae3 see ,spanish dancing4 ,gaelic ,league1 the1 attitude toward dancing1 #agh4 ,gaillarde1 the1 court dance1 #dc1 #eb1 #ee4 ,galeazzo1 ,duke of ,milan4 ,see de ,botta4 ,galli1 ,rosina1 dancer1 #cad4 ,gardel1 ,maximilian1 dancer4 ,rebelled against mask1 #ajb4 ,example of effect of ,french ,revolution1 #ajh4 ,garrotin1 the1 ,spanish dance1 #abg1 #acd4 ,gautier1 ,theophile1 appreciation of ,ellsler1 #aaj4 ,gavotte1 the1 court dance1 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,typographical errors corrected by the etext transcriber3 ,jete tour 7#aa7 ,jet tour 7#aa7 pg xvi action of the the arms action of the arms pg #aja ,in his dance ,in this dance pg #bjd ,brought into semi-associaton ,brought into semi-association image p #bjf ,mes ,memoires ,mes ,mmoires pg #bcf le ,promenade la ,promenade pg #bid ,rimski-,korsakow1 musical composer1 #bdh4 ,rimski-,korsakov1 musical composer1 #bdh4 pg #ccb ,gymnopaedia1 group of ancient ,greek dances1 #aa1 #ab4 ,gymnopdia1 group of ancient ,greek dances1 #aa1 #ab4 pg #ccj ,rincce ,fadha1 the1 early ,irish dance1 #agg4 ,rinnce ,fadha1 the1 early ,irish dance1 #agg4 pg #ccb