,transcriber's ,note3 ,the ,list of ,illustrations was added by ,transcriber and placed into the ,public ,domain4 ,,the ,,art ,,of ,,music ,the ,art of ,music ,a ,comprehensive ,library of ,information for ,music ,lovers and ,musicians ,editor-in-,chief ,,daniel ,,gregory ,,mason ,columbia ,university ,associate ,editors ,,edward ,b4 ,,hill ,,leland ,,hall ,harvard ,university ,past ,professor1 ,univ4 of ,wisconsin ,managing ,editor ,c,,sar ,,saerchinger ,modern ,music ,society of ,new ,york ,in ,fourteen ,volumes ,profusely ,illustrated ,illustration ,,new ,,york ,,the ,,national ,,society ,,of ,,music ,illustration3 ,odalisque in #8,scheherazade' 7,russian ,ballet7 ,design by ,lon ,bakst ,,the ,,art ,,of ,,music3 ,,volume ,,ten ,the ,dance ,department ,editor3 ,,ivan ,,narodny ,introduction by ,,anna ,,pavlowa ,ballerina1 ,imperial ,russian ,ballet ,illustration ,,new ,,york ,,the ,,national ,,society ,,of ,,music ,copyright1 #aiaf1 by ,,the ,,national ,,society ,,of ,,music1 ,inc4 ,all ,rights ,reserved ,,the ,,dance ,,introduction #8,the gods themselves danced1 as the stars dance in the sky1' is a saying of the ancient ,mexicans4 #8,to dance is to take part in the cosmic control of the world1' said the ancient ,greek philosophers4 #8,what do you dance8' asks the ,african ,bantu of a member of another tribe after his greeting4 ,livingston said that when an ,african wild man danced1 that was his religion4 ,it is said that the savages do not preach their religion but dance it4 ,according to the ,bible1 the ancient ,hebrews danced before their ,ark of the ,covenant4 ,st4 ,basil describes the angels dancing in ,heaven4 ,according to ,dante1 dancing is the real occupation of the inmates of ,heaven1 ,christ acting as the leader of a celestial ballet4 #8,dancing1' said ,lucian1 #8is as old as love4' ,dance had a sacred and mystic meaning to the early ,christians upon whom the ,bible had made a deep impression3 #8,we have piped unto you and ye have not danced4' ,the service of the ,greek ,church--even to-day--is for the most part only a kind of sacred dance1 accompanied by chants and singing4 ,the priest1 walking and gesturing with an incense-pan up and down before the numerous ikons1 kneeling1 bowing to the saints1 performing queer cabalistic figures with his hands in the air1 and following always a certain rhythm1 is essentially a dancer4 ,it is said that dancing of a similar kind was performed in the ,english cathedrals until the fourteenth century4 ,in ,france the priests danced in the choir at the ,easter ,mass up to the seventh century4 ,in ,spain similar religious dancing took deepest root and flourished longest4 ,in the ,cathedrals of ,seville1 ,toledo1 ,valencia and ,xeres the dancing survives and is the feature at a few special festivals4 #8,the ,american ,indian tribes seem to have had their own religious dances1 varied and elaborate1 often with a richness of meaning which the patient study of the modern investigators has but slowly revealed1' writes ,havelock ,ellis4 ,it is a well-known fact that dancing in ancient ,egypt and ,greece was an art that was practiced in their temples4 #8,a good education1' wrote ,plato1 #8consists in knowing how to sing well and how to dance well4' ,according to ,plutarch1 ,helen of ,sparta was practicing the ,dance of ,innocence in the ,temple of ,artemis when she was surprised and carried away by ,theseus4 ,we are told by ,greek classics that young maidens performed dances before the altars of various goddesses1 consisting of #8grave steps and graceful1 modest attitudes belonging to that order of choric movement called emmeleia4' ,the ancient ,egyptian ,astronomic ,dance can be considered the sublimest of all dances2 here1 by regulated figures1 steps1 and movements1 the order and harmonious motion of the celestial bodies was represented to the music of the flute1 lyre and syrinx4 ,plato alludes to this dance as #8a divine institution4' ,in spite of the high status of dancing in the ancient civilizations1 it has not progressed steadily1 as have the other arts4 ,it has remained the least systematized and least respected of arts1 generally considered as lacking in seriousness of intention1 fitness to express grave emotions1 and power to touch the heights and depths of the intellect4 ,being an art that expresses itself first in the human body1 the dance has aroused reprobation in certain pious1 puritanical minds of medival type1 who have considered it a collection of #8immodest and dissolute movements by which the cupidity of the flesh is aroused4' ,it is this particular view that has damned dance with bell1 book and candle4 ,the main reason for this has been the hostile attitude of the church to all folk-arts which manifested a more or less conspicuous ethnographic individuality--that is1 were stamped as of ,pagan and not ,christian origin4 ,all folk-dancing1 broadly speaking1 is a natural form of sthetic courtship4 ,the male intends to win the female by his beauty1 grace and vigor1 or vice versa4 ,from the point of view of sexual selection we can understand1 on the one hand1 the immense ardor with which every sensuous part of the human body has been brought into the play of the dance1 and1 on the other1 the arguments of the pseudo-moralists to classify it with the frivolous and least tolerated arts4 ,the stamp of frivolity1 put upon the dance by the ,christian clergy1 has retarded its natural development for several centuries4 ,italy and ,germany1 having been the cradles of all modern music and stage arts1 have given little inspiration to a systematic development of the art of dancing4 ,the seventeenth1 eighteenth and nineteenth centuries1 that have meant so much to the perfection of the opera1 vocal and orchestra technique1 gave nothing of any significance to choreography4 ,the church that tolerated ,bach1 ,pasiello1 ,haydn1 ,mozart and ,beethoven1 put an open ban upon everything that had any relation to the dance4 ,the great musical classics of the past centuries have treated dance as an insignificant side issue1 thereby putting a label of inferiority upon this loftiest of arts4 ,all the dance music of the great classics sounds nave and lacking in choreographic images4 ,yet dance and music are like light and shadow1 each depending upon the other4 ,as canvas is to a painter1 so is music to a dancer the essential element upon which he can draw his picture4 ,the fact that the art of dancing has not evolved into its normal state of equality with the other arts1 is wholly due to the lack of musical leadership4 ,neither the reforms of ,noverre nor those of ,fokine nor ,marius ,petipa can be of fundamental value if they lack the phonetic designs which alone a choreographic artist can transform into plastic events4 ,essentially1 and sthetically speaking1 dancing should be the elemental expression alike of symbolic religion and love1 as it used to be from the earliest human times4 ,dancing and architecture are the two primary and plastic arts3 the one in ,time1 the other in ,space2 the one expressing the soul directly through the medium of the human body1 the other giving only an outline of the soul through the medium of fossilized forms4 ,the origin of these two arts is earlier than man himself4 ,both require mathematics1 the one rhythmically1 the other symmetrically4 ,for dancing the mathematical forms are to be found in music1 for architecture1 in geometry4 #8,the significance of dancing1 in the wide sense1 thus lies in the fact that it is simply an intimate concrete appeal of that general rhythm which marks all the physical and spiritual manifestations of life1' writes ,havelock ,ellis4 #8,the art of dancing moreover is intimately entwined with all human traditions of war1 of labor1 of pleasure1 of education1 while some of the wisest philosophers and ancient civilizations have regarded the dance as the pattern in accordance with which the moral life of man must be woven4 ,to realize therefore what dance means for mankind--the poignancy and the many-sidedness of its appeal--we must survey the whole sweep of human life1 both at its highest and at its deepest moments4' ,,anna ,,pavlowa4 ,,contents ,,of ,,volume ,,ten ,,page ,,introduction ,,by ,,anna ,,pavlowa vii ,,chapter ,i4 ,,the ,,psychology ,,of ,,dancing #a sthetic basis of the dance2 national character expressed in dances2 #8survival value' of dancing2 primitive dance and sexual selection2 professionalism in dancing--,music and the dance2 religion and the dance2 historic analysis of folk-dancing and ballet4 ,,ii4 ,,dancing ,,in ,,ancient ,,egypt #ab ,earliest ,egyptian records of dancing2 hieroglyphic evidence2 the ,astral dance2 ,egyptian court and temple rituals2 festival of the ,sacred ,bull--,music of the ,egyptian dances2 ,egyptian dance technique2 points of similarity between ,egyptian and modern dancing2 ,hawasis and ,almeiis2 the ,graveyard ,dance2 modern imitations4 ,,iii4 ,,dancing ,,in ,,india #bd ,lack of art sense among the ,hindoos2 dancing and the ,brahmin religion2 the ,apsarazases1 ,bayaderes and ,devadazis2 ,hindoo music and the dance2 dancing in modern ,india2 ,fakir dances2 philosophic symbolism of the ,indian dance4 ,,iv4 ,,dances ,,of ,,the ,,chinese1 ,,the ,,japanese ,,and ,,the ,,american ,,indians #cj ,influence of the ,chinese moral teachings2 general characteristics of ,chinese dancing2 court and social dances of ancient ,china2 ,yu-,vang's #8historical ballet'2 modern ,chinese dancing2 dancing ,mandarins2 modern imitations2 the ,lantern ,festival--,japan3 the legend of ,amaterasu2 emotional variety of the ,japanese dance2 pantomime and mimicry2 general characteristics and classification of ,japanese dances--,the ,american ,indians3 ,the ,dream dance2 the ,ghost dance2 the ,snake dance4 ,v4 ,,dances ,,of ,,the ,,hebrews ,,and ,,arabs #dc ,biblical allusions2 sacred dances2 the ,salome episode and its modern influence--,the ,arabs2 ,moorish florescence in the ,middle ,ages2 characteristics of the ,moorish dances2 the dance in daily life2 the harem1 the ,dance of ,greeting2 pictorial quality of the ,arab dances4 ,,vi4 ,,dancing ,,in ,,ancient ,,greece #eb ,homeric testimony2 importance of the dance in ,greek life2 ,xenophon's description2 ,greek religion and the dance2 ,terpsichore--,dancing of youths1 educational value2 ,greek dance music2 ,hyporchema and ,saltation2 ,gymnopdia2 the ,pyrrhic dance2 the ,dipoda and the ,babasis2 the ,emmeleia2 ,the ,cordax2 the ,hormos--,greek theatres2 comparison of periods2 the ,eleusinian mysteries2 the ,dionysian mysteries2 the ,heter2 technique4 ,,vii4 ,,dancing ,,in ,,the ,,roman ,,empire #gb sthetic subservience to ,greece2 ,pylades and ,bathyllus2 the ,bellicrepa saltatio2 the ,ludiones2 the ,roman pantomime2 the ,lupercalia and ,floralia2 ,bacchantic orgies2 the ,augustinian age2 importations from ,cadiz2 famous dancers4 ,,viii4 ,,dancing ,,in ,,the ,,middle ,,ages #gh ,the medival eclipse2 ecclesiastical dancing in ,spain2 the strolling ballets of ,spain and ,italy2 suppression of dancing by the church2 dances of the medival nobility2 ,renaissance court ballets2 the ,english masques2 famous masques of the seventeenth century4 ,,ix4 ,,the ,,grand ,,ballet ,,of ,,france #hf ,louis ,,xiv and the ballet2 the ,pavane and the ,courante2 reforms under ,louis ,,xv2 ,noverre and the ballet d'action2 ,auguste ,vestris and others2 famous ballets of the period--the ,revolution and the ,consulate2 the ,french technique1 the foundation of #8choreographic grammar'2 the #8five positions'2 the ballet steps--,famous danseuses2 ,sall1 ,camargo2 ,madeleine ,guimard2 ,allard4 ,x4 ,,the ,,folk-,,dances ,,of ,,europe #ajd ,the rise of nationalism--,the ,spanish folk-dances3 the ,fandango2 the ,jota2 the ,bolero2 the ,seguidilla2 other ,spanish folk-dances2 general characteristics2 costumes--,england3 the ,morris dance2 the ,country dance2 the ,sword dance2 the ,horn dance--,scotland3 ,scotch ,reel1 ,hornpipe1 etc4--,ireland3 the ,jig2 ,british social dances--,france3 ,rondo1 ,bourre and ,farandole--,italy3 the ,tarantella1 etc4--,hungary3 the ,czardas1 ,szolo and related dances2 the ,esthonians--,germany3 the ,fackeltanz1 etc4--,finland2 ,scandinavia and ,holland--,the ,lithuanians1 ,poles and ,southern ,slavs2 the ,roumanians and ,armenians--,the ,russians3 ballad dances2 the ,kasatchy and ,kamarienskaya2 conclusion4 ,,xi4 ,,the ,,celebrated ,,social ,,dances ,,of ,,the ,,past #add ,the ,pavane and the ,courante2 the ,allemande and the ,sarabande2 the ,minuet and the ,gavotte2 the ,rigaudon and other dances--,the ,waltz4 ,,xii4 ,,the ,,classic ,,ballet ,,of ,,the ,,nineteenth ,,century #aea ,aims and tendencies of the nineteenth century--,maria ,taglioni--,fanny ,elssler--,carlotta ,grisi and ,fanny ,cerito2 decadence of the classic ballet4 ,,xiii4 ,,the ,,ballet ,,in ,,scandinavia #afa ,the ,danish ballet and ,boumoville's reform2 ,lucile ,grahn1 ,augusta ,nielsen1 etc4--,mrs4 ,elna ,jrgen-,jensen2 ,adeline ,gene2 the mission of the ,danish ballet4 ,,xiv4 ,,the ,,russian ,,ballet #agj ,nationalism of the ,russian ballet2 pedagogic principles of the ,russian school2 ,french and ,russian schools compared-- ,begutcheff and ,ostrowsky2 history of the ,russian ballet--,didelot and the ,imperial ballet school2 ,petipa and his reforms--,tschaikowsky's #8,snow-,maiden' and other ballets2 ,pavlowa and other famous ballerinas2 ,mordkin2 ,volinin1 ,kyasht1 ,lopokova4 ,,xv4 ,,the ,,era ,,of ,,degeneration #ahi ,nineteenth-century decadence2 sensationalism--,loie ,fuller and the ,serpentine ,dance--,louise ,weber1 ,lottie ,collins and others4 ,,xvi4 ,,the ,,naturalistic ,,school ,,of ,,dancing #aie ,the #8return to nature'2 ,isadora ,duncan--,duncan's influence3 ,maud ,allan2 ,duncan's ,german followers--,modern music and the dance2 the ,russian naturalists2 ,glire's #8,chrisis'-- ,pictorial nationalism3 ,ruth ,st4 ,denis--,modern ,spanish dancers2 ramifications of the naturalistic idea4 ,,xvii4 ,,the ,,new ,,russian ,,ballet #bad ,the old ballet arguments pro and con--,the new movement3 ,diaghileff and ,fokine2 the advent of ,diaghileff's company2 the ballets of ,diaghileff's company2 #8,spectre of the ,rose1' #8,cleopatra1' ,le ,pavilion d',armide1 #8,scheherezade'-- ,nijinsky and ,karsavina--,stravinsky's ballets3 #8,petrouchka1' #8,the ,fire-,bird1' etc42 other ballets and arrangements4 ,,xviii4 ,,the ,,eurhythmics ,,of ,,jacques-,,dalcroze #bcd ,jacques-,dalcroze and his creed2 essentials of the #8,eurhythmic' system--,body-rhythm2 the plastic expression of musical ideas2 merits and shortcomings of the ,dalcroze system--,speculation on the value of ,eurhythmics to the dance4 ,,xix4 ,,plastomimic ,,choreography #bdg ,the defects of the new ,russian and other modern schools2 the new ideals2 ,prince ,volkhonsky's theories--,lada and choreographic symbolism--,the question of appropriate music4 ,,epilogue3 ,,future ,,aspects ,,of ,,the ,,dance #bfa ,,list ,,of ,,illustrations ,odalisque in #8,scheherazade' 7,russian ,ballet7 ,frontispiece ,,page ,egyptian women dancing with cymbals #ba ,greek and ,roman ,dances as ,depicted on ,ancient ,vases #fh ,danseuses en ,scne 7,the ,ballet7 #ajb ,the ,ball #aej ,sylphides2 a ,typical ,classic ,ballet #aef ,pavlowa #agd ,duncan #bjj ,maud ,allan #baa ,a ,plastic ,pantomime 7,dalcroze ,eurhythmics7 #bde ,,the ,,dance ,,chapter ,i ,,the ,,psychology ,,of ,,dancing sthetic basis of the dance2 national character expressed in dances2 #8survival value' of dancing2 primitive dance and sexual selection2 professionalism in dancing--,music and the dance2 religion and the dance2 historic analysis of folk-dancing and ballet4 ,i ,every true art is a direct and immediate act of life4 ,as in music and dancing1 so in life1 rhythm is the skeleton of tone and movement and also the basis of existence4 ,we breathe rhythmically and our heart beats rhythmically4 ,we walk1 laugh and weep rhythmically4 ,rhythm is the only frame to the moving material of the visuo-audible art4 ,what except rhythm can unite living men in order to convert them from a chaotically moving crowd into a work of art8 ,it was undoubtedly the innate feeling for rhythm that actuated the primitive man to dance4 ,all existing races show a strong tendency to dance1 as well in their primitive as in the more or less civilized state4 ,the plastic forms of the human body lend themselves more to an sthetic expression that contains architecture1 sculpture1 painting1 poetry1 drama and music1 than anything else in creation4 ,the mimic expressions of the face1 the agility of the steps1 the grace of gestures and poses are all natural means which a man can employ in his dance4 ,the symmetric lines of the body that are produced after the melodic patterns of the music form the sthetic basis of the art of dancing4 ,the ability to give a living meaning to these lines is what makes a dance beautiful and divine4 ,although frequently the beauty of a line and movement can be observed in animals and birds1 yet there it is an unconscious act1 lacking in that individual and subjective feeling that we call inspiration4 ,the foremost element in every dance is--the step4 ,step is also1 practically speaking1 the first movement of life4 ,in consequence of pure physical laws each step requires a new impulse and thus divides it into two periods3 motion and repose4 ,the continuance of these two rhythmic periods produces the feeling of symmetry and joy1 which in its turn creates the various combined movements that again are divided into various sub-motions and partial measures4 ,the development of steps in a dance is based on two principles3 the movement of the feet1 and the combined movement of the body and hands for grace or mimicry4 ,consequently dance is nothing but a chain of bodily movements that are subjected to a certain musical rhythm and follow the emotional expressions of the dancer4 ,according to an innate principle dance1 like speech1 was practiced by the primitive races as a medium of the most vital expressions4 ,by means of a dance the savages express their joy1 sorrow1 anger1 tenderness and love4 ,dance has its peculiar psychology1 which varies according to racial temperament1 climate and other conditions4 ,this is best illustrated in the various styles of the folk-dance4 ,to the vigorous races of ,northern ,europe in their cold and damp climate dancing became naturally a function of the legs4 ,the ,scandinavian and ,finnish folk-dances betray more heavy and massive motion1 while those of ,spain1 ,hungary and ,italy or ,france give an impression of romantic grace1 coquettish agility and fire4 ,the folk-dances of the ,cossacks are usually violent and acrobatic1 as is their life4 ,energy or dreaminess1 fire or coolness1 and a multitude of other racial qualities assert themselves automatically in a folk-dance4 ,the list of forces that make and preserve a nation's dances is incomplete without the addition of the powerful element of national pride1 weakness or other peculiarities4 ,on the contrary1 in the ,far ,east1 in ,japan1 ,java1 ,china1 etc41 dancing is exclusively a motion of the hands and fingers alone4 ,in ancient ,rome dancing was predominantly the rhythmic motion of the body1 with vibratory or rotatory movements of breast or flanks4 ,the ,stomach ,dance of the ,arabians betrays the wild passion of a nomadic desert race4 ,according to ,louis ,robinson1 dancing is an innate instinct that has an indirect bearing upon the existence of the human race4 ,robinson argues that throughout ,nature instincts1 like the organs of our bodies1 are the product of the strict laws of evolution1 and have been built up to meet some need4 ,at some critical time in the past they had a certain survival value--i4 e41 they were capable of determining in the struggle for existence which individuals or tribes should go under and which should survive4 ,this principle can be taken as one of the axioms which must be our pilots in every attempt to account for the faculties which each of us brings into the world1 as distinct from those acquired in the life of the individual4 ,practically every savage people has elaborate dances and spends a good deal of time in such exercises4 ,among adults dancing takes the place of the play of children4 ,when we come to analyze the play of all young creatures from the historical standpoint we find it forms part of an elaborate natural system of physical training4 ,the perpetual motion of the kitten while it is awake is obviously a training for those accomplishments which in later life mean a livelihood4 ,such astonishing skill and agility as are shown by the cats in securing prey cannot be attained by any ready-made machinery like that of the dragon-fly or the mantis3 they must be built up and manufactured4 ,herein the nervous mechanism of the mammalia has prevailed over the limited mechanical perfection of lower things such as reptiles1 fish1 and insects4 ,most of them can do some one thing or other supremely well1 but the mammalia1 with their better nervous system and receptive brains1 can excel in many things4 ,we1 with our greater gifts of the same sort1 are the most versatile and teachable of all2 hence we prevail over the rest of creation4 ,the kitten1 the puppy1 and the young savage1 by their continual restless and organized activity1 gain great advantage in certain movements necessary in after life1 and foster the growth of the particular muscles which later on will be absolutely requisite in the serious business of holding their place in the world4 ,obviously such instincts would become out of date and inappropriate should the general manner of living undergo a complete change4 ,hence we find that much of the play of young children in civilized lands has little or no reference to the serious life which comes afterwards4 ,such instincts1 however1 were developed during or before the long stretch of time of the ,stone ,age1 when all men played hide and seek1 and chased one another1 and threw things1 and ran1 and jumped1 and wrestled for exactly the same reason that makes us scan commercial articles1 attend markets1 and work in our studies or offices4 ,what is observable in any nursery or playground affords a good illustration of the persistence of instincts long after the need which created them has passed away4 ,for some reason the play instinct in most creatures tends to lapse at the time of full bodily maturity4 ,it does not cease entirely1 but apparently it no longer suffices as an incentive for the battle of life4 ,man in the savage state is naturally lazy and does not like to exert himself when food comes easily4 ,when no urgent need or human authority is pushing him1 he prefers to eat to repletion and then to lie in the sun or loaf4 ,we even find this primitive habit cropping up in strenuous lands where the stimulus of moral education and competition has been at work for generations4 ,we are all aware that1 when we are lazy for any length of time1 we get slack and soft4 ,the primitive savage who lives by hunting and is in continual danger of raids from his neighbors1 cannot afford to get slack4 ,he must keep himself fit every day of life4 ,how was this to be managed by our prehistoric forefathers when there was no fighting1 with the weather soft1 and a delicious fish easily to be caught quite near the dwelling8 ,it is pretty safe to say that1 owing to the want of condition--if they were not dancing tribes--they did not leave descendants which are among us in the twentieth century4 ,it seems strange how readily a group of negroes who are apparently exhausted after a long day's work will join in dance with their fellows1 and how1 when not very tired1 they will in their laziest moments spring up and take vigorous exercise of this kind4 ,every doctor will tell you that there are plenty of women to-day who have not the strength nor the energy to do any work or to walk a couple of miles1 but who will dance from evening till morning without showing any great fatigue4 ,among such ,pagans as the ,zulus and ,masai1 who organize themselves for war almost as well as has ever been done by the most civilized ,christians1 there is practically no distinction between military exercises and dancing4 ,this is proof enough to show that dancing had a survival value throughout the long stretch of the ,stone ,age4 ,dancing taught primitive men to move in compact bodies without confusion1 and especially without getting so bunched together that they could not use their weapons4 ,to-day the true war-dance only persists among us in the form of military marchings1 but the other primitive dances have left numerous descendants of all kinds and degrees1 down to the modern tango4 ,among these non-military dances the survival value1 apart from the healthy exercise which they provided and their general disciplinary effects1 worked through the agency of sexual selection4 ,in the case of the primitive dances the working of sexual selection was beneficial as conducive to racial fitness4 ,the dances in which women took part gave opportunity for appraisement of exactly the kind needed for a sound choice of mates under savage conditions4 ,it afforded the chance1 so lacking in our present civilization1 of advertising any admirable qualities which might be possessed4 ,it was a test not only of physical grace and perfection1 but of activity1 taste and temper4 ,it contributed to honest matrimonial dealing--especially when danced in the approved ballroom costumes of savage times4 ,there have been many discussions as to why clothes were first worn--whether for ornament1 warmth1 or decency--but one may fairly say without any doubt whatever that1 from the first ages until now1 dance clothing has been mainly decorative4 ,here we find an ethical justification of matters connected with dancing dress1 which has often provoked severe criticism among puritans4 ,without a doubt from the earliest times until now the dance has been a chief purifying agent in the marriage market--has played the part1 in fact1 of those market inspectors appointed to guard against adulteration4 ,it is a most extraordinary thing1 when we come to consider man's place in ,nature1 that he ever began to dance4 ,not that dancing is uncommon in ,nature2 many birds1 especially those of the crane tribe1 execute elaborate dances during their season of courtship1 and as a mere pastime when they have nothing else to do4 ,few1 if any1 of the mammalia appear to indulge in organized dances1 unless we give such a name to the frisking of young lambs and the prancing evolutions of horses and antelopes4 ,assuredly1 in our direct line of descent nothing of the kind could have existed as far back as our knowledge and imagination will carry us4 ,you cannot very well dance in the trees1 which1 according to ,darwin1 were the real nurseries of our species2 and when you come down to solid earth your weak prehensile lower members would only make you ridiculous and contemptible if they attempted any performance of the kind4 ,mother ,nature1 however1 is a dame of infinite varieties1 and seems continually to be trying the most bizarre experiments apparently without the least prompting or justification4 ,the products of these experiments are called #8sports1' and there seems no limit to their possibilities4 ,chimpanzees delight in thumping hollow trees and knocking pieces of wood together1 while it is said that the gorilla waddles to war to the sound of the drum1 improvising a substitute by beating his hands against his brawny chest4 ,in the ,western world professionalism in dancing has happily not had the blighting effect on the pursuit that it seems to have had on some other forms of pastime4 ,but if we go to the ,east we find that practically all other forms of dancing have ceased to exist4 ,we see the effect of this tendency most fully developed in ,china1 where the recreative dancing of ,european society seems to be quite beyond the comprehension of a well-bred ,chinese1 who navely asks the question3 #8,why do you not pay people to dance for you8' ,stage dancing seems to be an interesting instance of the degeneration into pure luxury or something which was at one time a helpful influence to the race4 ,this is a tendency observable in many phases of life when the pressure of evolutionary forces is somewhat relaxed4 ,most of the luxuries pertain to matters which at one time had a survival value1 and it cannot be said that they have retired from among the evolutionary forces even to-day2 but their effect1 if still beneficial to the race1 lies in aiding ,nature to eliminate the unfit4 ,,ii ,from the earliest times on dancing has been dependent upon music of some kind4 ,the question whether music is older than dancing has not been answered satisfactorily by academic anthropologists yet4 ,however1 all scholars agree that the appearance of these two arts must have been more or less simultaneous1 the one influencing the other4 ,but undoubtedly the first dance music was not instrumental but vocal4 ,the savages to-day dance most of their sexual dances to rhythmic recitation of certain words4 ,music is in every phase of evolution the only true essence of that which forms the subject of the dance4 ,to the transformation of more or less primitive folk-dances into those of strictly religious character is due the principal idea of the modern ballet4 ,in the ,oriental temples dancing underwent a strange transformation4 ,while dancing was made the basis of dramatic and symbolic ideas1 yet this very fact became detrimental to the musical influence upon the choreography4 ,the ,egyptians1 whom we consider the pioneers in religious dances1 originated elaborate temple ballets1 which were based more upon a dramatic than a musical theme4 ,though the tradition speaks of rounds1 of symbolic and sidereal motions1 and the instruments chiefly employed1 as the ,egyptian guitar1 used both by men and women1 the single and double pipe1 the harp1 lyre1 and flute1 yet essentially this all resembled a pantomime rather than actual dance4 ,it is very likely that all the ancient sacred dances originated with the subconscious idea of counteracting the sensuous or strictly playful influence of the social dances4 ,the whole pedigree of our ,western religions seems to show a remarkable absence of this method of encouraging religious feeling4 ,the reasons why such manifestations were discouraged by ,jewish and ,christian moralists pertains to physiology rather than theology4 ,as already said1 man's nature is compounded of many diverse elements1 and the machinery of emotion at present at work within us dates back to our animal past4 ,our most refined and exalted feelings spring from the same nervous reservoirs and pass through the very channels which were at one time solely occupied by grosser passions4 ,the ,egyptian church that grew directly of the folk-art of the country was a stranger to ,greece and ,rome1 and still more so to our ,christian religion4 ,the ethical ideals that actuated the ,egyptian priests in introducing dancing at the altar1 sprang directly from the soil and meant1 in bringing the better part of human nature to the top1 to act as a kind of separator4 ,the priests discovered that the higher emotions1 with the help of sacred dancing1 can be put to excellent service as impulses to improved conduct4 ,the ,christian missionaries1 coming from the ,east1 found nothing elevating and ennobling in our ,western dancing1 which did not appeal to them on account of the very differences of the style and racial character4 ,it is due to their opposition that the religious dances have faded out under the ,western civilization4 ,the warfare against dancing generally1 on the part of the ,apostles of ,christianity1 dates back to the fanatic era of theological and nationalistic differences4 ,in all countries where the religion descends directly from a racial folk-lore1 dancing has remained in high esteem at home and in the temples4 ,this we find true in ,egypt1 ,greece1 ,india and ,china4 ,in the ,jewish form of worship there seems to have been no formally recognized dancing1 although we have records of several displays of this kind1 as in the case of ,king ,david1 when1 #8clothed in a linen ephod1 he danced before the ,ark of the ,lord with all his might4' ,in ,greece1 cradle of the arts1 the ,muses manifested themselves to man as a dancing choir1 led by ,terpsichore4 ,the ,romans imitated the ,greeks in all their arts and imported with the ,greek slaves ,greek dances4 ,but ,rome was too barbaric to appreciate the full value of ,greece's poetic arts4 ,the solemn religious dance instituted by ,numa and practiced by the ,salian priests soon degenerated into ceremonial march that was abolished when ,rome became ,christian1 through a papal decree in #gdd4 ,darkness of night fell on the development of secular and religious dancing1 a darkness that endured for centuries4 ,the influence of the ,nile in ,egypt and ,cadiz in ,spain1 which for centuries had been the two great centres of the ancient dancing and supplied their dancers to the ,roman potentates1 faded out slowly in the history of ,european nations4 ,the folk-dances were labelled as low and undignified amusements of ,pagan peasants4 ,dance in every form remained an outcast1 despised and condemned until the court circles of ,italy and ,france distorted it to an amusement at domestic gatherings and masquerades4 ,it is said that the modern ballet had its origin in the spectacular masquerades arranged for the marriage of ,galeazzo1 ,visconti1 ,duke of ,milan1 in #adhi4 ,the impression of this performance spread to the ,court of ,florence4 ,catherine de ,medici1 the ,queen of ,france1 brought the ,italian court pantomime to ,paris1 where the ,french kings and queens grew to admire dancing and took actual part in it4 ,the attempts of ,noverre to elevate the art of dancing to what it had been in ancient ,egypt and ,greece1 were successful only externally4 ,music1 the soul of dancing in the modern sense1 was lacking1 and without this soul the art of plastic form is incomplete4 ,though the ,russian reformers elevated dancing from a domestic amusement to a serious and lofty stage art1 they did not succeed wholly in giving to it the foundation that it deserves among the other arts4 ,all the past and living goddesses of choreography have not had the freedom1 the phonetic means and dramatic threads to thrill their audiences as they would1 if man had not distorted and hidden the natural meaning of the dance that inspired his barbaric ancestors4 ,the philosophical conclusion of our historic analysis of dance leads back to the same axioms that actuated the savage in his practice of agility3 the sexual selection and primitive sport1 both necessary for evolution and the existence of the race4 ,however1 there is neither sexual motive nor instinct for #8physical culture' in the #8,heavenly ,alchemy' of evolution that has created the poetic movements of ,taglioni and her successors4 ,the ancient racial propensities have developed into more spiritual ideas4 ,like the tendency of evolution generally1 to universalize an individual and individualize the universe1 so in dance the racial characteristics are transformed into cosmic motives4 ,in this stage beauty becomes symbolic and concrete emotions take on a more and more abstract form4 ,the survival value of the greatest art of the dance lies in ennobling the intellect and soul1 which has necessarily an indirect bearing upon the physical4 ,ultimately this means perfection of the whole human organism4 ,it inspires the mind and influences the body4 ,civilization has brought humanity to a state where the physical needs depend upon the psychical4 ,we have devised a more complicated form of sexual selection and more complicated means of existence than the primitive dances employed in our animal past4 ,beauty in the long course of evolution has grown more spiritual1 accordingly dancing as an art has become an evolutionary medium of the intellect4 ,,chapter ,,ii ,,dancing ,,in ,,ancient ,,egypt ,earliest ,egyptian records of dancing2 hieroglyphic evidence2 the ,astral dance2 ,egyptian court and temple rituals2 festival of the ,sacred ,bull--,music of the ,egyptian dances2 ,egyptian dance technique2 points of similarity between ,egyptian and modern dancing2 ,hawasis and ,almeiis2 the ,graveyard dance2 modern imitations4 ,i ,long before the rest of the world had emerged from barbarism ,egypt had reached a high state of civilization4 ,but the history of ,egyptian civilization was hidden behind a curtain of mysteries1 until the key to the hieroglyphs was discovered4 ,then1 the imposing pyramids opened suddenly their sealed lips and the world stood aghast at their revelations4 ,the ruins of ,memphis and ,thebes became books of interesting reading4 ,the discovered inscriptions and papyri revealed the high state of development that the dance had reached in the ancient ,egyptian temples4 ,the first dancing in ,egyptian history is recorded by ,manetho1 the priest of ,heliopolis who lived in #ejjd ,b4 ,c41--which is approximately one thousand years before the creation of the world1 according to ,biblical chronology4 ,plato alludes to ,egyptian art and dancing performed ten thousand years before his time4 ,schliemann1 the great archeologist1 maintained that the history of ,egypt was written in various dance-phases1 as can be seen from the inscriptions of their ancient sarcophagi and pyramids4 ,scarce as are the hieroglyphic materials1 nevertheless they reveal to us that the ,egyptians1 during the reign of the ,pharaohs1 highly admired the art of dancing4 ,most of the ,egyptian documents or inscriptions begin with dancing figures4 ,these figures are to be found in the most ancient records1 which proves that dancing must have been known as an art to the ,egyptians not for hundreds but for thousands of years4 ,herodotus1 #8the father of history1' tells us that the dances performed to ,osiris were as elaborate as the music of a hundred instruments and a chorus of three hundred singers4 ,according to ,diodorus1 ,hermes gave to mankind the first laws of eurhythmics4 #8,hermes taught the ,egyptians the art of graceful body movements4' ,a fragmentary inscription of a sarcophagus in the ,museum of ,petrograd describes that ,maneros1 #8who conquered so many nations1 did this not by means of torch and sword but by teaching the divine art of music and dancing4' ,the ancient ,egyptian legend surrounds ,maneros with nine dancing ,muses1 which the ,greeks probably copied from ,egypt later4 ,music and dancing were employed by the ,egyptians at home1 in social festivals1 on the occasion of marriage1 birth and death1 and in the temples4 ,their folk-dances were as gay and fiery as the temperament of the race4 ,this is best illustrated in the recently discovered frescoes of peasants dancing1 evidently after their daily work in the fields4 ,being worshippers of all the celestial bodies1 the ,egyptians practiced in their temples certain astronomical ballets4 ,it is said that ,hermes1 the inventor of the lyre1 produced from his instrument as many tones as there were stars in the sky4 ,the three strings of his lyre meant ,winter1 ,summer and ,spring4 ,this gives an idea to what an extent astronomy and nature figured in all their dancing and music4 ,the ,astral ,dance was an imitation of the movement of the various constellations4 ,in this their imagination knew no limit4 ,the altar1 around which most of the astral dances were performed1 represented the sun4 ,according to the descriptions of ,plutarch1 the dancers made with their hands the signs of the zodiac in the air1 while dancing rhythmically from the east to the west1 in imitation of the movement of various planets4 ,after every circle the dancers stopped for a few moments as if petrified1 which was meant to represent the immovability of the earth4 ,by means of combined gestures and mimic expressions1 the priests gave intelligible pantomimic stories of the astral system and the harmony of eternal motion4 ,lucian called this one of the most divine inventions4 ,it is a pity that all the hieroglyphic records known to us do not give any adequate explanation of the ancient ,egyptian ,astral ,dance4 ,the descriptions left by ,greek writers are too general and are frequently incorrect4 ,various scholars have made efforts to discover the mystic meaning of the dance of the #8,seven ,moving ,planets1' but in vain4 ,how much the idea of an astral dance has impressed the ,european ballet-masters is proved in that ,dauberval and ,gardel produced in the eighteenth century ballets of this character4 ,however1 in this case the performers were not priests but fantastically dressed ballet dancers who1 representing various stars and planets1 jumped and turned around the prima ballerina1 who represented the sun4 ,to what an extent the love of pantomime and dancing prevailed in ,egypt can be judged from the recently made decipherings by ,setche of the inscriptions of the sarcophagus of a prime minister which describes the code of an elaborate court ritual4 ,the inscription tells how a newly-appointed minister should meet his ruler4 ,he should enter the imperial hall1 dancing so that from his gestures1 poses and miming could be read devotion1 loyalty1 chivalry1 grace1 tenderness1 vigor and energy4 ,pharaoh1 in his turn1 would meet the minister with a different sort of dance4 ,the reception would end with the joining of all the court functionaries1 musicians and priests in a great procession4 ,the ,egyptian clergy exercised a great influence upon the people4 ,imitating the court of the ,pharaohs1 they surrounded the religious rituals with unnecessary secrets4 ,the more mysterious they made the ceremonies the more they impressed the people4 ,in consequence of such an attitude on the part of the clergy1 a large majority of religious dances grew so complicated in their symbolic details that they degenerated into nonsense4 ,a large number of the ,egyptian sacred dances were based on the cult of ,isis and ,osiris1 the one a feminine1 the other a masculine divinity4 ,this gave the fundamental idea of maintaining a large number of the so-called #8sacred' courtesans1 who took an active part in most of the temple dances4 ,herodotus tells us that the presence of these #8sacred' courtesans in the ,egyptian temple ceremonies during the last ,dynasties is responsible for the downfall of this ancient civilization4 ,most of the ,egyptian temple dances were performed by men and women alike4 ,on the other hand1 there existed special feminine and strictly masculine ballets4 ,of the feminine dances1 the most known is the dance which was performed during the celebrated sacrificial festival of the sacred bull ,apis4 ,after the black bull on whose back grew naturally the figure of a white eagle was found1 forty temple maidens were selected to feed it forty days on the shores of the ,nile4 ,all this time the maidens had to practice the great ballet that they were to perform thereafter4 ,the ,festival of the ,sacred ,bull was opened with a solemn dance of the priests in the temple of ,osiris at ,memphis4 ,then the bull was carried through the city by the maidens in a spectacular procession1 accompanied by singing and dancing4 ,when the bull was brought before the huge statue of ,osiris the real ballet was performed by priests and maidens together4 ,the ballet1 which lasted for half a day1 was opened with a slow introduction in march form4 ,in this the dancers personified the birth process of divinities1 particularly of ,osiris4 ,in the second movement1 which probably resembled a modern allegro energico1 were depicted the youth and romantic adventures of ,osiris with the goddess ,isis4 ,priests in fantastic costumes represented ,osiris and his warriors1 while the maidens played the rle of ,isis and her companions4 ,the last movement of the ballet closed with a festival finale1 which meant the victory of ,osiris in conquering ,india4 ,when the sacred bull was drowned in the ,nile a violent funeral ballet was performed by the priests4 ,as the recently discovered bas-reliefs illustrate1 the dancing priests wore costumes consisting of a yellow tunic and round caps4 ,while some of the ,egyptologues maintain that dancing was performed only on special occasions such as the above1 others are of the opinion that every ,egyptian temple service contained some kind of dance4 ,however1 the hieroglyphic inscriptions of various periods prove that there were hundreds of different temple dances4 ,of particular interest is the recently discovered #8,dance of ,four ,dimensions1' which was performed in the temple of ,isis4 ,in this both priests and priestesses participated4 ,it differed from the other dances in that the dancers carried along their musical instruments4 ,,ii ,since the art of dancing had reached such a high degree of culture in ,egypt it is evident that the people must have possessed a highly developed form of music4 ,though musical history denies the fact that harmony was known to the ancient civilization1 yet the recent archeologic discoveries and hieroglyphic decipherings speak eloquently of the use of various instruments in a kind of orchestra1 and there are frequent allusions to temple choirs of a hundred and more singers4 ,dr4 ,schliemann even believes that the ,egyptians had their specific musical notation which was still in use by the ,arabs when they came to ,spain4 ,it is only natural to believe that an art of such a high standard was taught in a school1 as the technique that they evidence is the result of long and systematic studies4 #8,it is very likely1' a ,russian archeologist writes1 #8that the ,egyptian academy of music and dancing was connected with the temple of ,ammon4' ,it is evident that the ,egyptians knew practically every choreographic rule and possessed a technique which our most celebrated dancers have not yet reached4 ,their mimic expressions are superb1 as are their eurhythmic gestures and poses4 ,since the temple in ,egypt united under its supreme patronage all the arts1 it is only natural that dancing and music knew no other forms of expression1 except the home4 ,however1 the court of ,pharaohs played a big rle in stimulating a secular style of dance1 which the ,greeks later performed in a modified form on their stage4 ,various inscriptions and sarcophagus bas-reliefs depict a corps of several hundred dancers that was maintained by the ruler4 ,the ,queen ,cleopatra was so fond of dancing that she herself gave performances in a specially constructed hall1 dimly lighted and richly decorated4 ,here she danced nude to her guests behind numerous gauze curtains1 using constantly the effects of fused light produced by different colored lanterns4 ,she had a well trained and beautiful voice and played masterfully on various instruments4 ,also1 in connection with her dances1 ,cleopatra used heavy redolescent perfumes by means of which she put her audience into a #8passionate trance4' ,that the ,egyptian dancers knew pirouettes1 fouett pirouettes1 arabesques1 pas de cheval1 and other modern ballet tricks #e1jjj years ago is proven by the dancing figures that can be seen at the sarcophagi at ,beni ,hassan4 ,these figures illustrating ballet corps are usual4 ,a common style of ,egyptian dancing was the peculiar reverse movement of the two dancers which reached a rhythmic perfection1 particularly in dances where many participated1 that is absolutely unknown to our choreographic artists4 ,some dances show great architectural beauty in their pyramidic combinations4 ,the use of the hands at the same time with the use of the legs is evidently more in keeping with a certain style and harmony of line1 than that employed by our ballet or classic dancers4 ,there is in the ,egyptian gallery of the ,british ,museum a wall painting taken from a tomb at ,thebes4 ,the painting is supposed to have been executed during the eighteenth or nineteenth dynasty1 and in it are depicted two dancing girls facing in opposite directions4 ,there is plenty of action and agility depicted in these figures4 ,in one the hands are raised high above the head2 in the other they are lowered4 ,one female not dancing is represented playing a double pipe1 and others are clapping their hands4 ,the accompanists are dressed1 but the dancers wear only a gauze tunic4 ,all ,egyptian professional dancers are represented either nude or very slightly dressed and the performances were given by the people of highest respectability4 ,all ,egyptologues are of the opinion that the outline of the transparent robe worn by these dancing girls may1 in certain instances1 have become effaced2 but others say that it is certain they danced naked1 as their successors1 the ,almeiis1 do4 ,the view of ,sir ,gardner ,wilkinson that the ,egyptians forbade the higher classes to learn dancing as an amusement or profession1 because they dreaded the excitement resulting from such an occupation1 the excess of which ruffled and discomposed the mind1 contradicts the opinions of other scholars on the same subject4 ,we read in the ,bible that after the ,israelites had safely accomplished the passage across the ,red ,sea1 ,miriam1 the sister of ,moses and ,aaron1 herself a prophetess1 took a tambourine in her hand1 and danced with other women to celebrate the overthrow of their late task-masters4 ,there are other instances in the ,bible which tend to show that among the ,jews1 who were reared on ,egyptian civilization1 it was customary for people of the most exalted rank to dance4 ,there is a reproduction of ,amenophis ,,ii4 from one of the oldest tombs of ,thebes that goes to show that ,egyptians of all classes were highly proficient in the art of dancing4 ,four upper class women are represented as playing and dancing at the same time1 but their instruments are for the most part obliterated4 ,a fifth figure is resting on one knee1 with her hands crossed before her breast4 ,the posing of the heads in these figures is masterful4 ,in another painting from ,beni ,hassan1 executed about three thousand five hundred years ago1 a dancer is represented in the act of performing a pirouette in the extended fourth position4 ,the arms are fully outstretched1 and the general attitude of the figure is precisely what it might be in executing a similar movement at the present day4 ,it is also noticeable that the angle formed by the upper part of the foot and fore part of the leg is obtuse1 which is quite in accordance with modern choreographic rules1 while the natural inclination of an inexperienced and untrained dancer when holding the limb in such a position would be to bend the foot towards the shin1 or at least to keep it in its normal position at right angles4 ,from many paintings and sculptures that have been discovered1 we may gather that the primary rules by which the movements of the dancers are governed have not altered since the time of the ,pharaohs4 ,the first thing the ,egyptian dancers were taught was evidently to turn their toes outward and downward1 and special attention was paid to the positions of their arms1 which were gracefully extended and raised high1 with the hands almost joining above the head4 ,in the small tablet of ,baken ,amen representing the adoration of ,osiris1 now in the ,british ,museum1 all arm positions of the dancing figures are excellent4 ,in one of the sculptures from ,thebes a figure is unmistakably performing an entrecht4 ,other figures go to show that the ,egyptians employed frequently jets1 coups1 cabrioles1 toe and finger tricks4 ,there are reproductions representing dance figures for two performers1 executing apparently a kind of minuet4 ,between the dancers in each figure are inscriptions which refer to the name of the dance4 ,thus1 for instance1 one was called mek na snut1 or making a pirouette4 ,this appears to have been a movement in which the dancers turned each other under the arms1 as in the pas d',allemande4 ,besides the temple dances1 ,egypt had travelling ballet companies1 giving their performances in the open air gardens of towns and villages4 ,the nomadic ,hawasis whose profession to-day is chiefly dancing1 are undoubtedly barbarized descendants of the ,hawasis that entertained the ,pharaohs with their passionate and fiery social dances4 ,most of the ,hawasi dances were of a sensuous nature1 performed exclusively by girls1 either naked or in light gauze dresses4 ,the themes of all these dances were often so distinctly feminine1 depicting the romantic nature of a woman so graphically1 that they were performed only as a part of wedding ceremonies4 ,in regard to this style of dance ,sir ,gardner ,wilkinson expresses the conviction #8that there is reason to believe that dances representing a continuous action or argument of a story were in use privately and were executed by ladies attached to the harem or household4' ,illustration3 ,egyptian women dancing with cymbals ,from an ancient fresco 7in the original colors7 ,another secular class of ,egyptian dances was that performed by ,almeiis4 ,while the style and subject of the ,hawasi dances tended to express the sexual passions1 the ,almeiis had learned to be #8classic' and scholarly4 ,the ,almeiis of to-day maintain that they descend directly from the dancing ,pharaohs4 ,the romantic element in the ,almeii dances remains within the limits of a strict code of propriety4 ,for that reason the dancing ,almeiis1 like the clergy1 enjoyed an immunity from the common law4 ,the ,almeiis of to-day enjoy the same ancient reputation throughout the ,east and are invited by the ,mohammedan chiefs to teach dancing to their harems4 ,they can be seen dancing in the ,arabian desert and in ,tunis1 ,algiers1 ,tripoli and ,morocco4 ,but their present-day dances lack the subtleties and technique that their ancestors possessed five thousand years ago4 ,their celebrated ,sword and ,stomach ,dances have degenerated into deplorable vaudeville shows4 ,petipa1 the celebrated ,russian ballet master1 has succeeded in composing a brilliant ballet on the theme of ,almeii dances1 called #8,the ,daughter of the ,pharaoh4' ,however1 excellent as the ,russian ballet dancers are1 they have never performed it to the satisfaction of its author4 ,one of the weird ancient ,egyptian dances that has survived and is practiced by several ,oriental races1 particularly in ,arabia1 ,persia and ,sahara1 is the ,graveyard ,dance4 ,it is known that the ,almeiis used to perform this dance at midnight on the graveyards of rich ,egyptians1 frequently around the pyramids4 ,though semi-religious1 it did not belong to the classified sacred dances performed under the supervision of the clergy4 ,prof4 ,elisseieff thinks that this dance probably originated in lower ,egypt and belonged there to a recognized temple ceremony1 but the priests in upper ,egypt failed to recognize it1 so the ,almeiis monopolized it with great advantage4 ,the ,graveyard ,dance performed in the ,east to-day is wild1 weird and ghastly4 ,it is performed by women1 dressed in long robes1 which cover even their heads4 ,it is danced on moonlight nights by professional ,almeiis4 ,these are hired by the relatives or descendants of the rich dead to accompany the wandering soul until it reaches that sphere which belongs to it4 ,there is much strange symbolism and morbid beauty in the ,graveyard ,dance4 ,just as weird as the dance is the music1 produced from pipes and drums1 often accompanied by hooting or sobbing voices4 ,it begins in a slow measure1 the dancers marching like spectral shadows in a circle around the musicians4 ,gradually the music grows quicker1 as does the dance4 ,it ends in a wild fury after which the dancers drop unconscious to the ground4 ,the dances of the living ,almeiis and ,hawasis and their imitators give little idea of the high art of dancing that was practiced thousands of years ago in ancient ,egypt4 ,the modern axis and stomach dances that are practiced by the daughters of the various tribes of the desert are crude acrobatic feats and vulgar degenerations of the graceful and highly developed art that has vanished with the whole ancient civilization of ,egypt4 ,in #aijj there appeared in ,paris a supposed-to-be descendant of the celebrated ancient ,almeiis1 ,la belle1 unique et incomparable ,fatma1 giving performances of #8,egyptian ,wedding ,scenes' and a #8,dance of ,glasses1' which created a sensation among the decadent artists and writers4 ,however1 her success was more due to her beautiful body and its vivid gestures in suggesting certain erotic emotions1 than to any real art4 ,on the other hand1 ,isadora ,duncan1 ,mme4 ,villiani and ,desmond have attempted to arouse interest in the ,egyptian dances by giving performances that they have claimed to be the genuine classic art of the ,nile4 ,according to them1 all that a modern dancer needs in becoming ,egyptian is to dress as the ,egyptians did and produce poses1 if possible1 with the fewest possible garments1 that are to be seen in the ancient fresco paintings1 sculptures and hieroglyphs4 ,then again1 the ,russian ballet1 touring in ,europe1 announced in its repertoire an ,egyptian ballet ,cleopatra1 which was to be a revelation of unseen beauties of the lost ancient civilization4 ,however1 all efforts of the modern imagination are unable to lift the veil of the ages4 ,though posterity can catch more accurate fragments in the degenerated dances of ,almeiis1 ,hawasis and the few folk-dances of ,young ,egypt than in the artificial imitations of various choreographic modernists1 as a whole we know but a microscopic part of the vanished age of the ,pharaohs4 ,the few scarce records that we possess of the ,egyptian dancing speak eloquently of an art far superior to anything which our boasted civilization has yet reached4 ,,chapter ,,iii ,,dancing ,,in ,,india ,lack of art sense among the ,hindoos2 dancing and the ,brahmin religion2 the ,apsarazases1 ,bayaderes and ,devadazis2 ,hindoo music and the dance2 dancing in modern ,indian2 ,fakir dances2 philosophic symbolism of the ,indian dance4 ,the civilization of ancient ,india was1 with the exception of ,china1 the only rival to that of ,egypt4 ,but it is remarkable that the ,indian mind took a totally different direction from the ,egyptian4 ,the tendency towards spiritual expansion that manifested itself in ,egypt and ,greece became in ,india a tendency towards concentration4 ,the ,indian mind lacked the gift of observation and mathematical proportions1 so essential in art1 that was possessed by the subjects of the ,pharaohs4 ,for this reason we find a magnificent ,indian philosophy and mystic science1 but an undeveloped feeling for sthetic values4 ,with the exception of weird and bizarre architecture1 that manifested itself most powerfully in the pagodas and temples1 the ,indian sculpture1 painting1 music and dancing are too primitive for our taste1 as they probably were for that of the ancient ,egyptians and ,greeks4 ,in all the ,indian constructive arts1 in their temple decorations and frescoes1 we find very few dancing figures1 still fewer graceful reproductions of the human body4 ,their gods and goddesses look to us like monsters4 ,the ,indian ,venera1 to be seen in the ,pagoda of ,bangilore1 looks like a caricature1 as compared with the ,greek ,aphrodite4 ,the ,indian goddess of dancing1 ,ramble1 who1 according to the legend1 was a courtesan of ,indra1 and gave birth to two daughters1 ,nandra 7,luxury7 and ,bringa 7,pleasure71 lacks all the loftiness and charm which surrounded the dancing goddesses of ,egypt and ,greece4 ,there is neither life nor grace in any of the ,indian temple art4 ,even the smile of ,indian gods is stupid and inexpressive4 ,the lack of humor and joy mirrors itself best in the art of the ,bayaderes1 the celebrated dancers of ,india4 ,their gestures and movements are void of that exultant gaiety and optimism that predominates in dances of other nations4 ,an air of gloom and pessimism emanates from all the ,indian art4 ,there is no doubt that the peculiarities of ,indian music have been obstacles to the development of the national dance4 ,although it is full of color and feeling1 yet the division of their scale into so many more tone units than ours makes it extremely difficult for a dancer to catch the delicate nuances and lines and reproduce them in movement4 ,a few dancing designs here and there give the impression that this art has not changed during the four thousand years of the nation's existence4 ,since the whole ,indian civilization is the same to-day that it was thousands of years ago1 we are pretty safe in our assumption that the dances of the ,bayaderes exhibited at ,calcutta or ,benares now were pretty nearly the same during the life of ,buddha4 ,the modern dances1 like the old ones1 show similarity in the fact that the ,indian dancers stand nearly at one spot and hardly move their feet1 while mimicking1 and moving their body1 arms1 hands and fingers4 ,the individual peculiarity of all ,indian dances lies in the impressionistic poses of their hands and the body4 ,india deserves to be called the ,land of a ,thousand ,religions4 ,religion to an ,indian represents everything4 ,like wisdom and life1 dance is of divine origin4 ,from time immemorial dancing has been a part of ,indian temple ceremonies4 ,the ,brahmin religion is interwoven with beautiful legends and myths1 according to which dancing was the first blessing that ,brahma gave to mankind4 ,one of the legends tells us that the divine ,tshamuda danced to music while standing on an egg and holding a huge turtle on her back4 ,in such a position she is to-day giving performances to ,brahma in the ,nirvana4 ,such a magic ,paradise1 with plenty of dancing and music1 lasting from early morning till late in evening1 is promised after death to all faithful souls4 ,a widespread ,indian legend is that which describes the magic dancing of the ,apsarazases1 or divine nymphs1 with which the ,indian imagination has populated every hill and brook4 ,the only occupation of the ,apsarazases is singing and aerial dancing4 ,for this purpose these sacred nymphs are supplied with feathery wings which enable them to fly freely in the air4 ,dancers who reach the very climax of their art get magic wings like every ,apsarazas and vanish alive from the earth4 ,this legend laid the foundation of the ,indian sacred dances1 which were taught by the priests to young maidens kept specially for that purpose near the temples4 ,while the ,european tourist calls all ,indian dancers ,bayaderes1 regardless whether they give their performances on the streets or in the temples1 an ,indian calls the temple dancers ,devadazis1 or the #8slaves of ,god4' ,the common street or social dancer is called ,nautch ,girl4 ,the ,indian ,devadazis are raised and educated much as are the ,christian nuns4 ,after being graduated from a dancing school1 the girls are taken by the priests to the temples in which they give daily performances to the pilgrims and live as sacred courtesans with the clergy4 ,the main function of the ,devadazis consists in giving performances1 either singly or in groups1 to the priests and the pilgrims4 ,some of their dances take place in front of the pagodas1 others inside4 ,the dancers always wear a long garment1 covering their body and legs1 leaving only the hands and arms bare4 ,rich people can hire these temple dancers to give performances in their homes1 otherwise they never appear outside the temple atmosphere4 ,to an ,indian dancer the most important parts of her body are her breasts and fingers4 ,though she appears in dance barefoot1 frequently with rings in her toes1 she pays comparatively little attention to her feet4 ,many of the modern ,bayaderes wear an elaborate costume of yellow with wide pantalettes and richly embroidered wraps around the shoulders1 leaving arms and breasts bare4 ,the music accompanying the dances of the ,indian ,bayaderes is produced by an orchestra consisting of wood wind instruments similar to our flute and oboe1 a few string instruments1 two different drums and a few tambourines4 ,the leader of the orchestra gives a sign by striking certain brass plates and the ,bayaderes1 lifting their veils1 advance in front of the musicians and begin the dance4 ,the dance1 consisting usually only of mimic expressions of two dancers1 has a strange melody and a stranger rhythm4 ,neither the music nor the dance can be compared with anything known in our ,western art4 ,now and then the feet beat measure1 otherwise there is little display of leg agility4 ,the face1 particularly the eyes1 of the ,indian dancers are very expressive4 ,but the alphabet of the dance mimicry is so large that it requires a special study in order to understand and appreciate the fine movements of an artist4 ,all the ,indian social ceremonies1 such as marriage1 birth and burial1 are celebrated with dancing and music4 ,this is particularly true of the social ceremonies of the rich4 ,the standing of the dancers is high in ,india1 so that even in the palace of the ,rajah dancers are treated like the guests4 ,in certain parts of ,india the ,bayaderes have the right to live as guests at any house without paying4 ,prince ,uchtomsky1 who made a special study of ,indian life and art1 writes that in cities visited by the ,european tourists one rarely gets a glimpse of the real ,bayaderes4 ,according to him there are many ,indian ,bayadere dancers that surpass in their suggestive power our most passionate ballets4 ,every line of their miniature impressionism in dance has an exotic beauty which implies more than it expresses4 ,the ,indian dancers are usually women1 though ,pierre ,loti writes that he witnessed several dances performed by men4 ,these dances1 as described by him1 tally closely with those which the writer saw frequently performed by various ,mongolian tribes in ,south-,eastern ,russia4 ,but we are inclined to think that these1 being wild in their character1 could not be classified as dances of ,indian origin4 ,to a certain class of ,indian dancing belong the well-known fakir dances1 performed by begging pilgrims at public gatherings4 ,these represent the surviving fanaticism of an ancient sect4 ,their strange performances are to be seen everywhere in ,northern ,india4 ,absolutely naked and with dishevelled hair1 they moan1 shriek and groan1 jumping wildly up and down and shaking their hands convulsively4 ,when the fanatical execution has reached its climax the fakirs stab themselves with knives or hot irons until they fall into a trance4 ,it is a kind of ,oriental #8,death ,dance4' ,to an outsider it is unexplainable how they can endure such self-torture for any length of time4 ,in most cases the knives that the fakirs use are so constructed that they do not go deep into the body but scratch only the skin and produce slight wounds4 ,though their bloody performances make a deep and shocking impression upon the onlookers1 yet dances of this kind cannot be classified as an art4 ,the best dancers that ,india has ever produced are those who resembled brooding philosophers and prophetic priestesses rather than pleasing artists4 ,the ,indian conception of beauty lies in the spiritual and intellectual and but little in the physical and sthetic forms4 ,the main purpose of the great ,indian ballerinas is to inspire their audiences to thought and meditation upon the great powers of nature and the mystic purposes of human life4 ,their art is exotic and introspective and lacks absolutely the element of purely beautiful inspiration1 produced by the great ,western dancers4 ,those of our ,western students of art who make us believe that they can perform genuine ,indian dances are grossly mistaken1 simply because the real ,indian dance is not an art and amusement1 but the preaching of a certain philosophy4 ,our materialistic logic is unable to catch the subtle philosophic symbolism that appeals to an ,indian mind4 ,we are brought up to enjoy the positive and not the negative plane of life4 ,for us beauty is joy1 for the ,hindus it is sorrow4 ,an ,indian dancer who can move her audience to tears with her dancing will fail to make the least impression upon our audiences4 ,,chapter ,,iv ,,dances ,,of ,,the ,,chinese1 ,,the ,,japanese ,,and ,,the ,,american ,,indians ,influence of the ,chinese moral teachings2 general characteristics of ,chinese dancing2 court and social dances of ancient ,china2 ,yu-,vang's #8historical ballet'2 modern ,chinese dancing2 dancing ,mandarins2 modern imitations2 the ,lantern ,festival--,japan3 the legend of ,amaterasu2 emotional variety of the ,japanese dance2 pantomime and mimicry2 general characteristics and classification of ,japanese dances--,the ,american ,indians3 ,the ,dream dance2 the ,ghost dance2 the ,snake dance4 ,i ,in ,china the art of dancing was in full bloom for centuries before the ,christian era4 ,the great ,chinese historians tell us that music and dancing were developed and stood in high esteem in ,china from the dynasty of ,huang-,ta till the rule of ,they1 which is a period of not less than #bdej years4 ,europe with its civilization did not yet exist when choreography was publicly taught in ,china4 ,like every other form of ,chinese evolution1 dancing thus fell into a state of spiritual torpidity4 ,forbearance1 the foremost virtue of the ,chinese race1 that was preached by their ancient moralists1 like ,kon-,fu-,tse and others1 stifled in the long run all the passionate emotions of the people and exerted a most detrimental influence upon the arts4 ,under such conditions the ,chinese view of life grew materialistic and dry1 the very opposite of the ,indian4 ,this peculiarity did not fail to make itself felt in ,chinese dancing4 ,the gradual killing of passionate emotions killed also the tendency to imagination in the race4 ,the fantasy that populated the air and water1 the mountains and forests of other nations with myths1 legends1 gods and goddesses1 was transformed in ,china into the most realistic reasonings and mechanical dexterity4 ,the industrial spirit of the great nation killed all romantic and poetic aspirations in art1 religion and literature4 ,the music of ,china is as syncopated and monotonous as her views of life4 ,the only poetry that the ,chinese possess is that which was written #djjj years ago4 ,you1 which means in ,chinese language #8dance1' lacks the principal forms of agility of our choreography4 ,pirouettes1 jets1 cabrioles and pas's are unknown terms to a ,chinese ballerina4 ,their dancing1 consisting of slow gestures of the arms1 the shaking of head1 bowing to the ceiling1 and other similar manipulations1 makes at the first glance an impression that suggests to our imagination the officiating of ,greek priests4 ,the power of a dancer lies in the atmosphere that she creates and the peculiar imitating poses of the body4 ,chinese dance music is correspondingly slow of rhythm and reminds us in many ways of our ultra-modern orchestral music4 ,however1 we read in the works of the ,chinese classics that their art of dancing was much higher about two and three thousand years ago4 ,the ancient ,chinese philosophers recommended dancing to strengthen the human body and mind4 ,they emphasized the mimic expressions which all races of the world should learn as an unspoken and universal language4 ,it is written that the great ruler ,li-,kaong-,ti took dancing and music lessons from the great teacher of music1 ,teu-,kung1 so that he was able to give entertainments in these arts to his family and guests4 ,he founded a dancing academy at the court and invited learned ,mandarins to take charge of the institution4 ,gradually dancing was introduced in all the colleges and public schools4 ,all ,chinese educated classes had to be good dancers at that time4 ,the rulers used to dance to the public at great annual festivals to express their gratitude or dissatisfaction4 ,the receptions of various ,viceroys at the national capital were opened with dancing performed by the great functionaries and statesmen of the empire4 ,people judged the characteristics of their newly appointed officials and judges from the individual peculiarities of their dance4 ,the ,chinese court kept regularly #fd sworn dancers1 who were obliged to give historic #8ballets' to the rulers4 ,the orchestra was composed of flutes1 a drum1 one or several tambourines with bells1 and a queer instrument in the shape of the figure #8#b4' ,about a thousand years before ,christ an imperial decree was issued for the purpose of limiting the number of dancers that one or another of the statesmen could employ4 ,eight different dances were performed at the ,chinese court and eight dancers participated in each dance4 ,the first dance was ,ivi-,men--,moving ,clouds2 this was given in honor of the celestial spirits4 ,the second dance was the ,ta-knen--,great ,circle2 this was performed when the ,emperor brought sacrifice at a round votive altar4 ,the third dance was ,ta-gien--,general ,motion2 this was performed during the sacrificial festival at the square altar4 ,the fourth dance was ,ta-mao--,dance of ,harmony2 this was the most graceful dance and was dedicated to the ,four ,elements4 ,the fifth dance was ,gia--,beneficial ,dance2 this dance was dedicated to the spirits of the mountains and rivers1 and was slow and majestic4 ,the sixth dance was ,ta-gu--,dance of ,gratitude2 this was dedicated to women4 ,the seventh dance was ,ta-u--,great ,war ,dance2 this was dedicated to the spirit of ,man4 ,the eighth dance was ,u-gientze--,dance of ,waves2 this was dedicated to the ancestors and was of elaborate form1 containing nine different movements and nine different rhythms4 ,these were all long #8ballets' and lasted for several hours each4 ,but besides these there were six smaller dances4 ,one of these was called the ,dance of the ,mystic ,bird2 another the ,dance of ,oxtail2 another the ,dance of the ,flag2 another the ,dance of ,feathers2 another the ,sword ,dance2 and the last the ,dance of ,humanity4 ,this was performed only by the ,mandarins4 ,the ,chinese historians write that ,confucius did not like the ,sword ,dance1 but highly praised the others4 ,confucius describes the ,emperor ,yu-,vang1 who lived #aajj years before ,christ1 as the author of many new dances and composer of music to accompany them4 ,one of his dances was a great historical ballet1 which must have resembled the ,roman pantomimes4 ,this ballet has been performed in a distorted form in the nineteenth century and is mentioned by several ,russian writers who lived or travelled in ,china4 ,judging from the ,chinese writers1 the historical ballet must have been a spectacular performance in the style of the ,oberammergau ,passion ,play4 ,it opened with the creation of the world and sea and ended with the latest phase of national history4 ,some of the dancers represented fish1 animals and birds2 others1 monsters1 spirits1 rulers and social classes4 ,the music of this ballet was of peculiar symphonic form1 very melodious and dramatic4 ,only fragmentary records of the ancient notation had been preserved in the imperial palace at ,pekin1 but during recent political disturbances even these vanished and the world has thus been deprived of one of the most valuable of musical documents4 ,in ,china the social and religious dancers were one and the same4 ,the touring dancing companies to be seen to-day in ,china give a faint idea of the ancient choreography4 ,japanese dancing has made a deep impression upon the ,chinese dancers1 so that there is a marked element of mixture in the performances that one sees in the present ,chinese towns4 ,the ,chinese dancers from olden times on have been men and women4 ,it seems as if men predominated before1 while now the feminine element is in majority4 ,the ,chinese dancing costumes are bizarre and picturesque4 ,there are no barefoot dancers among them and their bodies are heavily covered with garments4 ,nude dancers are unknown in ,china4 ,an odd class of ,chinese dancers are the dancing ,mandarins4 ,in ,su-,chu-,fu there exists still an old school that was founded #bejj years ago for the purpose of teaching dancing to the ,mandarins4 ,they presumably learned with the idea of using the art in religious rituals4 ,the style of their dancing differs slightly from that of the professional class4 ,dancing ,mandarins can be seen now in ,china1 but their cabalistic gestures and queer mimic expressions are unintelligible to the ,western mind4 ,there are no folk or national dances in ,china and the people do not dance in the same sense as we in our social dances4 ,the idea of a social dance is a torture to an average ,chinaman4 ,he enjoys seeing dancing1 but never takes part in it4 ,the rich ,chinese frequently hire professional dancers and let them give performances at their houses4 ,the ,chinese wedding dances are never performed by the bride1 groom1 or their guests1 but by hired professional dancers or dancing ,mandarins4 ,the historians tell us that this was not so in remote antiquity4 ,there was a time when the ,chinese people danced1 though their dances were mostly slow and pantomimic4 ,the ,russian ballet dancers1 who have toured in ,china1 have told that their performances filled the ,chinese audiences with horror and disgust1 as our ,western acrobatic technique makes them afraid of possible neck-breaking accidents4 ,the attempts of ,europeans to create ,chinese ballets for our ,western stage have been in so far miserable failures4 #8,kia-,king' by ,titus1 #8,chinese ,wedding' by ,calzevaro1 and #8,lily' by ,san-,leon give no true impression of ,chinese choreography of any age4 ,nor are their music or their scenarios similar to any genuine ,chinese ballets of the above-named titles4 ,in our story of ,chinese dancing it is worth while to mention the celebrated #8,lantern ,festival' that is performed every ,new ,year night4 ,it is very likely that the ,chinese had once long ago a lantern dance1 which has degenerated now into a simple marching procession1 in which the people participate in the same sense as the ,italians do in their carnival4 ,confucius writes of it as of a festival in honor of the sun1 the source of the light and life4 ,this festival is celebrated three nights continually4 ,everything considered1 we come to the conclusion that the art of dancing of the land of ,mandarins has been of little influence and significance to our choreography4 ,the reason for this lies partly in the racial morale1 partly in a national psychology that breathes peace and externalism4 ,,ii ,of a quite different character are the dances of ,japan1 of which ,marcella ,a4 ,hincks gives to us a comprehensive picture4 ,according to her1 dancing in ,japan is an essential part of religion and national tradition4 ,in one of the oldest ,japanese legends we are told that the ,sun ,goddess ,amaterasu1 being angry1 hid herself in a cave1 so that the world was plunged in darkness and life on earth became intolerable4 ,the eight million deities of the ,japanese heaven1 seeing the sorrow and destruction wrought by ,amaterasu's absence from the world1 sought by every means possible to coax her from her retreat4 ,but nothing could prevail on her to leave it1 until one god1 wiser than the others1 devised a plan whereby the angered goddess might be lured from her hiding place4 ,among the immortals was the beautiful ,ame-,no-,azume1 whom they sent to dance and sing at the mouth of the cave1 and the goddess1 attracted by the unusual sound of music and dancing1 and unable to withstand her curiosity1 emerged from the concealment1 to gaze upon the dancer4 ,so once more she gave the light of her smile to the world4 ,the people never forgot that dancing had been the means of bringing back ,amaterasu to ,japan1 therefore from time immemorial the dance has been honored as a religious ceremony and practiced as a fine art throughout the ,land of the ,rising ,sun4 ,dancing in ,japan is not associated with pleasure and joyful feeling alone2 every emotion1 grave or gay1 may become the subject of a dance4 ,some time ago funeral dances were performed around the corpse1 which was placed in a building specially constructed for that purpose1 and though it is said that originally the dancers hoped to recall the dead to life by the power and charm of their dance1 later the measures were performed merely as a farewell ceremony4 ,the ,japanese dance is of the greatest importance and interest historically4 ,like her civilization1 and the greater number of her arts1 ,japan borrowed many of her dance ideas from ,china1 though the genius of the people very soon developed many new forms of dance1 quite distinct from the ,chinese importation4 ,from the earliest times dancing has been closely associated with religion3 in both the ,shinto and the ,buddhist faiths we find it occupying foremost place in worship4 ,the ,buddhist priests of the thirteenth century made use of dancing as a refining influence1 which helped to refine the uncultured military class by which ,japan was more or less ruled during the early ,middle ,ages4 ,the ,japanese dance1 like that of the ancient ,greeks1 is predominantly of a pantomimic nature1 and strives to represent in gesture a historic incident1 some mythical legend1 or a scene from folk-lore2 its chief characteristic is always expressiveness1 and it invariably possesses a strong emotional tendency4 ,the ,japanese have an extraordinary mimic gift which they have cultivated to such an extent that it is doubtful whether any other people has ever developed such a wide and expressive art of gesture4 ,dancing in the ,european sense the ,japanese would call dengaku or acrobatic4 ,like the tea ceremony1 the ,japanese dance is esoteric as well as exoteric1 and to apprehend the meaning of every gesture is no easy task to the uninitiated4 ,thus to arch the hand over the eyes conveys that the dancer is weeping2 to extend the arms while looking eagerly in the direction indicated by the hand suggests that the dancer is thinking of some one in a far-away country4 ,the arms crossed at the chest mean meditation1 etc4 ,there is1 for instance1 a set of special gestures for the ,no dances1 divided first of all into a certain number of fundamental gestures and poses1 and then into numerous variations of these1 and figures devised from them1 much as the technique of the ,european ballet dancing consists of #8fundamental positions' and endless less important #8positions4' ,the conventional gestures1 sleeve-waving and fan-waving movements1 constitute the greatest difficulty in the way of an intelligent interpretation of the ,japanese dance4 ,the technique is also elaborate and the vocabulary of the dancing terms large1 but the positions and the attitudes of the limbs are radically different from those of the ,european dance1 the feet being little seen1 and their action considered subordinate1 though the stamping of the feet is important in some cases4 ,the ease of movement1 the smoothness and the legato effect of a ,japanese dance can only be obtained by the most rigorous physical training4 ,the ,japanese strive to master the technique so thoroughly that every movement of the body is produced with perfect ease and spontaneity2 their ideal is art hidden by its own perfection4 ,the dances of ,japan may be grouped under three broad divisions of equal importance3 ,religious1 classical1 and popular4 ,the last vestiges of a religious dance of great antiquity may still be seen at the half-yearly ceremonials of ,confucius1 when eight pairs of dancers in gorgeous robes1 each holding a triple pheasant's feather in one hand and a six-holed flute in the other1 posture and dance as an accompaniment to the ,confucian hymn4 ,it is said that the ,bugaku dance was introduced #bjjj years ago4 ,the ,japanese history of dancing begins from the eighth to twelfth centuries4 ,the ,bugaku and the ,kagura1 another ancient ,japanese sacred dance1 are considered the bases of all the other dances4 ,the movements in both dances strive to express reverence1 adoration and humility4 ,the music of the old ,japanese dances is solemn1 weird and always in a minor key1 and the instruments used are flutes and a drum4 ,stages were erected at all the principal ,shinto temples and each temple had its staff of dancers4 ,the ,kagura dance can still be seen at the temple of ,kasuga at ,nara4 ,like the ,chinese1 the ,japanese lack dances known to us as folk-dancing4 ,in the art of dancing ,japan far surpasses ,china1 this being due to the more emotional and poetic character of the race4 ,the dancing of ,japan1 like its other arts1 is outspokenly impressionistic and symbolic4 ,it is graceful and dainty and gives evidence of thorough refinement4 ,dances of pungent racial tinge are those of the ,american ,indians4 ,the best known of the ,indian pantomimes are the ,ghost1 ,snake1 and ,dream ,dances4 ,very little observed and recorded are their various war dances2 still less their social dances4 ,stolid1 impassive and stoic as is the man himself1 so are his dances and other sthetic expressions4 ,void of frivolous gaiety and passionate joy as an ,indian remains in his life1 so is his dance4 ,his dance turns more about some mystic or religious idea than about a sexual one4 ,there is that peculiar heavy and secretive trait in an ,indian folk-dance that manifests itself so conspicuously in the dances of the ,siberian ,mongolians1 as the ,buriats1 ,kalmuks1 and particularly the ,finns4 ,though our space is limited1 we shall here attempt to give an outline of the better known peculiarities of ,indian folk-dances1 particularly of the ,dream ,dance of the ,chippewa tribe4 ,the ,chippewas or ,ojibways were1 at the arrival of the whites1 one of the largest of the tribes of ,north ,america4 ,they originally occupied the region embracing both shores of ,lake ,superior and ,lake ,huron4 ,we owe the description of the ,dream ,dance to ,s4 ,a4 ,barrett1 according to whose view it is based on the story of an ,indian girl who escaped into the lake upon the arrival of the white men and hid herself among the lilies1 thinking they would soon leave4 ,she remained in the lake for ten days without food or sleep1 until the ,great ,spirit from the clouds rescued her miraculously and carried her back to her people4 ,in memory of this event the ceremony of the ,dream ,dance was instituted and is performed annually in the open air1 about the first of ,july4 ,a special dance ground1 from fifty to eighty feet in diameter1 was prepared and marked off by a circle of logs or by a low fence4 ,this circle was provided with an opening toward the west and one toward the east4 ,the objects about which this whole ceremony centres are a large drum and a special calumet1 the former elaborately decorated with strips of fur1 beadwork1 cloth1 coins1 etc4 ,it is hung by means of loops upon four elaborately decorated stakes4 ,often they are provided with bells4 ,to this the greatest reverence is paid throughout the dance1 a special guard being kept for it4 ,the calumet serves as a sacrificial altar1 the function of which is the burning of sacred tobacco1 in order that its incense may be carried to the particular deity in whose honor the offering is made4 ,the drum is beaten by ten to fifteen drummers1 each beating it with a stick two feet long1 as an accompaniment to the song which serves as the dance tune4 ,each song lasts from five to ten minutes1 and is repeated for several hours continually4 ,the drum-strokes are beaten in pairs1 which gives the impression of difference in the interval of time between the two strokes of one pair and the initial stroke of the next4 ,in this dance1 which is always performed by a man of highest standing in the community1 a dancer may go through the necessary motions with the feet without moving from the position in which he is standing1 or he may dance one or more times around the circle4 ,frequently the dancers take at first a complete turn around the circle and come back to the vicinity of the original seats and dance here until the tune is finished4 ,the movement is of a skipping step1 from the east to the west4 ,perfect time is kept in the music no matter what movement may be employed by the dancer4 ,two motions up and down are first made with one heel and then two motions with the other1 these being in perfect unison with the double strokes of the drum sticks4 ,the position assumed in the dancing is perfectly erect1 the weight of the body being rapidly shifted from one foot to the other1 as the dancing proceeds4 ,the foot is kept in a position which is nearly horizontal1 the toe just touching the ground at each stroke of the drum4 ,the dance begins at eleven o'clock in the morning and lasts until four in the afternoon4 ,a special festival meal is served during the dance in the circle4 ,of somewhat different nature is the ,ghost ,dance1 which is performed in the unclosed area1 the ground being consecrated by the priests before the beginning of the ceremony4 ,the features of this are the sacred crow1 certain feathers1 arrows1 and game sticks1 and a large pole which is placed in the centre of the dancing area4 ,about this the dancers circle in a more lively motion and with lighter steps than the dancers in the ,dream ,dance4 ,in this there are no musical instruments used4 ,the men1 women and children take part in the ,ghost ,dance1 their faces painted with symbolic designs4 ,the participants form a circle1 each person grasping the hand of his adjacent neighbor1 and all moving sidewise with a dragging1 shuffling step1 in time to the songs which provide the music4 ,the purpose of the ,dream ,dance is to communicate with the ,great ,spirit of ,life4 ,the ,ghost ,dance has for its object the communication of the participants with the spirits of the departed relatives and friends1 this being accomplished by hypnotic trances induced through the agency of the medicine man4 ,the ,snake ,dance is a ceremony performed by the ,indians of the southern states4 ,this is of a ghastly nature1 as the dancer holds two rattlesnakes in his mouth while executing his evolutions4 ,not only must the dancer be an artist who can manage the movement of his face so that the heads of the deadly snakes cannot touch his face or bare upper body1 but he has to know the secret words that neutralize the poison of the snake1 in case he should be bitten4 ,this dance1 like the two above named1 is executed in a circle to the chant of special singers4 ,though the ,indian uses musical instruments for his social ceremonies1 such as the turtle-shell harp1 wooden flute and whistles1 he never applies their tunes to the dances that have a more serious or religious meaning4 ,the ,snake ,dance1 like the ,dream ,dance1 is based on a legend1 but the story of it is more involved1 tragic and mystic1 therefore its ghastly nature and weird symbolic gestures appear more vivid and direct than the themes of any other of the ,indian folk-dances4 ,but the steps and poses of every ,indian dance are similar to each other1 slow1 compact1 impassive and dignified4 ,a strong mystic and symbolic feeling pervades the limited gestures and mimic expressions4 sthetic ideas with the ,indian are closely interwoven with those of ethics and religion4 ,there is nothing graceful1 amusing1 delicate or charming in an ,indian dance1 therefore our dance authorities have ignored them4 ,,chapter ,v ,,dances ,,of ,,hebrews ,,and ,,arabs ,biblical allusions2 sacred dances2 the ,salome episode and its modern influence--,the ,arabs2 ,moorish florescence in the ,middle ,ages2 characteristics of the ,moorish dances2 the dance in daily life2 the harem1 the ,dance of ,greeting2 pictorial quality of the ,arab dances4 ,i ,that dancing was practiced in temples and homes of the ancient ,hebrews is evident from numerous ,biblical allusions1 and is only natural when we consider that they were educated in ,egypt1 the cradle of dancing4 ,some scholars maintain that dancing was a part of ,hebrew worship1 pointing as a proof of their theory to ,david's dancing before the ,ark of the ,covenant and the fact that ,moses1 after the crossing of the ,red ,sea1 bade the children of ,israel to dance4 ,others1 basing their arguments on the ,talmud1 deny this4 ,it is very likely that the dancing which the ,hebrews had learned in ,egypt soon degenerated into crude shows1 due to their long nomadic desert life1 far from civilization4 ,only now and then did some of their kings indulge in dancing and try to revive the vanishing art4 ,david and ,solomon introduced dancing at their courts and in the temple1 as we can see in the ,bible3 #8,praise the ,lord--praise him with timbrel and dance4' #8,then shall the virgin rejoice in the dance4' #8,thou shalt be again adorned with thy tabrets1 and shalt go forth in the dances1' etc4 ,on another occasion we read how the sons of ,benjamin were taught to capture their wives4 #8,if the daughters of ,shiloh come out to dance in dances1 then come ye out of the vineyards1 and catch you every man his wife4--,and the children of ,benjamin did so1 and took them wives1 according to their number of them that danced1 whom they caught4' ,the ,dance of the ,golden ,calf1 which was plausibly an imitation of the ,egyptian ,apis ,dance1 was most severely forbidden by ,moses4 ,since this dance was one of the principal ceremonial dances of ,egypt1 it is evident that it had rooted deep into the soul of the people and ,moses had to resort to violent methods in order to abolish it entirely4 ,we read in the ,bible that to honor the slayer of ,goliath1 the women came out from all the cities of ,israel and received him with singing and dancing4 ,other historic sources tell us that the ancient ,hebrews frequently hired dancers and musicians for their social ceremonies4 ,there are various ,byzantine designs and inscriptions of the fifth and sixth centuries1 in which ,king ,david is depicted as a ballet master1 with a lyre in his hand1 surrounded by dancing men and women4 ,we read that when ,solomon finished the ,new ,temple in ,jerusalem it was dedicated with singing and dancing4 ,it is evident that the ancient ,hebrew sacred dances were performed by men1 while women figured exclusively in the social dancing4 ,the ,jews in ,morocco employ professional dancers for the celebration of the marriage ceremony to-day4 ,the best known of the ancient ,hebrew dances is that of the celebrated ,salome4 ,thus we read in a chapter of ,st4 ,matthew of the beheading of ,john the ,baptist3 #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 ask4' ,these short remarks of the ,new ,testament describe a gruesome tragedy that has inspired hundreds of artists to amplify with their imagination what has been left unsaid in the ,gospel4 ,moreau1 ,botticelli1 ,dolci1 ,reno and ,stuck have produced immortal paintings of ,salome4 ,some of them have depicted her as a stately society lady of her times1 the others show her either frivolous1 abnormal or under the spell of narcotics and wine4 ,many gruesome legends have risen about the death of ,salome1 according to which she committed suicide by drowning4 ,but an accurate historic investigation has revealed that she was married to the ,tetrarch ,philip1 after whose death she became the wife of ,aristobul1 the son of ,herod1 and died at the age of #ed4 ,be that as it may1 the ,salome episode is an eloquent proof that dancing was cultivated by the ,hebrews and that their daughters were educated in this art either by ,egyptian or ,greek masters4 ,several other historic allusions show that ,greek dancers went often to ,jerusalem to give there performances during the national festivals4 ,plutarch writes that rich ,hebrews came to the ,olympic and ,dionysian ,festivals and were eager to learn ,greek music and dancing4 ,but evidently the ,greek arts had the least influence upon the ,hebrews1 whose minds had been trained in the strict ,mosaic code of morals to follow only the autocratic commandments of the ,lord1 and to leave all the arts of other races alone4 ,like the ,confucian philosophy in ,china1 the ,mosaic ethics in ,palestine put a stamp of sthetic stagnation on ,hebrew national life4 ,for this very reason the ,hebrews never developed a national art1 particularly a national music or national dance4 ,the ,salome of ,richard ,strauss has inspired many of our ,western dancers to personify the ancient heroine4 ,with the exception of ,ida ,rubinstein and ,natasha ,trouhanova1 the ,salome dances of all the ,european or ,american aspirants have been of no importance4 ,there are characteristics to be seen in a few old inscriptions of dancing ,hebrew priests which express most forcibly their peculiar nervous poses and quick gestures4 ,european choreography has for the most part failed to grasp the principal features of the vanished ,hebrew dances4 ,,ii ,of all living ,oriental races the ,arabs show the most innate instinct for dancing4 ,judging from the ruins of the architecture that the ,moors have left in ,spain we can see that they knew more than the mere elementary rules of sthetic line and form1 which is the very essential of a dance4 ,the ruins of the majestic ,alhambra speak a language that fills us with an awe4 ,no architects of other races1 either dead or living1 have reached that harmony of line which is plainly visible in this structural masterpiece of humanity4 ,since1 according to the views of all sthetic psychologists1 dancing and architecture develop as allied arts1 the ,moors must have developed a high degree of dancing in the ,middle ,ages1 when the rest of the world was shaken by barbaric wars and ruled by ecclesiastic fanaticism4 ,however1 the ,mohammedan religion prohibits painting and sculpture1 therefore we find no frescoes or decorations in the walls of the ,moorish castles or ,mosques that could give an idea of the style and perfection of the dancing that was taught in ,cadiz4 ,the ,greek and ,roman writers allude frequently to the fiery and passionate dances that were exhibited by the graduates of ,cadiz1 #8which surpassed anything the people had seen before4' ,we know that the ,moors taught dancing to their boys and girls alike4 ,furthermore1 we know that their dances differed distinctly from those of the ,greeks and ,egyptians4 ,the dancing teachers at ,cadiz emphasized agility of legs1 softness and grace of the body and a vivid technique of imitation4 ,passion was the principal theme of their feminine dances1 and was expressed with the technique of virtuosity4 ,it is said that the ,califs of ,seville kept a staff of fifty trained dancers at their court4 ,the essential feature of ,arabian dancing was the graphic production of pictorial episodes1 in rich harmonious lines of the body1 sensuous grace of the poses and sinuous elegance of movement4 ,a special emphasis was placed upon the exhibition of the most perfect womanly beauty4 ,to complete the task of architectural perfection an ,arabic dancer was taught to study carefully the geometric laws of nature and eliminate the crudities acquired in everyday life4 ,the principal musical instrument of the ,moorish dancers was the ,african guitar1 which was their national invention4 ,most of the great ,arab dancers were women1 who preferred to dance without a masculine partner4 ,ordinarily they danced to the music of two or three differently tuned guitars1 and only on festival occasions or in appearances at court was the music supplied by an orchestra of ten or more4 ,already the ,arabs had their musical notation1 set in three colors3 red1 green1 and blue4 ,fragments of their medival music notation were recently discovered by a ,french scholar and were successfully deciphered4 ,it appears that many of the dance melodies still in use in ,spain are of ,moorish descent4 ,the ,kinneys1,a who seemingly have made a study of ,spanish and modern ,arab dancing1 write of it graphically1 as follows3 ,a ,troy and ,margaret ,west ,kinney3 ,the ,dance 7,new ,york1 #aiad74 #8,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 incidents2 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 can stand the searching test of eyes educated in beauty and minds trained to exact thinking4 #8,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 demoralizes4 ,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 deprecate 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 #8,as vendors 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 #8,in the daily life of the harem1 dancing is one of the favored 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 #8,one of the comparatively formalized mimetic expressions is the 8,dance of ,greeting10 the function of which is to honor 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 honor 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 the poor house was so honored 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 #8,the musicians squatting against the wall begin the wailing of the flute1 the hypnotic throb of 8darabukkeh40 ,she who is designed to dance the ,greeting enters holding before her a long scarf that half conceals her2 the expression on her face is surprise1 as though honor 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 floor1 advances to a place before the guest and near him1 and honors him with a slave's salutation4 ,then arising she proceeds to her silent ,greeting4 99 99 99 #8,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 moment's pose so perfectly balanced 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 dance each phrase is complete in itself2 it may be likened to one of those serial stories in our magazines1 in which each installment of the story is self-sufficient4 #8,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 idea1 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 neighbors4 ,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' ,from all modern observations and ancient records it is evident that the ,arabs' dances differed essentially from their ,eastern neighbors4 ,spain undoubtedly is the only ,occidental country that has preserved in its vivid national dances1 ,jotas1 ,boleros1 ,seguidillas and ,fandangos1 the mutilated and deformed elements of the vanished choreography of ,cadiz4 ,though the ,moor has left so few records of his highly cultivated art of dancing1 yet his spectral shadow hangs over the race beyond the ,pyrenees4 ,of all the living civilized nations the ,spaniards1 more than any others1 are justly the very incarnation of the vanished magic ,arabs in dance4 ,a studious observer finds in ,spanish dances all the hysteria1 magic1 seductiveness and softness that was practiced by medival ,arab dancers4 ,and then the costumes--most picturesque and romantic--that the ,spanish women use in their dances are similar in their lines and colors to those that were worn by the ,moorish girls who entertained with their magic dances a ,cleopatra and a ,csar4 ,,chapter ,,vi ,,dancing ,,in ,,ancient ,,greece ,homeric testimony2 importance of the dance in ,greek life2 ,xenophon's description2 ,greek religion and the dance2 ,terpsichore--,dancing of youths1 educational value2 ,greek dance music2 ,hyporchema and ,saltation2 ,gymnopdia2 the ,pyrrhic dance2 the ,dipoda and the ,babasis2 the ,emmeleia2 the ,cordax2 the ,hormos--,greek theatres2 comparison of periods2 the ,eleusinian mysteries2 the ,dionysian mysteries2 the ,heter2 technique4 ,i ,best known to us of all the ancient and exotic dances are those of the ,greeks4 ,in ,greece dancing was an actual language1 interpreting all sentiments and passions4 ,aristotle speaks of ,saltators whose dances mirrored the manners1 the passions and the actions of men4 ,about three hundred years before the ,augustan era dancing in ,greece had reached an apotheosis that it has never reached in any other country in the history of ancient civilization4 ,accurate information about the ancient ,greek dances is given not only in numerous fresco paintings1 reliefs and sculptures1 but in the works of ,homer1 ,aristotle1 ,plato1 ,lucian1 ,aristophanes1 ,hesiod and many others4 ,that dancing was highly esteemed as an accomplishment for young ladies in the ,heroic ,age we may gather from the sixth book of the ,odyssey1 when gentle white-armed ,nausicaa1 the daughter of a king1 is represented as leading her companions in the choral lay after they had washed their linen in the stream1 and amused themselves awhile with a game of ball4 ,ulysses compliments her especially upon her choric skill1 saying that if she should chance to be one of those mortals who dwell on earth her brother and venerable mother must be ever delighted when they behold her entering the dance4 ,we read how ,ulysses was entertained at the court of ,alcinous1 the father of the young lady who had befriended him1 and whose dancing he had so greatly admired4 ,the admiration of the wanderer was excited by the rapid and skillful movements of the dancers1 who were not maidens only1 but youths in the prime of life4 ,presently two of the most accomplished youths1 ,halius and ,laodamus1 were selected by ,alcinous to exhibit their skill in a dance1 during which one performer threw a ball high in the air while the other caught it between his feet before it reached the ground4 ,from the further description it appears that this was a true dance and not a mere acrobatic performance1 and that the purple ball was used by the participants simply as an accessory4 ,the twenty-third book of the same poem tells us that dancing among the guests at wedding festivals formed in these early times an essential part of the ceremonies4 ,the wanderer1 having been recognized by the faithful ,penelope1 tells his son1 ,telemachus1 to let the divine bard who has the tuneful harp lead the sportive dance1 so that anyone hearing it from without may say it is a marriage4 ,homer thought so highly of dancing that in the #8,iliad' he calls it #8irreproachable4' ,in describing various scenes which ,vulcan wrought on the shield of ,achilles1 he associates dancing with hymeneal festivities4 ,no ,athenian festivals were ever celebrated without dancing4 ,the design with which the gods used to adorn the shields of heroes represented the dance contrived by ,ddalus for fair-haired ,ariadne4 ,in this dance youths with tunics and golden swords suspended from silver belts1 and virgins clothed in fine linen robes and wearing beautiful garlands1 danced together1 holding each other by the wrists4 ,they danced in a circle1 bounding nimbly with skilled feet1 as when a potter1 sitting1 shall make trial of a wheel fitted to his hands1 whether it will run2 and at other times they ran back to their places between one another4 ,galen complained that #8so much do they give themselves up to this pleasure1 with such activity do they pursue it1 that the necessary arts are neglected4' ,the ,greek festivals in which dancing was a feature were innumerable4 ,the ,pythian1 ,marathon1 ,olympic and all other great national games opened with and ended with dancing4 ,the funeral feats of ,androgeonia and ,pollux1 the festivals of ,bacchus1 ,jupiter1 ,minerva1 ,diana1 ,apollo1 and the ,feasts of the ,muses and of ,naxos were celebrated predominantly with dancing ceremonies4 ,according to ,scaliger dancing played an important part in the ,pythian games1 representations which may be looked upon as the first utterances of the dramatic ,muse1 as they were divided into five acts1 and were composed of poetic narrative with imitative music performed by choruses and dances4 ,lucian assures us that if dancing formed no part of the program in the ,olympian games1 it was because the ,greeks thought no prizes could adequately reward it4 ,socrates danced with ,aspasia and ,aristides danced at a banquet given by ,dionysius of ,syracuse4 ,the ,greeks danced always and everywhere4 ,they danced in the temples1 in the woods and in the fields4 ,every social or family event1 birth1 marriage and death1 gave occasion for a dance4 ,cybele1 the mother of the ,immortals1 taught dancing to the ,corybantes upon ,mount ,ida and to the ,curetes in the island of ,crete4 ,apollo dictated choreographic laws through the mouths of his priestesses4 ,priapus1 one of the ,titans1 taught the god of war how to dance before instructing him in strategics4 ,the heroes followed the example of the gods4 ,theseus celebrated his victory over the ,minotaur with dances4 ,castor and ,pollux created the ,caryatis1 a nude dance performed by ,spartan maids on the banks of the ,eurotas4 ,it is written that schylus and ,aristophanes danced in public in their own plays4 ,philip of ,macedonia married a dancer by whom he had a son who succeeded ,alexander4 ,nicomedes1 ,king of ,pithynia1 was the son of a dancing girl4 ,this art was so esteemed that great dancers and ballet masters were chosen to act as public men4 ,the best ,greek dancers came from the ,arcadians4 ,the main aim of the ,greek dancers was to contrive the most perfect plastic lines in the various poses of the human body1 and in this sculpture was their ideal4 ,it is said that the divine sculpture of ,greece was inspired by the high standard of national choreography4 ,though we know little of the ,greek dance music1 yet occasional allusions inform us that it was instrumental and vocal4 ,thus ,athenus says3 #8,the ,hyporchematic ,dance is that in which the chorus dances while singing4' ,xenophon writes in his sixth book of #8,anabasis' as follows3 #8,after libations were made1 and the guests had sung a pan1 there rose up first the ,thracians1 and danced in arms to the music of a flute1 and jumped up very high with light jumps1 and used their swords4 ,and at last one of them strikes another1 so that it seemed to everyone that the man was wounded2 and he fell down in a very clever manner1 and all the bystanders raised an outcry4 ,and he who struck him1 having stripped him of his arms1 went out singing sitacles2 and others of the ,thracians carried out his antagonist as if he were dead1 but in reality he was not hurt4 ,after this some nianians and ,magnesians rose up1 who danced the dance called ,carpa1 they1 too1 being in armor4 ,and the fashion of the dance was like this3 ,one man1 having laid aside his arms1 is sowing and driving a yoke of oxen1 constantly looking around1 as if he were afraid4 ,then comes up a robber2 but the sower1 as soon as he sees him1 snatches up his arms1 and fights in defence of his team in regular time to the music of the flute1 and at last the robber1 having bound the man1 carries off the team2 but sometimes the sower conquers the robber1 and then1 binding him alongside his oxen1 he ties his hands behind him and drives him forward4' ,another ancient ,greek dance is graphically described by ,xenophon as it was given by ,callias to entertain his guests1 among whom was ,socrates4 ,the dance represented the marriage of ,dionysos and ,ariadne4 #8,ariadne1 dressed like a bride1 comes in and takes her place4 ,dionysos enters1 dancing to the music4 ,the spectators did all admire the young man's carriage1 and ,ariadne herself is so affected with the sight that she may hardly sit4 ,after a while ,dionysos1 beholding ,ariadne1 and1 incensed with love1 bowing to her knees1 embraces and kisses her first1 and kisses her with grace4 ,she embraces him again1 and kisses him with the like affection4' ,the nature of the ,greek religion was such that many of their sacred dances would1 according to our conventions1 be far more shocking than those which they performed socially4 ,in the ,homeric hymn to ,apollo we read how the ,ionians with their wives and children were accustomed to assemble in honor of the god1 and delight him with their singing and dancing4 ,the poet describes that dancing was at that time an art in which everybody could join1 and that it was by no means cultivated only by professional artists4 ,though the ,ionians contributed much to the development of the art of dancing1 yet in later years these degenerated into voluptuous gesticulations and sensuous poses known by the ,romans as #8,ionic ,movements4' ,in another part of the same poem ,homer depicts #8the fair-haired ,graces1 the wise ,hours and ,harmony1 and ,hebe and ,venus1 the daughter of ,jove1 dance1 holding each other by the wrists4 ,apollo strikes the harp1 taking grand and lofty steps1 and a shining haze surrounds him1 and the light glitters on his feet and on his well-fitted tunic4' ,pan1 who was considered by the ,greeks as well as by the ,egyptians one of the greater gods1 is represented by ,homer as going hither and thither in the midst of the dancers moving rapidly with his feet4 ,however1 his dancing must have been singularly devoid of grace1 as most of the designs known to us depict him as a patron of shepherds in ,arcadia1 gay and old-fashioned4 ,all other gods and goddesses of the first order were supposed to be accomplished artists in dancing4 ,the recently found bronze vase in a ,phnician sarcophagus1 on the island of ,crete1 contains designs of unusually soft forms of naked dancing girls following ,apollo4 ,this best illustration of the ,apollo ceremony goes to show that the ,phnicians had learned dancing from the ,greeks and imitated them successfully4 ,as thorough as were all the ,greek gods and goddesses in their knowledge and talent of dancing1 yet they were far surpassed by ,terpsichore1 the real goddess of dancing and one of the nine ,muses who always surrounded ,apollo4 ,most of the recovered ,greek drawings and sculptures represent ,terpsichore either sitting or standing1 but always with a lyre in her hand4 ,the invention of the lyre was attributed to her4 ,a painting1 discovered in the excavated city1 ,herculaneum1 represents her standing with the lyre in her uplifted hand4 ,another smaller drawing describes her with a wreath on her head while executing a graceful dance with other ,muses4 ,various medival artists represented in their works ,terpsichore dancing with a flower in her hand and an ethereal veil floating around her head4 ,one of the ,greek legends tells us that she was the mother of the singing ,sirens4 ,,ii ,all records indicate that dances in ,greece were performed by men and women alike4 ,in some of these dances they wore a loose garment1 keeping their arms and legs bare2 in others they danced perfectly naked4 ,some dances were performed by girls alone and others by boys1 but often they mingled freely4 ,the ,greek customs generally permitted the freest intercourse between young people of both sexes1 who were specially brought into contact at the great religious festivals and choruses4 ,it seems that the youths who had distinguished themselves at the public dances expected no other reward than smiles of appreciation from the girls present1 and dreaded nothing so much as their indifference4 ,the constant practice of dancing by youths of both sexes from their earliest years was meant to impart to them precision of movement1 suppleness of body1 pliant and firm action of limbs1 celerity of motion and all those physical qualities that would be advantageous in warfare and elevating or ennobling in everyday life4 ,plato praises the quickness of the body as the most reliable medium of warfare4 ,the ,greeks developed such beautiful bodies that they disliked to hide their plastic lines with any garments1 therefore they preferred to appear naked1 and more so in the temples and theaters than in their homes or in society4 ,the fact that all the ,greek sculpture is nude can be attributed1 not to any abstract art ideals1 but to the actual custom of the time4 ,the first form of the ,greek dance music was vocal1 sung by a chorus2 in later times they began to use as accompaniment to singing certain chrotals1 or castaets4 ,during the ,homeric era1 the lyre was used predominately4 ,in later centuries the flute 7aulos7 was introduced4 ,the vocal music was produced by soloists and by male or mixed choruses4 ,frequently the dancers themselves sang or played the music and danced at the same time4 ,however1 the dancers of the fourth century never furnished their own music4 ,according to the three principal divisions of the ,greek mythology 7the cult of ,earth and ,heaven1 the cult of ,chronos1 ,titans and ,cyclops1 and the cult of ,zeus and the #ab ,olympic divinities7 the sacred dances of ,greece can be divided into similar groups4 ,all the ,greek deities1 even ,zeus1 were considered accomplished dancers4 ,since they enjoyed dancing themselves it was only natural that they should like to see dancing included as part of their worship4 ,cupid1 the naughty little god of love1 is depicted in most cases dancing4 ,the fourth century figurine of a ,bacchante in thin and supple draperies1 whirling around on one foot1 looks very much like a ballet dancer of to-day4 ,the oldest of the ,greek dances was probably the ,hyporchema1 which was accompanied by the chorus4 ,though developed in different styles1 it always kept a religious character and was looked upon as the first ,greek attempts at saltation1 in which1 as the name betrays1 song and dance were intermingled4 ,the earliest use made of saltation was in connection with poetry4 ,athenus says1 however1 that the early poets had resource to the figures of saltation only as symbols of images and ideas depicted in their verse4 ,all dances of the ,hyporchema class were dignified and elevated1 men and women alike taking part in them4 ,some attribute their origin to the ,delians1 who sang them around the altars of ,apollo4 ,others ascribe their invention to the ,cretans1 taught by ,thales4 ,of later descent1 but more practiced than the ,hyporchema1 were the ,gymnopdia1 favored especially by the ,lacedmonians in their festivals of ,apollo4 ,this was considered one of the most noble and praiseworthy of the ancient dances4 ,at the festivals the ,gymnopdias were at first performed by large choruses of men and boys1 but later the maidens were permitted to join them also4 ,then the men and women danced in separate choirs4 ,the choragus1 or leader1 was crowned with palm leaves1 and it was his privilege to defray the expenses of the chorus4 ,all who took part in this had to be well-trained dancers1 as it was the custom in ,sparta that all children should commence to receive choreographic instruction from the age of five4 ,max ,mller says1 though this dance was performed perfectly nude1 it enjoyed a high reputation4 ,mller is of opinion that music was generally cultivated by the ,dorians and ,arcadians owing to the circumstance that #8women took part in it1 and sang and danced in public1 both with men and by themselves4' ,music and dancing were taught to the females at the ,laconian capital1 while housekeeping was regarded as a degrading occupation4 ,one of the public dances most favored by the ,lacedmonians was the ,pyrrhic ,dance4 ,lucian attributes its invention to ,neoptolemus1 the son of ,achilles1 who so much excelled in this that he enriched it with a fine new species1 which from his surname ,pyrrhicus received its title4 ,the influence of this dance must have extended to the remotest and most barbarous nations1 for not only the ,romans but the ,mongolians practiced it4 ,that it underwent considerable modification in later times is evident from what ,athenus says3 #8,the ,pyrrhic ,dance as it exists in our own time appears to be a sort of ,bacchic dance1 and a little more pacific than the old one2 for the dancers carry thyrsi instead of spears1 and they point and dart canes at one another1 and carry torches4 ,and they dance figures having reference to ,bacchus and the ,indians1 and to the story of ,pentheus2 and they require for the ,pyrrhic ,dance the most beautiful airs4' ,the ,pyrrhic ,dance in its early stage was a kind of war dance1 as the performers employed every type of arms4 ,the figures of the dance represented a kind of mimic battle1 and the movements of the dancers were generally light1 rapid1 and eminently characteristic4 ,there were figures representing the pursuit or retreat of an enemy2 then again there were movements and positions of the body by which spear thrusts1 darts1 and wounds generally could be avoided4 ,other kind of movements suggested aggressive actions1 striking with the sword or using the arrow4 ,all these movements were performed in the most accurate rhythm to the music of flutes4 ,the number of the ancient ,greek dances is so large that we can count on this occasion only those which are already known more or less through classic literature4 ,wide popularity was enjoyed by the ,lysistrata1 ,dipoda1 ,bibasis1 ,hymnea1 and the stage dances1 ,cordax1 ,emmeleia1 ,hormos1 ,endymatia and the celebrated religious ,mysteries of ,aphrodite1 ,apollo1 ,demetrius1 ,dionysius1 etc4 ,most of those elegant female dancers whom we find represented on ancient bas-reliefs1 with their heads crowned1 reeds in their hands raised above them1 are executing the ,dipoda1 which ,aristophanes has used as the climax in his celebrated comedy ,lysistrata4 ,this is what the author himself writes of the dance3 #8,come here to celebrate ,sparta1 where there are choruses in honor of the gods and the noise of dancing1 where1 like young horses1 the maidens on the banks of the ,eurotas rapidly move their feet1 and their dresses are agitated like those of bacchanals1 brandishing the thyrsus and sporting1 and the chaste daughter of ,leda1 the lovely leader of the chorus1 directs them4 ,now come1 bind up your hair1 and leap like fawns2 now strike the measured tune which cheers the chorus4' ,it is said that the simple1 flowing chitons which they wore as garments flowed freely with the movements of their limbs1 or fell in naturally graceful lines appropriate to the poses they assumed4 ,a dance of wonderful agility was that of the ,bibasis4 ,according to ,max ,mller1 a ,laconian maiden danced the ,bibasis a thousand times more than any other girl had done4 ,the peculiarity of this dance was to spring upward from the ground and perform a cabriole en arrire1 striking the feet together behind before alighting4 ,the cabriole is executed by the modern dancers with both feet in the air2 and both legs act in the beating movement1 rapidly separating and closing4 ,to this a leap1 called jett1 in the modern terminology1 was probably added4 ,the upward spring was made first from one foot and then from the other and striking the heels behind4 ,the number of the successful strokes was counted1 and the most skillful performer received the prize4 ,it is said that schylus and ,sophocles improved considerably the ,bibasis ,dance1 musically and choreographically1 for both authors were accomplished musicians and dance authorities4 ,the ,emmeleia was one of the most respected and popular dramatic dances of the ,greek stage4 ,plato speaks of it as a dance of extraordinary gentleness1 gravity and nobility1 appropriate to the highest sentiments4 ,it possessed extraordinary mobility and dramatic vigor1 and yet was graceful1 majestic and impressive4 ,this dance1 as it was produced on the ,athenian stage1 is said to have been so terribly realistic that many of the spectators rushed shocked from the theatre1 imagining that they really beheld the incarnated sisters of sorrow whose very names they did not dare to mention4 ,these awful ministers of divine vengeance1 who were supposed to punish the guilty both on earth and in the infernal regions1 appeared in black and blood-stained garments4 ,their aspect was frightful and their poses emanated an air of death4 ,on their heads they carried wreathed serpents1 while in their hands were wriggling scorpions and a burning torch4 ,the music used for the ,emmeleia was supplied by an #8orchestra',b and chorus4 ,both the musicians and the singers were divided into two groups1 one of which was to the right1 the other to the left of the dancers4 ,this gives an idea of the so-called #8strophic' principle4 ,there are allusions to the fact that the ,egyptians used music to the ,astral ,dances in this form4 ,though we do not know the character of the ,greek dance music1 particularly of the ,emmeleia1 yet fragmentary allusions here and there give an idea that they were mostly in a minor key and of very changeable measure4 ,kirchoff1 who made a special study of this dance1 came to the theoretic conclusion that this was predominantly recitative and resembled partly the later operas of ,wagner--of course1 only melodically--and partly the ,finnish ,rune tunes4 ,as there was much action that could not be danced1 the ,emmeleia required a perfect mimic technique and thorough knowledge of #8eurhythmic' rules4 ,a few of the old ,greek writers speak of dance music as dignified and stately1 which attributed seriousness or sorrow to the grave steps1 gracefulness and modesty to the gay and joyful poses4 ,b ,as to the significance of this word1 see ,vol4 ,i1 pp4 #abj;ff4 ,of a very opposite character was the ,cordax ,dance4 ,according to most accounts it lacked in respectability and some writers speak of it as an #8indecorous dance4' ,lucian says it was considered a shame to dance it when sober4 ,in some parts of ,greece it took a comic character and was often marred by buffoonery4 ,according to ,burette1 people had recourse to this dance when excited by wine4 ,cordax was a ,satyr who gave his name to it4 ,since it was frivolous and comic1 it was performed only by less reputable female dancers4 ,it is said that in its first phase the ,cordax was an extremely comic dance and the people enjoyed its refreshing humor and burlesque style4 ,like the ,spanish ,zarzuelas1 the ,cordax dances were small local comic pantomimes4 ,in it the dancers ridiculed public men whom no one dared to criticize otherwise4 ,like every other stage art of this kind the ,cordax dances grew indecent and were later abolished4 ,a dance of distinctly sexual nature was the ,hormos1 which was dedicated to ,artemis4 ,lucian tells us that the ,hormos was commenced by a youth1 absolutely unclad1 and started with steps in military nature1 such as he was afterwards to practice in the field4 ,then followed a maiden1 who1 leading up her companions1 danced in a gentle and graceful manner4 ,finally1 #8the whole formed a chain of masculine vigor and feminine modesty entwined together4' ,sometimes the dance went in a circle1 sometimes in pairs of a maiden and a youth4 ,sometimes passionate and sensuous gestures were made by both sexes1 though only for a moment1 and the dance ended with a floating1 graceful adagio4 ,it was an allegorical playlet in dance of human passions and their control4 ,the music for the youths was twice as rapid as that for the maidens4 ,lucian writes that at some of the festivals three great choruses were formed for the dancers3 of boys1 of young men1 and of old men4 ,the old men danced1 singing of their life of valor and wisdom4 ,the chorus of the young men took up the theme and answered that they could accomplish deeds greater than any that had been achieved4 ,the boys finished the song boasting that they would surpass both in deeds of glory4 ,the choragos1 who acted at the same time as a conductor and ballet-master1 was regarded a man of the highest standing4 ,,iii ,the ,greek theatres1 in which the dances and dramas were performed regularly1 were of vast dimensions4 ,the ,theatre of ,dionysius at ,athens1 being built in the shape of a horseshoe1 could accommodate an audience of #cj1jjj spectators4 ,a deep and wide stage was constructed for the dramatic performances4 ,the theatre was not merely1 as with us1 a place of entertainment1 but also a temple of the god whose altar was the central part of the semicircle of seats1 where the worshippers sat1 during the festival days1 from sunrise to sunset4 ,the stage decorations were of three sorts3 for tragedies1 the front of a palace1 with five doors2 for comedy1 a street with houses2 for satire1 rocks and trees4 ,there were no accessories of any kind on the stage4 ,instead of a roof there was the blue sky4 ,the front part of the stage was used for the chorus1 instruments and dancing4 ,lucian mentions how even the ,bacchanalian dance was treated so seriously on the stage that the people would sit whole days in the theatre to view the ,titans and ,corybantes1 ,satyrs and shepherds4 #8,the most curious part of it is1' he writes1 #8that the noblest and greatest personages in every city are the dancers1 and so little are they ashamed of it that they applaud themselves more upon their dexterity in that species of talent than on their nobility1 their posts of honor1 or the dignities of their forefathers4' ,how learned the public dancers were in ,greece is best illustrated by a dialogue that occurred between ,lucian and ,croton4 ,in this one of the speakers maintains that any person desiring to become a public dancer should know by heart ,homer and ,hesiod1 should know the national mythology and legends1 should be acquainted with the history of ,egypt1 should have a good voice and know how to sing well1 and should be a man of high personal character4 ,a dancer should be neither too tall or too short1 too thin or too fat4 ,if a dancer ever failed in his efforts to please the audience he ran the risk of being pelted with stones4 ,the ,greek audiences were accustomed to express their disapprobation in a very decided manner4 ,it is interesting to compare the ,greek dancing figures of various periods1 which actually give an idea of the development of their choreography1 and also of the change which took place in their costumes and styles4 ,in the first half of the sixth century the ,ionic style prevailed in garments4 ,the feminine body was heavily draped4 ,later1 until the ,persian ,war1 a costume of a chiton1 with wide sleeves and sharply cut was in fashion4 ,this century is rich in reproductions of dancing figures1 which have a tendency to keep one another's hands and strive to be decorative4 ,the fifth century figures give an impression of poised grace and plastic perfection of the body4 ,the fourth century figures show dancers with great individuality and perfection in the use of the arms4 ,numerous bas-reliefs of this era represent women dancing with veils which give to them a peculiar magic of motion4 ,like all the ,orientals1 the ,greek women used to wear veils while outside of their homes4 ,the veil was a natural medium of decoration and a symbol for the pantomime of the dance4 ,frequently the dancing garments of this era are so slight that they add only a mystifying charm to the apparently nude dancers4 ,the poses of their limbs and arms give evidence of rhythm and technique4 ,the mimic expressions play seemingly a foremost rle1 as their smiling faces and bashful looks betray the power of their fascination4 ,they show expert skill in the use of the veils1 with which they now seemingly cover their bodies1 opening them again to give a glimpse of their great beauty4 ,the exquisitely artistic statuettes found at ,tanagra give some idea of the beauty of motion as practised by young women dancers1 when1 in the marvellous setting of the antique theatres1 under the blue skies of ,greece1 they gave performances to audiences with whom the love of beauty was a passion4 ,at some of the religious ceremonial dances only boys and girls appeared1 at others young men or girls1 or both together1 danced4 ,of a rather voluptuous nature were the dances performed in the temples of ,aphrodite and ,dionysos4 ,of special importance were the dances connected with the ,eleusinian ,mysteries1 always celebrated in ,athens4 ,their performance and the form of their construction were surrounded with greatest secrecy4 ,plato1 who was initiated into them1 spoke very highly of their meaning4 ,it is evident that their real influence upon the people began in the sixth century4 ,in the beginning the ,mysteries were performed once every five years4 ,later they became annual performances4 ,according to ,desrat1 they had much in common with the ,rondes of the ,middle ,ages4 ,the procession of the ,mysteries proceeded from the temple of ,demetrius1 in ,attica1 and passed along a wooded road to ,athens4 ,a special resting place was the ,fountain of ,magic ,dances1 where the girls performed dances of unusual poetic grace4 ,late in the evening the procession entered the temple with a dance of torches4 ,here1 on a stage specially erected for this purpose1 were performed the dances of the ,mysteries4 ,very little is known of the character of these dances4 ,it is likely that they were dramatized legends of ,demetrius1 who was depicted as a pilgrim1 wandering from place to place1 in search of his lost daughter4 ,another phase of the ,mysteries was to produce in symbolic gestures and poses and by proper staging1 episodes of the life beyond4 ,the performance began in twilight1 the first scene being the pantomime in ,hell1 whither the soul of ,demetrius was carried by infernal powers4 ,it represented the utmost horror4 ,during all the performance no word was spoken4 ,after the scene in ,hell came another in ,heaven4 ,the most impressive of all the dances was the #8,leap with ,torches1' in which only the women appeared4 ,it was said to be the most fantastic and acrobatic of all the ,greek religious dances4 ,plutarch says that the impression was that of spectral ghosts playing perpetually with flames4 ,it was meant to act as a purgatory fire that cleansed all the souls from their wickedness4 ,the ,mysteries ended in the night of the fourth day with a ,dance of ,baskets1 in which the women appeared with covered baskets on their heads in a solemn march rhythm and vanished into the darkening temple4 ,the ,eleusinian ,mysteries were abolished by an imperial decree in #cha ,a4 ,d4 ,not less popular than the ,eleusinian were the ,dionysian ,mysteries4 ,it is said that these developed as the festival of the first-fruits1 but were later dedicated to the god ,dionysos1 the patron of wine and pleasure4 ,to him is ascribed the invention of enthusiasm and ecstasy1 the essential element of all beauty4 ,the symbol of all the ,dionysian dances was the goat1 which also figured in the ,mysteries4 ,it was one of the most sensuous performances that imagination could invent4 ,in it men and women took part1 but men wore usually women's dresses and the women men's4 ,in the centre of the dancers1 before the statue of ,dionysos1 stood a huge cup filled with wine4 ,the ceremony lasted three days and was performed in every town and hamlet of the country4 ,according to the ,greek mythology1 ,dionysos is represented in a group of dancing women and men4 ,as ,satyrs were supposed to be daily companions of ,dionysos1 the ,satyr ,dance was a feature of the ,mysteries4 ,of one of the ,dionysian dances we read in #8,daphnis and ,chlo'3 #8,meanwhile ,dryas danced a vintage dance1 making believe to gather grapes1 to carry them in baskets1 to tread them down in the vat1 to pour the juice into tubs1 and then to drink the new wine3 all of which he did so naturally and so featly that they deemed they saw before their eyes the vines1 the vats1 the tubs1 and ,dryas drinking in good health4' ,illustration3 ,greek and ,roman ,dances as ,depicted on ,ancient ,vases ,other features of the ,dionysian ,mysteries were the ,dances of ,nymphs1 the ,dances of the ,knees1 and the ,skoliasmos1 in the nature of gymnastics1 in which the performers hopped on inflated wine-skins1 rubbed over with oil to make them slippery4 ,the ancient writers describe these dances as lascivious and comic4 ,in the ,satyr ,dance the dancers wore goat-skins and appeared as ,satyrs4 ,several of these dances consisted of graceful and more modest movements1 measured to the sound of flutes4 ,some of them were accompanied by light songs1 daring sarcasm1 and licentiously suggestive poems4 ,dances in which animals were imitated were numerous4 ,there was a ,crane ,dance1 supposed to be invented by ,theseus1 and ,owl1 ,vulture1 and ,fox ,dances4 ,the ,mysteries of ,demetrius took a more centralized form than the ,mysteries of ,dionysos4 ,each town had its individual secrets of romantic mysteries4 ,in ,athens the cult of love turned very much around the legend of ,mnads1 which1 like little devils1 shadowed the people day and night4 ,in the ,museum of ,naples can be seen a vase with dancing ,mnads1 which represents best the ancient spirits of love4 ,plato says that the ,mnad ,dance consisted principally of the embracing and caressing of men and women4 ,reinach believes that all ,greek mythology1 art and science grew out of the ,greek folk-songs and folk-dances4 ,according to him1 the rhythm and melody of dance music changed in strict correspondence with the theme4 ,all the sacred dances dedicated to ,demetrius and ,apollo1 or to ,aphrodite1 were in legato form1 graceful1 melodious and full of color2 on the other hand1 those dedicated to ,bacchus and ,dionysos were of quicker tempo1 syncopated style and less melodious4 ,reinach succeeded in deciphering the words and music of an ancient ,greek dance song that was discovered in the ruins of the temple of ,delphi4 ,this was presumably danced at the ,delphic festivals and is dedicated to ,apollo4 ,since the cult of ,apollo was widespread in ,greece there were not a few dances dedicated and performed to this god4 ,we are told that palm-leaves were given as prizes for the best of the ,apollo dancers4 ,besides the artists who appeared either in sacred or classic dances1 there existed in ,greece a class of professional dancers called ,heter4 ,these were women of flirting and coquettish type4 ,in our sense1 they must have been a kind of ,variet or professional social dancers4 ,during the time of ,pericles there were #ejj ,heter in ,athens4 ,thus ,sappho1 ,aspasia and ,cleonica were trained to be ,heter dancers4 ,at one time in ,greek history the ,heter became a danger to the family4 ,aspasia was the mistress of ,pericles until she became his wife4 ,being well educated1 the ,heter were women of attractive type and most of the great ,greek thinkers1 artists or statesmen felt the spell of their charm4 ,sappho called her house the #8home of the ,muses1' where plastic beauty rivalled with poetry and music4 ,the tragedy of ,sappho has inspired many writers1 ancient and modern1 to immortalize her in their works1 particularly the story according to which she sang and flung herself down into the sea4 ,performed by great celebrities the dances of the ,heter were by no means vulgar1 but lyric and suggestively sensuous4 ,they were performed with garments or without1 with floating veils and to the music of a flute4 ,the dancers of this class used to give performances at their homes or in specially established gardens4 ,all the ,hetera dances were dedicated to ,aphrodite and the ambition of the performers was to imitate the lovely poses of the celebrated goddess4 ,according to most descriptions they resembled our past century's minuets1 gavottes and pavanes4 ,emmanuel1 who has written an interesting work on the ,greek choreography1 maintains that the accuracy of rhythm was of foremost importance4 ,a choreographic time-marker was attached to sandals that produced sounds modified to the changing sentiments of the action4 ,a little tambourine or cymbals were occasionally employed4 ,a special branch of dance instruction was the ,chironomia1 or the art of using the hands4 ,greek dancing was by no means predominantly gesturing with hands1 as some people think1 but it was the harmonious use of every limb of the human body1 in connection with the corresponding art of pantomime4 ,there were numerous dancing schools in ,greece1 and each of them had its particular method of instruction4 ,the first exercise in a school was the learning of flexibility of the body1 which lasted a few years4 ,a special school dance was the ,esclatism1 which was chiefly a rhythmic gymnastic1 on the order of ,jaques-,dalcroze's method at ,hellerau4 ,we know comparatively little of the details of the ancient technical mechanism of choreography4 ,unfortunately all the ancient dancing figures represent merely one moment of a dance1 therefore it is extremely difficult to grasp the principal points of the vanished art4 ,,chapter ,,vii ,,dancing ,,in ,,the ,,roman ,,empire sthetic subservience to ,greece2 ,pylades and ,bathyllus2 the ,bellicrepa saltatio2 the ,ludiones2 the ,roman pantomime2 the ,lupercalia and ,floralia2 ,bacchantic orgies2 the ,augustinian age2 importations from ,cadiz2 famous dancers4 ,as with all their arts1 the ancient ,romans borrowed their dancing from the ,greeks4 ,a nation raised in adoration of military and aristocratic ideals1 conceited1 and with a strong tendency to materialism and formalities1 the ,romans contributed little to choreography4 ,their civilization was imitative rather than creative4 ,their art is void of ethnographic characteristics and a kind of artificial stiffness breathes from their best achievements4 ,the only conspicuous contribution of the ,roman dancers to the evolution of dance lies in their unique dramatic and ecclesiastic pantomimes and their celebrated masque dances4 ,but it seems surprising that dancing was far more highly developed and esteemed in the earlier period of ,roman history than in those days of luxury and vice which preceded the downfall of the empire4 ,under the republic1 dancing was considered one of the foremost factors in education1 and the children of patricians and statesmen were obliged to take lessons in ,greek dancing4 ,but of the social views of later centuries we read from ,quintilian that #8it disgraced the dignity of a man1' or as ,cicero said1 #8,no sober man dances1 unless he is mad4' ,horace rebukes the ,romans for dancing as for an infamy4 ,various other ,roman writers tell us how much the women of standing were criticized for their lack of virtue if they entertained a dancer at their house or shook hands with him4 ,on the other hand1 we have an eloquent proof of the ,roman frenzy for the stage dance in the exciting intrigues of ,pylades and ,bathyllus1 which set the whole ,republic in a ferment4 ,de ,jaulnaye1 the great historian1 writes that the rivalries of ,pylades and ,bathyllus occupied the ,romans as much as the gravest affairs of state4 ,every citizen was a ,bathyllian or a ,pyladian4 ,glancing over the history of the disturbances created by these two mummers1 we seem to be reading that of the volatile nation whose quarrels about music were so prolonged1 so obstinate1 and1 above all1 so senseless that no one knew what were the real points of dispute1 when the philosopher of ,geneva wrote the famous letter to which no serious reply was ever made4 ,augustus 7the ,emperor7 reproved ,pylades on one occasion for his perpetual quarrels with ,bathyllus4 #8,csar1' replied the dancer1 #8it is well for you that the people are engrossed by our disputes2 their attention is thus diverted from your actions6' ,while ,pylades is described as a great tragic actor and dancer1 ,bathyllus is represented as having been endowed not only with extraordinary talent1 but also with great personal beauty1 and is said as having been the idol of the ,roman ladies4 ,it is said that the banishment of ,pylades from ,rome almost brought about a serious revolution1 that was prevented by the recall of the imperial decree4 ,one of the most interesting ancient dances practised by the ,romans was ,bellicrepa saltatio1 a military dance1 instituted by ,romulus after the seizure of the ,sabine women1 in order that a similar misfortune might never befall his own country4 ,to ,numa ,pompilius1 the gentle ,sabine1 who became king after the mysterious disappearance of ,romulus1 is ascribed the origin of ,roman religious dances4 ,especially celebrated were the dancing priests of ,mars1 and the order of ,salien priests1 numbering twelve1 who were selected from citizens of first rank4 ,their mission was to worship the gods by dances4 ,as a sign of special distinction they wore in their ceremonials richly embroidered purple tunics1 brazen breastplates and their heads covered with gilded helmets4 ,in one hand they held a javelin1 while the other carried the celestial shield called the ancilia4 ,they beat the time with their swords upon this ancilia1 and marched through the city singing hymns to the time of their solemn dancing4 ,according to ,livy1 pantomimes were invented to please the gods and to distract the people1 horrified by the plague that created havoc in the sacred city of ,rome4 ,the ,ludiones1 the celebrated ,roman bards1 are said to have performed their dances first before the houses of the rich to the music of the flute1 but later appeared in the circuses and in special show tents4 ,their example found followers among the ,roman youth4 ,all the ,roman dancers gave performances masqued1 and it was the custom that in the sacred1 as well as in the great dramatic pantomimes women were excluded1 though during the later period of the ,empire1 particularly during the reign of ,nero1 women dancers appeared4 ,the best known of the ancient ,roman pantomimes were those performed at the festival of ,pallas1 of ,pan and of ,dionysus or ,bacchus4 ,juvenal writes that ,bathyllus1 having composed a pantomime on the subject of ,jupiter1 performed it with such realism that the ,roman women were profoundly moved4 ,the same is said of the dances invented and performed by ,pylades1 some of which were later given by the priests of ,apollo4 ,the art of ,roman pantomime developed gradually to classic standards and ranged over the whole domain of mythology1 poetry and drama4 ,dancers1 called ,mimii1 like ,bathyllus and ,pylades1 translated the most subtle emotions by gestures and poses of extreme graphic power so that their audiences understood every meaning of their mute language4 ,this plastic form of mute drama made the dancing of the ,romans a great art4 ,the ,emperor ,augustus is said to have been a great admirer of ,bathyllus1 and so also was ,nero4 ,it is said that an ,african ruler1 while the guest of ,nero1 was so impressed by the dancer that he said to ,nero that he would like to have such an artist for his court4 #8,and what would you do with him8' asked the ,emperor4 #8,i have around me1' said the other1 #8several neighboring tribes who speak different languages1 and as they are unable to understand mine1 ,i thought1 if ,i had this man with me1 it would be quite possible for him to explain by gesture all that ,i wished to express4' ,very unusual was the ,roman festival of ,pan1 or the ,lupercalia1 at which half-naked youths danced about the streets with whips in their hands1 lashing freely everyone whom they chanced to meet4 ,the ,roman women liked to be lashed on this occasion1 as they believed it would keep them young4 ,another kind of ,pan festival was celebrated by the peasants in the spring at which the young men and maidens joined in the dances1 which took place in the woods or on the fields4 ,they wore garlands of flowers and wreaths of oak on their heads4 ,similar dances1 only more solemn and magnificent1 were performed at the festival of ,pallas by shepherds4 ,dancing and singing around blazing bonfires in a circle they worshipped the goddess of fruitfulness4 ,frequently the officiators were disreputable women who appeared dressed in long white robes1 symbolic of chastity4 ,then there were the great ,floralia or ,may ,day festivals which in the beginning were of sufficiently decent manner but eventually degenerated into scenes of unbounded licentiousness4 ,still wilder than these were the orgies of ,bacchus1 which contributed greatly to the demoralization of the people until the consuls ,albinus and ,philippus banished them from ,rome by a decree of the ,senate4 ,on account of their sensuous character the ,romans were unable to keep their art of dancing in such poetic and yet simple sthetic frames as did the ,greeks1 for which reason all the ,roman women characters in a pantomime were disguised young men4 ,they lacked the ability of self-control in the stage art which in ,greece had reached a standard of classic perfection4 ,it is sufficient to say that they must have been wicked enough when a ruler like ,tiberius commanded the dancers to be expelled from ,rome4 ,but ,tacitus relates that1 while publicly ,tiberius reprimanded ,sestius ,gallus for the elaborate balls given at his house1 privately he made arrangements to be his guest on the condition that he should himself be entertained in the usual manner4 ,of his successor1 ,caligula1 ,suetonius writes3 #8,so fond was the emperor of singing and dancing that he could not refrain from singing with the tragedians and imitating the gestures of the dancers either by way of applause or correction4' ,during the reign of ,augustus the art of pantomime reached its zenith4 ,the dances of this time were more spectacular and impressive on account of their carefully executed stage effects4 ,as far as music was concerned1 this was produced by flutes and harps1 sometimes by singing voices4 ,the ,romans never cared for dancing itself1 but they were fond of it as a spectacle4 ,a great rle in ,roman life at this juncture was played by the female dancers from ,cadiz1 which were said to be so brilliant and passionate that poets declared it impossible to withstand the great charm these women exercised over the spectators4 ,some one says #8they were all poetry and voluptuous charm4' ,an ,english writer maintains that the famous ,venus of ,cailipyge was modelled from a ,caditian dancer in high favor at ,rome4 ,another noted writer calls the delicias caditanas the most fascinating performances that ever could be seen1 and calls all other dances of the ,romans and even the ,greeks amateurish puerilities4 ,of great ,roman female dancers we know by name ,lucceia1 who was said to give performances when she was one hundred years old2 ,stephania1 #8the first to dance on the stage in comedy descriptive of ,roman manners'2 ,galeria ,copiola1 who danced before ,emperor ,augustus ninety-one years after her first appearance2 and ,alliamatula1 who danced before ,nero at the age of one hundred and twenty4 ,the most known of all the great women dancers in ancient ,rome was ,telethusa1 a fascinating girl from ,cadiz1 to whose extraordinary beauty and art the poet ,martial dedicated many of his songs4 ,,chapter ,,viii ,,dancing ,,in ,,the ,,middle ,,ages ,the medival eclipse2 ecclesiastical dancing in ,spain2 the strolling ballets of ,spain and ,italy2 suppression of dancing by the church2 dances of the medival nobility2 ,renaissance court ballets2 the ,english masques2 famous masques of the seventeenth century4 ,there is a lapse of time1 nearly a thousand years1 from the fall of the ancient civilization of ,greece and ,rome to the ,grand ,ballet of ,france1 when the art of dancing was almost stifled by the ,medival ecclesiastic scholasticism4 ,since we have practically no records of the dancing that was fostered in ,cadiz1 which was probably the most conspicuous at that time1 we must confess that the greatly esteemed art of the ancients nearly came to a ruin4 ,if it had not been for ,spain1 where dancing was introduced even into the churches1 it might have taken centuries longer to revive the vanishing ideas of the ancient choreography and keep alive the plastic religion4 ,we are told that a bishop of ,valencia adopted certain sacred dances in the churches of ,seville1 ,toledo and ,valencia1 which were performed before the altar4 ,in ,galicia a slow hymn-dance was performed by a tall priest1 while carrying a gorgeously dressed boy on his shoulders1 at the festival of ,corpus ,christi4 ,much as the church fathers fought dancing in other countries1 they had to admit it in ,spain4 ,it is said that the choir-boys of ,seville ,cathedral executed danzas during a part of the religious processions in medival ,spain1 and that this practice was authorized in #adci by a ,bull of ,pope ,eugenius ,,iv4 ,of these choir-boy dancers ,baron ,davillier writes3 #8,they are easily to be recognized in the streets of ,seville by their red caps1 their red cloaks adorned with red neckties1 their black stockings1 and shoes with rosettes and metal buttons4 ,the hat 7worn during the dance71 slightly conical in shape1 is turned up on one side1 and fastened with a bow of white velvet1 from which rises a tuft of blue and white feathers4 ,the most characteristic feature of the costume is the golilla1 a sort of lace ruff1 starched and pleated1 which encircles the neck4 ,lace cuffs1 slashed trunk-hose or galzoncillo blue silk stockings and white shoes with rosettes1 complete the costume of which ,dor made a sketch when he saw it in ,seville ,cathedral1 on the octave of the ,conception4 ,the dance of the boys attracts as many spectators to ,seville as the ceremonies of ,holy ,week1 and the immense cathedral is full to overflowing on the days when they are to figure in a function4' ,vuillier writes of another occasion of the ,spanish temple dances3 #8,one of these festivals is celebrated on the #aeth of ,august1 the day of the ,assumption of the ,virgin ,mary1 the other on the following day1 the feast of the patron of the village of ,alaro4 ,on these occasions a body of dancers called ,els ,cosiers play the principal part4 ,it consists of six boys dressed in white1 with ribbons of many colors1 wearing on their heads caps trimmed with flowers4 ,one of them1 ,la ,dama1 disguised as a woman1 carries a fan in one hand and a handkerchief in the other4 ,two others are dressed as demons with horns and cloven feet4 ,the party is followed by some musicians playing on the cheremias1 the tamborino1 and the fabiol4 ,after vespers the ,cosiers join the procession as it leaves the church4 ,three of them take up positions on either side of the ,virgin1 who is preceded by a demon2 every few yards they perform steps4 ,each demon is armed with a flexible rod with which he keeps off the crowd4 ,the procession stops in all the squares and principal places1 and there the ,cosiers perform one of their dances to the sound of the tamborino and the fabiol4 ,when the procession returns to the church they dance together round the statue of the ,virgin4' ,of a very primitive but unique nature were the medival strolling ballets of ,spain and ,italy4 ,some old writers assert that they originated in ,italy and passed later into ,spain1 but others tell the contrary4 ,later the ,portuguese organized a strolling ballet in adoration of ,st4 ,carlos4 ,castil-,blaze writes of a strolling ballet that was instituted by the ,king ,ren of ,provence1 in #adfb1 called the ,lou ,gue4 ,this consisted of allegorical scenes of the ,bible and was danced in the style of ,roman mythological pantomimes4 ,most of the conspicuous characters of the ,bible and history were enacted in this ballet4 ,the procession of the ballet went through a city to the square of a garden before some cathedral or castle4 ,fame headed the march1 blowing a trumpet and carrying a gorgeous shield on a winged horse4 ,he was followed by the rest of the company in various comic and spectacular costumes4 ,there were the ,duke of ,urbino1 ,king ,herod1 ,fauns1 ,dryads1 and ,apostles1 and finally the ,jews1 dancing round a ,golden ,calf4 #8,king ,ren wrote this religious ballet in all its details1' writes ,castil-,blaze4 #8,decorations1 dance music1 marches1 all were of his invention1 and his music has always been faithfully preserved and performed4 ,the air of ,lou ,gue has some curious modulations2 the minuet of the ,queen of ,sheba1 the march of the ,prince of ,love1 upon which so many nols have been founded1 and1 above all the ,veie de ,noue1 are full of originality4 ,but the wrestler's melody is good ,ren's masterpiece1 if it be true that he is its author1 as tradition affirms4 ,this classic air has a pleasing melody with gracefully written harmonies2 the strolling minstrels of ,provence play it on their flutes to a rhythmical drum accompaniment1 walking round the arena where the wrestlers are competing4' ,some queer religious pantomimes came into vogue in ,france about the twelfth century1 and of these the torch dances1 executed on the first ,sunday in ,lent1 enjoyed the greatest popularity2 but they were all suppressed by the clergy and later became degenerate4 ,in ,paris the clergy sold dancing indulgences to the rich patricians for a considerable sum of money4 ,the high society was taught to despise dancing as an amusement unworthy of its position4 ,it remained only a popular diversion among the middle class4 ,the theatrical ballets and strolling pantomimes disappeared altogether4 ,the theatre was declared by the clergy a ,pagan institution and every art connected with the stage of infernal origin4 ,but1 strange to say1 medival stage dancing was first introduced by women4 ,men appeared only as spectators of such performances4 ,thus we read in a ballad of the twelfth century that the damosels arranged a grand ball and the knights came to look on4 ,the first dances that the medival nobility introduced at their castles1 in which they themselves participated1 were the famous ,caroles4 ,these were performed to the vocal accompaniment of the dancers themselves1 although sometimes a strolling band was hired4 ,out of these grew gradually the various medival social dances and the court ballets and gay masquerades1 which reached a climax during the middle of the seventeenth century4 ,the most celebrated of this kind were the ,ballets des ,ardents1 arranged by the ,duchess de ,berri and attended by the whole court4 ,however1 the most conspicuous of the medival attempts in this respect was the ,fte given in #adhi by ,bergonzio di ,botta of ,tortona1 in honor of ,galeazzo1 ,duke of ,milan1 on the occasion of his marriage of ,isabella of ,aragon4 ,of this we read3 #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 the ,duchess appeared1 ,jason and ,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 princess and of a sovereign 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 returned to present to the newly married pair1 after having had it nobly trussed and prepared by the best cook of ,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' ,the writer describes how ,diana1 ,mercury and the ,nymphs followed the first scene4 ,then ,orpheus appears to the music of flutes and lutes4 #8,each singer1 each dancer had his special orchestra1 which was arranged for him according to the sentiments expressed by his song or by 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 ,monteverdi prove that 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' ,this was followed by a solo singer accompanied by a lyre1 after whose aria ,atlanta and ,theseus appeared to the sound of brass instruments4 ,after this appeared a ballet of ,tritons4 ,during the intermission refreshments were served and the spectacle ended with the scenes of ,orpheus1 ,hymen and ,cupid4 ,finally1 ,lucretia1 ,penelope1 ,thomyris1 ,judith1 ,portia1 and ,sulpici advanced and laid at the feet of the ,duchess the palms of virtue that they had won during their lives4 ,there is no doubt that this spectacular fte of the ,duke of ,milan gave the initial impetus to the following ,grand ,ballets at the ,french ,court1 which in turn became the embryos of the modern stage dances4 ,it is also very likely that the well-known masques1 so much in vogue during the seventeenth and eighteenth centuries1 were an outcome of the original ,milan pageant4 ,in particularly high favor stood the masques at the ,english court4 ,thus we read that in #afje #8,the ,masque of ,blackness' was given at ,whitehall1 in which ,queen ,anne and her ladies blackened their skins and appeared as blackamoors4 ,the ,spanish ,ambassador1 having to kiss ,her ,majesty's hand1 gave voice to his fears that the black might come off4 ,three years later #8,the ,masque of ,beauty' was given4 ,both were written by ,ben ,jonson4 ,the speeches of the masques were mostly in verse1 but sometimes in prose4 ,in the #8,masque of ,castillo1' written by ,john ,crowne in #afge1 the ,princess ,anne and ,mary took part at ,st4 ,james' ,palace and the performance was a great success4 ,though ,bacon designated masques as mere toys1 nevertheless he enjoyed them as spectacles on account of their rich colors and costumes4 ,in #afcb ,james ,shirley wrote #8,the ,triumph of ,peace1' upon which production a sum of #ba1jjj was expended4 ,this was given for the first time before the king and queen at ,whitehall and was repeated in ,merchant ,tailors' ,hall4 ,the music to this was composed by ,william ,lawes and ,simon ,ives4 ,the scenes and costumes were designed and superintended by the famous architect ,inigo ,jones4 ,nearly all the masques of olden times were written in honor of the marriage of royalty or of some great nobleman and were mostly given at ,christmastide ,twelfth ,night4 ,they were said to be many-sided in their construction1 music and themes4 ,for the most part they were dramatic1 festive and gay1 the allegorical characters giving them an element of poetic charm4 ,dancing was one of their most potent elements1 and this was graceful1 dainty and lively4 ,the dancers called maskers were a special feature in the masques1 though they had nothing to do with speech or song4 ,the dresses in these masques were not always accurate1 for the parts were sometimes acted by women in farthingales1 though they impersonated classic goddesses4 ,masques were patronized in ,england for only two centuries1 ,henry ,,viii1 ,elizabeth1 ,james ,i1 and ,charles ,i being their main sponsors4 ,queen ,anne of ,denmark was so much delighted with them that she acted one of the characters4 ,alfonso ,ferrabosco1 a noted musician of ,italian descent1 was the composer of many masques during the reign of ,james ,i4 ,other composers were ,nicholas ,laniere and ,john ,coperario4 #8,salmacida ,spolia' by ,sir ,william ,davenant1 with music by ,ferrabosco1 was said to be one of the most spectacular masques of the seventeenth century4 ,it consisted of pretty scenes and songs between the dances1 so full of allegory and devices1 and so gay in costumes and light that it was a favorite of ,english nobility for three generations4 ,the most popular of the ,english masques were #8,love's ,triumph ,callipolis' by ,ben ,jonson and ,inigo ,jones1 which was performed at the court in #afcj2 the #8,sun's ,darling1' performed in #afbc2 the #8,masque of ,owles1' performed for ,king ,charles ,i2 and #8,tempe ,restored' by ,aurelian ,townsend1 performed in #afcb1 with ,queen ,henrietta ,maria and fourteen ladies as the leading characters4 ,in the last-named masque the beasts form a procession1 fourteen stars descend to the music of the spheres1 and ,tempe is restored to the true followers of the ,muses4 ,large figures were posted on either side of the stage1 one a winged woman1 the other a man1 with the lighted torch of ,knowledge and ,ignorance4 ,women with snaky locks mingled with ,harmony in the songs of the chorus of ,circe4 ,dances by the queen and her ladies added to the spectacular character of the scene4 ,,chapter ,,ix ,,the ,,grand ,,ballet ,,of ,,france ,louis ,,xiv and the ballet2 the ,pavane and the ,courante2 reforms under ,louis ,,xv2 ,noverre and the ballet d'action2 ,auguste ,vestris and others2 famous ballets of the period--the ,revolution and the ,consulate2 the ,french technique1 the foundation of #8choreographic grammar'2 the #8five positions'2 the ballet steps--,famous danseuses3 ,sall1 ,camargo2 ,madeleine ,guimard2 ,allard4 ,i ,though ,catherine de ,medici1 ,henri ,,iv1 and ,cardinal ,richelieu are often quoted as the first rulers who enabled and encouraged their subjects to revive the ancient dances and thus lay the foundation of the modern ballet1 the honor really belongs to ,louis ,,xiv4 ,his love for dancing was so vital that he himself figured frequently on the stage1 and emphasized the fact that the theatre was not a ,pagan or immoral institution4 ,he personally inspired ,lully1 ,benserade and ,molire to devote their genius to the stage4 ,he introduced ,minuets1 ,gavottes1 ,pavanes and ,courantes at his court functions and they were copied by all the other rulers and by the nobility4 ,in #affa the ,royal ,academy of ,dancing was founded4 ,to its graduates were given the privileges that were enjoyed only by the highest officers of the empire4 ,it is said that the king danced in the ,masque of ,cassandra when he was thirteen years of age4 ,the ,french historians write that ,louis ,,xiv danced in twenty-seven grand ballets1 not to mention the intermezzi of lyrical tragedies and comedy-ballets4 ,in the ,ballet du ,carrousel1 given in #affb on a large open space before the ,tuileries1 the king danced in the rle of a ,roman emperor and his brother in that of a ,turkish sultan4 ,on the occasion of the king's marriage in #affj the ballet #8,hercules in ,love' was given at the palace4 ,lully's ballet1 #8,cupid and ,bacchus1' was said to be a piece full of imagination1 dramatic1 vigorous and rich in timely mood4 #8,the ,triumph of ,love1' performed in #afha1 being the first ballet in which women appeared1 is considered one of the best creations of this time musically and scenically4 ,one of the most popular comic ballets of that era was ,impatiencem1 composed of series of disconnected scenes of extremely humorous nature4 ,pecour and ,le ,basque were the two celebrated dancers of those days1 while ,beauchamp1 a talented composer and artist of considerable imaginative power1 acted as ,director of the ,academy of ,dancing and ballet-master in the ,opra4 ,all his ballets were distinguished by their extraordinary complexity of mechanical contrivances1 by imposing effects and their allegorical character4 ,however1 towards the end of the century ,dupr appeared on the stage and soon far surpassed all his predecessors4 ,noverre speaks of him as the god of dancing1 whose harmony of movements was of marvellous perfection4 ,the principal tendency of dancing of this era was to be magnificent and noble1 but it lacked individuality and failed to stir the emotions4 ,the best examples of this kind of stateliness and stiffness are offered by the ,pavane and ,courante1 which still survive4 ,the gentleman1 with hat in one hand1 a gilded sword at his side1 an imposing cloak thrown over his arm1 gravely bowed before his partner1 stiff and statuesque in her long train1 and began the dance walking gravely around the room4 ,the ,pavane was ridiculously ceremonial and conventional4 ,the ,courante was different1 somewhat resembling the ,minuet4 ,it was rather graceful1 consisting of backward and forward steps4 ,how fond the king was of the ,courante is evident of what ,regnard writes3 #8,pecour gives him lessons in the ,courante every morning4' ,littr says that the ,courante began by bows and courtseys1 after which the dancer and the partner performed a set figure1 which formed a sort of elongated ellipse4 ,this step was in two parts3 the first consisted in making pli relev1 at the same time bringing the foot from behind into the fourth position in front by a pas gliss2 the second consisted of a jett with one foot1 and a coup with the other4 ,the dancers performed the back stay step twice1 returning to position1 and turned1 beginning the movement again by repeating the first springing step and the back stay step1 so that the partners changed places and turn4 ,all these three figures were then repeated1 commencing with the opposite foot4 ,eight bars of music were always occupied with the slow pas de basque in a circle4 ,this briefly shows the same designs and forms in the dance of this era that we find in the ,rococco style of architecture4 ,but the beginning of the eighteenth century shows a marked reaction against the statuesque solemnity1 the dead stiffness and merciless etiquette that had prevailed4 ,an era of artificial reforms begins with ,louis ,,xv4 ,to this period belongs the origin of our modern industrialism4 ,the views and feelings of the feudal system begin to give place to those of coming realism and individualism4 ,but the change is insignificant1 as the art of dancing lacks in this as it did in the other1 energy1 feeling and soul4 ,the one was more impressive through its grand outlines1 the other excelled through its dainty charm1 like the fashions1 decorations and other arts of that time4 ,long1 gilded mirrors1 gay garlands of flowers1 frail elliptic carvings1 graceful designs1 gauzy tissues1 mauve ribbons1 painted faces and hands1 perfumed atmosphere1 these and numerous other impressions emanate of the art of dancing of the first part of the eighteenth century1 although to this era belong the vigorous attempts of ,jean-,georges ,noverre1 the greatest of all the dance authorities of the past centuries4 ,noverre1 the celebrated ballet-master of ,france1 is considered the father of the ballet and classic dancing generally4 ,the brothers ,gardel and ,dauberval based their ideas upon the principles of ,noverre4 ,it was he who drove the masks1 paniers1 and padded coat-skirts from the stage and made it human4 #8,a ballet1' he said1 #8is a picture1 or rather a series of pictures1 connected by the action which forms the subject of the ballet4 ,to me the stage is a canvas on which the composer paints his ideas1 notes his music and displays scenery colored by appropriate costumes4 ,a picture is an imitation of ,nature2 but a good ballet is ,nature itself1 ennobled by all the charms of art4 ,the music is to dancing what the libretto is to the music4' ,according to his theory the action of the dancer should be an instrument for the rendering of the written idea4 ,before ,noverre laid the foundation to his ballet d'action1 dancing had existed as an auxiliary form to opera and was lacking in any signs of life4 ,the dancers wearing powdered hair piled up a foot on their heads1 and the men in their long-skirted coats made the impression more of a big puppet-show than of a living dance4 ,this made the use of intricate and plastic movements of the body and1 moreover1 of mimic expressions1 absolutely impossible4 ,this is ,noverre's argument3 #8,i wish to reduce by three-quarters the ridiculous paniers of our danseuses4 ,they are opposed equally to freedom1 to quickness and to the prompt and animated action of the dance4 ,they deprive the figure of its elegance and of the just proportions which it ought to possess4 ,they diminish the beauty of the arms2 they bury1 so to speak1 the graces4 ,they embarrass and distract the dancer to such a degree that the movement of her panier sometimes occupies her more seriously than that of her limbs4' ,in spite of his great reputation and influence1 ,noverre found it difficult to reform the stage fundamentally4 ,he failed to perform his own ballets in the way he wished4 ,thus in the #8,horatii' ,camilla appeared in hooped petticoat1 her hair piled up and decorated with fantastic ribbons and flowers4 ,however1 his reforms gained ground little by little4 ,much as he tried1 he failed in reforming the stage celebrities of his time4 ,this actuated the great reformer to say1 #8what we lack is not talent1 but emulation4 ,it almost seems1 in fact1 as if this were deliberately repressed4 ,how ,i should rejoice to see a great dancer performing some noble part without plumes or wig or masks6 ,i should then be able to applaud his sublime talent with satisfaction to myself2 and ,i could then justly apply the term 8great0 to him1 whereas now the most ,i say is3 8,ah la bella gamba60 ,it is evident1 therefore1 that theatrical dancing demands many reforms4 ,they cannot1 of course1 all be carried out at once2 but we might at least begin4 ,let us do away with those gold painted masks1 which deprive us of what would be one of the most interesting features of a pas-de-deux1 the expressions of the performers' faces4 ,the disappearance of the periwig would follow of itself1 and a shepherd would no longer dance in a plumed helmet4' ,it is said that the ,noverre's ballets reached the number of fifty4 ,but most known of them are #8,the ,death of ,ajax1' #8,the ,clemency of ,titus1' #8,the ,caprices of ,galatea1' #8,orpheus' ,descent ,into ,hell1' #8,rinaldo and ,armida1' #8,the ,roses of ,love1' #8,the ,judgment of ,paris1' etc4 ,several of these he produced at the courts of ,stuttgart1 ,vienna1 ,st4 ,petersburg and ,florence4 ,it was through his influence upon the ,empress ,anna of ,russia that the great ,russian ,imperial ,ballet ,school was founded1 whose graduates have been electrifying the ,european audiences during the present and past decades4 ,noverre's reform ideas were much perfected by the ,french composers and dancers of the following generation1 men whom we have previously mentioned--,gardel1 ,dauberval1 the ,vestris brothers1 and1 in addition1 ,duport1 ,blasis and ,milon4 ,auguste ,vestris was twelve years old when he made his dbut in ,paris1 in #aggb1 in the ballet ,la ,cinquantaine1 and aroused the wildest enthusiasm in the audience4 ,his high leaps were so popular that his father used to boast1 #8,if ,auguste does not stay up in the air1 it is because he is unwilling to humiliate his comrades4' ,for thirty-six years he was premier danseur of the ,opra of ,paris1 and preserved his popularity till the age of sixty-six1 when he retired to give lessons in dancing at the ,academy4 ,of an eighteenth-century performance ,weber writes graphically3 #8,on ,june #aa1 #aggh1 ,mile4 ,guimard and the younger ,vestris danced in the new ballet1 ,les ,petits ,riens1 with ,dauberval and ,mlle4 ,anglin4 ,the performance was a great success4 ,the only author mentioned was ,noverre1 the celebrated ballet-master4 ,it was he who had imagined the three scenes1 which were in fact the groundwork of his ballet4 ,the first scene represented ,love1 caught in a net and put in a cage2 the second1 a game of blind-man's buff2 and in the third1 which was the greatest success1 ,love led two shepherdesses up to a third1 disguised as a shepherd1 who discovered the trick by unveiling her bosom4 8,encore60 cried the audience4 ,mlle4 ,guimard1 the younger ,vestris1 and ,noverre were heartily applauded1 but not one 8bravo60 was given to the composer of the music--who was no other than the divine ,mozart4 ,mozart1 who1 fifteen years before1 had been acclaimed in ,paris as an infant prodigy and an inspired composer1 was vegetating in the city in poverty and obscurity4 ,the success of ,les ,petits ,riens apparently made little difference to him1 for a few days after the performance we find him leaving ,paris1 and seeking employment as an organist to ensure his daily bread4' ,this sad episode of the treatment of one of the greatest musical geniuses of his time is partly proof of how little valued was the musical side of a ballet at that time1 yet it is also a graphic picture of the mental level of audiences of any time--ours not excluded--who judge a genius by public sentiment artificially aroused1 either by means of some press-agent or by incidental novelty4 ,of the ,gardel ballets the most popular were ,paul et ,virginie1 ,la ,dansomanie1 ,psyche1 ,l',oracle1 ,telemaque1 and ,le ,dserteur4 ,the writer witnessed a performance of ,psyche given by the ,russian ,imperial ,ballet with all the true atmosphere of its age1 and it made a peculiar impression1 similar to that which we get in visiting ethnographic museums of ,europe4 ,it was performed in ,paris first time on ,december #ad1 #agij1 at the ,thtre des ,arts and pleased the people so immensely that it has been repeated not fewer than a thousand times since4 ,the ,dansomanie1 which was given during the ,revolution1 was less effective and the author was apparently depressed1 though he had chosen a subject of timely character--peasants1 villagers and ,savoyard farmers acting as the heroes4 ,his ballet1 ,guillaume ,tell1 promised to be more successful1 as the ,committee of ,public ,safety had ordered its performance1 but the money granted for its staging was stolen by politicians and ,gardel took back his manuscript4 ,it was given after his death4 ,but his spectacular ballet ,marseillaise created a furore when it was given at the ,opra4 ,the ballet opened with a blast of trumpets1 and was executed by dancers dressed as warriors and participants in a hungry mob4 ,mlle4 ,maillard1 personifying ,liberty1 took her rle so well that the actors on the stage and the audience fell on their knees before her1 as though in prayer4 ,the solemn hymn passage of this part of the opera1 and the slow1 majestic dance of the artist were so impressive that the audience burst into sobs4 ,,ii ,though the ballet lost its previous splendor under the ,revolution1 yet it became more vigorous in its enforced simplicity4 ,the ,french writers admit that the ballets performed in connection with the ftes of the ,republic were marked by more serious tendencies and possessed certain profound emotional qualities4 ,actors and dancers soon accommodated themselves to the new ideals of social life4 ,the ,festival of the ,supreme ,being1 conducted by ,robespierre himself1 was the most important of the itinerant ballets of that time4 ,it was a ceremony of classic nature1 performed with slow and march-like steps4 ,special ceremonial dances were also performed by the colossal statue of ,wisdom to the accompaniment of an orchestra4 ,the members of the ,convention had their places on a specially erected platform1 while choirs chanted a hymn to the ,supreme ,being4 ,the ,president set fire with a torch to an image of ,atheism4 #8,an immense mountain1' writes ,castil-,blaze1 #8symbolized the national altar2 upon its summits rises the tree of ,liberty1 the ,representatives range themselves under its protective branches1 fathers with their sons assemble on the part of the mountain set aside for them2 mothers with their daughters place themselves on the other side2 their fecundity and the virtues of their husbands are their sole titles to a place there4 ,a profound silence reigns all around2 touching strains of harmonious melody are heard3 the fathers and their sons sing the first strophe2 they swear with one accord that they will not lay down their arms until they have annihilated the enemies of the ,republic1 and all the people take up the finale4' ,this short picture gives a fairly clear idea of the ,revolutionary period1 which laid a new foundation to the ,french arts1 including the art of dancing4 ,the historians tell us that scarcely was the ,terror at an end when twenty-three theatres and eighteen hundred dancing salons were open every evening in ,paris4 ,the costumes worn by the dancers under the first ,republic were more or less imitations of those of the ancient ,greeks4 ,the women arranged their hair in imitation of the coiffures of ,aspasia and ,sappho1 and appeared with bare arms1 bare bosoms1 sandalled feet1 and hair bound in plaits round their heads4 ,even during the ,terror people danced in every restaurant on the boulevards1 in the ,champs lyses1 and along the quays4 ,it is said the people danced in order to forget the tragedies of the day4 ,milon was a celebrated composer and ballet-master under the ,consulate4 ,the most popular of his ballets during this period were ,les ,sauvages de la ,mer du ,sud1 ,lucas et ,laurette1 ,hro et ,leandre1 ,clary1 ,nina1 ,le ,carnaval de ,venise1 etc4 ,as in their dress and their ideals1 so also in their dancing the people showed an outspoken tendency to appear la sauvage4 ,however1 the political turmoils that shook ,france in these centuries1 when the art of ballet crystallized into a systematic shape1 assisted its natural development1 chiefly by forcing it to swing from one extreme to the other4 ,the foundation which the ,french grand ballet laid for the art of dancing still prevails in all the dancing schools of ,europe4 ,the ballet codes of all the modern nations use the same ,french grammar of technique as that which was taught to ,mlles4 ,sall1 ,camargo1 and ,guimard during the past centuries4 ,to the ,french ,academy of ,dancing the world owes the principles of the ballet-technique1 the pirouettes1 jets1 chasss1 etc4 ,the ,french ballet-masters found it necessary to divide dancing into five different positions1 which formed the foundation of all dancing2 and then classified the various styles of steps4 ,in describing first1 the positions1 we begin with the right foot1 but the movements would be the same if we would choose the left foot4 ,first position3 place the heels against each other1 the knees and toes turned well out1 the legs firm and straight1 the body erect and well balanced1 standing equally on the two feet4 ,second position3 pass the right foot to the side to the length of the foot1 the weight of the body resting on both feet1 the right heel turned forward4 ,third position3 bring the heel of the extended foot close to the hollow of the other instep1 in the middle4 ,fourth position3 move the right toe to the front1 the toe pointed1 the heel forward4 ,fifth position3 let the feet be completely crossed1 the heel of one foot brought to the toe of the other4 ,in systematizing the dance steps the ,french based their technique upon the ancient method4 ,here we find the pas march1 or the walking step1 in which the toe is pointed and is accompanied by a springy gait1 for it is often combined with a jet and a demi coup1 as the primary steps of the ballet4 ,this is followed by the jet1 which means1 spring forward on the pointed toe of the front foot so that the weight is thrown on it4 ,to perform this it is necessary first to bend the knee and jump on the foot2 second1 to bring the toe of the right foot into the above-described third position2 third1 advance the right foot in small steps2 fourth1 bring the left foot behind into the fifth position and raise the right4 ,the pas coup is a step that requires the raising of one foot to the second position1 then bringing it quickly to the other foot1 which is then raised4 ,literally it means a step cut short4 ,a step to the side is called coup lateral1 it is a coup dessous if the same movement is executed in front or behind4 ,then there is a demi coup1 in which the step is half made4 ,the chass is a step in which the feet appear to be chasing each other close to the ground4 ,it requires the advancing of the front foot1 bringing the other close to it behind1 then advancing the hind foot to the front1 with an assembl round the other foot4 ,the first movement requires a step forward with right foot1 bringing the toe of the left to the heel of the front foot4 ,then step forward1 bring the foot back to third position with an assembl1 and let the other foot take the fifth position in front4 ,the battements is balancing on one foot1 while the other is extended to the side1 front or back1 and returning to the fifth position1 in front or at the back4 ,in the petit battements the movements are made with the toe on the ground4 ,for theatrical dancing the leg is raised as high as possible4 ,the arabesque is a step that requires the placing of the foot in the third position1 then a slide of the left foot to the second position1 turning the face and body in the same direction1 the left hand curved above the head4 ,in the second movement the right foot should be well extended behind1 and the right hand stretched out behind4 ,of a quite different nature is the cabriole1 which means striking the feet or calves of the legs together in the course of a leap4 ,a demi-cabriole is a leap from one foot to the other1 striking the feet while aloft4 ,it requires the feet to be in the third position1 sliding the right foot to the side1 passing the left foot to the back1 springing on the right foot1 and turning and leaving the left foot still behind2 the fourth movement brings the left foot forward with the right knee to the third position4 ,executed by trained ballet dancers with both feet in the air while the legs are rapidly separated and brought together1 it is an effective trick4 ,well known even to social dancers1 as the basis of the polka-step1 is the pas bourre4 ,this requires the dancer to stand on the front foot while the back one is raised4 ,in the first movement the back foot is brought into the third position on the toes4 ,the second movement is the beating of the front foot1 and third movement the beating of back and front feet4 ,to this step belongs the pas de bourre embot1 which requires the advancing of the right foot to the fourth position1 the toe pointed and the knee straight1 the bringing up of the left foot to the fourth position with the toe pointed behind the right1 and the advancing of the right foot with the toe pointed to the fourth position without any raising or sinking of the body2 it is all performed on the toes4 ,quite acrobatic in character are the celebrated pirouettes--movements composed of a demi-coup and two steps on the points of the toes4 ,the pirouette starts by bringing one foot to the fifth position behind1 the toe touching the heel1 then raising both heels and turning on the toe1 reversing the position of the feet1 and revolving on the toe4 ,a pirouette used in the old dances consists of a turn on one foot and the raising of the heel of the other1 stepping with the toe of this foot four times and so getting around the other one4 ,in some of the slow pirouettes the movement seems to consist of the raising of the foot and jumping round as in some of the country dances4 ,to this class belongs the fouett1 which gives a fluid1 swinging impression4 ,of ancient ,french origin is the pas de basque1 which starts in the fifth position with the bringing of the right foot forward with pointed toe1 and passing in a semi-circle to the second position with the weight on the right foot1 then with a glissade through the third position into the fourth4 ,the glissade is a slide4 ,slide the front foot from the third position with pointed toe slightly raised to the right2 then bring the left toe to the right heel1 and vice versa4 ,the first movement is the sliding of the foot from the third to the second position2 the second1 the left foot is drawn into the third position forward and repeats4 ,the fleuret is a movement composed of a demi-coup and two steps on the points of the toes4 ,start in the fourth position without touching the ground1 bend the knees equally and pass the right foot in front in the fourth position1 and so rise on the points of the toes and walk two steps on the toes1 letting the heel be firm as you finish4 ,this can be done also at the back and sides4 ,the #8balance' is performed by rising and falling on the side of one foot1 while the other is brought up close4 ,the bris and entre-chat are related movements4 ,they occur during the spring while in the air4 ,the feet cross and recross1 and assume various positions4 ,the changement de pied is a conventional step4 ,in the first movement the dancer springs upward from the third position with the right foot forward2 in the second1 he throws this foot back and the left forward1 dropping down into the third position1 the situation of the feet being changed2 this can be done in the same manner starting from the fifth position4 ,the pas saut is a jumping step1 performed by bending the knee and leaping on one foot while the other is raised4 ,of more or less importance are the assembl and the ballott4 ,the movement in the former is that of bringing the foot from an open to a closed position1 as from the second position to the fifth4 ,the latter is a crossing of the feet alternately before and behind4 ,then there is the pivot1 in which the dancer revolves on one foot while the other beats time in turning around4 ,this is briefly the elementary grammar of the ,french ballet technique1 upon which the mechanical part of the art of dancing has been based4 ,this was thought to be of essential value for a dancer in producing the most effective lines of the various positions and gestures of the body4 ,according to the views of the authorities of the ,french ,academy1 mental application to physical effort were the chief requirements of a dancer4 ,the gymnastic1 and particularly the acrobatic1 features occupied the foremost place in the ballet performances4 ,thus dancers in a ballet were not considered human beings but rather moving figures in a decorative design4 ,even the celebrated prima ballerinas1 ,mlles4 ,sall1 ,camargo and ,guimard1 who are considered as the first accomplished women dancers on the ,european stage1 with their #8ravishing figures1' and #8enchanting appearances' as ,voltaire praised them in his poems1 remained acrobatic puppets1 as compared with our modern terpsichorean celebrities4 ,,iii ,the advent of the above-named three ,french ballet dancers was due to the genial reforms of ,noverre1 the ,shakespeare of the dance1 in the eighteenth century4 ,we know very little of the principal qualities of ,mlle4 ,sall's art1 except that she disliked rapid measures and choreographic eccentricities4 ,she was the principal dancer in many of ,noverre's ballets1 especially in #8,the ,caprices of ,galatea' and #8,rinaldo and ,armida1' and in several ,gardel ballets4 ,in #agcd she appeared at ,covent ,garden in ,london1 in the ballet of #8,pygmalion and ,galatea1' and seemed to electrify her audiences so much that ,handel wrote for her the ballet #8,terpsichore1' and at the close of the ballet purses filled with jewels were showered on the stage at her feet4 ,the real favorite of the eighteenth century opera habitus was ,mlle4 ,camargo4 ,her success is said to have been so sensational that the crowds around the doors of the theatre in ,london fought for the mere privilege of seeing her4 ,she was also famous for her enchanting body and fascinating personality4 ,though born in ,brussels1 she was the daughter of a ,spanish ballet-master1 therefore she had at her command all the impassioned art of the ancient ,caditians4 ,at the age of ten she was sent by the ,princess de ,ligne to ,paris and became a pupil of ,madame ,prvost1 the foremost dancing teacher of that time4 ,at the age of eleven she made her dbut at ,rouen2 but she continued her study until she was sixteen when she appeared for the first time at the ,opera in ,paris with unparalleled success4 #8,nimble1 coquettish1 and light as a sylph1 she sparkled with intelligence1' writes ,castil-,blaze4 #8,she added to distinction and fire of execution a bewitching gayety which was all her own4 ,her figure was very favorable to her talent3 hands1 feet1 limbs1 stature1 all were perfect4 ,but her face1 though expressive1 was not remarkably beautiful4 ,and as in the case of the famous harlequin ,dominique1 her gayety was a gayety of the stage only2 in private life she was sadness itself4' ,camargo is credited with having brought about an absolute revolution in opera by her fanciful and ingenious improvisations4 ,in spite of the prevailing stiffness and rigid rules in the ballet she made a special place for herself by depicting the characters that she had to personify on the stage4 ,she delighted in the conquering of technical difficulties4 ,stormy love affairs affected her so much that for six years she retired from the stage4 ,but she quitted public life in #agda and lived in seclusion the rest of her life4 ,she left two children with the ,duc de ,richelieu and ,comte de ,clermont4 ,she died at sixty years of age and #8was remembered as the grave1 sweet woman whose last years had been spent in loneliness and meditation4' ,madeleine ,guimard1 whose fame loomed up soon after the retirement of ,camargo1 remained for forty years a commanding figure in the ,french ballet4 ,born in ,paris in #agdc1 she made her dbut at the age of eighteen and was acclaimed as an artist of exquisite figure1 marvellous grace1 and extremely distinguished manners4 ,she knew how to make money out of her rich patrons but she was also most reckless in the expenditure of her wealth and her affections4 ,she possessed two elaborate villas1 one at ,pantin1 the other in the ,chausse d',antin1 in both of which she had built little stages on which she and her contemporary stage celebrities gave performances to the high society of ,paris4 ,fleury says that #8it was a gala day for one of our actors when he could escape from the desert of the ,comdie ,franaise and disport himself on the boards of a theatre so perfectly arranged4' ,she entertained the guests of the court at her houses and loved to make her arrangements to clash with those given at the court4 ,she was said to be pensioned by a ,royal prince1 a banker and a bishop1 but lost nearly everything in the revolutionary storms4 ,retiring from the ,opra in #aghi1 she married the dancer ,despreaux1 who died soon after4 ,her old age was verging on misery and she died neglected in a miserable three-room apartment in the ,rue ,menars1 at the age of seventy-three4 ,a great dramatic ballerina after ,camargo was ,mlle4 ,allard1 whose partners were ,vestris1 ,dauberval and ,gardel4 ,her frenzied admirers claimed that she far surpassed ,camargo because of her added fire1 her unusual agility and the expressive beauty of her poses4 ,at one time she would be an ideal ,sylvia1 gentle and graceful to her finger-tips1 then again she was the terrible ,medea2 now she personified the ethereal charms of a goddess of youth1 then the voluptuous passions of a sultana4 ,she figured as the prima ballerina in many of the ballets written by ,maximilian ,gardel1 ,milon1 ,mozart and ,rossini4 ,of other dancers of the ,french school who enjoyed public favor under the ,republic and the early ,napoleonic era ,duport is the only conspicuous figure4 ,being a special favorite with ,napoleon1 he was the star in the ballets of ,blasis and ,blache4 ,he composed some ballets himself in which he played the leading rles4 ,but these gained little success4 ,napoleon wrote to ,cambaceres from ,lyons that it was inconceivable to him why ,duport had been allowed to compose ballets4 #8,this young man has not been in vogue a year4 ,when one has made such a marked success in a particular line1 it is a little precipitate to invade the specialty of other men1 who have grown gray at their work4' ,this clearly shows how much the great emperor was interested in the ballet1 and how well he could criticize its artistic values4 ,the ,napoleonic era stopped temporarily the development of the ballet4 ,pieces composed during this time gained production more easily on foreign stages than at home4 ,thus the brilliant ,antoine et ,clopatre1 with music by ,kreutzer1 lived a few performances at home1 whereas it became one of the most successful ballets abroad4 ,the same was the case with ,blache's ballets #8,don ,juan1' #8,gustave ,vasa' and #8,malakavel1' which became the favorites of the ,st4 ,petersburg audiences1 while they remained unknown at home4 ,it seems as if the political events which marked such a great step towards democratic ideas in ,france and ,europe became a serious stumbling-stone to the evolution of the dance4 ,democratic ,england always relied on autocratic ,france1 ,italy1 ,austria and ,russia for stimulation in dancing4 ,all the great ballet celebrities of continental ,europe found in ,england responsive and generous audiences1 but never any serious rivals4 ,who of the great ,french prima ballerinas or male dancers1 from ,mlle4 ,sall till ,carlotta ,grisi1 did not make pilgrimages to ,drury ,lane8 ,illustration3 ,danseuses en ,scne 7,the ,ballet7 ,painting by ,e4 ,degas ,though to the period of the ,renaissance and the ,european national awakening belong all the immortal musical geniuses1 like ,bach1 ,mozart1 ,gluck1 ,beethoven1 ,schubert and others1 who laid the foundations of the opera and symphony1 yet these men seemed to ignore the ballet 7if we leave out of consideration their inferior or incidental works74 ,gluck wrote a few pieces of this order1 and so did ,mozart2 but they are not the works of their inspiration4 ,scribe1 ,rossini1 ,auber1 ,weber and ,meyerbeer gave occasional expression to ballet music1 particularly in connection with their operas1 but they regarded these works as inferior to their operas4 ,there are two reasons for this3 ecclesiastical prejudice and the revolutionary mob4 ,just as a fanatical clergy branded the dance as ,pagan and immoral1 so the mob has always regarded the ballet as an aristocratic luxury4 ,science seems to us essentially democratic2 but from the arts there breathes an air of snobbishness and luxury4 ,the history of civilization has not yet recorded a truly democratic art1 particularly a democratic ballet4 ,,chapter ,x ,,the ,,folk-,,dances ,,of ,,europe ,the rise of nationalism--,the ,spanish folk-dances3 the ,fandango2 the ,jota2 the ,bolero2 the ,seguidilla2 other ,spanish folk-dances2 general characteristics2 costumes--,england3 the ,morris dance2 the ,country dance2 the ,sword dance2 the ,horn dance--,scotland3 ,scotch ,reel1 ,hornpipe1 etc4--,ireland3 the ,jig2 ,british social dances--,france3 ,rond1 ,bourre and ,farandole--,italy3 the ,tarantella1 etc4--,hungary3 the ,czardas1 ,szolo and related dances2 the ,esthonians--,germany3 the ,fackeltanz1 etc4--,finland2 ,scandinavia and ,holland--,the ,lithuanians1 ,poles and ,southern ,slavs2 the ,roumanians and ,armenians--,the ,russians3 ballad dances2 the ,kasatchy and ,kamarienskaya2 conclusion4 ,the greatest factor in the stimulation of ,european art1 particularly music1 drama and ballet after the bloody ,napoleonic wars1 was the rise of nationalism1 vigorously manifested in the folk-art--dresses1 customs1 decorations1 buildings1 songs and dances--of various nations4 ,the first steps in this direction were taken by the ,scandinavians3 ,grieg1 ,ibsen1 ,bjrnson and ,august ,bournoville4 ,what ,noverre was to aristocratic ,france that ,bournoville was to ,scandinavia4 ,instead of searching for models and inspiration in the aristocratic traditions of the past centuries1 these men turned to the inexhaustible treasuries of the national folk-art4 ,and they truly discovered new beauties in the simple racial traits of the people4 ,in the previously despised peasant art they found unexpected sthetic gems1 out of which they began to form the individual beauties of their new art4 ,the ,scandinavians were soon followed by the young ,russian dreamers3 ,glinka1 ,dargomijsky1 ,seroff1 ,balakireff1 ,moussorgsky and ,tschaikowsky in music and also in ballet2 ,gogol1 ,turgenieff1 ,dostoievsky and ,ostrovsky in drama and literature1 turned in their creations to the rich and unexploited folk-lore of the people4 ,russian music1 perhaps more than any other1 is a true mirror of the racial soul4 ,there is fire1 gloom1 sorrow and joy1 remodelled and expressed in the same racial spirit as that in which the moujik sings his ,ai ,ouchnem1 or builds his izba4 ,the electrifying effect of the ,russian dancers upon the ,european audiences is not due to the influence of the ,french ,academy1 on the model of which the ,russian ,imperial ,ballet ,school was formed1 as many music and dance critics of the old and new worlds seem to think1 but to the primitive racial spirit1 to the great stage geniuses of the ,russian ,empire1 who began their work on the basis of ethnographic principles4 ,it is therefore in the folk-dances that we must look for the solution of future dance problems1 it is in the ethnographic element that is laid the foundation of the modern art dance4 ,i ,while taking into consideration the folk-dances of various ,european nations1 we find that those of ,spain are the richest in racial individuality1 most passionate in their sthetic conception1 and most powerful in their dynamic language4 ,with their medival mystery1 magic passion1 merciless fury1 angelic grace and seductive plastic forms the ,spanish folk-dances remain the most impressive examples of folk-art4 ,the centuries of ,inquisition1 romantic tragedies of the ,moors and the silhouettes of an ,alhambra are all expressed in the voluptuous lines of a ,jota or ,fandango1 regardless of whether they are performed by an ,andalusian or an ,aragon beauty4 ,so manifold is the ,spanish folk-dance and so rich the ,spanish imagination that each province has its own peculiar dance1 of which1 as in the case of the ,zarzuelas1 the inhabitants are immensely proud1 and which they dance on the occasion of the ftes of their patron-saints4 ,the ,andalusians boast of their ,bondinas1 the ,galicians of their ,muynieras1 the ,murcians of their ,torras and ,pavanas1 etc4 ,dancing is the great pastime of a ,spaniard4 ,a dance of distinctly ,moorish traits is the ,polo4 ,this is performed to the music of the gaita1 a kind of bagpipe1 and to the songs accompanying it4 ,devilier tells us how the male dancer looks over the girls present and1 smiling on one of them1 sings3 #8,come hither1 little one1 and we'll dance a ,polo that'll shake down half ,seville4' #8,the girl so addressed was perhaps twenty years of age1 plump1 robust1 strapping and supple4 ,stepping proudly forward1 with that easy swaying of the hips which is called the meneo1 she stood in the centre of the court awaiting her cavalier4 ,then castaets struck up1 accompanied by the gay jingle of tambourines and the bystanders kept time by tapping the flags of the yard with their heels or their sword-canes1 or by slapping the backs of the fingers of the right hand1 and then striking the two palms together4 ,the dancer1 marvellously seconded by her partner1 had little need of these incitements2 now she twisted this way1 and now that1 as if to escape the pursuit of her cavalier2 again she seemed to challenge him1 lifting and lowering to right and to left the flounced skirt of her calico dress1 showing a white starched petticoat and a well-turned1 nervous leg4 ,the spectators grew more and more excited4 ,striking a tambourine1 some one cast it down at the girl's feet2 and she danced round it with redoubled animation and agility4 ,but soon the exhausted dancers had to sink upon a bench of the courtyard4' ,one of the most typical of the ,spanish folk-dances is the celebrated ,fandango1 that surpasses in its wild passions and vulcanic vigor everything of its kind4 ,if you see it performed in the shadows of the ruined ,moorish castles and mosques to a measure in rapid triple time1 and hear the sharp clank of ebony or ivory castaets beating strange1 throbbing rhythms1 you stand spellbound and electrified1 a mute witness of striking ethnographic magic4 ,you seem to feel the pulse of the semi-tropical1 semi-,african race4 ,the flutter and glitter1 passion and quivering seductiveness1 are a glimpse into the sthetic depths of a national soul4 ,the dance seems to inflame the dancers as well as the spectators4 ,a ,spanish poet speaks of the ,fandango as of an electric shock that animates all hearts4 #8,men and women1' he writes1 #8young and old1 acknowledge the power of the ,fandango air over the ears and soul of every ,spaniard4 ,the young men spring to their places1 rattling castaets1 or imitating their sound by snapping their fingers4 ,the girls are remarkable for the willowy languor and lightness of their movements1 the voluptuousness of their attitudes--beating the exactest time with tapping heels4 ,partners tease and entreat and pursue each other by turns4 ,suddenly the music stops1 and each dancer shows his skill by remaining absolutely motionless1 bounding again into the full life of the ,fandango as the orchestra strikes up4 ,the sound of the guitar1 the violin1 the rapid tic-tac of the heels 7taconeos71 the crack of fingers and castaets1 the supple swaying of the dancers1 fill the spectators with ecstasy4' ,an equally well known of the ,spanish folk-dances is the ,jota1 which is said to have originated in the province of ,aragon1 though the inhabitants of ,valencia and ,andalusia claim that the ,jota is the invention of their ancestors centuries before the ,aragonians knew of it4 ,it is a more ceremonial and less passionate dance than the ,fandango1 as it is performed on ,christmas ,eve and at other festivals with the purpose of invoking the favor of the ,virgin4 ,the ,kinneys write of it3 #8,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 satisfied while perfecting the dance of their province not to pervert it from its proper motive--which is to express in terms of poetry both the vigor and the innocence of rustic1 romping1 boy-and-girl courtship4' #8,a trace of stiffness of limb and angularity of movement1 proper to the ,jota1 imbued 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 castaets most of the time are held strongly out at arm's length4 ,one of its many surprises is the manner of the pauses3 the movement is so fast1 the pauses are so electrically abrupt1 and the group 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 analyze the movements of the particles in a kaleidoscope4' ,the ,jotas of the other provinces1 particularly of ,andalusia and ,valencia1 are less racial than la ,jota ,aragonesa1 but nevertheless they are true to the spirit of their localities4 ,thus the ,andalusian ,jota breathes mystery and romantic gloom1 while that of ,valencia is fluid and graceful in every movement4 ,the great violinist ,sarasate was so fond of the ,jota that he made special trips after his concert season in the capitals of the world to his home town in ,spain1 and immensely enjoyed dancing with his old friends and the townspeople or playing the violin to them free of charge4 ,an extremely graceful and dignified ,spanish folk-dance is the ,bolero4 ,this dance more than any other resembles the general architectonic and decorative style of the ,spanish middle class4 ,it has round and fluid lines1 rich1 soft forms1 and graceful poses4 ,in many respects it rather suggests a medival ballroom than a simple folk-dance4 ,some authors say that it is an invention of ,sebastian ,cerezo1 a celebrated dancer of the eighteenth century1 but the ,spaniards themselves maintain that it dates back to the ,arab rule or before4 ,blasis writes of it3 #8,the ,bolero consists of five parts3 the paseo1 or promenade1 which is introductory2 the differencia1 in which the step is changed2 the traversia1 in which places are changed2 then the so-called finale2 followed in conclusion by the bien parado1 distinguished by graceful attitudes1 and a combined pose of both the dancers4 ,the ,bolero is generally in duple time1 though some ,boleros are written in triple time4 ,its music is varied and abounds in cadences4 ,the tune or air may change1 but the peculiar rhythm must be preserved1 as well as the time and the preludes1 otherwise known as feigned pauses--feintes pauses4 ,the ,bolero step is low and gliding1 battu or coup1 but always well marked4' ,a folk-dance of great antiquity1 according to ,fuentes1 is the ,seguidilla1 which has certain affinities with the ,bolero4 ,it is a spirited1 gay and modest country dance of the ,andalusian peasants4 ,the ,seguidillas of some provinces have a rapid rhythm and are accompanied by humorous recitative songs4 ,it is said that in ,la ,mancha1 whose inhabitants are famous for their passionate love of dancing1 verses to ,seguidillas are improvised by popular poets to suit every occasion4 ,the ,seguidillas are dances that you see performed on any occasion at country inns and at social festivals4 ,though requiring less physical strength and dynamic technique than many others1 nevertheless the ,seguidilla is difficult to untrained aspirants4 ,but like most of the ,spanish folk-dances it betrays caprice1 coquettishness and romantic tendencies of some sort4 ,the theme of the ,seguidilla poems is always love4 ,davillier says that the ,seguidilla that he saw at ,albacetex #8began in a minor key with some rapid arpeggios2 and each dancer chose his partner1 the various couples facing each other some three or four paces apart4 ,presently1 two or three emphatic chords indicated to the singers that their turn had come1 and they sang the first verse of the copla 7the song that accompanies a dance72 meanwhile the dancers1 toes pointed and arms rounded1 waited for their signal4 ,the singers paused1 and the guitarist began the air of an old ,seguidilla4 ,at the fourth bar the castaets struck in1 the singers continued their copla1 and all the dancers began enthusiastically turning1 returning1 following and fleeing from each other4 ,at the ninth bar1 which indicates the finish of the first part1 there was a slight pause2 the dancers stood motionless and the guitar twanged on4 ,then1 with a change of step1 the second part began1 each dancer taking his original place again4 ,it was then we were able to judge of the most interesting and graceful part of the dance--the bien parado--literally3 well stopped4 ,the bien parado in the ,seguidillas is the abrupt breaking off of one figure to make way for a new one4 ,it is a very important point that the dancers should stand motionless1 and1 as it were1 petrified1 in the position in which they are surprised by the final notes of the air4 ,those who managed to do this gracefully were applauded with repeated cries of bien parado6 #8,such are the classic lines upon which the dance is regulated1 but how shall we describe its effect upon the dancers8 ,the ardent melody1 at once voluptuous and melancholy1 the rapid clank of castaets1 the melting enthusiasm of the dancers1 the suppliant looks and gestures of their partners1 the languorous grace and elegance of the impassioned movements--all give to the picture an irresistible attraction only to be appreciated to the full by ,spaniards4 ,they alone have the qualities necessary for the performance of their national dance2 they alone have the special fire that inspires its movements with passion and with life4' ,noteworthy among the other ,spanish folk-dances is ,el ,jaleo1 a wild and animated dance1 consisting of acrobatic leaping and bounding1 pirouet wheeling and fury-like fleeing and rushing4 ,it needs a strong and experienced gypsy girl or a seasoned country dancer to give it its peculiar electrifying quality4 ,el ,garrotin is described as a pantomimic dance1 in which the gesture of the hands and arms plays a leading rle4 ,the ,kinneys write that ,la ,farruca is an interesting folk-dance4 #8,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 contrasts4 ,now the performers advance with undulation so slow1 so subtle 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' ,the ,cachucha1 ,tascara and ,zorongo are ,spanish folk-dances of more or less local color4 ,while the ,zorongo is a rapid dance1 performed in backwards and forwards movements1 the dancer beating time with his hands1 the ,cachucha is danced by a single dancer of either sex1 in triple time4 ,its steps are gay1 graceful and impassionate1 head and bust playing a conspicuous rle4 ,the ,tascara dance is more fantastic and symbolic than hardly any other of ,spain4 ,the movements are slow and languorous4 ,it requires more backward curving and strange posing than agility and grace4 ,in olden times ,tascara was imagined as a dragon with an enormous mouth and fantastic wings4 ,the slow movements of the dance grow gradually in speed and near the end the castaets strike1 for without them a ,spanish dancer seems to feel uneasy4 ,the choreographic designs of all the ,spanish folk-dances are rich in graceful curves1 with abrupt sharp corners here and there1 like the national architecture4 ,they speak of a sweet glow of emotion and make a direct appeal to the passions4 ,in dances of certain provinces and certain ages we discern the influence of ,egypt1 particularly of the ,arabs4 ,they give evidence of an ancient training which has grown into the blood and bones of the nation4 ,they betray more the forms of ,moorish arabesques than the clear-cut images of the ,roman1 ,greek1 or ,gothic style4 ,you can feel in their vigorous rhythm and colorful tunes simple1 unspoiled souls1 filled with energy and hope4 ,to this the picturesque and romantic dresses of their women add that atmosphere and background which the individual stage dance seeks in proper scenery and costumes4 ,in this the ,spaniards are born masters4 ,take1 for instance1 the black velvet bodice1 golden-yellow satin skirt1 net-work dotted with little black balls1 draped over the hips of an ,andalusian belle1 and you have a combination of colors and designs that so aptly fit a ,fandango or ,bolero that it seems as if a genius had been at work in this harmonious combination4 ,not less effective are the silver-spangled costume of an ,aragonian dancing girl1 and the costume of ,spanish male dancers1 which is suggestive of humor1 brilliancy and simple strength4 ,the laced black breeches lashed at the knee1 the black velvety waist-coat1 broad blue sash1 and the red handkerchief tied around the head1 and you have the most harmonious counterpart to the picturesque woman dancer4 ,the music1 steps1 gestures1 poses1 dress and choreographic figures of the dance melt into a grandiose masterpiece of some gigantic yet unknown genius4 ,the colors1 the wide skirt1 the light sandals1 the comfortable costumes and the animated gestures fit so perfectly together and produce in the symbolic lines of the movement a language that speaks so clearly of the sthetic peculiarities of the nation that we are convinced we have here the best lesson in the fundamental principles of a new art dance4 ,,ii ,how true a mirror the folk-dances and the folk-songs have been and are in showing the racial differences in regard to beauty1 is best to be seen if we take the reader from semi-tropical ,spain into cold1 conventional ,england1 where sthetic views have developed so differently4 ,in this field we owe much to ,cecil ,sharp1 whose careful works on ,english folk-dances are of exceptional service to the student of choreography4 ,the most typical of ,english folk-dances are the ,morris ,dances1 the ,country ,dances1 and the ,sword ,dances4 ,all three lack the fire and boisterous passions of the ,spanish ,jotas1 ,boleros and ,fandangos4 ,they betray the traits of a more phlegmatic and more critical1 perhaps more intellectual1 but less emotional race4 ,take1 for instance1 the ,morris ,dance1 and you find it to be a manifestation of vigor rather than of grace4 ,the same you will find true of all the other ,english folk-dances4 ,they are1 in spirit1 the organized1 traditional expressions of virility and sound health--they smack of cudgel-play1 of wrestling and of honest fisticuffs4 ,there is nothing dreamy1 nothing romantic1 nothing coquettish about them4 ,speaking particularly of the ,morris ,dance1 ,mr4 ,sharp writes3 #8,it is a formula based upon and arising out of the life of man1 as it is lived by men who hold much speculation upon the mystery of our whence and whither to be unprofitable2 by men of meagre fancy1 but of great kindness to the weak2 by men who fight their quarrels on the spot with naked hands1 drink together when the fight is done1 and forget it1 or1 if they remember1 then the memory is a friendly one4 ,it is the dance of folk who are slow to anger1 but of great obstinacy--forthright of act and speech2 to watch it in its thumping sturdiness is to hold such things as poniards and stilettos1 the swordsman with the domino1 the man who stabs in the back--as unimaginable things4 ,the ,morris ,dance is a perfect expression in rhythm and movement of the ,english character4' ,the ,morris dancers wear bells strapped to their shins1 and properly to ring them requires considerable kicking and stamping4 ,this ringing is done to emphasize the fortissimo part of the music4 ,the foot1 when lifted1 is never drawn back1 but always thrust forward4 ,the toe is never pointed in line with the leg1 but held at a right angle to it1 as in the standing position4 ,the stepping foot is lifted as in walking1 as if to step forward1 then the leg is vigorously straightened to a kick1 so as to make the bells ring4 ,at the same instant that the forward leg is straightened1 a hop is made on the rear foot2 the dancer alights upon the toe1 but lets the heel follow immediately and firmly1 so that he stands upon the flat foot4 ,the dancer jumps as high as his own foot1 holding his legs and body straight while he is in the air1 alighting upon the toes 7but only so as to break the shock sufficiently71 then letting the heels come firmly down4 ,in alighting from the jump1 the knees are bent just enough to save the dancer from injurious shock1 and are straightened immediately4 ,the ,morris ,dance is danced by men1 usually six4 ,occasionally1 but rarely1 women have figured as performers4 ,the music in early times was furnished by the bagpipe1 whistle and tabor2 but for a century or so a fiddle did the service4 ,the dress of the dancers was a tall hat with a band of red1 green and white ribbons1 an elaborately frilled and pleated white shirt1 fawn-shaded breeches with braces of white webbing1 blue tie with the ends long and loose1 substantial boots1 and rough1 gray wool stockings4 ,all dancers carry a white handkerchief1 the middle finger thrust through a hole in one corner4 ,of somewhat different type is the ,country ,dance1 which is performed by men and women together4 ,though less of a festival nature than the ,morris1 the ,country ,dance has been practised as the ordinary1 every-day dance of the people4 ,it is performed in couples and contains gestures that suggest flirtation4 ,for this no special dress is needed4 ,the figures and steps are simple and more graceful than those of the ,morris ,dance4 ,its step is of a springy walking nature1 two to each bar1 executed by women with a natural unaffected grace1 and on the part of men with a complacent bearing and a certain jauntiness of manner4 ,like the ,morris1 the ,country ,dance never requires pointed toes1 arched legs or affected swayings4 ,the galop1 waltz and polka steps are occasionally used4 ,the movements are performed smoothly and quietly1 the feet more sliding than walking4 ,the figures are numerous and involve many repetitions4 ,of a very spectacular character are the ,sword ,dances1 which bear a stamp of high antiquity4 ,during the mythologic era they may have been practised as war dances1 as we find similar ones practised by all primitive tribes4 ,the history of all nations speaks of sword dances of some kind4 ,there is to be seen in the ,berlin ,museum a picture from the seventeenth century that shows two double rings of dancers in white shirts1 holding up on a frame of interlaced swords two swordsmen clad entirely in colors4 ,there are also1 separately1 seven sword-dancers1 six in white shirts1 the first only clothed in red1 like one of the swordsmen4 ,they dance in file toward the left1 each sloping his own sword back over his left shoulder and grasping the sword-point of the men next in front of him4 ,the last man only shoulders his sword4 ,in ,england there seem to have been six principal sword dances1 three long and three short4 ,the long-sword dance of ,yorkshire requires six men dancers1 the ,captain1 and the ,fool4 ,these are accompanied by a musician who plays either a fiddle1 bagpipe or accordion4 ,the dancers wear red tunics1 cut soldier fashion and trimmed with white braid down the front and around the collar and sleeves2 white trousers with a red stripe an inch or more wide down the side of each leg2 brown canvas shoes1 and tightly fitting cricket caps1 quartered in red and white4 ,each dancer carries a sword2 the leader1 an ordinary military weapon1 and the others swords forged by a village blacksmith4 ,the ,captain wears a blue coat of flowered cloth1 ordinary trousers and a peaked cap of white flannel4 ,he used to carry a drum1 slung round his waist1 upon which he accompanied the dance tunes4 ,the ,fool used to wear a cocked hat1 decorated with peacock feathers4 ,he wore a dinner-bell and a fox's tail attached to the back buckle of his trousers1 and he used to run among the spectators making humorous exclamations4 ,the steps1 a kind of leisurely tramp1 or jog-trot1 fall on the first and middle beats of each bar of the music1 and the tramp of the feet should synchronize with the rhythm of the tune4 ,the dancers move slowly round in a ring1 clockwise1 stepping in time with the music and clashing their swords together on the first and middle beats of each bar of the first strain of the music4 ,the swords are held points up1 hilts level with the chin1 the blades nearly vertical1 forming a cone immediately above the centre of the circle4 ,each dancer places his sword over his left shoulder and grasps the sword-point belonging to the dancer in front of him4 ,he then faces the centre of the ring1 passes his sword over his head and lets his arms fall naturally to his sides4 ,the dance consists of eight different figures4 ,in the last figure the dancers draw close together1 linked by their swords1 each crossing his right hand well over his head4 ,each man then drops the tip of his neighbor's sword and1 using both his hands1 presses the hilt of his own sword under the point of the sword adjacent to it4 ,in this way the swords are tightly meshed together in the form of a double triangle1 or six-pointed star4 ,the process of fastening the swords together is carried out as quickly and smartly as possible4 ,the writer saw a series of ,english folk-dances given at the ,mac,dowell ,festival at ,peterboro1 ,n4 ,h41 in #aiad1 among them the sword-dance described4 ,the performance was exceedingly effective1 though the instructor had only inexperienced young amateurs at his disposal4 ,the character of the ,english folk-dances made rather the impression of a wholesome sport than of a social ceremonial4 ,it seemed as if they were void of all emotional suggestions and their language was clever and realistic rather than fanciful and imaginative4 ,though of the same order as the previously described ,morris1 ,country and ,sword ,dances1 yet of a more fantastic appearance is the ,horn ,dance1 which the ,english have borrowed from the ,finns1 and greatly changed after their own taste4 ,the ,english ,horn ,dance requires ten performers1 six dancers1 a fool1 ,maid ,marian1 a hobby-horse1 and a boy carrying a bow and arrow4 ,these are accompanied by a musician1 who plays an accordion1 and a boy with a triangle4 ,each dancer carries a pair of reindeer horns4 ,the antlers borne by the first three dancers are painted a white or cream color1 the remaining three a dark blue4 ,the horns are set in a wooden counterfeit skull1 from which depends a short wooden pole or handle about eighteen inches long4 ,each dancer bears the head in front of him1 and supports it by grasping the handle with his right hand and balancing the horn with his left4 ,the fool has a stick with a bladder attached to it2 ,maid ,marian is impersonated by a man dressed in woman's clothes and carries a wooden ladle which is used to collect money4 ,the boy holds a bow and arrow which he clicks together in time with the music4 ,the step is similar to the country dance step1 an easy1 rhythmical1 graceful and springy walking movement4 ,,iii ,the ,scotch folk-dances1 which surpass the ,english by their more rigorous movement and spirited steps1 picture graphically the simple1 industrious traits of a thrifty race4 ,the most characteristic of the ,scotch folk-dances are the ,highland ,fling1 the ,scotch ,reel1 and the ,shean ,treuse4 ,all the ,scotch dances are more or less variants of the previously described ,english ones4 ,they have the same strong1 sporty rhythm and jaunty bearing as the others4 ,their choreographic figures are so closely related to the ,english1 and the ,english to theirs1 that it were superfluous to give a detailed description of them on this occasion4 ,perhaps the ,scotch ,reel shows most typical traits of the ,scottish race4 ,this dance requires four ladies and four gentlemen1 who all join hands1 forming a circle4 ,then the gentlemen and ladies cross their hands and move eight steps forward and eight steps back in the style of a promenade4 ,the gentleman balances his partner1 swinging his right and left arms alternately and proceeds through the chain1 the ladies separating left1 the gentlemen right1 until all arrive at their previous positions4 ,the first lady goes into the centre of the ring while others hop around her until they reach their original position1 after which the lady in the centre balances to her partner and back to the opposite gentleman in a half-swing1 forming occasionally a chain of three4 ,thus it goes on until all the four ladies have done1 after which the gentlemen follow the same figures and steps4 ,all their steps are of a sharp1 skipping nature and the lines of their poses remind one of the designs on their checked decorations and on the patterns of their bright and plain dresses4 ,noteworthy among the ,scotch folk-dances is the ,hornpipe1 which has been a favored dance of the sailors and peasants4 ,its lively1 rapid measure1 so far as the feet are concerned1 the folded arms1 the firm and stiff body are typical characteristics of a ,scotchman's manners4 ,the dance owes its name to the fact that it is performed to the music of a pipe with a horn rim at the open end4 ,there are an infinite variety of ,hornpipes and of music to which they can be danced1 either in common or triple time1 the final note having a special stress laid on it4 ,of somewhat different character than the ,english and ,scotch folk-dances are those of ,ireland4 ,the ,irish ,jig enjoys a popularity throughout the world4 ,already the name suggests a light1 frolicking and airy movement4 ,since the days of ,charles ,,ii and ,queen ,anne1 this dance has been associated with humorous verses4 ,the ,jigs were already in vogue at the time of ,shakespeare1 who speaks of them as leading pieces in the theatrical repertoires4 ,a dancing or singing ,jig was the real climax of a piece1 often being given as an entertainment during the intermissions4 ,audiences were accustomed to call for a ,jig as a happy ending to a show4 ,the ,irish people1 possessing a natural love for music and dancing1 have put their soul into the ,jig4 ,it mirrors best the semi-sentimental1 the semi-adventurous racial traits of an ,irishman4 ,there are single and double ,jigs2 the distinction rests on the number of beats in the bar and they have often enough been danced to the strains of the bagpipe4 ,as a rule1 the foot should strike six times to a bar1 and it needs a certain amount of enthusiasm to get into the spirit of the thing1 the music thereof being most exhilarating4 ,it adds to the charm if the dancers appear as ,paddy in a brown coat1 green breeches1 and the soft hat with the pipe in it1 and his partner in emerald green stockings and skirt1 with a red kerchief about her head4 ,the music of a ,jig is usually an old ,irish ditty1 and anything more spirited or more in tune to the step could not be found4 ,the first sixteen bars of the dance are occupied with the pitch in which the leg is thrown out4 ,sixteen bars are given to the toe and heel step4 ,thirty-two bars are occupied with the diagonal cock-step1 supposed to represent the strutting of a cock4 ,sixteen bars are danced to a rocking-step1 in which the legs are crossed4 ,eight bars are given to pointing2 sixteen to stamping firmly with both feet1 then the dancers advance and pivot4 ,finally1 sixteen bars are given to a round and round movement4 ,it requires a great deal of hand movement and body vivacity4 ,it has been said by certain ,irishmen that a ,jig is in its apparent fun and fury a short symbolic drama of ,irish life4 ,the first figures mean love making1 wooing1 wedding and marriage4 ,then come the troubles of married life1 the repentance and sinking into the grave4 ,to old ,irish1 ,scotch and ,english folk-dances belong the #8,all in a ,garden ,green1' #8,buckingham ,house1' #8,dargason1' #8,heartsease1' and #8,oranges and ,lemons4' ,they are all graceful and dignified1 but depict more the ,english middle class or nobility than the people4 ,thus in the #8,all in a ,garden ,green' the man begins by shaking the hand of his lady partner and kissing her twice1 which was rather the custom of the fashionable ballroom than of a puritan people4 ,they all give the impression of a refinement of manners that belongs more to the early ,french social dances than to the folk-dances of a heavy and realistic race4 ,we know how the ,english high society and court imitated the ,french in the seventeenth and eighteenth centuries1 so it is only natural that it accepted with certain modifications the ,french social dances4 ,,iv ,it seems like a paradox that a country which gave to the world the classic ballet in the modern sense1 ,noverre1 ,blasis and ,vestris1 never produced any folk-dances of such racial flavor as we find in many other nations4 ,the old ,french ,rustic ,dances1 #8,rounds1' ,bourres1 the ,breton ,dances1 and the ,farandole1 betray only in certain figures the characteristics of the ,french race2 otherwise they make the impression of a pleasing and polished bourgeois art4 ,the ,ronde1 considered as the first form of ,french folk-dances1 being performed in circles by taking each other by the hand1 is to be found among races like the ,finns1 ,esthonians1 ,letts and ,lithuanians1 as we read from the old epics of these nations4 ,thus we read in the ,kalewipoeg that ring dances--ringi tants--of eleventh-century ,esthonians were practically of the same order as the ,french ,rondes4 ,the ,greeks had #8,rounds1' so had other ancient civilized races4 ,an old ,french dance is the ,bourre of ,auvergne4 ,it is said to be a shepherd dance originally2 but ,catherine de ,medici introduced it at court and polished out all the heavy1 simple and characteristic traits of the people4 ,from that time it has figured as a semi-fashionable dance danced in the society4 ,bach1 ,gluck1 ,handel1 and many others since have either composed ,bourres or treated ,bourre themes in their orchestral compositions4 ,originally the ,bourre was a simple mimic dance of the peasants4 ,the woman moved round the man as if to tease him4 ,he advanced and returned1 glanced at her and ignored her4 ,in the meanwhile she continued her flirting4 ,then the man snapped his finger1 stamped his foot and gave an expression of his masculinity4 ,that induced her to yield1 and the dance stopped--only to begin anew4 ,like the ,bourre1 the ,farandole1 which originated in ,southern ,france1 was concocted into a dance of the ,beaux ,monde and deprived of its racial language4 ,the ,farandole that one sees danced in ,provence is only a pretty social dance and has little of the old flavor4 ,the dancers performing it stand in a long line1 holding the ends of each other's handkerchiefs and winding rapidly under each other's arms or gyrating around a single couple in a long spiral4 ,the modern #8,cotillions' and #8,quadrilles' are based on the old ,french ,farandole4 ,it is likely that the idolized ,french ballet killed the interest of the people in their simple and idyllic folk-dances4 ,the peasant going to the town felt the contempt that a patrician had for the country art and naturally grew to dislike his traditional old-fashioned village dance4 ,the music that he heard in the city cafs cast its spell upon him1 as did the city dances4 ,urban ideals have been of great influence upon the ,french country people1 upon their traditional folk-dances and folk-songs1 and this has deprived the race of valuable ethnographic reserve capital1 in which many other nations excel4 ,the ,french1 like the ,english1 have been strong in cosmic tendencies but weak in ethnic4 ,while science grows out of the cosmic principles1 art's vigor lies in those of ethnographic nature4 ,an average ,frenchman is a great connoisseur of dancing and indulges in it with a particular pleasure4 ,but his love of the refined and most accomplished impressions puts him naturally outside a simple and coarse peasant art4 ,the ,italian is less pretentious in his taste than the former4 ,but an average ,italian1 regardless of whether he be a peasant from the most secluded corner of the country or a citizen of ,naples1 lives and dies in music1 particularly in song4 ,the predilection that a ,frenchman shows for the ballet transforms itself in the case of an ,italian into a love for the opera4 ,italy has produced great composers1 great musicians and singers1 but only a few great dancers4 ,an ,italian dancer is either acrobatic or blunt4 ,she seems to lack the more subtle qualities of plastic expression1 the ability to speak in gestures and mimic forms4 ,this is best illustrated in the celebrated folk-dance1 the ,tarantella4 ,the ,tarantella owes its name to a great poisonous spider1 whose bite was supposed to be cured only by dancing to the point of exhaustion4 ,the ,italians perform it to the music of a tambourine1 which in the hands of an expert gives an amazing variety of tones4 ,like the skirt1 apron and the head-dress of the dancing girl1 the tambourine is adorned with glaring red1 white and green colored ribbons4 ,the white under-bodice of the ,italian peasant dress is capable of any amount of embroidery1 the hair intertwisted and interplaited with ribbons1 the aprons interwoven with colors1 and1 instead of the usual square head-dress1 with its hard oblong board resting on the head1 a scarf is gracefully folded over the foundation and caught back with bright ribbons2 this is the special ,tarantella dress of a girl4 ,the ,italian costumes1 both ancient and modern1 are full of grace and beauty and give the appropriate atmosphere to a dance4 ,the ,tarantella1 being a tragic dance1 demands considerable temperament1 fire and dramatic gift4 ,it begins with the dancers saluting each other1 and dancing a while timidly4 ,then they withdraw1 return1 stretch out their arms and whirl vehemently in a giddy circle4 ,it has many surprising and acrobatic turns4 ,towards the middle the partners turn their backs on each other in order to take up new figures4 ,it ends with a tragic1 whirling collapse of the girl and the man looking sadly on4 ,it is typical of hysteric fury1 revenge1 superstition1 hatred1 fanaticism1 passion and agony4 ,it speaks of a quick and sanguine temperament4 ,an ,englishman1 ,scandinavian or ,dutchman could never dance a ,tarantella4 ,it is the dance of a temperamental race4 ,like the ancient ,romans1 the ,italians are fond of pantomimes and spectacular effects1 with little discrimination for poetry and poise4 ,we can see the same traits in the ,italian ballet1 which has an outspoken tendency to the acrobatic4 ,all the ,italian ballet teachers in ,russia are kept there only for their acrobatic specialties4 ,you find in ,italy everywhere singing parties1 but comparatively little dancing4 ,some provinces may be more inclined to dancing than those around ,naples and ,rome4 ,we have heard of a pretty dance1 called ,trescona1 that the people dance in ,florence1 but we have never seen it performed4 ,other ,italian folk-dances are the ,la ,siciliana1 ,saltarello1 ,ruggera and ,forlana4 ,some of them are more graceful and less dramatic than the ,tarantella1 but they have comparatively little racial vigor1 little original appeal4 ,they are either pantomimic or imbued with gymnastic tricks1 and with a strong tendency towards the extravagant or the grotesque4 ,however1 the ,tarantella is and remains the crown of ,italian folk-dances4 ,how much it has impressed the ,italian and foreign composers is evident in the numerous compositions that they have devoted to this theme4 ,rubinstein's #8,tarantella' is one of the best4 ,v ,we find a remarkable contrast to the ,italian style and spirit in the folk-dances of the ,hungarians1 whose popular themes have been successfully employed by ,liszt and ,brahms in their instrumental and orchestral compositions4 ,a nation of ,mongolian descent1 of impassionate and virile temperament1 living its own life1 isolated from the sthetic influence of their ,european neighbors1 little conventional1 optimistic1 fantastic and lovers of adventure1 the ,hungarians are born dancers4 ,true to the quick and fiery temperament of the race1 the ,hungarian dances are vivid sketches1 full of action and color4 ,music and dancing have been for centuries past the foremost recreations of the race4 ,their ancient legends speak of worship that consisted only of music and dancing4 ,unlike other nations1 their dance music is exceedingly pretty1 melodious and full of imaginary beauty4 ,the ,hungarian folk-dance is expressive1 rich in pictorial episodes1 symbolic and elevating4 ,the ,hungarian costume for a ,czardas is singularly effective1 the petticoat of cloth of gold1 the red velvet bodice opening over a stomacher of gold and precious stones1 crimson and green blending in the sash which surrounds the waist4 ,it is said that the name ,czardas is derived from an inn where it was danced by the peasants in past centuries4 ,in every ,czardas the music governs the dance1 which is romantic1 full of lyric beauty and very changeable4 ,it is mostly written in #b_/d time1 in the major mode4 ,the dance consists of a slow and quick movement1 the music beginning with andante maesteso1 changing gradually to allegro vivace4 ,it is of ancient origin and was probably used as a worship dance4 ,it is danced to different tunes of one and the same character1 as far as the figures are concerned4 ,six1 eight1 ten1 or more couples place themselves in a circle1 the dancer passing his arm round the waist of his partner4 ,as long as the andante movement is given1 he turns his partner to the right and left1 clapping his spurred heels together and striking the ground with his toe and heel1 and then they continue the step as a round dance4 ,in some provinces the women put their hands on their partners' shoulders and jump high from the ground with their assistance4 ,so fond is the ,hungarian of his ,czardas that1 as soon as he hears the stirring tunes of the dance played by a gypsy band or fiddler1 it seems to electrify him so that he can hardly listen to it without dancing4 ,as the music continues1 the dance gets wilder and wilder until it ends abruptly4 ,the steps of the ,hungarian folk-dances are as varied as the music4 ,now they are gliding and sharp1 then again graceful and curved4 ,some of the dances are quiet and of seductive nature1 others of involved steps and tricky tempo4 ,the ,szolo is said to be a semi-acrobatic dance1 in which the woman is swung through the air in a horizontal position from which she descends as if she were coming down from a flight4 ,the ,verbunkes is a dance of military character1 performed mostly by men 7ten or twelve71 each dancer being provided with a bottle of wine which he swings as he dances1 singing in between a patriotic song as an additional accompaniment to the occasional gypsy band4 ,unlike the ,english folk-dances1 the ,hungarian are mostly built upon some romantic theme1 either legendary or symbolic4 ,being a nation with rural traditions and rural ideas1 ,hungary has no sport spirit in any of her folk-dances4 ,there is a strong feeling for ,bohemianism and nomadic abandon in their mute language4 ,mostly the ,hungarian dances are gay1 sparkling with life and fantasy4 ,they suggest ,oriental designs mixed with ,occidentalism1 a world of queer dreams and sentimentalism4 ,folk-dances related to those of ,hungary1 that deserve to be known1 are the ,esthonian ,kuljak1 ,kaara ,jaan1 and ,risti ,tants4 ,descendants from the same stock as the ,hungarians and the ,finns1 the ,esthonians settled down in the ,russian ,baltic ,provinces about the seventh or eighth centuries and since that time have formed their independent racial art and traditions1 which they have cultivated and preserved till to-day4 ,the great ,esthonian epic ,kalewipoeg1 known so little to the outside world1 remains1 like ,homer's ,iliad1 and the ,indian ,mahabarata1 a valuable treasury of ethnographic art1 and it is from this book that we have gained an authentic knowledge of the character of the ,esthonian folk-dances1 though the writer has seen some of them performed in the country4 ,the ,kuljak1 like many other ,esthonian folk-dances1 is performed to the accompaniment of a harp--kannel--and the singing voices of the dancers themselves4 ,it is danced by men and women alike1 in a similar formation as the ,irish ,jig4 ,but the ,kuljak tempo is very similar to that of the ,czardas1 with the exception of the latter's tune and the formation of the figures4 ,like the national costumes of the ,esthonians1 their folk-art is more sombre and poetic than the ,hungarian1 but less romantic and less fiery4 ,the ,kuljak steps are sharp1 angular and timid1 without that boisterous and jaunty expression which is so conspicuously evident in the dances of the southern nations4 ,the peculiarity of the ,kuljak is that it is performed around a bonfire or kettle filled with burning substance4 ,sometimes the dancers circle round the fire holding each other's hands1 sometimes they go in gliding promenade step1 sometimes they dance singly1 as if challenging or fearing the cracking and high-leaping flame4 ,there is no doubt that this is a rare survival of the ancient sacrificial temple dance4 ,the legendary and mythologic element is the unique peculiarity of the ,esthonian folk-dances4 ,the ,risti-,tants--#8,cross ,dance'--which is performed by men and women1 first1 in crossing the hands1 then in making the cross designs with the steps1 is of great antiquity and many of its cabalistic figures are incomprehensible to the modern mind4 ,like the designs of the ,esthonian national dress1 the figures of their primitive and simple folk-dances have a tendency of never-ending lines4 ,the colors1 white1 black and red--the symbols of red blood1 white light and black earth--suggest dreamy1 melancholy1 but determined traits of a semi-,oriental race4 ,dance here is not a sport1 not an amusement1 not a medium of love-making1 not a social function1 but a magic motion to influence the great powers of ,nature1 and a semi-mythologic ceremony for the purpose of future joy and happiness4 ,on this occasion the sthetic element is interwoven with the ethical1 the art is at the same time religion4 ,,vi ,the ,german mind has not been strikingly original or racial in folk-dances4 ,it has taken more an abstract and purely musical direction and paid little attention to the dance4 ,if we leave out the dances of the ,bavarians1 ,saxons and ,tyroleans1 there is little that is of any ethnographic interest in this respect4 ,the ,prussian ,fackeltanz belongs more to the elaborate pantomimes of the order of ancient ,rome1 rather than to regular dances4 ,the medival ,germany that was ruled politically and ecclesiastically from ,rome never felt the influence of the rural country people1 but1 on the contrary1 was mostly under the sthetic and intellectual influence of the feudal barons and urban middle class4 ,under the influence of these two classes1 ,german music1 poetry1 drama and literature came into existence4 ,the ,german classic art is predominantly aristocratic and ecclesiastic4 ,the early ,german artists were constrained to gather in the aristocratic salons of the rich patricians4 ,the peasant was rarely a model of early ,german artists1 but a ,german ,freiherr1 ,brger or ,handwerker has been the subject of many ,german dramas1 operas and musical compositions1 and of much painting1 sculpture and dancing4 ,wilhelm ,angerstein tells us in his interesting book ,volkstnze in deutschen ,mittelalter that already in #acjj there existed ,german guild dances--,zunfttnze--such as the ,messertanz 7#8knife dance'7 in ,nrnberg1 ,schafftertanz 7#8cooper's dance'7 in ,munich1 etc4 ,besides these there were the aristocratic ,schreittnze and ,schleiftnze4 ,the ,drehtanz1 out of which originated the later ,walzer1 was an aristocratic and patrician1 but never a truly rural folk-dance4 ,there is no question that the ,german people has always been interested in dancing1 a fact which is best illustrated in the frequent outbursts of medival ,tanzwuth--#8dance craze'--that affected the population of various cities4 ,these phenomena became occasionally so threatening to the public morality that in #ajbd the ,bishop ,burchard von ,worms issued a special decree putting dancing under the ban of the church4 ,in #abcg over two thousand children left ,erfurt1 dancing4 ,in #adah an epidemic rage for dancing manifested itself in ,strassburg4 ,the well-known ,veitstanz--,st4 ,vitus' dance--originated in medival ,germany and spread itself all over the world4 ,the ,schuhplatteltanz of ,bavaria is a real folk-dance and contains in its gay and grotesque figures characteristic spiritual traits of the ,tyrolean peasants4 ,most of the tunes of the ,schuhplatteltnze are gay1 joyful and bubbling with mountainous brilliancy1 as is the dance4 ,though played in the waltz-rhythm1 the dance is by no means a waltz1 but a pretty1 quaint little ballet of the people4 ,there are some six to eight different figures in the dance as one can best see it performed in some villages near ,innsbruck4 ,it is danced by a man and girl1 and begins with a graceful1 slow promenade of the couple4 ,then she starts to flirt with him by spinning coquettishly round and round until he is enchanted and puts his hand gracefully round her waist4 ,now they dance together awhile1 seemingly in love4 ,but suddenly she seems to have changed her mind and tries to turn him down4 ,the dance is full of buoyant joy and clever mimic expressions4 ,it gives the impression of a healthy mountain race1 optimistic1 simple and humorous4 ,though occasionally rough1 there are passages of sweet and sentimental grace which convey the impression of an old-fashioned ,minuet4 ,the ,schmoller is a characteristic dance of the ,saxonian peasants1 in which the man never reaches his hand to the lady1 though they perform the four or five movements in the rhythm of the ,mazurka with considerable turning and stamping the heels4 ,a quaint old dance is the ,siebensprung of ,schwaben which is danced to the accompaniment of a song with humorous verses4 ,the ,taubentanz of the ,black ,forest region is a very graceful and simple dance with distinct mazurka steps1 in which the gentleman reaches only his right hand to the lady4 ,the ,zwlfmonatstanz of ,wurtemberg is a semi-social dance1 which is performed by twelve couples4 ,the ,fackeltanz has been for centuries a ceremonial display of ,prussian nobility and the court4 ,the following is a short account1 from the ,figaro1 of a ,torch ,dance as it was performed at the marriage of the sister of ,kaiser ,wilhelm ,,ii3 #8,twelve youthful pages1 pretty and dainty as the pages of opera1 slowly entered by a side door under the direction of the chamberlains4 ,they carried torch-holders in wrought silver1 containing thick white wax-candles1 which they handed to the twelve ministers4 ,the marshal raised his bton1 the orchestra from the gallery opposite the emperor slowly began a tuneful ,polonaise4 ,the bride and bridegroom placed themselves after the ministers1 who made the tour of the room1 the chamberlain completed the cortge1 which stopped before the emperor4 ,the bride made a slight curtsey1 the emperor rose and offered his arm1 the cortge again passed in procession around the room4 ,on returning1 the bride invited the empress and made the tour with her4 ,then the twelve pages approached and took the torches again4 ,the dance continued4 ,the ceremony might have been monotonous but for the infinite variety and richness of the costumes and uniforms1 and the liveliness of the music4 ,the twelve pages were quite delicious and marched with all the enthusiasm of youth4' ,the ,german ,rheinlnder and the ,walzer are both dances of the middle class and the city4 ,whether they ever were danced as folk-dances by the ,german peasants1 we do not know4 ,they probably originated in the medival guild circles and spread gradually over the country4 ,the ,waltz1 as we know it to-day1 originated in the eighteenth century in ,germany1 though the ,french claim that it is a development of ,volte1 which originally was an old folk-dance of ,provence4 ,the ,volte was in vogue in ,france in the sixteenth century4 ,castil-,blaze writes that #8the waltz which we again took from the ,germans in #agie had been a ,french dance for four hundred years4' ,the ,german waltz originated from the widespread folk-song1 #8,ach du lieber ,augustin6' which dates back to the middle of the eighteenth century4 ,gardel introduced it first in his ballet ,la ,dansomanie in #agic in ,paris4 ,but the real vogue for the waltz began after the ,czar ,alexander the ,first danced it at his court ball in #ahaf4 ,until the masses began to imitate the nobility it was a #8high society' dance and such it remained fully half a century1 if not longer4 ,the waltz is written in #c_/d rhythm and in eight-bar phrases4 ,it has a gliding step in which the movements of the knees play a conspicuous rle4 ,each country developed its particular style of waltz4 ,the ,germans and ,french treated it as a dainty and graceful courtship play4 ,in ,scandinavia it grew more heavy and theatrical4 ,in the ,english waltz the dancers walked up and down the room1 occasionally breaking into the step and then pushing the partner backward along the room4 ,the ,german rule was that the dancers should be able to waltz equally well in all directions1 pivoting and crossing the feet when necessary in the reverse turn but the feet should never leave the floor4 ,waldteufel and ,johann ,strauss may be considered as the master-composers of the waltz as a social dance4 ,,vii ,as elaborate as the ,finnish folk music is in racial color and line1 the ,finns have few interesting and original folk-dances4 ,dr4 ,ilmari ,krohn has hundreds of ,finnish folk-dance tunes1 but they reveal musical rather than choreographic vigor4 ,a large number of graceful ,finnish folk-dances are imitations of the ,swedish or ,norwegian style4 ,in their own dances the figures and steps are heavy1 languorous and compact as the rocky semi-arctic nature4 ,like the ,finnish sculpture1 the ,finnish folk-dance has a tendency to the mysterious1 grotesque and unusual line4 ,some of their folk-dances are as daring and unusual as the ,finnish architectural forms4 ,you find in the ,finnish architecture that straight lines are broken up in the most extraordinary manner1 projecting gables1 turrets and windows are used to avoid the monotony of gray1 expansive and flat walls4 ,it falls into no category of known styles4 ,like fantastically grown rocks1 it compels your attention4 ,there is something disproportionate yet fascinating in the ,finnish style and folk-dance4 ,the most racial of the ,finnish folk-dances are not the pleasing village ,melkatusta and other types of this kind1 but the #8,devil's ,dance1' ,paimensoitaja 7#8,shepherd ,tune'71 ,hempua1 ,hailii and ,kaakuria4 ,like the ,finnish ,rune1 ,finnish dancing shows an unusual tendency to the magical1 the mystic and the fantastic in emotions and ideas4 ,it is less the graceful and quick1 fiery style that appeals to a ,finn than heavy1 rugged and compact beauty4 ,the #8,devil's ,dance' is weird1 ceremonial and mystical4 ,it is performed by a single woman inside of a ring of spectators1 who are chanting to her a rhythmic and alliterative hymn of mythologic meaning4 ,the hands are crossed on the breast and take no part of any kind in the display1 while there are slight mimic changes to convey the more subtle meaning of the performance4 ,like the other northern races1 the ,finns make their dancing a function of the body and the legs4 ,the ,finns dance to the music of a harp--kantele--horn--sarwi--and to the singing voices4 ,it is never the dancer who sings1 but the spectators or special singers4 ,more picturesque and graceful than the ,finnish are the ,swedish1 ,norwegian and ,danish folk-dances4 ,grieg1 ,svendsen1 ,gade1 ,hartmann and the modern ,scandinavian composers have made successful use of the old folk-themes for their individual orchestral compositions4 ,though simple in step1 the ,scandinavian folk-dances are complicated in figure1 lively and gay in manner1 and rich in pantomime4 ,they seem to have a strong predilection to square figures and sharp lines4 ,the ,swedish dancers are fond of arabesques1 minuet grace and dainty poses4 ,the ,norwegian dance is more rugged and imaginary1 the ,danish and ,swedish more refined and delicate4 ,while the ,norwegian is a naturally gifted singer1 the ,swede is a born dancer4 ,there is a strong feeling in ,sweden for reviving their old ,skralat1 ,vafva ,vadna1 and other old national dances4 ,the latter is a weaver dance and imitates the action of the loom4 ,the girl1 representing the movements of the shuttle1 flashes back and forth through the lines of other performers1 who are imitating the stretched threads4 ,it is a clever piece of folk-art showing the vivid and quick temperament of the race4 ,there are quite a few such symbolic country dances in ,sweden1 of which the harvest dances take the first place4 ,the ,daldans and ,vingakersdans are pantomimic dances of humorous character1 both themes dealing with the social-sexual relations in a rather satirical way4 ,in the latter two women are endeavoring to gain the affection of a man4 ,the favored one seats herself a moment on the man's knee and finishes the number by waltzing with him1 while the other bites her nails with vexation4 ,in ,sweden1 as in ,france1 the sexual elements play a conspicuous rle in the folk-dance and render it sweetly graceful1 seductive and sensuous by turns4 ,the ,danes1 being a race of industry and agriculture from the earliest times on1 have followed the lead of ,norway in ethnographic matters1 but of ,paris and ,vienna in artistic manners4 ,while they have developed the national art of the ballet to a high degree1 their folk-dances have impressed me more by their cosmopolitan and imitative nature than by any original and racial traits they may have4 ,there are certain plastic traits1 certain soft nuances in the ,danish mimicry1 that speak of something racial1 yet they melt in so much with the universal art that it is hard to analyze the national elements4 ,whether the #8,corkscrew' is a ,norwegian1 ,danish or ,swedish folk-dance1 we have been unable to learn1 but it is a charming piece of folk-art4 ,in this the couples form in two lines4 ,the top couple join hands1 go down the middle and up again1 and turn each other by the right arm once2 then the gentleman turns the next lady1 the lady the next gentleman1 then each other again to the end1 when the other couples kneel and clap their hands2 and the first couple1 joining hands1 dance up one line and down the other1 the lady inside4 ,then follows the corkscrew3 all join hands outstretched with their vis--vis1 the leading couple thread their way in and out of the other couples1 the ladies backing1 taking the lead1 and then the gentlemen4 ,all hands are raised when they reach the bottom1 and1 passing under the archway thus formed1 they give place to the next couple4 ,the ,dutch had previously many characteristic and racial folk-dances1 as their great painters have handed down to us in their numerous works1 but they have mostly died out4 ,a ,dutch folk-dance1 with the performers dressed in long brocaded gowns and close-fitting caps of the same material1 the face framed with small roses edging the cap1 makes a most quaint and charming impression4 ,the best known of the ,dutch folk-dances is the ,egg ,dance1 which was given with eggs beneath the feet4 ,another very effective dance1 though slightly coarse in conception1 is their ,sailor's ,dance4 ,the latter is danced by a couple in wooden-shoes1 man and woman with their backs to each other and faces turned away4 ,the dance has some eight figures and only at the end of each figure the dancers turn swiftly around to get a glimpse of each other1 and turn back in the original position4 ,if well executed this is an exceedingly humorous dance4 ,,viii ,the ,lithuanians had in olden times snake dances and dances somewhat related to the legendary and mystic themes of the ,american ,indians4 ,even in the folk-dances of the modern ,lithuanians there are elements to be found that show relation to the ancient ,american tribes4 ,an average ,lithuanian folk-dance1 as known and danced to-day is simple but pretty1 and is either mixed with ,byzantine or with ,romanesque designs4 ,but the legendary ideas still prevail1 even in the picturesque wedding dances4 ,the ,polish folk-dances1 the ,polonaise1 ,mazurka1 ,krakoviak1 and ,obertass1 contribute their quota of originality4 ,the ,krakoviak is a circular dance with singing interspersed2 lively graceful poses1 soft delicate lines and gliding steps make it look like a refined salon dance of medival nobility4 ,the ,polonaise and ,mazurka have spread as social dances in numerous variations throughout the world4 ,chopin used the themes of many ,polish folk-dances for his individual compositions1 as they are exceedingly sweet1 romantic1 and delicate in their melodic structure4 ,the ,obertass is a real gymnastic performance with occasional polka-steps and wild turns4 ,it is danced by a couple with such velocity towards the end that the woman must hold strongly to the shoulders of her partner in order to keep from reeling off towards the spectators4 ,delicate1 temperamental1 with occasional traits of melancholy and softly graceful line1 the ,polish folk-dances are characteristic of the racial soul4 ,in many respects the ,poles resemble the ,french in racial qualities4 ,the debonair manners of the ,french1 their tendency toward romantic emotions1 are to be noticed in the ,polish national dance4 ,the qualities give it an air of seeming refinement and make it a distinct social amusement1 and nothing else4 ,the ,bohemian1 ,ruthenian1 ,servian and ,bulgarian folk-dances are each typical of their race4 ,a tendency of most of the ,slavic folk-dances is that the two sexes should mingle as little as possible4 ,men and women join hands in certain figures1 emphasizing the dramatic meaning of the dance1 otherwise they remain separated4 ,they rarely dance in couples as the other ,european races do4 ,they make promenades1 march or gallop2 they leap and bound in such a manner that the woman faces the man but rarely touches him4 ,the woman's movements are distinctly feminine1 the man's masculine4 ,the ,slav feels that the mixing of the sexes1 or the putting of woman on the same plane with man1 is detrimental to the sthetic emotions1 particularly to the romantic feelings4 ,the ,romaika and ,kolla are both picturesque circle dances of the ,southern ,slavs4 ,in the latter the man does not take the hand of the woman next to him1 but passes his arm under hers to clasp the hand of her neighbor4 ,the whole ring circles round in skipping step to the accompaniments of melancholy songs4 ,the women are adorned with glass beads1 huge gowns1 artificial flowers and false jewelry of the most fantastic colors4 ,the men wear richly embroidered bright-colored shirts and wide trousers4 ,sometimes a special woman dancer enters the ring and executes a dramatic pantomime1 reflecting somehow a local affair4 ,on other occasions man and woman go through a vivid pantomimic performance in the circle1 while the rest circle around them singing4 ,the ,roumanians have a strange folk-dance called the ,hora which is performed by the youth in languishing cadence to the long drawn notes of the bagpipes4 ,this consists of a prelude and a real dance4 ,at first1 the dancers advance to the left five steps1 stamping the ground and stopping suddenly1 after which they repeat the same motions for a few times4 ,of this ,m4 ,lancelot writes3 #8,gradually the mandolins strike in to enliven the solemn strain1 and seem desirous to hurry it1 emitting two or three sonorous notes1 but nothing moves the player of the bagpipes2 he perseveres in his indolent rhythm4 ,at last a challenging phrase is thrice repeated2 the dancers accompany it by stamping thrice on the ground1 and looking back at the girls grouped behind them4 ,the latter hesitate2 they look at each other1 as if consulting together2 then they join hands and form a second circle round the first4 ,another call1 more imperious still1 is sounded1 they break from each other1 and mingle in the round of young men4 #8,at this moment the old gypsy opens his keen little eyes1 showing his sharp white teeth in a sudden smile1 shaking out a shower of joyous1 hurried notes over the band1 he expresses by means of an agitated harmony the tender thrill that must be passing through all the clasped hands4 ,the ,hora proper now begins4 ,it lasts a long time1 but retains throughout the character of languor that characterized its commencement4 ,its monotony is varied1 however1 by a pretty bit of pantomime4 ,after dancing round with arms extended1 the men and their partners turn and face each other in the middle of the circle they have been describing4 ,this circle they reduce by making a few steps forward2 then1 when their shoulders are almost touching1 they bend their heads under their uplifted arms1 and look into each other's eyes4 ,this figure loses something of its effect from the frequency with which it is repeated2 and the cold placidity with which the dancers alternately gaze at their right-hand and left-hand neighbors is disappointing1 and robs the pantomime of its classic aroma4' ,,ix ,of ,oriental flavor are the ,armenian folk-dances1 which the writer saw many years ago performed by ,armenian students to the music of a queer mandolin-like instrument and the rhythmic beats of the drum played by the dancer with his fingers4 ,this drum gives a register of six or seven different tones and adds its peculiar effect to the whole4 ,it seems that most of the ,armenian dances are executed by a single dancer1 either man or woman1 in bent1 erect1 arched and twisted positions1 often standing on a single spot for minutes4 ,though languorous and weird1 they possess a grace of their own4 ,in no other country have the folk-dances reached such a variety of forms1 such a high degree of development and an individuality so distinctly racial and rich in dramatic and imaginary poses1 steps1 gestures and mimic expressions as in ,russia4 ,in the ,russian dances we can trace the elements of all the hundreds of ancient and modern tribes and nationalities who have been molten in one homogeneous mass of people1 a world in itself4 ,here the ,orient and ,occident have found a united form for their sthetic expressions1 with no relation to those of the ,west-,european nations4 ,the ,russian dances1 like the country itself1 are a mixture of contrasts and extremes3 melancholy and yet gay1 simple and even sweet2 ghastly yet fascinating and seductive2 mysterious and yet open as the prairies of its own boundless steppes2 old and yet young4 ,all these contrasts and contradictions may be found reflected in the essentials of the ,russian folk-dance4 ,like the semi-,oriental style of architecture1 now curved and gloomy1 then suddenly straight and dazzlingly brilliant1 occasionally bizarre and fantastic1 but strongly inclined to the romantic and the mystic forms1 are the innumerable figures and steps of the ,russian dances4 ,in ,russia more than in any other country the sexual diversity in the style of the steps1 poses and mimic display is subjected to a most careful consideration4 ,the woman is neither equal nor inferior to the man4 ,she occupies her dignified position in the slightest move1 by remaining more subtle1 tender and passively fascinating1 while the man's rle often is extravagantly masculine1 sometimes even rough4 ,no ,russian dance puts the two sexes on the same level sthetically and dramatically4 ,the couple dance is an unknown1 or at best a rather crude1 conception to a ,russian4 ,up to this time no one has yet made a thorough study of all the ,russian folk-dances1 as each province and district has its particular traditions and dances4 ,the ,volga region1 having once been inhabited by ,bulgarian and ,tartar tribes1 has a more nomadic and adventurous dance style than the dreamy peasants of ,kostroma and ,nijny ,novgorod4 ,the dances of the ,little ,russians are more joyful and humorous than those of more northern regions1 but they are also less elaborate and less dramatic4 ,the dances of the provinces of ,novgorod and ,pskoff possess an unusual tendency towards the legendary and towards free forms of plastic expression1 as if meaning to express tales of a golden age in the past when they had a republican form of government and a democratic evolution4 ,the dances of the ,caucasian and ,crimean regions are outspokenly romantic and epic1 those of ,siberia tragic and heroic4 ,fundamentally1 the ,russian folk-dances can be divided into four different groups3 the ballad dances1 or ,chorovody2 the romantic dances of the ,kamarienskaya type2 the dramatic dances of the ,kasatchy type2 the bacchanalian dances of the ,trepak type2 and the unlimited number of humorous1 gay1 amusing and entertaining country dances--the so-called ,pliasovaya--of purely local flavor4 ,besides these there are the historic ballad dances1 such as #8,ivan the ,terrible'1 #8,ilia ,murometz1' and others4 ,the ,cossack dance1 ,lesginka1 the ,kaiterma1 the ,polowetsi dances1 the ,vanka1 and others of this kind1 are dances of a rather local character1 though they have spread all over the country4 ,the oldest and most varied of ,russian folk-dances are the ,chorovody1 or the ballad dances1 performed only to the singing voices of the dancers themselves4 ,this is a kind of ring dance like the old ,french ,round4 ,in some dances the men reach their hands to the girls1 in others they touch each other with their elbows only1 as the girls keep their hands on their hips1 while the men cross them on their breast4 ,the real dance is performed inside the ring1 usually by a girl1 who sometimes has a man partner2 this dance may be pantomimic1 humorous or full of wildest joy and agility4 ,the writer has witnessed some ,chorovody which were performed with such skill and finesse of plastic pose and mimic art as to leave many ballet celebrities far in the background4 ,the ,russian folk-dancer employs every inch of his body1 his hands1 legs1 toes1 heels1 hips1 shoulders1 head and the mimic art so masterfully and correctly that you must often marvel his born talent and lively interest in dancing4 ,however1 in all folk-dances the women seem to play the leading rle1 the men merely supporting them with the contrasted figures4 ,the ,chorovody were used by the medival ,boyars in a more refined and poetic style for their social functions and the entertainment of their guests4 ,later they were introduced to the court and finally they were employed in the ,russian ballets and operas4 ,ivan the ,terrible was fond of ,chorovody dances and often danced them himself1 as did also other ,russian rulers4 ,the aristocratic ,chorovody1 however1 grew more stately and artificial and lost their racial freshness4 ,catherine the ,great sent her chamberlains to every province to invite the best folk-dancers to come to the court1 which they did4 ,all dances of this type are picturesque1 romantic1 poetic and restrained in their expression4 ,an entirely different dance is the ,kasatchy1 danced by a man and a woman at the same time4 ,this is more a man's than a woman's dance4 ,he selects his partner and proceeds to execute a series of seductive motions around her1 while she demurely hangs her head1 refusing for a while to be seduced by his allurements4 ,at length she thaws and begins to sway in harmony with his manly but graceful movement4 ,now they bend and bow together1 and swerve from side to side1 the while performing a multitude of gestures depicting timidity and embarrassment1 till finally from shy1 half-tearful expression of love and flirting glances they proceed with gay eyes expressive of the most burning devotion4 ,now the dance waxes fierce and fast1 in and out they circle1 turn and twist1 ever now and then reverting to that crouching posture1 so commonly seen in the ,russian folk-dances4 ,finally they meet in close embrace and whirl with incredible rapidity round and round1 till thoroughly out of breath and dizzy from their effort1 they sink exhausted on a friendly bench4 ,the ,kamarienskaya is a bride's dance1 in which the girl symbolizes all the imaginary bliss and happiness of her future married life4 ,in the first part1 which consists of a soft legato1 she dances dreamily but dramatically1 using conspicuously every muscle of her body and her arms to express the imagined love motions that she will perform in meeting her beloved4 ,thus the pantomime continues on to the blissful moment of meeting1 which she performs like a whirlwind1 until1 unexpectedly stopping1 she ends the dance with a slightly disappointed1 humorous expression4 ,since our space is limited1 the writer must refrain from more detailed and further description of the previously mentioned types of the ,russian folk-dances4 ,he need only repeat that they surpass by far the folk-dances of all the rest of the world1 in that they are so much more racial1 so rich in plastic lines1 and so perfect in their artistic appeal2 it seems as if a remarkable genius had presided over their invention and execution4 ,they are masterfully original from the beginning and continually furnish new ideals of choreographic beauty4 ,they draw their inspiration from some rich fountain unknown to the ,occidentals4 ,they are too fresh1 vigorous and alive to be perverse4 ,thus having drawn kaleidoscopic sketches of the primitive racial choreographic impulses of a number of the civilized and barbaric races1 we can come to the conclusion that in these alone are to be found the sound and virile germs of lasting individual or highly developed national art-dance4 ,ethnographic essentials are the next stepping-stones to a more developed future cosmic choreography1 and in this the folk-dances give the most eloquent elementary lessons4 ,as from a mute conversation we learn from the ethnic dances in what manifold forms one and the same beauty can manifest itself to the human mind4 ,the ethnic symbols are graphic and true to the spirit of the thing expressed2 for this reason a folk-dance1 no matter how coarse1 how grotesque and how strange it seems1 is yet sincere and intelligible to the open-hearted observer4 ,it always impresses one as something manly and direct1 sound and firm4 ,,chapter ,,xi ,,the ,,celebrated ,,social ,,dances ,,of ,,the ,,past ,the ,pavane and the ,courante2 the ,allemande and the ,sarabande2 the ,minuet and the ,gavotte2 the ,rigaudon and other dances4 ,since we have devoted a chapter to the folk-dances1 it will be fitting to describe a few of the most noted dances of the nobility in order to complete our comparative treatment of such a vast subject1 so little systematized and so much ignored4 ,while the general tone of all the folk-dances is masculine1 that of all the social dances seems predominantly effeminate1 rather soft and delicate4 ,their exceedingly graceful plastic lines1 shaded movements1 soft forms and subtilized gestures speak of gilded ball-rooms1 silk and perfume1 affected manners and the artificial air of a ,rococo style4 ,it seems as if a woman's mind had worked out their embroidered figures and timid steps4 ,they belonged to no particular nation1 but to the rich class of all the world4 ,the same ,allemande that was danced by the ,french nobility was copied at the castles of the ,german barons1 ,english lords1 ,italian and ,russian counts4 ,the oldest and most ceremonial of the ,middle ,ages' social dances was the ,pavane1 the celebrated peacock dance1 in which kings and princes1 lords and ladies took part1 the men wearing gorgeous uniforms1 the ladies flowery trains4 ,it was distinguished by rhythmic grace1 and by slow and stately measure4 ,the dancers attempted to enshroud their very souls in majestic dignity1 gracefully rounding their arms1 while crossing and recrossing1 keeping their heads away from each other4 ,one big step and two small ones accompanied one bar of the music1 which was sung by a chorus of hidden singers4 ,beginning side by side1 hand in hand1 with a curtsey and bow1 the couple started with a pas march down the floor1 making four steps1 the cavalier taking the lady's left hand4 ,after making a turn with four steps1 they danced backward with four steps4 ,he took her right hand and turned with four steps4 ,thus it went on in four different movements4 ,the ,pavane was a dance for cortges and processions1 and the lady's trains were spread out like the tail of a peacock4 ,the next most conspicuous nobility dance was the ,courante1 which was practised for nearly three centuries at the ,european castles and courts4 ,it was a great favorite of ,louis ,,xiv1 and no one else danced it so well as he4 ,it was danced at the court of ,charles ,,ii and ,queen ,elizabeth was fond of it4 ,the ladies danced it in short soft velvet skirt2 bodice with basques and lace berthes4 ,it had three movements and started usually with a deep curtsey1 a springing step forward and back1 both arms raised and each dancer turning outward4 ,these movements occupied four double bars of the music4 ,handel and ,bach wrote many ,courantes1 but they were too elaborate and quick1 therefore they were used only by professional dancers4 ,bach and ,handel have also written numerous ,chaconnes1 which were dances in slow triple time1 of a stately character1 light and graceful4 ,in the ,chaconne two or three people could participate4 ,this dance was said to be of ,spanish origin1 though the ,italians claim that one of their blind musicians composed it in the sixteenth century4 ,cervantes writes in #8,don ,quixote' that it was a mulatto dance for negroes and negresses1 imported by the ,french4 ,it is composed of a springing and walking step on the toes1 at the end of which the heels must be so placed that the body is firm4 ,the rhythm is slow and well marked4 ,the dance has seven different movements4 ,the fourth and sixth movements are in ,mazurka steps1 the fifth in skating steps and the last in bourre step4 ,in the third movement the lady turns under her partner's arm4 ,a celebrated dance of more than four centuries was the ,allemande1 in which the head and arm movements played the foremost rle4 ,it had five movements1 danced by any number of couples1 placing themselves behind each other4 ,the ,allemande step is three pas marchs and the front foot raised4 ,the lady stands in front of the gentleman and he holds her left hand with his left and her right with his right hand4 ,for four bars they go forward and pose1 repeat this four times and turn4 ,the second movement has four steps around1 after which the gentleman turns the lady with arms over head1 and the lady turns the gentleman4 ,the third movement is a polka step backward and forward and turned4 ,in the fourth the lady takes four steps in front of the gentleman and turns4 ,in the last they take four steps across the room1 turn and pose2 two steps back and pose1 and repeat4 ,a dance of pretty music and more original design was the ,sarabande of the sixteenth and seventeenth centuries1 which was danced as a solo by a man or a woman1 although later it was danced by couples4 ,it had a slow and stately step and consisted of four different figures4 ,in the first figure the dancer raised the right foot and took a step forward1 turned to the right and posed1 and repeated to the left and the right4 ,the second figure was a pas bourre to the left and the right1 with some turning in between4 ,the third figure consisted of an accentuated hip movement1 coup1 a pose with head movement1 and a repetition to the opposite direction4 ,the last figure consisted of springing on the left foot1 stretching the right leg to the back1 and bowing4 ,this was carried on in several repetitions4 ,the most effective ,sarabande music was composed by ,lully4 ,for this the ladies wore a picturesque dress of cloth of gold1 the sleeves and tunic in the form of gigantic oak leaves of red and gold1 tipped with sequins2 red shoes and stockings4 ,probably the most celebrated and widespread of old social dances was the ,minuet1 which demanded much repose and dignity on the part of the dancers4 ,it was performed by men and women1 but was given also by ladies only4 ,it began with a deep reverence on the part of the lady and a bow on the part of the man1 the dancers turning towards each other at right angles to the audience1 the lady with her left hand holding her dress1 the elbow prettily rounded4 ,they advanced1 the lady turning around and assuming the position in which they started4 ,this was repeated1 and the dance ended with a bow and a curtsey4 ,then the lady held her dress in both hands1 her head being turned over her right shoulder1 while her partner's head was turned to the left4 ,a favorite step was that of lifting the foot high1 rising on the toes1 and then taking three little steps on tip-toes to the next bar4 ,the ,minuet requires much grace and deliberation1 with every movement thought out and studied4 ,the main rule is that in passing each other the partners should make a deep curtsey and bow4 ,the fingers of the hand should be moderately open1 the arms curved and graceful4 ,the women often carried a feather fan4 ,louis ,,xv was a virtuoso in the ,minuet4 ,the ,english kings used to take lessons in the dance4 ,it is the one dance that ,england has looked on kindly4 ,it created a perfect sensation in ,france and was in vogue until the ,revolution swept it away4 ,many celebrated composers have written fine ,minuet music1 ,lully's being probably the best4 ,it had nine different movements4 ,the ladies wore for the minuet a satin petticoat1 bordered with a deep flounce4 ,the bodice had a pleating round la veille1 which was carried down to the open front of the skirt1 on either side of the bodice1 and round the back1 which left a plain pointed front with a rosette in the centre of the neck4 ,the sleeves were elbow length1 the hair powdered and worn very high1 a ribbon tied across the back from which rose three large bows of white plumes1 the shoes pointed4 ,a dance as distinguished as the minuet was the ,gavotte1 performed by couples in joyous1 sparkling little steps4 ,its foundation was three steps and an assembl in quadruple time1 commencing on the fourth beat of the bar4 ,it starts in a line or a circle1 one couple separating themselves from the rest4 ,it has six figures4 ,the first figure consists of four gavottes forward1 four gavottes round1 four back1 four around again1 the dancers hand in hand1 the figures always accompanied by graceful head movements1 the partners turning towards each other or apart4 ,the following three movements are nearly the same1 with slight variations4 ,the fifth consists of four skating steps and gavotting around the partner4 ,the sixth figure consists of gavotting forward three times1 pirouetting back1 raising the foot up to the heel1 and advancing four times4 ,in the ,gavotte the partners generally kissed each other1 as they did in so many other dances4 ,in later days the cavalier presented a flower in the course of the figure instead4 ,the ,gavotte was a favorite dance of ,louis ,,xv1 ,marie ,antoinette and ,napoleon4 ,lully1 ,gluck and ,grtry composed pretty gavottes1 and it was frequently performed on the stage by ,gardel and ,vestris4 ,the ,rigaudon1 which enjoyed a great popularity at all the ,european castles and courts till the ,french ,revolution1 was rather intricate4 ,in it each figure occupied eight bars and both dancers started together without taking hands4 ,the dance consisted of seven figures1 the first being a sliding step and four running steps1 turning1 posing and repeating with the opposite foot4 ,the second consisted of turning to left and right alternately four times1 and sliding backwards4 ,the third figure was danced diagonally to the right with running steps1 turning1 posing and repeating4 ,the fourth figure was a graceful hopping and turning1 repeating1 running diagonally to the right and turning with the arms out straight4 ,the fifth was in two half turns1 one turn and repetition4 ,the sixth was three steps left with arms over the head1 hopping around1 turning to left and right1 posing with right hand down and the left hand above the head4 ,the seventh consisted of balancing four times on the left foot and four times on the right and posing4 ,like the music of so many other old social dances1 that of the ,rigaudon was of extremely gracious cadences1 with sentimental pathos and sweet1 gay melodic turns4 ,music combined with dancing carried gladness and joy into the soft-shaded ball-rooms1 bringing smiles and laughter to the lips of the picturesque gatherings4 ,somewhat resembling the ,minuet1 but with quicker steps1 was the celebrated ,french ,passepied1 with which most of the balls began1 all the guests dancing around hand in hand4 ,it originated many other old-time social dances with song4 ,it opened with the dancers joining hands and facing each other1 then setting to each other with the pas de ,basque1 bringing the first left shoulder forward and then the right1 and changing their places with a waltz step4 ,the partners cross hands1 placing the arms round each other's neck and making the pirouette with eight pony steps1 pawing the ground and then turning4 ,the dance consists of ten figures1 each of which demands some dramatic talent4 ,other celebrated old dances were the ,galliard1 consisting of five figures1 that require some pirouettes1 pas de bourres1 coups1 dessous and springing4 ,similar to this was the ,tourdion1 which was more of a glissade movement4 ,the ,canaries was a queer old dance1 very popular in ,england and ,germany4 ,it had seven figures and started with a pas jet1 by throwing the right foot over the left1 and the left over the right4 ,in the last movement the partners held hands vis--vis1 turning each other without separating hands1 posing vis--vis one bar and repeating four bars4 ,history tells us how in former times queens and princesses often fell in love with graceful male dancers as did their husbands with the pretty women dancers4 ,queen ,elizabeth fell in love with young ,hatton1 an insignificant ,london lawyer1 whom she first met at a ball dancing the ,galliard4 ,sir ,perro used to say that ,hatton danced into the court by the ,galliard4 ,it is said that the favors which the virgin monarch extended to the young lawyer excited the jealousy of the whole court1 especially that of the ,earl of ,leicester1 who1 thinking to depreciate the accomplishment of his rival1 offered to introduce to ,her ,majesty a professional dancer whose performances were considered far more wonderful than those of ,hatton4 ,to this the royal lady exclaimed3 #8,pish6 ,i will not see your man2 it is his trade6' ,a languishing eye and a smiling mouth were considered indispensable accessories to a fashionable society dance4 ,like the prevailing style of dress and manners1 the dances were too delicate and artificial to last4 ,the high-heeled shoes1 the elaborately piled-up structures of powdered hair and ornament1 and the dresses with long trains were by no means favorable to virility and sincerity4 ,like all effeminate art1 the nobility dances of the past lacked spontaneity and inspiration4 ,illustration3 ,the ,ball ,after a painting by ,auguste de ,saint-,aubin ,,chapter ,,xii ,,the ,,classic ,,ballet ,,of ,,the ,,nineteenth ,,century ,aims and tendencies of the nineteenth century--,maria ,taglioni--,fanny ,elssler--,carlotta ,grisi and ,fanny ,cerito2 decadence of the classic ballet4 ,the end of the ,napoleonic wars marks the beginning of a new era of ,european art1 particularly of the ballet4 ,to this period belong the great ballet masters1 ,taglioni1 ,bournoville1 ,didelot1 and the greatest of all1 ,marius ,petipa2 the great ballet composers1 ,meyerbeer1 ,rossini1 ,adam1 ,delibes1 ,nuitter1 ,dubois1 ,hartmann1 ,gade1 ,tschaikowsky1 and ,rimsky-,korsakoff2 the celebrated ballerinas1 ,taglioni1 ,grisi1 ,elssler1 ,gene1 ,teleshova1 ,novitzkaya1 ,liadova1 ,muravieva1 ,bogdanova1 ,sokolova and ,kshesinskaya4 ,it seems as if the evolution of the art of dancing is always stopped by political disturbances2 during the middle of the past century1 which was marked by revolutionary movements1 in which even ,wagner participated1 we notice a sudden indifference to dancing ideals on the part of the public4 ,the history of evolution seems to proceed in certain cosmic waves of public sentiment and ideals4 ,they grow1 reach their climax and die4 ,the foundation that the ,french ,academy1 particularly ,noverre1 ,vestris and ,gardel1 had laid for the ballet1 developed during the nineteenth century into a solid and essential stage art4 ,we find the beginning of a rivalry among the various schools1 of which those of ,paris1 ,milan1 ,vienna1 ,stockholm1 ,copenhagen and ,st4 ,petersburg stand in the first rank4 ,like music and drama1 the ballet strives either towards the classic or romantic4 ,the most conspicuous ballets of this period are ,la ,sylphide by ,lo ,delibes1 ,corsaire by ,adam1 ,sakuntala by ,gautier1 ,la ,source by ,delibes1 ,la ,farandole by ,dubois1 ,sylvia by ,delibes1 ,gretna ,green by ,nuitter1 ,excelsior and ,sieba by ,manxotti1 ,flore et ,zephire by ,didelot1 ,la ,esmeralda by ,perrot and ,pugni1 ,iphigenia in ,aulis by ,gluck1 ,laurette by ,galcotti1 ,ghiselle by ,gautier and ,adam1 ,abdallah by ,bournoville and ,paulli1 ,arkona by ,hartmann1 ,swan ,lake1 ,sleeping ,beauty and ,the ,snow ,maiden by ,tschaikowsky1 ,baba ,yaga by ,balakireff1 ,scheherezade by ,rimsky-,korsakoff1 etc4 ,the main tendency of the nineteenth century ballet is to get rid of the mechanical contrivances1 the monstrous etiquette and majestic solemnity and1 like music1 give it more coherence and better harmony with the plot4 ,between #ahbj and #ahej it became an inseparable accompaniment to the opera to such an extent that the occupants of the gilded boxes preferred the thrill of the dancing to the music4 ,the ballet represented at that time more than a stage filled with masses of elegant coryphes and a magnificent spectacle4 ,the public interest began to centre in a few great dancers whose names were as familiar to the audiences as those of the prima donnas4 ,the first phenomenon of this kind was the cult of ,taglioni that spread with miraculous rapidity throughout the ,occidental world4 ,i ,maria ,taglioni was born at ,stockholm in #ahjd of an ,italian father and ,swedish mother and made her dbut in ,vienna in #ahbb1 in the ballet ,reception d'une jeune ,nymphe la ,court de ,terpsichore1 written by her father1 ,m4 ,taglioni1 who was a ballet master in the ,swedish ,royal ,opera4 ,inspired by the ideas of ,noverre1 ,m4 ,taglioni laid a solid foundation for his daughter's training in dancing4 ,though she was successful in her dbut in ,vienna1 the father did not think that she was sufficiently ripe for public appearances in a larger style1 so he continued to instruct the girl himself and secured for her education other celebrities of the time4 ,even when she appeared five years later in ,le ,sicilien1 in ,paris1 she did not arouse any enthusiasm4 ,it was only in ,les ,bayaderes and1 above all1 in ,la ,sylphide1 that her art attained the utmost limits of spirituality and she was hailed as one of the most ethereal appearances that the ,european stage had ever seen4 ,taglioni appeared in ,paris in ,la ,vestale1 ,mars et ,venus1 ,le ,carnaval de ,venise1 and many other ballets1 which marked the beginning of her career4 ,a ,french critic of that time writes3 #8,her talent1 so instinct with simple grace and modesty1 her lightness1 the suppleness of her attitudes1 at once voluptuous and refined1 made a sensation at once4 ,she revealed a new form of dancing1 a virginal and diaphanous art1 instinct with an originality all her own1 in which the old traditions and time-honored rules of choreography were merged4 ,after an appearance of a few days only on our boards1 this charming mirage vanished to shine in great triumph at ,munich and ,stuttgart4 ,but she came back1 and an enthusiastic reception awaited her4 ,and in the midst of these brilliant successes1 taking the hearts of the people by storm1 admitted to the intimate friendship of the ,queen of ,wurtemberg1 she remained sweet1 simple and reserved4' ,besides her choreographic training1 ,taglioni was a highly educated girl in every other respect1 and was of the most charming personality and manners4 ,the people1 and even her many rivals1 loved and adored her as a great artist and great woman4 ,though not pretty in any sense1 as so many other dancers were1 she was fascinating through her distinct spiritual appeal4 ,this same note of spirituality manifested itself in her dance4 ,her admirers used to say that she looked in ,la ,sylphide like some supernatural being always ready to take wing and soar up in the air4 ,her steps were pure and innocent1 as were all her gestures and mimic expressions4 ,even in her romantic dances she failed to suggest any symptoms of voluptuous or sensual emotions4 ,throughout her life she remained as poetic as she was in her art4 ,in ,london she appeared first in #ahcj in ,didelot's ballet ,flore et ,zphire and made an instantaneous success4 ,on nights when she was announced to appear the ,london theatre was literally besieged4 ,thackeray immortalized her in his #8,the ,newcomes1' saying1 #8you can never see anything so graceful as ,taglioni4' ,she received in ,london #ajj a night1 and insisted on handsome sums for her family1 as well as #fjj for her father as ballet master1 #ijj to her brother and sister-in-law1 together with two benefit performances4 ,she was so much the fashion of the hour that women wore ,taglioni hats1 gowns1 and coats1 and even a stage coach was called after her4 ,with all her charm and refinement1 ,taglioni was in many respects an undeveloped girl emotionally1 capricious and sentimental to her finger-tips4 ,it is said that one evening when ,perrot1 her partner1 happened to receive a greater amount of applause than she1 she refused to continue the performance1 and accused her surrounding stage people of having intrigued against her for malicious reason4 ,she received immense sums of money1 but she spent everything just as lavishly as it was received1 not so much on herself as for her relatives1 friends and the poor4 ,she married ,comte ,gilbert des ,voisins in #ahcb1 but their married life was of short duration4 ,there is a story that she met him some years later at a dinner at the ,comte de ,morny's1 when he had the effrontery to ask to be introduced to ,maria ,taglioni4 ,she replied that she thought she had made the gentleman's acquaintance in #ahcb1 the year of her marriage4 ,in #ahcg she went to ,russia and remained there for five years as prima ballerina of the ,imperial ,ballet4 ,taglioni's freedom and style had a great influence upon the development of the ballet at that juncture4 ,her dress1 a long tunic of white silk muslin which reached almost to her ankles and fell in graceful folds from her figure1 was the first of this kind4 ,through this she was able to reveal the plastic lines of her body1 and thus made her movements free from the artificial stiffness that had prevailed before her4 ,she was a reformer in many ways1 and in this her father1 as a practical ballet-master1 was of material help4 ,it was not until ,fanny ,elssler appeared in #ahdg that ,taglioni began to lose her hold upon the public4 ,little by little her art grew old-fashioned to the novelty-loving audiences1 as the dancing of ,elssler brought a new note of more romantic nature to the stage4 ,actually this change was nothing but a turn of public sentiment indicative of some new social fad4 ,trying to maintain her living by giving dancing lessons in various ,european capitals1 she died in ,marseilles in #ahhd1 in great poverty1 forsaken by all her previous adorers and frenzied audiences4 ,,ii ,of a very different nature were the art and personality of ,fanny ,elssler1 the pretty ,viennese girl1 who in many respects followed the example of ,taglioni4 ,emerson1 who saw her dancing in ,boston1 exclaimed1 #8that is poetry6' ,but ,margaret ,fuller1 who sat next to him1 replied1 #8,ralph1 it's religion4' ,turgenieff was so impressed by her art that he wrote to ,balzac3 #8,her dance is the most magic novel that ,i have ever read4 ,what a mystery of beauty6 ,her every step and gesture is a line of unwritten verse4 ,her lines are accentuated phrases1 her poses illustrations to the intoxicating text4 ,her art haunts me4' ,born in ,vienna in #ahaj1 ,elssler received an early and thorough musical education from her father1 who was a copyist to ,haydn4 ,her ballet training1 which she received partly in ,vienna1 partly in ,italy1 was of the old order4 ,it was the ,cachucha that made her a favorite of the ,milan and ,naples audiences1 but1 as with ,taglioni1 it was ,la ,sylphide that made ,elssler's final reputation4 ,elssler saw ,la ,sylphide danced by ,taglioni in ,munich and it electrified her so that she made it a main aim of her ambition to surpass ,taglioni1 which she did4 ,a girl of receptive mind1 good education and great talent1 ,elssler took notice of all the critical views of her future rival1 as expressed by her contemporary ballet-masters1 composers and dance critics4 ,this enabled her to embody in her art and style the features which were less developed and most disliked by ,taglioni4 ,taglioni was said to be poetic1 but lacking in romantic warmth and dramatic sentiment4 ,in this latter quality ,elssler excelled4 ,she made a special study of those gestures1 poses and steps1 which express by passionate emotions1 and made appropriate use of them4 ,the mechanical features of the dance interested her little1 though occasionally she indulged in acrobatic tricks4 ,chorley1 the ,english critic1 writes of her3 #8,the exquisite management of her bust and arms set her apart from everyone whom ,i have ever seen before or since4 ,nothing in execution was too daring for her1 nothing too pointed4 ,if ,mademoiselle ,taglioni flew1 she flashed4 ,the one floated on the stage like a nymph1 the other showered every sparkling fascination round her like a sorceress4 ,there was more1 however1 of the ,circe than of the ,diana in her smile4' ,illustration3 ,sylphides2 a ,typical ,classic ,ballet ,a graphic description of ,elssler is given by ,gautier4 #8,clad in a skirt of rose-colored satin clinging closely to the hips1 adorned with deep flounces of black lace1 she came forward with a bold carriage of her slender body1 and a flashing of diamonds on her breast4 ,her leg1 like polished marble1 gleams through the frail net of the stocking4 ,her small foot is at rest1 only awaiting the signal of the music to start into motion4 ,how charming she is with the large comb in her hair1 the rose behind her ear1 her flame-like glance1 and her sparkling smile6 ,at the extremity of her rose-dipped fingers tremble the ebony castaets4 ,now she darts forward2 the castaets 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 any one say that she gathered all the desires and all the enthusiasm of those who watch her8' ,it was a pity that such a bitter rivalry was created between ,elssler and ,taglioni by theatrical managers1 which became a source of fierce controversy throughout ,europe4 ,we are told by the writers of that time that a veritable war of sentiments between the ,taglionists and ,elsslerists lasted for years4 ,now the one1 now the other party claimed victory4 ,each party claimed to have the highest art in the individual style of its idolized dancer4 ,it was a conflict between two movements rather than two artists3 here the classic idealism1 there the romantic realism4 ,elssler at the end remained the winner1 but not for a long time1 as the political unrest that swept ,europe in the middle of the nineteenth century distracted the public attention from the ballet4 ,after a successful tour in ,america1 ,elssler returned to ,milan1 when the ,la ,scala opera1 which was supported by the ,austrian government1 began to feel keenly the political pulse of the time4 ,elssler was to appear in ,perrot's ballet ,faust1 when she beheld the members of the ballet wearing a medal that represented the new liberal ,pope1 who was strongly pro-,italian1 while ,elssler was an ,austrian4 ,to her it seemed a demonstration directed against her fatherland and she refused to go on the stage unless the demonstration stopped4 ,the audience was informed of the trouble behind the scenes1 and from this time on ,elssler's career was finished4 ,vainly trying her luck in ,russia and ,england till #ahea1 she realized the sentimental opposition of all the audiences to her art and retired forever4 ,she spent her life in comfort1 as the ,american tour alone had netted her a sum of five hundred thousand dollars4 ,she died in #ahhd in ,vienna1 a few months after the death of her rival1 ,taglioni4 ,,iii ,the star that followed ,taglioni and ,elssler was ,carlotta ,grisi1 born in a village of ,istria and educated in ,milan by ,perrot4 ,she was a medium between the poetic ,taglioni and romantic ,elssler4 ,her favorite ballets were ,la ,peri and ,ghiselle 7the libretto of the latter by ,thophile ,gautier and the music by ,adolphe ,adam74 ,she was excellent in fairy rles1 in which she showed a marvellous conception of imaginary motions and gestures4 ,her fragile figure was favorable to similar rles and in these her mimic expressions were superb4 ,she danced in ,england with success1 but somehow failed to arouse the enthusiasm that greeted her contemporary ,fanny ,cerito4 ,grisi married her former teacher ,perrot1 who composed for her many ballets4 ,cerito distinguished herself in ,ondine and ,la ,vivandire1 and was for a long time a favorite of the ,french audiences4 ,a ,french critic writes of her3 #8,a good many of our readers will probably remember ,saint-,lon1 the distinguished and popular ballet-master4 ,originally an eminent violinist1 it was out of love for the fairy-like ,cerito1 whom he married1 that he first gave himself up to the enthusiastic study of dancing4 ,mme4 ,cerito bewitched the public with her exquisite dancing1 while ,saint-,lon delighted them with his skill upon the violin and the dignity and distinction of his compositions4' ,there were several ,french1 ,italian or ,austrian ballet dancers who distinguished themselves at home1 but none of them succeeded in attracting much the ,english or ,american public's attention4 ,katty ,lanner and ,madame ,weiss danced with some success in ,london1 and enjoyed a high reputation in ,vienna4 ,the characteristics of all the ,vienna dancers of this age were their decadent manners and their pretty1 plastic poses4 ,vienna developed more conspicuous operetta dancers than real ballet dancers4 ,katty ,lanner achieved a particular grace and agility in the ,le ,papillon1 by ,emma ,livry4 ,of the ,french and ,italian ballet dancers that appeared during the second half of the nineteenth century most conspicuous are ,leontine ,beaugrand1 ,mlle4 ,subra1 ,rosetta ,mauri1 ,mlle4 ,bernay1 ,mlle4 ,petipa1 and ,rita ,sangalli4 ,though local critics praised one or other of these as rivals of ,taglioni and ,elssler1 the fact is they were all either mere acrobatic imitators1 decadent impressionists1 or conventional figures4 ,the ballet shrinks into a secondary position1 as the vogue for opera and orchestral music occupies the foremost attention of the public4 ,stage dancing degenerates into shows of insignificant meaning4 ,with our best will we can find nothing that would seem worthy of the attention of the ,french critic who writes of ,beaugrand3 #8,before long the public will learn to love this strange profile--so like a frightened bird's--and criticism will have to reckon with this aspiring talent4 ,she has not yet put forth all her strength4 ,it was not until she appeared in the part of ,copplia that she wholly revealed what was in her1 and that the full extent of her grace and poetic feeling was unfolded to the public4' ,one season later the expected virtuoso vanishes from the public eye and a new aspirant takes her place4 ,considering one after the other1 one finds little crisp and spontaneous beauty in the steps and gestures of the ballerinas of the last part of the past century4 ,the umbrella-like stiff dress of the classic ballet has only a momentary semi-sensuous appeal4 ,in the long run it becomes unsthetic and unpractical1 since it hides the natural lines of the human body4 ,,chapter ,,xiii ,,the ,,ballet ,,in ,,scandinavia ,the ,danish ballet and ,bournoville's reform2 ,lucile ,grahn1 ,augusta ,nielsen1 etc4--,mrs4 ,elna ,jrgen-,jensen2 ,adeline ,gene2 the mission of the ,danish ballet4 ,i ,the ,french ballet dominated civilized ,europe for centuries1 as did the ,french fashions1 manners1 language1 art and social traditions4 ,the high society of every country was outspokenly ,french1 and so were its views and entertainments4 ,how much even ,germany was in the grip of ,french ideals can be seen best from the efforts of her eighteenth-century writers and reformers on behalf of their own national traditions4 ,lessing was most bitterly fighting the ,french influence in ,german life and art4 ,it was only natural that semi-aristocratic ,sweden and ,denmark felt the ,french sway4 ,stockholm introduced the ballet during the last part of the eighteenth century1 but used it for the most part as an accessory of the opera4 ,taglioni1 the father of the celebrated ballerina1 was employed as a ballet-master in ,stockholm where1 in addition to his actual stage work1 he was training dancers for the ballet corps4 ,he was succeeded by no one else than the great ,didelot1 who later became a director of the ballet and ballet school in ,petrograd4 ,but ,sweden strictly followed the footsteps of ,france and ,italy and never took another direction4 ,the ,swedish ballet of the nineteenth century was strictly ,french-,italian4 ,but the ,danish ballet1 which had been founded at the same time with the ,swedish1 took a different turn4 ,the early part and middle of the nineteenth century mark a great turning point in the history of the ,danish stage dance4 ,this is wholly due to the patriotic efforts of its great reformer1 ,bournoville1 who did not like the foreign flavor of such an important art as dancing1 and1 moreover1 found the stiff style1 artificial manners and the incoherent relation between the music and dancing too crude and outmoded for a new era4 ,on the other hand1 the method of training the dancers was lacking in system and seemed too insufficient to make any thorough artists of the young men and women who wished to make their career as dancers4 ,vincenzo ,tomaselli ,galeotti1 who had been for half a century an autocratic figure and ballet-master of ,denmark1 emphasized either the acrobatic ,italian or the stereotyped ,french styles4 ,for ,galeotti the ,danish ballet was perfection itself1 but not so for ,bournoville4 ,antoine ,auguste ,bournoville was born in #ahje in ,copenhagen1 where his father had been a dancer and assistant conductor under ,galeotti4 ,already at the age of eight he danced in small parts in ,copenhagen4 ,but it was not until #ahbi that he made his real dbut in ,gratiereness ,hulding4 ,in #ahbd he made a trip with ,orloff to ,paris where he saw ,vestris and ,gardel1 whose instruction and art inspired him to do for the ,danish ballet what they had done for the ,french4 ,after a tour in ,austria and ,italy1 ,bournoville settled down in ,copenhagen and began to reform the stage of his native land4 ,bournoville's main reformative idea was that a dancer should first of all have a perfect technique1 and then be an individual and not a dead figure in a spectacular design4 ,the technique of the ,milan school was to him one-sided1 striving for gymnastic effects at the expense of the musical and thematic requirements of a composition4 ,taglioni had just made her reputation on the foundations that ,bournoville had laid for the ,danish ballet4 ,virtuosity had been the danger of the old school4 ,admiration was centred exclusively in the difficulty of the execution of the steps4 ,the pointes and pirouettes had been regarded as the highest form of accomplishment4 ,bournoville realized that this step1 when it is abused1 becomes the curse of ballet dancing4 ,while recognizing that it was absolutely necessary for momentary use1 when completing an attitude or giving a suggestion of ethereal lightness 7as of the poise of a winged being alighting for an instant upon the earth7 he combated the tendency to base the significance of the dance only on this4 ,on other occasions1 one quick passage across the stage1 the tips of the toes scarcely brushing the dust of the carpet1 the dancer may make the impression of the grace of a bird's flight4 ,but if this trick is displayed constantly during a performance the effect is lost in the ugliness of the effort4 ,bournoville was also dissatisfied with the ballet compositions and plots4 ,he remodelled many ,french ballets and wrote some himself4 ,in many things ,bournoville coperated with ,pierre ,j4 ,larcher4 ,the most conspicuous of their works was ,valdemar1 which was first performed in #ahce1 with music by ,froehlich4 ,not less successful was the ,festen i ,albano1 an idyllic ballet in one act with music by ,froehlich4 ,this was first performed in #ahci4 ,a very popular ballet that ,bournoville arranged to the music of ,hartmann was ,olaf den ,hellige4 ,the most conspicuous pupil of ,bournoville and the foremost of his prima ballerinas was ,lucile ,grahn1 a girl of outspoken individuality1 temperament and dramatic force4 ,she was a rival of ,taglioni and ,elssler1 not only in ,denmark1 but in ,france1 ,england and in other ,european countries4 ,grahn's favored ballet was ,la ,sylphide1 though she danced superbly in the ,fiorella1 and ,brahma und ,bayaderen4 ,the ,danish critics wrote that the ,copenhagen audience fairly went wild over her dancing in the ,robert af ,normandie4 ,grahn differed from ,taglioni in her individual style1 which was more romantic and lofty1 and in her dramatic talent4 ,besides being a great dancer she was an excellent actress4 ,the ,london and ,petrograd audiences were particularly fond of her divertissement numbers1 mostly written by ,danish composers4 ,she was born in #ahai and died in ,munich in #ahge1 after having lived nineteen years of happy married life with ,friedrich ,young1 a celebrated opera singer of that time4 ,next to ,lucile ,grahn in the ,danish ballet stands ,augusta ,nielsen1 born in #ahbc in ,copenhagen4 ,as a girl of fifteen1 she danced in ,valdemar4 ,but her real career began with ,toreadoren1 in which she danced for the first time in #ahdj4 ,nielsen's tendency in dancing was to be natural rather than acrobatic4 ,her mimic and rhythmic talent surpassed by far that of ,grahn1 ,taglioni and ,elssler4 ,but since she strove less for gymnastic effects than her celebrated contemporaries1 she failed to arouse the enthusiasm that greeted the others4 ,she came close to the modern natural dancers1 since dancing was for her an individual art like singing1 in which each artist should express only the best of his inner self4 ,like many other ,danish dancers1 ,nielsen was a born actress and emphasized the dramatic features as the most important ones in the ballet4 ,among ,danish ballet dancers the most conspicuous figures are ,adolph ,f4 ,stramboe1 ,johann ,ferdinand ,hoppe1 ,waldemar ,price and ,hans ,beck4 ,they all follow the footsteps of ,bournoville1 whose reforms in ,danish dancing are equal to those of ,noverre in ,france1 or ,petipa in ,russia4 ,bournoville's main efforts were to make dancing a serious dramatic art4 ,in this he succeeded4 ,the influence of the ,danish ballet upon the ,russian is of far-reaching extent4 ,didelot1 having been a ballet-master in ,stockholm1 was inspired by ,bournoville's attempts1 and followed his example after becoming a ballet director in ,russia4 ,but the art of dancing has its period of youth1 maturity1 decay and rebirth4 ,the ,danish ballet stopped its evolution after ,bournoville4 ,it has remained what it was half a century ago4 ,it is sound1 classic1 and noble in its spirit1 but it lacks the fire and soul of youth4 ,,ii ,the writer has a record of the young living solo dancer of the ,danish ,royal ,ballet1 ,mrs4 ,elna ,jrgen-,jensen1 whose exquisite delicate plastic art in ,strindberg's ,brott och ,brott1 and ,gabriele d',annunzio's ,gioconda aroused stormy enthusiasm among ,copenhagen's audiences4 ,haagen ,falkenfleth1 the celebrated ballet critic of the ,nationaltidende of ,copenhagen1 writes of her2 #8,mrs4 ,elna ,jrgen-,jensen1 the prima ballerina of the ,danish ,royal ,ballet1 entered the ,copenhagen ,ballet ,school as a child1 as the result of an episode that is still little known4 ,her parents knew that little ,elna was passionately fond of dancing1 but their surprise was great when one day she disappeared from her home4 ,it appeared that she had run after a street organ-grinder to whose screaming tune she was dancing in the middle of the street to the surprise of the occasional spectators4 ,at the age of seven she became a pupil of the ,royal ,ballet ,school in ,copenhagen1 where the children are taught not only dancing and calisthenics1 but also the general school subjects1 in the same way as the dancers are educated in the ,russian ,imperial ,ballet ,school in ,petrograd4 ,as a pupil she was favored with small dancing parts in certain ballets4 ,she was excellent for little fairy rles4 ,in this way she received a gradual training for the stage and had already mastered her routine when she made her real dbut in ,drigo's 8,harlequin's ,millions40 ,she had personified ,sylvia's child in d',annunzio's ,gioconda and the page in ,schiller's ,don ,carlos4 ,her dancing was so sure1 her movements so graceful and her mimicry so true to life that her reputation was instantly established2 but how versatile she was became known only later4 #8,no one who saw her during her dbut in the rle of the gay ,pierrette1 with frolic-humorous eyes and graceful juvenile steps1 could imagine that on the next occasion she would be so easily transformed into a tragedienne in ,schnitzler's and ,dohnnyi's 8,veil of ,pierrette40 ,she practically created her rle4 ,her romantic eyes1 so full of sorrow and despair1 added a magic gloom to her dramatic dance1 in which she stands so high above her many contemporaries4 ,she is realistically gripping4 ,already at the age of nineteen she was an accomplished mute actress of the modern type1 and a great solo dancer4 ,dohnnyi1 who attended the performance1 told me that he had not supposed she could possibly add such a tragic fire to the rle that he wrote for untrained theatrical dancers4 ,mrs4 ,jrgen-,jensen proved in this rle that she had broken loose from all the traditions of the ,bournoville school in which she was trained4 ,you could not see a line of the conventional ballet style4 #8,bournoville1 the reformer of the ,danish ballet1 introduced a strong dramatic element into the national art4 ,yet his tendency was outspokenly romantic4 ,in this he aimed to be classic and strictly choreographic4 ,in many of his ballets the romantic and the realistic issues are closely interwoven4 ,in these ,mrs4 ,jrgen-,jensen sometimes has gone against the ,bournoville principles and used her own judgment4 ,she has figured as the principal dancer in the 8,flower ,festival at ,genzano10 ,la ,ventana1 8,far from ,danemark10 ,copplia and ,swanhilde4 ,but in 8,the ,little ,mermaid10 a ballet based on ,hans ,andersen's fairy-tale1 she is best of all4 ,while dancing in the rle of the ,mermaid1 she makes the impression of a magic creature of a different world1 with grace and charms that we have never known1 yet which cast a spell upon us4 ,mrs4 ,jrgen-,jensen's repertoire is large1 but still larger is the range of her dramatic personifications4 ,the ,copenhagen audiences are sorry to see her so little1 but the stage of our ,national ,theatre is more adapted to the opera and drama than to the ballet4' ,perhaps the best known of the living ,danish dancers is ,adeline ,gene1 whose name has figured during the past twenty years in the ballet repertoires of all the more or less known opera houses4 ,she has been a special favorite of the ,london public1 where she made her dbut in ,monte ,cristo in ,november1 #ahig4 ,she has shown her best in ,delibes' ,copplia1 though some critics maintain that her triumph in the ,dryad is even greater4 ,but what ,la ,sylphide was to ,taglioni1 ,ghiselle to ,grisi and oline to ,lucile ,grahn1 that is ,copplia to ,gene4 ,she is a true exponent of the ,bournoville school of ballet1 though she claims that she owes her brilliant technique to some other sources4 ,though she studied dancing with her uncle in ,denmark1 yet the method1 style and technique originate from ,bournoville4 ,max ,beerbohm has given a pretty characteristic account of her appearance in ,copplia in ,london4 #8,no monstrous automaton is that young lady4 ,perfect though she be in the haute cole1 she has by some miracle preserved her own self4 ,she was born a comedian and a comedian she remains1 light as foam4 ,a mermaid were not a more surprising creature than she--she of whom one half is that of an authentic ballerina1 whilst the other is that of a most intelligent1 most delightful human actress4 ,a mermaid were1 indeed1 less marvellous in our eyes4 ,she would not be able to diffuse any semblance of humanity into her tail4 ,madame ,gene's intelligence seems to vibrate in her very toes4 ,her dancing1 strictly classical though it is1 is a part of her acting4 ,and her acting1 moreover1 is of so fine a quality1 that she makes the old ineloquent conventions of gesture tell meanings to me1 and tell them so exquisitely that ,i quite forget my craving for words4--,taglioni in ,les ,arabesques8 ,i suspect in my heart of hearts1 she was no better than a doll4 ,grisi in ,ghiselle8 ,she may or may not have been passable4 ,gene6 ,it is a name our grandchildren will cherish1 even as we cherish now the names of those bygone dancers4 ,and alas6 our grandchildren will never believe1 will never be able to imagine1 what ,gene was4' ,the writer has attended a number of ,gene's performances in ,europe and in ,america1 and does not agree entirely with ,mr4 ,beerbohm's eulogy4 ,as already explained above1 ,bournoville's method was a great improvement over the ,french-,italian schools of dancing1 in that it emphasized the dramatic issues and individual traits in the ballet1 which ,gene has exactly followed2 but unfortunately the evolution of the ,danish ballet stopped with ,bournoville4 ,the art remained in its preliminary state of development and ended with the ,dresden-china steps4 ,it is this very style that makes ,gene an attractive museum figure4 ,in this she stands unrivalled4 ,she exhibits an art of the past1 with every detail sedulously studied4 ,you can see how mathematically exact is the position of the fingers1 the attitude of the head1 the lines of the arms and limbs1 and so on4 #8,every step has its name1 every gesture belongs to its code2 there is only one way and no other of executing them rightly1 and that way is ,madame ,gene's1' writes one of her admirers4 ,but the dance is more than an exhibition of mathematical figures4 ,the studied smile and sorrow fail to arouse the emotions of the audience4 ,the ,dresden-china step is a fossilized thing of bygone centuries4 ,it somehow does not belong to the stage4 ,the significance of the ,danish ballet1 and its influence upon the evolution of the art of dancing is greater than it is universally admitted4 ,the ,danes introduced the element of drama into the ballet in order to make the dancing a kind of mute acting4 ,they were the first to revolt against many time-worn rules of the old schools4 ,they were the first to advocate the imitation of nature to a certain extent4 ,bournoville said #8as nature moves in curves and gradations rather than by leaps and turns1 dancing should take that into consideration4' ,the ,russian ballet was influenced through the ,danish and ,swedish4 ,the ,danish ballet was a stepping-stone between the academic ,french-,italian and ethno-dramatic ,russian schools4 ,it has accomplished a great task in the evolution of the art of dancing by making the ballet a dramatic expression on academic lines4 ,,chapter ,,xiv ,,the ,,russian ,,ballet ,nationalism of the ,russian ballet2 pedagogic principles of the ,russian school2 ,french and ,russian schools compared--,begutcheff and ,ostrowsky2 history of the ,russian ballet--,didelot and the ,imperial ballet school2 ,petipa and his reforms--,tschaikowsky's #8,snow-,maiden' and other ballets2 ,pavlova and other famous ballerinas2 ,mordkin2 ,volinin1 ,kyasht1 ,lopokova4 ,i ,the celebrated saying of the ,german poet1 #8,und neues ,leben blht aus den ,ruinen' applies better than anything else to the ,russian ballet1 which has risen out of the ,west ,european choreographic ruins4 ,the ,russian ballet marks a new era in the history of the art of dancing4 ,the ,russian ballet is a new word in the dance world4 ,it brings the smell of trees and flowers1 the songs of birds1 the leaps of gazelles and lions and the very soil of nature to the stage4 ,it breathes the spectral shadows of the trees and mountains2 it begins with the simplest mushroom and ends with the most complicated hot-house plant4 ,it emanates nature with all its uncouthness and grace4 ,like the ,russian composers and poets1 the ,russian dancers strive to echo ,nature with all its majesty and mystery4 ,even with the beginning of the nineteenth century the ,russian ballet begins a course entirely different from that which the schools of ,western ,europe were preaching and teaching4 ,though the ballet-masters and instructors are foreigners1 yet they are actuated by outward circumstances to apply their academic theories to the conditions of a different school4 ,with the advent of a national school of music and drama1 at the head of which stood ,balakireff1 ,borodine1 ,seroff1 ,moussorgsky1 ,tschaikowsky and ,rimsky-,korsakoff in music1 and ,ostrowsky1 ,turgenieff1 ,gogol and others in the drama1 the ,russian ballet is forced in the same channels4 ,the ,russian ballet grows gradually into a new nationalistic art1 and separates itself altogether from the ,french-,italian aristocratic academicism4 ,the frequent remarks of the foreign critics1 suggesting that the ,russian ballet was and is a direct offspring and copy of the classic ,french-,italian schools1 are absolutely wrong4 ,it is true that the ,russians borrowed from the ,french the skeleton and from the ,italians the mechanic contrivances1 but they built up the body themselves and created something entirely different from what ,western ,europe knew of the ballet4 ,a born dancer1 the ,russian could never stand the prescribed poses1 smiles1 tears1 steps and gestures1 that were and are still practised outside4 ,he is ready to undergo the most strenuous training1 and follows microscopically the instructions of the teachers1 in order to acquire the necessary technique2 but when it comes to a performance1 he will put his spontaneous ideas and impulses above the technique and act according to his emotions and inspiration4 ,this is a peculiarity of the ,russian4 ,he is and remains an individual4 ,no school can put him on the same level with his fellow-students4 ,is not ,pavlova quite different from ,fokina or ,karsavina8 ,no other nation cares so much for racial beauty as the ,russian4 ,and in this it is essentially democratic4 ,all ,russian art is based on the peasant1 and not on aristocratic ideals4 ,it expresses this by being simple1 direct1 spontaneous and rugged4 ,the greatest factor in separating the ,russian ballet from the western1 is the ,russian folk-dance4 ,it owes everything to folk-art4 ,no outside influence has ever been able to change the ,russian sthetic taste4 ,in art1 particularly in the ballet1 the peasant ideals force themselves upon all aristocratic and bureaucratic classes4 ,already as a youth he sucks from the atmosphere the innumerable forms of dance expression4 ,in his blood lives unconsciously the whole choreographic code1 as his ancestors have known and practised it for centuries4 ,the design of a peasant is the sthetic scale of a ,russian artist1 particularly of a dancer4 ,aristocratic ideals never amounted to anything in ,russia4 ,the fact is1 the nobleman follows in matters of sthetic taste the moujik1 but never vice versa4 ,the benefit of this has been that neither the court nor foreign academicism could influence the ,russian art of dancing4 ,besides the racial motives1 the question of scientific education has been a hobby with the ,russian art pedagogues since the early part of the last century4 ,the ,russians are almost fanatic in this respect and have specialized their educational institutions to such a degree that they stand unique4 ,the method of training the dancers in other countries was centred mainly in training the step technique and was1 so to speak1 purely choreographic4 ,the ,russians took into consideration all the arts that are related to dancing1 and made a rule that all pupils in the dancing schools should have at least an elementary training in human anatomy1 in sculpture1 drama1 architecture1 painting1 music and in general educational subjects4 ,to know every branch of art correspondingly well--this made it necessary that children be educated in an institute from their childhood on4 ,thus the education for the ,russian ballet is given in the two ,imperial ,ballet ,schools1 one in ,petrograd1 the other in ,moscow1 both being connected with the dramatic departments in which children are trained for the stage4 ,the course in the school lasts eight years1 with an extra one or two years' post-graduate practice at some opera stage1 after which a graduate receives his #8,free ,artist' degree which places him on an equal rank with the graduates of a college1 university or musical conservatory4 ,marius ,petipa1 the director and leading spirit of the ,petrograd ballet school1 has1 upon one occasion1 said to the writer3 #8,we employ the ,french1 the ,italian1 the ,danish and the ,russian instructors in order to give the best of every school and style to our pupils4 ,we teach things that no other school would teach4 ,for instance1 our pupils must know psychology1 which is supposed to be unnecessary for a dancer4 ,but ,i say1 no4 ,how can a girl personify the ,snow ,maiden when she does not know the psychology of a fairy8 ,it's ridiculous1 you might think1 as fairies are only legendary figures4 ,but the very fact that they are imaginary makes it necessary for a girl to know how to avoid showing any human characteristics4 #8,the foreign schools do not care in what steps a dancer should express such subtle emotions as jealousy1 longing1 bliss and sorrow4 ,abroad they prescribe pirouettes for joy and happiness4 ,they prescribe acting in this1 dancing in that phrase4 ,it is not so with us4 ,we teach the pupil to see the various human emotions in historic sculpture and painting4 ,we show them the attitudes of various celebrated actresses in this or that emotion4 ,then1 we go back to psychology and leave it to the artist to formulate the position that he would occupy in various emotions4 ,so you see psychology is very important to a dancer4 #8,dancing is the cream of architecture and sculpture4 ,we teach our future dancers to know the difference between architecture and sculpture and then between a dance and a dramatic pose1 which are just as different as opera singing and concert singing4 ,all our graduates must be accomplished dancers1 actors1 acrobats1 architects and designers4 ,we teach the difference between a ,gothic and ,byzantine line1 a ,moorish and ,romanesque design4 ,we have to analyze music and sculpture to their elementary parts in order to be able to show the manifold manifestations of the human soul1 and the manifold forms of beauty4 ,it is in this way that a dancer comes to know which step or gesture corresponds to the emotions of a ,romanesque ,italian1 ,gothic ,german or ,byzantine ,russian4 #8,i have been assailed by our critics and composers as being too strict in demanding technique from our dancers4 ,but tell me1 please1 can any talent make a man an artist without technical ability1 where mathematical laws are required as in dancing and in music8 ,can there ever be a ,rubinstein1 ,paderewski or ,kubelik without the acquired harmonic and melodic skill on the instrument which ,i call technique8 ,just as little chance has a man of being a great dancer if he does not possess the ability to control his body1 though he be the greatest choreographic genius in the world4 ,art is technique plus talent4 ,no great artist in dancing was ever produced without technique4 #8,do you know what ,lubke said in his immortal ,history of ,sculpture1 that applies also to a dancer8 ,i am telling all my pupils when they leave the institution that1 like sculptor in the clay1 a dancer in himself must seek the 8,image of ,god10 the spark of divine life4 ,when he fails to find this in separate lines1 poses1 gestures1 attitudes and mimic expressions1 he must search for it in the whole1 and1 by thoughtful study and thinking1 he will certainly attain the reflex of immortal beauty--the image of deity4 ,this ,i call artistic creation4 ,in sculpture as in dancing the divine and heroic are the aims of the artistic achievements4 ,without this striving after the divine spark nothing is produced but lifeless figures and dead forms4 ,a dancer1 like any other artist1 should aspire after spirit-breathing beauty4' ,illustration3 ,pavlowa a painting by ,john ,lavery ,this briefly expresses the fundamental traditions of the ,russian ballet school4 ,to a certain extent it is academic1 but it has never interfered with the racial and the individual tendencies of the artists4 ,though there are only three large independent ballet corps in ,russia1 those of ,petrograd1 ,moscow1 and ,warsaw1 yet nearly every one of the sixty or more provincial opera houses keeps its local ballet corps in connection with the operatic and dramatic staff4 ,while in foreign countries ballet has been appreciated mainly as an accessory to the opera for its spectacular effects1 its sthetic appeal being regarded as not possessing a high order of merit1 in ,russia it is considered a great and independent art of the stage1 standing on a plane with opera1 both musically and dramatically4 ,when a few years ago the ,russian dancers made their appearance abroad the public was startled1 as no one could imagine that any good thing could come out of ,czardom4 ,it is a great mistake to suppose that the ,russian ballet is an aristocratic or autocratic institution4 ,by no means4 ,like ,russian drama and music the ,russian ballet is a national institution and a national achievement4 ,in how far the ,russian ballet differs from her sister institutions outside is best to be seen in such old-fashioned ballets as ,les ,sylphides1 which was danced by ,taglioni1 and is danced by the artists of the ,french-,italian schools and figures in the repertoires of the ,russian ballet4 ,another work of similar nature is the ,copplia4 ,not only are these two time-worn ballets wholly changed in their thematic and musical sense but in the very form of conception4 ,the ,russian ,sylphides and ,copplia are old scenes in modern light1 the ,french-,italian ,sylphides and ,copplia are pitiable museum shows4 ,where a ,french-,italian ballerina would leap and whirl1 a ,russian acts and poses4 ,like the art of an actress that of a ,russian ballerina is in the first place a personification of the character in whose rle she is dancing4 ,pavlova as she depicts the incomparable fury of ,glazounoff's ,l',autmne ,bacchanale1 could not by any means be a ,cleopatra as personified by ,astafieva4 ,karsavina with all her dramatic thrill and arabesques is a mediocrity in the rles in which ,pavlova excels4 ,the dramatic issue is the foremost question in the ,russian ballet1 often to such an extent that it minimizes the musical significance4 ,the most talented of the foreign ballet dancers do not begin to go into the dramatic details of a dance as the ,russians do4 ,to get an idea of the ,russian ballet with all its true atmosphere one must go to ,russia4 ,the performances of the ,diaghileff company which foreign audiences have seen1 belong to the revolutionary school1 but not to the typical classic dance of ,russia1 which we shall discuss later4 ,the ,russian ballet dancer is free from all the stiffness1 decadent artificiality1 preconceived emotions1 and fossilized formalities of the ,french-,italian ballet dancers4 ,this freedom he owes1 in the first place1 to the thorough training in the school2 second1 to the distinctly racial traditions of the ,russian drama and art2 and third1 to the serious critical attitude of the audiences4 ,to say that the ,russian ballet has not travelled in ideals far from those of ,milan in the earlier part of the nineteenth century1 as a foreign dance critic has said1 is untrue4 ,the difference between these two schools is just as real as that between the ,catholic and the ,protestant church3 the one believes in the form1 the other in the spirit4 ,,ii ,how much the ,russian ballet has influenced drama1 opera1 painting and music can be judged from the fact that almost without an exception all the ,russian operas require dancing2 thus there are several dramas and orchestra works interwoven with the ballet4 ,on the other hand the dancer has made use of themes and compositions that had been created for other purposes2 for all such ballets as the ,scheherezade1 ,prince ,igor1 ,baba ,yaga and many others1 were written as orchestral suites1 symphonic poems or parts of operas4 ,but the choric imagination discovered in them latent music dramas adapted for dancing4 ,we are inclined to think that the ,moscow ballet1 but not that of ,petrograd1 is a thoroughly ,russian institution1 since ,begutcheff1 who was a director of the ,moscow ,opera and ,ballet at the time of ,tschaikowsky and ,ostrowsky1 banished all foreign influence from that stage1 more so than has ever happened in ,petrograd4 ,in #ahgc ,begutcheff asked ,ostrowsky1 one of the foremost ,russian dramatists1 to write a fairy ballet for performance at the ,imperial ,opera in ,st4 ,petersburg1 exacting that it should be free from any satirical or politically undesirable element4 ,begutcheff asked the dramatist to submit the scenario to him for approval4 ,ostrowsky was noted for his bitter sarcasm anent the ,russian bureaucracy and for his idealization of the peasants4 ,this he was told he should avoid in the ballet1 #8for such would be not pleasing to the imperial family4' ,ostrowsky smiled1 grunting3 #8,god be thanked1 the imperial family has no business to interfere with the imagination of an artist4' ,he finished his libretto without consulting ,begutcheff and entitled it ,snegourotchka--#8,snow ,maiden4' ,the director of the ,petrograd ballet did not like ,ostrowsky's libretto and refused to consider it4 ,begutcheff1 however1 turned the libretto over to ,tschaikowsky to compose the music and it was performed with great success in ,moscow4 ,one of the special features of the ,russian ballet is its chorovody character--that is1 the musical accompaniment1 on many occasions1 is supplied by the singing of the dancers themselves4 ,this species of vocal ballets evidently originated in the choral dances of the peasants4 ,the ,russian ballet is1 in fact1 an outgrowth of the folk-dance just as ,russian music emanates from the folk-song4 ,while watching the ,russian ballet1 you see glimpses of the racial traits4 ,it is not like the music1 however1 a picture of the gloom of lonely moujik life1 in which only here and there a beam of light breaks through the melancholy4 ,it is a succession of brilliant pictures of the medival ,boyars1 the semi-barbaric nobility4 ,every part of the ballet is meant to show the rich ,byzantine colors1 and primitive passions as set forth in a half-civilized garb4 ,it is true the ,russian ballet is controlled by the court and therefore is forced to be aristocratic in appearance4 ,the composers and the ballet-masters have been strictly instructed to avoid all undesirable themes2 but1 strange to say1 the ballet is just as much a mirror of the hospitable1 good natured1 nave and emotional peasant as it is of a spoiled ,boyar4 ,it is not that all the ballet dancers are children of peasants1 educated for the stage by the court1 but because the ,russian dramatists and composers have unconsciously put their own moujik souls in their creations1 for1 though most of the ,russian composers and dramatists are descendants of the aristocracy1 yet in their hearts they have remained one with the people1 whose life they live in thought and feeling4 ,in its principles the ballet is the most aristocratic and the oldest of all ,russian arts of the stage4 ,the unwritten history of the enchanting ,russian dance would make a thrilling record of more than two centuries4 ,the romances1 tragedies1 mysteries1 and intrigues connected with this sealed drama have often played a decisive rle in the affairs of the country4 ,as the result of a romance with pretty ,teleshova ,griboyedoff1 a famous ,russian dramatist was killed in ,teheran4 ,for having dedicated his #8,eugene ,onyegin' to the fascinating ,istomina1 prima ballerina of the ,imperial ,opera1 ,poushkin1 the poet1 lost the love of his wife and was subsequently shot in a duel4 ,the ,czar ,paul fell in love with ,eugeny ,kolossova and in consequence was strangled at his palace in ,petrograd4 ,before the present ,czar ascended the throne he was said to have been so much in love with ,mathilda ,kshesinskaya that he made plans to renounce his throne and marry her4 ,the ballet was introduced in ,russia as early as #afgb4 ,czar ,alexis ,mihailowitch ordered his aid-de-camp1 ,colonel ,van ,staden1 to have a troupe of ,dutch comedians brought to ,moscow4 ,van ,staden made a contract with a ballet manager in ,brussels1 but the foreigner was frightened into giving up the venture because of a rumor that he and his troupe might eventually land in ,siberia4 ,after this a ,german pastor1 the ,rev4 ,johann ,gregory1 undertook the management of the troupe1 hiring sixty-four ,german and ,italian dancers and producing in #afgc the first ballet1 #8,orpheus and ,euridice1' with great success4 ,peter the ,great was so fascinated with the ballet that he himself took part and for this purpose received lessons from the ballet-master4 ,the ballet of this time was1 of course1 ,italian-,french in conception and music4 ,but the early foreign masters soon produced a school of native instructors who gradually made use of the peculiarities of national dances4 ,many ,russian ballets were already at this time of national color1 one of them1 ,baba ,yaga1 having been written by the ,czar himself4 ,baba ,yaga is a ,russian fairy tale4 ,like the ,english #8,witch on a ,broomstick1' ,baba ,yaga rides through the sky on a huge mortar1 propelling herself with a pestle1 while her great tongue licks up the clouds as she passes4 ,the dancers were trained in various military or municipal schools and the teaching was unsystematic in every respect4 ,the first impetus to a national dancing academy was given by ,empress ,anna ,ivanovna1 the sister of ,peter the ,great1 who felt that the education of the dancers was not systematic enough1 and regretted that the best dancers had to be hired from abroad4 ,in #agce1 she asked ,christian ,wellmann1 a teacher of gymnastics in the ,cadet ,corps1 to found a dramatic dancing school in which girls and boys could be educated for the ballet4 ,the ,italian composer ,francesca ,areja was employed to take care of the music1 while ,lande1 a pupil of ,noverre1 was to act as ballet director4 ,as the newly formed school could not get children of the nobility to learn dancing1 ,lande trained a number of poor city boys and girls free of any charge1 and with them gave a performance at the palace4 ,the ,empress was so pleased with their dance that she instructed that the pupils be educated in the ,imperial ,dramatic ,dancing ,school free of charge4 ,,iii ,the most conspicuous figures in the development of the early ,russian ballet were ,locatelli1 ,hilferding and ,lessogoroff4 ,to the latter's efforts are due the reforms that made the ,russian school independent from ,french-,italian influences4 ,but to ,charles ,louis ,didelot is due the thorough and many sided system of training that makes the ,school a unique institution in ,europe4 ,he may be considered the real father of all the pedagogic technical perfection1 for it was he who emphasized the importance of a systematic training in a true dramatic spirit1 contending that a good ballet dancer should also be a good actress and an artist and a poet at heart4 ,up to his time lessons had consisted mostly of physical training1 fencing and gymnastics1 but he insisted that the ballet be put on the same basis as drama4 ,whereas the dance had been merely a spectacular part of opera he intended that it should become an independent production4 ,this brought upon him a storm of indignation on the part of the clergy and their supporters1 the quarrel becoming so intense that in #ahja1 as one of its effects1 the ,czar ,paul was acclaimed a heretic and was combatted by the ecclesiastic powers until he was strangled in his palace and his son1 ,alexander ,i1 ascended the throne4 ,the young ,czar was religious1 but so much an admirer of the ballet that he did not interfere with the plans of ,didelot and gave him a still greater authority4 ,it is strange how ,didelot1 a rather small1 insignificant1 pock-marked and deformed ,frenchman1 who had been for some time a ballet teacher in ,stockholm1 could play a dominating rle during the twenty-five years that he was director of the ,imperial ,ballet ,school4 ,the best known dancers of his school were ,istomina1 ,teleshova and the uncle of ,taglioni1 who later undertook the training of ,maria ,taglioni4 ,miss ,novitzkaya was a celebrated pupil of ,didelot1 but her career was soon destroyed by an affair of the heart4 ,gedeonoff1 the director who followed ,didelot1 fell madly in love with ,novitzkaya and proposed to her1 but the dancer1 having given her heart to a poor composer1 remained true to him and became his wife4 ,this was the end of her art1 though critics claimed her superior to ,taglioni and ,elssler4 ,by #ahdg the ,russian ballet had taken a leading place in ,europe1 but in a purely artistic sense it was still foreign in character1 the librettos being built mainly on foreign themes or constructed to foreign music4 ,with the advent of the composers ,glinka1 ,dargomijsky1 ,seroff1 ,balakireff and ,moussorgsky1 it was evident that ballet faced a reform similar to that which music had undergone4 ,the ballets of the old school had usually been divided into several acts and figures1 each of which had entres and strictly prescribed rules for using various gestures1 steps1 etc41 in certain places4 ,they1 however1 failed to define the relation of emotion and acting to the plot and made dancing a complicated artificial salon-plant4 ,an uninitiated logic could hardly grasp the hieroglyphic meaning of all the queer gymnastic tricks4 ,with the engagement of ,marius ,petipa1 in #ahdi1 there came a change4 ,although a ,frenchman by birth ,petipa was just such a reformer in the ballet as ,michelangelo was in sculpture4 ,more powerful than any other master1 he entered the sphere of choreographic art1 transforming it completely1 and assigning it new limits4 ,petipa was the master of a new ballet1 an idealist in the strictest sense of the word4 ,he sought for a universally available expression1 and often even ignored questions of racial beauty4 ,he gave himself up for many years to an anatomical study of the dance and the human body4 ,by him the human form in all its majesty was valued for its own sake4 ,to exhibit it in all conceivable attitudes and poses1 to display it freely and grandly after the principles of classic beauty1 was the aim of his endeavor4 ,the weak decadent movements and the forced forms of the ,paris and ,milan schools were irritable to his broad views of the art of dancing4 ,unfettered subjectivity prevailed in his efforts1 which admitted no objective realism in their absolute sway4 ,all his method betrays an eternal struggle to introduce into dancing the most sublime ideas1 the sway of idea over form4 ,whether a figure was natural or not interested him little1 if it only expressed what was floating before his mind4 ,petipa infused a new life into ,russian ballet4 ,nevertheless he could not wholly free himself from the mannerism of the time1 nor could he yet find the path to perfect purity and navet of conception4 ,petipa surrounded himself with the best dance authorities of the time4 ,felix ,kshesinsky1 ,leggatt1 ,schirjajeff and ,bekeffy became his associates in the task he had undertaken4 ,coperating in harmony and inspired by the new tendency of nationalism in music and drama1 they made the ballet typically national by introducing a long repertoire of national themes in the dance4 ,with pretty ,kshesinskaya1 ,bogdanova1 ,breobrashenskaya1 ,sokolova1 ,pavlova1 ,karsavina1 ,lopokova and ,fokina as the prima ballerinas many new ballets became thrilling novelties to the ,russian audiences4 ,the ballet in the eyes of the ,petipa school became a mute drama with music1 and at once took a high position artistically and poetically4 ,people grew to find the ballet far more alluring than the pessimistic drama4 ,what ,petipa did pedagogically for the uplifting of the ,russian ballet1 ,vsevoloshky did scenically and industrially4 ,vsevoloshky made himself the spirit of the nationalistic movement by combining with the purely choreographic part the creations of the new school of painters and composers in a highly artistic manner4 ,rubinstein1 ,tschaikowsky1 ,rimsky-,korsakoff1 ,arensky and ,glazounoff in music1 ,bilibin1 ,benois and ,bakst in painting1 contributed their best works to the ballet4 ,on the other hand1 while the ,west ,european ballets cared little for training the male dancers1 the ,russians laid a special stress on training an equal number of boys with the girls in all their ballet schools4 ,the training of a boy is different from that of a girl in that it teaches chiefly those traits that lend virility and strength to expression4 ,a weak masculine element deprives the ballet of its natural effect4 ,a ,pavlova1 ,karsavina or ,fokina without a ,nijinsky1 ,mordkin or ,volinin1 would be like an orchestra without the bass4 ,how repulsive it is to see the #8boy' dancer of the ,english stage1 who is always a girl6 ,,iv ,the most typical of the early purely ,russian native ballets was the ,snegourotchka--#8,the ,snow ,maiden'--which was first performed in #ahgf in ,moscow4 ,tschaikowsky took for his musical themes half a dozen folk-songs from ,brokunin's collection1 and a few from the lips of the village people near ,kieff4 ,this ballet has been of the greatest success on the ,russian stage thus far4 ,this is musically and choreographically a dramatized fairy tale4 ,the ,snow ,maiden is the issue of the union of the gladsome fairy1 ,spring1 with the grim old geni1 ,winter4 ,the father jealously guards her from the courting ,sun-,god1 who is eager to pour upon her his scorching and destructive rays4 ,winter would like to keep her in the forest1 but the mother1 proud of her child's beauty1 wants to send her into the busy world to charm its inhabitants4 ,after a serious conflict of the parents the father yields4 ,the girl feels the strange emotions of love and trembles1 singing a thrilling melody4 ,she wanders from village to village in search of a lover1 but her numerous admirers are unable to stir her heart1 because snow circulates through her veins4 ,she realizes that she is void of real passion4 ,spring appears to her and endows her with the tenderness of a lily1 the languor of a poppy and the desire of a rose4 ,the ,snow ,maiden's heart is touched at last1 but in the moment when she wishes to fall on her lover's neck a brilliant sun ray pours its ,summer heat on her4 ,she dissolves in vapor and floats into the skies4 ,the score is wholly ,russian in mood and color4 ,the dramatic treatment of the subject is the best that ,tschaikowsky has ever done4 ,the ,snow ,maiden's theme is very sad and beautiful in the last movement4 ,the pantomime and steps are excellent1 and seem to melt into one magic whole4 ,tschaikowsky1 with his peculiar genius for evolving floating1 curving dance rhythms and his remarkable gift for lyrical characterization1 made #8,the ,snow ,maiden' a great success4 ,of less success was ,tschaikowsky's second ballet1 #8,swan ,lake1' though it has been in recent years a favorite ballet with the ,petrograd audiences4 ,like the first1 it was built on a fairy tale and an old folk legend theme4 ,it was performed in #ahgf4 ,another ballet full of imaginary episodes and pretty music is #8,the ,sleeping ,beauty4' ,the finest pages of this score are found in the ,adagio misterioso1 describing the sleep of the princess4 ,but choreographically the best part is the ,pas d'action1 in which the prima ballerina seems to melt into one audio-visible beauty that thrills the utmost depths of the soul4 ,the #8,nut ,cracker' has had less success than the others1 yet it is a magnificent work of art4 ,it probably lacks the feminine sentimentality that is always sure of a stage success4 ,to our knowledge none of ,tschaikowsky's ballets has been given in ,america4 ,whether the ,diaghileff company ever gave any of them in ,paris and ,london1 we have been unable to learn4 ,the ,russian ballets that the foreign audiences have thus far seen abroad1 are nearly without exception musical patch-works4 ,neither the ,rimsky-,korsakoff ,scheherezade nor ,prince ,igor nor ,cleopatra was ever written for dancing4 ,the ,scheherezade1 for instance1 is an orchestral suite of ,rimsky-,korsakoff4 ,he never meant it for a ballet4 ,of all the real ballets that the ,diaghileff troupe has given only those composed by ,stravinsky and a few by ,tcherepnin are meant to be danced4 ,among the best ,russian ballet dancers of the strictly classic or1 as we should say1 of the ,petipa school1 are ,kshesinskaya1 ,breobrashenskaya1 ,geltzer1 ,pavlova1 ,mordkin1 ,novikoff1 ,volinin1 ,kyasht and ,lopokova1 most of whom are known abroad4 ,but there are quite a number of ,russian prima ballerinas1 who1 for some reason or other1 have not been able to display their art abroad1 yet who rival the best we know4 ,as with other artists1 dancers all have their individual traits of superiority and weakness4 ,in some dances we have seen ,kshesinskaya superior to all the rest1 in other rles she is just a mediocrity4 ,we can imagine nothing more inspiring and beautiful than ,pavlova and ,mordkin in ,glazounoff's ,l',autmne ,bacchanale4 ,no ,russian ballet dancers have surpassed them in this4 ,in the same way we consider ,pavlova a goddess of grace and beauty in ,drigo's ,papillon and ,saint-,sans' #8,the ,swan4' ,we measure her one of the most lyric artists of the ,russian classic ballet4 ,mme4 ,pavlova is a graduate of the ,petrograd ,ballet ,school and was for years a prima ballerina at the ,mariensky ,theatre in that city before she made a tour to ,riga1 ,warsaw and ,helsingfors4 ,having been received with greatest enthusiasm on her provincial tour she decided to try her luck abroad and made her ,london dbut in #aiaj1 where she immediately had the city at her feet4 ,it is only in recent years that ,pavlova has danced in her own regular ballet1 whereas before she appeared exclusively in solo dances1 either with ,mordkin1 ,novikoff or ,volinin4 ,in our judgment she has not added anything to her reputation or success by her patchy ballet1 particularly in ,america1 where the public is least impressed by pantomimic art of the kind they can see with more advantage in the moving-picture show4 ,it is ,pavlova's art that the people admire1 not the ballets that are concocted for her4 ,it must be said that the ballets recently produced by her possess little dramatic or choreographic appeal4 ,in questions pertaining to her dancing ,pavlova has been broad and tolerant1 and has listened quietly to every eulogistic or critical remark4 ,she has not remained indifferent to the latest choreographic movements but has adapted herself to many suggestions1 particularly to those of the movement of the naturalistic school of ,isadora ,duncan4 ,in spite of the growing influence of the revolutionary new ballet of the ,fokine-,diaghileff group1 and while keeping in view the changing taste and requirements of the public1 ,pavlova should1 we believe1 guard against too great a compromise4 ,she surpasses in her magic swiftness1 delicacy1 bird-like agility1 floating grace and lyric pirouettes all her living rivals4 ,one can see that she has tuned her body to the most delicate pianissimi and the most powerful forti4 ,but when she attempts to use her arms too conspicuously1 or produce ,greek poses1 she is a disappointing failure4 ,we must admit with an ,english critic that #8in ,pavlova's dancing we are no longer aware of the conscious and painful obedience of the body to the dictates of a governing mind4 ,it is as though the spirit itself had left its central citadel and1 by some unwonted alchemy becoming dissolved in the blood and fibres of her being1 had penetrated to the extremities of the limbs4 ,soul from body is no longer distinguishable1 and which is servant to the other none can tell4' ,mordkin and ,volinin stand by no means beyond the dynamic beauty of ,pavlova4 ,in their virilly graceful gestures and poses lies something heroic and strong1 something beast-like in its beauty4 ,mordkin perhaps more than ,volinin is endowed with a robust1 massive and splendid physique1 qualities which leave some of his less critical admirers blind to the deficiencies of his art4 ,both dancers have acquired most of their pliancy and manliness by a course of systematic and rigorous training which gives to their dance an unusual abandon and loftiness4 ,their dancing has a tendency to give a semblance of repose to their quickest motions4 ,they seem to avoid the conventional whirls and pivots with intention1 and to prefer the lion-like leaps and chasses4 ,their reckless swing in ,l',autmne ,bacchanale is just as much an expression of manly vigor as ,pavlova's pirouette and rond de jambe is one of feminine grace4 ,the ranks of the ,russian ballet dancers are of a peculiar bureaucratic order1 beginning with the simple danseuse and ending with the prima ballerina1 which is a rank similar in the hierarchy to that of a full general4 ,lydia ,kyasht1 for instance1 is a lieutenant in her rank of premire sujet4 ,pavlova and ,karsavina are ballerinas1 while only ,kshesinskaya and ,breobrashenskaya are prima ballerinas4 ,among the ,russian dancers known abroad1 ,lydia ,kyasht and ,lydia ,lopokova are next to ,pavlova brilliant exponents of the ,russian classic or so called #8,old ,ballet4' ,they have both impressed us as sincere and eloquent artists of their school1 the one romantic1 the other extremely poetic4 ,the ethereal twists and glides of ,lopokova surpass by far those of ,pavlova in their peculiar fairy-like lines and poses4 ,kyasht appeals to us immensely on account of her absolutely classic plastic and enchanting poses1 which add an exotic air to her enchanting expressions4 ,in introducing ,pavlova1 ,mordkin and other more or less prominent exponents of the ,russian classic ballet to ,america and ,england ,max ,rabinoff has been the practical spirit behind the scenes4 ,an authority on the dance1 ,mr4 ,rabinoff had the conviction1 even when the ,russian dancers were yet unknown in ,america1 that they would ultimately triumph as they did4 ,to his persistent efforts the ,russian ballet owes its success in ,america4 ,the classic ,russian ballet is a pure ,byzantine piece of stage art4 ,it mirrors the bizarre glow and colors of the cathedrals1 the mystic romanticism of the ,kremlin walls and cupolas1 the ,tartar minarets1 the vaulted teremas 7,boyar houses71 the lonely steppes1 the gloomy penal colonies1 the luxurious palaces and twisted towers of a semi-,oriental country4 ,strongly replete with the character of the passing ,boyar life1 it is an era in itself4 ,,chapter ,,xv ,,the ,,era ,,of ,,degeneration ,nineteenth century decadence2 sensationalism--,loie ,fuller and the ,serpentine dance--,louise ,weber1 ,lottie ,collins and others4 ,during the last half of the nineteenth century the art of dancing reached such a low level that ,max ,nordau said3 #8,it is a fleeting pastime for women and youths1 and later on its last atavistic survival will be the dancing of children4' ,an ,english writer of that time wrote aptly3 #8,in these days of culture1 when the public mind is being trained to perceive and appreciate whatever is lovely in nature and art1 when music is universally studied1 when there is ample evidence of general improvement in taste and design in our streets1 our buildings1 on the walls and in the furniture of our homes1 is it not strange that a single art1 one which was in classic times deemed worthy to rank with poetry and painting--the art of dancing--has degenerated to such an extent that its practice1 as frequently exhibited both in public and in private1 is a positive disgrace to the age8 ,this is no exaggerated statement4 ,it is one which ,i think any competent critic is hardly likely to deny4' ,the ,skirt ,dance1 the ,serpentine ,dance1 the ,high ,kickers1 the ,nude ,bayaderes were the sensations of the day4 ,here ,lottie ,collins1 there ,loie ,fuller1 now ,letti ,lind1 then again ,connie ,gilchrist1 figured as the greatest dance attractions of the day4 ,london blamed ,paris1 ,paris blamed ,new ,york4 ,how much the craze for such an art had cast its spell on the public of that period is best illustrated by the immense sums of money that the theatrical managers paid for their shows4 ,the gross receipts during one season in ,new ,york of #8,humpty ,dumpty1' a celebrated ballet of that time1 amounted to #a1djf1jjj4 ,it brought in a similar sum1 if not more1 outside4 ,i ,a brilliant star of the sensational school of dancing was ,loie ,fuller1 of ,chicago4 ,she made her ,new ,york dbut in #8,jack ,sheppard1' with a salary of seventy-five dollars a week4 ,while rehearsing a new play1 she received from an ,english officer a present of an extremely fine ,oriental robe that floated gracefully in the air4 ,this gave her the idea of using it for her dancing4 ,while making some experiments before the mirror1 she noticed the effects brought about by the then newly invented electric light4 ,she tried innumerable variations of poses and all were delightful4 ,this was the birth process of the ,serpentine ,dance4 ,j4 ,e4 ,crawford ,flitch writes of the incident3 #8,the invention of the ,serpentine ,dance coincided with the discovery of electricity as a method of lighting the stage4 ,until that time gas alone had been used4 ,loie ,fuller immediately saw the possibilities of the new scientific illumination1 and with the aid of a few friends she devised a means by which the effect of the vivid sunshine could be obtained through the use of powerful electric lights placed in front of reflectors4 ,then various experiments with color were tried2 for the white light of electricity were substituted different shades of reds1 greens1 purples1 yellows1 blues1 by the combinations of which innumerable and wonderful rainbow-like effects of color were obtained4 ,played upon by the multitudinous hues1 the diaphanous silk gave an impression of startling originality and beauty4 ,coming at the time when the artistic lighting of the stage was scarcely studied at all1 the riot of color created a sensation4 ,nothing like it had been seen before4 ,the old-fashioned limelight1 the flickering gas-jets1 the smoking red and blue flames dear to the ,christmas pantomime1 paled before this discovery of science which apparently possessed inexhaustible possibilities of a stage illuminant4' ,loie ,fuller made a sensation in ,america1 particularly in ,new ,york and ,chicago4 ,but her success was much greater when she gave spectacular performances to the morbid ,berlin1 ,paris and ,london audiences4 ,her dbut at ,folies ,bergres was more than a triumph4 ,she became the rage of ,france4 ,the management of the ,folies ,bergres engaged her for three years at a salary of one thousand dollars a week4 ,how greatly #8,la ,loie1' as she was called in ,paris1 impressed the ,french audiences is best to be seen in what one of the ,french critics writes of her3 #8,we shall not easily forget the ,serpentine ,dance1 undulating and luminous1 full of weird grace and originality1 a veritable revelation6 ,by means of a novel contrivance1 the gauzy iridescent draperies in which ,loie ,fuller swathes herself were waved about her1 now to form huge wings1 now to surge in great clouds of gold1 blue1 or crimson1 under the colored rays of the electric light4 ,and in the flood of this dazzling or pallid light the form of the dancer suddenly became incandescent1 or moved slowly and spectrally in the diaphanous and ever-changing coloration cast upon it4 ,the spectator never wearied of watching the transformations of these tissues of living light1 which showed in successive visions the dreamy dancer1 moving languidly in a chaos of figured draperies--in a rainbow of brilliant colors or a sea of vivid flames4 ,and after having roused us to a pitch of enthusiasm by this luminous choreography1 she appeared triumphant in the pantomime-ballet ,salome1 reproducing the gloomy episode of the death of ,john the ,baptist4' ,among the dances that ,loie ,fuller had in her repertoire1 besides the ,serpentine ,dance1 were the ,rainbow ,dance1 the ,flower ,dance1 the ,butterfly ,dance1 the ,mirror ,dance1 and the ,fire ,dance4 ,it is only natural that all her dances of this kind made necessary a vast paraphernalia of accessories and an army of assistants4 ,the ,fire ,dance she performed in the centre of a darkened stage before an opening in the floor through which a powerful electric reflector threw up intensely brilliant rays4 ,none of her dances had any classified steps1 any poses1 gestures of the kind employed by dancers of various other schools and different ages4 ,the function of the limbs and arms was merely to put veils and draperies into motion4 ,,ii ,of somewhat the same class were the entertainments given by ,louise ,weber or #8,la ,goulu1' another ,american girl of the type of ,loie ,fuller4 ,occasionally she exhibited some skill in her kicking scenes4 ,it is said that she never made pretension to rhythm and grace4 ,her #8art' was a negation of every beauty4 ,it was a frenzied delirious gymnastic4 ,an ,american critic says that her legs were agitated like those of a marionette1 they pawed the air1 jerked out in the manner of a pump-handle1 and menaced the hats of the spectators4 ,lottie ,collins was a favorite of the ,english1 ,french and ,american audiences1 though she was little more than a jumper of a new style4 ,the watchword of the ballet habitus of this time was novelty at any price4 ,it is extremely amusing to read a ,kansas ,city criticism of ,miss ,collins' performance in that city3 #8,lottie ,collins has the stage all to herself and she bounces and dances and races all over it in the most reckless and irresponsible way1 precisely as if she were a happy child so full of health and spirits that she couldn't keep still if she wanted to4 ,sometimes she simply runs headlong all the way round the stage1 finishing the lap with perhaps a swift whirl or two1 or a whisk and kick4 ,sometimes she simply jumps and bounces1 and sometimes she doubles up like a pen-knife with the suddenness of a springlock to emphasize the 8boom40 ,she is invariably in motion except when she stops to chant the gibberish that passes for verses1 but the wonder is that she has breath enough to sing after the first cyclonic interlude4' ,still more debased were the performances of ,olga ,desmond1 ,villiani and others1 who made erotic gestures and nude dances a fad of many ,european capitals4 ,the argument of these dancers was that dancing1 like sculpture1 is predominantly an art of nudes4 ,only the naked body could show the perfect plastic lines and graceful poses4 ,they strove to dance slow music1 sonatas and symphonic poems1 in order to display the effects of certain pretty poses and arabesques4 ,they put a special stress upon the rhythm1 but their interpretation was morbidly perverse4 ,the best figure of this decadent school of dancing was ,kate ,vaughan1 who strove to follow the style and manners of ,taglioni's dance4 ,but the sensation and novelty-loving public of ,england found her art too tame and old-fashioned1 so she died in poverty and broken health in ,south ,africa4 ,mr4 ,crawford ,flitch says of her3 #8,although of course she never reached the perfection of her predecessor ,taglioni1 it was to her careful training in the school of the ballet that she owed the ease and grace of her movements and the wonderful effect of spontaneity with which she accomplished even the most difficult steps4 ,she danced not only with her feet1 but with every limb of her frail body4 ,she depended not merely upon the manipulation of the skirt for her effect1 but upon her facility of balance and the skillful use of arms and hands4 ,her andante movements in particular were a glorious union of majesty and grace4 ,it is true that she condescended at times to introduce into her dance some of those hideous steps which vulgarized the dancing of the period--in particular that known as the 8high kick02 but even this unpleasant step she accomplished with a certain sense of elegance and refinement which disguised its essential ugliness and suggestion of contortion4 ,she danced with a distinct inspiration1 and upon her style was built up all that was best in the dancing of her time4' ,this new dance hysteria seemed to be of an epidemic nature4 ,the vogue for crude and sensational dances held the whole western world for nearly half a century in its iron grip4 ,with the exception of ,scandinavia and ,russia1 all ,europe and ,america were affected by a decadent dance taste4 ,novelty was reckoned far superior to beauty4 ,cleverness was placed high above talent and genius4 ,it was seemingly a prelude to a subsequent effeminacy that was to spread over ,occidental art and life4 ,,chapter ,,xvi ,,the ,,naturalistic ,,school ,,of ,,dancing ,the #8return to nature'2 ,isadora ,duncan--,duncan's influence3 ,maud ,allan2 ,duncan's ,german followers--,modern music and the dance2 the ,russian naturalists2 ,glire's #8,chrisis'--,pictorial nationalism3 ,ruth ,st4 ,denis--,modern ,spanish dancers2 ramifications of the naturalistic idea4 ,i ,during the last part of the past and the beginning of the present century1 when the outside world was ignorant of the existence of the ,russian ballet1 circles of more serious-minded students of art began to voice protest against the cult of skirt and fire dancers1 jongleurs and kickers1 and the time was ripe for any movement that would bring relief from the prevailing deterioration of such a noble art as dancing4 ,even the general public grew bored of acrobatic performances and as during every period of decadence #8there were a few teachers who consistently resolved to impart to their pupils only what was good and beautiful in dancing1 whose voices1 feeble as they sounded1 were nevertheless strong enough to carry weight and rescue their art from the deplorable condition into which it had for the time fallen1' as a dancing critic of that time aptly writes4 ,one of the most ardent advocates of a new classic art of dancing during this time was ,mrs4 ,richard ,hovey4 ,in all her teaching and preaching ,mrs4 ,hovey based the principles of the prospective style upon the plastic art of the ancient ,greeks4 ,she made a vigorous propaganda for this in ,new ,york1 ,boston and ,california4 ,whether directly or indirectly ,miss ,isadora ,duncan1 who had been interested in initiating a reform of human life in its least details of costume1 of hygiene and of morals1 felt the impulse of ,mrs4 ,hovey's propaganda and joined the worthy movement4 ,the fundamental principle of ,mrs4 ,hovey's propaganda was the return to nature4 ,according to the theory of this new movement1 dancing was declared an expression of nature4 ,water1 wind1 birds and all forces of nature are subject to a law of rhythm and gravity4 ,not the tricky1 broken lines1 spinning whirls and toe gymnastics1 but soft1 curved undulations of nature1 are close to ,mother ,earth4 ,thus also man in his normal life and savage state1 moved rather in slow curves than in quick broken lines4 ,this1 briefly1 was the principal argument of the few reformers who inspired ,miss ,duncan4 ,already ,noverre and ,petipa had emphasized the fact that ancient ,greek sculpture and ,greek designs gave the best ideas of graceful lines and pleasing human forms4 ,but the votaries of the new school explained that in a return to the natural gesture of human life ,greek art was the only logical criterion4 ,miss ,duncan in her essay1 #8,the ,dance1' says3 #8,to seek in nature the fairest forms and to find the movement which expresses the soul of these forms--this is the art of the dancer4 ,it is from nature alone that the dancer must draw his inspirations1 in the same manner as the sculptor1 with whom he has so many affinities4 ,rodin has said3 8,to produce good sculpture it is not necessary to copy the works of antiquity2 it is necessary first of all to regard the works of nature1 and to see in those of the classics only the method by which they have interpreted nature40 ,rodin is right2 and in my art ,i have by no means copied1 as has been supposed1 the figures of ,greek vases1 friezes and paintings4 ,from them ,i have learned to regard nature1 and when certain of my movements recall the gestures that are seen in works of art1 it is only because1 like them1 they are drawn from the grand natural source4 #8,my inspiration has been drawn from trees1 from waves1 from clouds1 from the sympathies that exist between passion and the storm1 between gentleness and the soft breeze1 and the like1 and ,i always endeavor to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life4' ,thus ,miss ,duncan started her career by interpreting natural qualities by means of natural movements4 #8,i have closely studied the figured documents of all ages and of all the great masters1 but ,i have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head4 ,these ugly and false positions in no way express that state of unconscious ,dionysiac delirium which is necessary to the dancer4 ,moreover1 movements1 just like harmonies in music1 are not invented2 they are discovered1' writes ,miss ,duncan4 ,to her the only mode of dancing is barefoot4 ,according to her #8the dancer must choose above all the movements which express the strength1 the health1 the grace1 the nobility1 the languor or the gravity of living things4' ,gravity to ,miss ,duncan is natural and right4 ,a ballet dancer1 a ,pavlova1 ,nijinsky and ,karsavina1 eager to defy the laws of gravity1 is to her a freak4 ,prince ,serge ,volkhonsky1 who has been a conspicuous figure in the ,russian dance reform-movement1 writes of ,miss ,duncan's school in comparison with that of ,jacques-,dalcroze3 #8,her dance is a result of personal temperament1 his movements are the result of music2 she draws from herself1 he draws from rhythm2 her psychological basis is subjective2 his rhythmical basis is objective2 and1 in order to characterize her in a few words1 ,i may say ,isadora is the dancing 8ego40 ,this subjective psychological basis of ,isadora's art ,i find clearly emphasized by ,mr4 ,levinsohn's words3 8,the images or moods 7,stimmungen7 created in our mind by the rational element--music--cannot be identical with every one1 and therefore cannot be compulsory4 ,just in that dissimilitude of moods and uncompulsoriness of images resides the best criterion for the appreciation of ,isadora ,duncan as a founder of a system4 ,her dance is precisely not a system1 cannot found what is called a #8school'2 it needs another similar #8ego' to repeat her4 ,and according to this it seems quite incomprehensible that some people should see in ,miss ,duncan's art #8a possibility for all of us being beautiful4' ,no1 not at all for all of us2 for not every temperament1 while embodying #8images or moods' called forth by music1 will necessarily create something beautiful2 one cannot raise the exceptional into rule4 ,in order to be certain of creating something beautiful1 no matter whether in the moral or the sthetical domain1 it is not in ourselves that we shall find the law1 but in subjecting ourselves to another principle which lives outside of ourselves4 ,for the plastic 7choreographic71 this principle is ,music4 ,it is not instinct expressing itself under the influence of music--which with every man is different1 and only in few chosen natures beautiful in itself--but the rhythm of music1 which in every given composition is an unchangeable element subjecting our #8ego4' ,this is the basis of living plastic art4 ,and in this respect ,isadora's art satisfies the double exigencies of the visible and the audible art as little as the ballet4 ,her arms are certainly more rhythmical than her legs1 but as a whole we cannot call her rhythmical in the strict sense of the word1 and this appears especially in the slow movements3 her walk1 so to speak1 does not keep step with music2 she often steps on the weak part of the bar and often between the notes4 ,in general it is in the examples of slow tempo that the insufficiency of the principle may be observed4 ,the slower a tempo the more she #8mimics1' and the farther1 therefore1 she strays from the music4 ,if we look at the impression on the spectators we shall see that all in the paces of the quick tempos the movement must enter into closer connection with the music2 in cases of very minute divisions of the bar the simple coincidence of the step with the first #8heavy' part already produces a repeated design which makes ear and eye meet in one common perception4 ,if the representatives of that particular kind of dance were to realize this they would endeavor to introduce into slow tempos the rhythmical element instead of the mimic1 which leads them out of the music and converts the dance into a sort of acting during the music1 a sort of plastic melo-declamation40' ,these critics have pointed out the subjective nature of ,miss ,duncan's dance and her impatience of rules and formal technique4 ,they believe that because of these two qualities of her art it cannot be repeated1 except by #8another similar ego4' ,but as if in direct answer to these charges come ,miss ,duncan's pupils4 ,they are by no means highly selected material or #8similar egos1' but each 7among the more mature pupils7 is a beautiful and individual dancer4 ,to each she has transmitted her spirit2 in each she has preserved the native personality4 ,they are the best evidence thus far obtained of the truth of ,miss ,duncan's dictum of the #8possibility for all of us being beautiful4' ,moreover we must not suppose that ,miss ,duncan's contempt for formal technique is a contempt for technical ability4 ,she herself is a marvellously plastic and exact dancer1 and she demands1 ultimately1 no less of her pupils4 ,the limited range of her technique1 so often complained of1 is the deliberate result of her belief that the only movements proper to the dance are the natural movements of the human body4 ,she stakes the success of her art upon the proposition that these movements alone are capable of the highest absolute and interpretive beauty4 ,as to the truth of this proposition each observer must judge for himself from the results4 ,again1 ,miss ,duncan does not always #8dance the music' literally1 note for note1 according to the theory of the ,jacques-,dalcroze system4 ,her interpretation is frankly emotional and subjective1 but it does not pretend to transcend the music4 ,in further justice to her efforts we should consider ,isadora ,duncan as much a prophet of a new movement1 as a dancer of a new school4 ,her influence has been more far-reaching in ,russia than anywhere else4 ,she practically brought about a serious revolution among the ,russian dancers1 of whom we shall speak in another chapter4 ,she influenced the art of dancing in ,germany1 ,france1 ,italy and ,england4 ,she was the striking contrast to all the deteriorated stage dances of the early twentieth century in ,america4 ,she has given a powerful impulse to all dance reforms by counteracting the academic and time-worn views4 ,she is the indirect motive of the ,diaghileff-,fokine break with the old ,russian ballet and their striving for new rules and ideas in the art of dancing4 ,to her is due the gradual increase of refined taste and higher respect for the stage dance4 ,personally we have found that her dances failed to tell the phonetic story of the music4 ,her selection of the compositions of ,gluck1 ,schubert1 ,chopin and ,beethoven has not been uniformly successful1 since most of them were never meant by the composer to be danced4 ,compositions of this kind lack the necessary choreographic episodes and often even the plastic symbols4 ,no genius1 we believe1 could visualize the slow cadences and solemn images of any symphonic music of those ,german classics1 whose works have been the choice of ,miss ,duncan4 ,with a few exceptions1 such as the ,moments ,musicals and some other pieces1 we have never been able to grasp the meaning of the phonetoplastic images of ,isadora ,duncan's dances4 ,illustration3 ,duncan ,,ii ,it was only natural that ,miss ,duncan's laureated appearances in various ,european cities quickly found followers and imitators4 ,the best known exponent of ,duncan's naturalism has been ,miss ,maud ,allan1 a talented ,canadian girl1 whose dancing in ,england has made her a special favorite of the ,london audiences1 before whom she first appeared in #aijh4 ,how favorably she was received by the ,english audiences is evident from the fact that the late ,king ,edward invited her to dance for him at ,marienbad4 ,like ,miss ,duncan1 ,maud ,allan has danced mostly barefoot1 her body slightly clothed in a loose ,greek drapery4 ,the most sensational in ,miss ,allan's repertoire has been the #8,vision of ,salome1' compiled from passages from ,richard ,strauss' opera1 in which she has tried to give the impression of the ghastly ,biblical tragedy by means of plastic pantomime and dancing4 ,among her artistically successful dances has been the ,grieg ,peer ,gynt suite1 of which the ,london critics speak as of #8a beautiful art of transposition4' #8,the faithfulness with which her movements follow the moods of the composer is probably only fully realized by those who are musicians as well as connoisseurs of dance4 ,her translation of music has not seldom the rare quality of translations of being finer than the original1 and there are not a few who1 when they hear again1 unaccompanied1 the music which her dancing has ennobled1 will be conscious of a sense of incompleteness and loss1' writes an ,english dance authority of her art4 ,isadora ,duncan's naturalism has probably made the most powerful direct impression upon ,german aspirants1 first1 through the school of dancing of ,isadora's sister1 ,elisabeth1 and second1 through the pretended appeal to the moods by means of classic ideals1 and yet requiring comparatively little technique4 ,assiduously as a ,german student will practice in order to acquire the most perfect technique for being an artist1 musician1 singer or architect1 he lacks the painstaking persistency of a ,russian1 ,hungarian1 ,bohemian or ,spaniard in acquiring a thorough technique for his dance4 ,he is inclined to interpret music by means of the most easily acquired technique1 such as seemingly the naturalistic school requires4 ,for this very reason1 ,miss ,duncan has been the greatest dance genius for the ,germans1 as that is so clearly to be seen in the excellent work of ,brandenburg1 ,der moderne ,tanz4 ,this book from the beginning to the end1 written in a fine poetic prose1 is a eulogy of ,duncan's naturalism1 and an elaborate display of the minutest pretty moves of the ,german exponents of the movement4 ,among the praised geniuses of ,brandenburg are the sisters ,wiesenthal1 who attracted widespread attention in some of ,max ,reinhardt's productions4 ,the sisters ,wiesenthal1 ,elsa and ,grete1 were received with unparalleled enthusiasm at home and in consequence made a tour abroad1 on which occasion one of them danced in ,new ,york4 ,how little she impressed the ,new ,york audience1 can be judged from what one of the most favorable critics wrote of her as having #8a pretty fluttering1 tottering marionette manner of her own4' ,our impression is that the sisters ,wiesenthal proved most successful in the quaint1 nave and simple ensemble performances which they gave in ,germany4 ,they displayed some excellent ritartandos and a few successful adagio figures4 ,one could see that their steps and arm twists were not a result of systematic studies but of spontaneous impulses1 since in repetitions of the music there was no sign of a well trained art1 the wing-like arms of the first phrase being arabesque-like in the repetition1 etc4 ,they showed that they possessed a poetic conception of the dance1 but failed to grasp and express its intrinsic meaning4 ,they were rather poets than dancers1 rather actresses than designers in the choreographic sense4 ,their acting often interfered with dancing and brought about an unpleasant disharmony with the musical rhythm4 ,they may have danced better on other occasions1 but what a number of impartial connoisseurs of the dance saw of them stamps them as talented dilettantes rather than accomplished artists of a school4 ,a girl who enjoyed a great reputation in ,vienna1 ,munich and in other ,german cities in the first decade of this century1 but of whom was heard nothing later1 was ,miss ,gertrude ,barrison1 an ,anglo-,viennese4 ,her art was more clever and more in style with the principles of the naturalistic than that of the sisters ,wiesenthal4 ,she won the ear of ,austria for the new message4 ,with a certain assurance in the conviction of her individuality1 ,miss ,barrison treated her art with freedom and loftiness4 ,she enforced her personality more than her art upon the spectators1 and this was1 to a great extent1 the secret of her phenomenal success4 ,the best of all the ,german dancers of this century thus far has been ,rita ,sacchetto1 a pretty ,bavarian girl1 who made her dbut in ,munich1 and was at once recognized as an artist of much talent4 ,though the ,berlin critics did not receive her with the enthusiasm that they had shown to the ,wiesenthals1 she was by far the biggest artist of all4 ,her slighter recognition was possibly due to her lighter style of work and an unfavorable repertoire1 lacking in music that was of timely importance4 ,this withholding of recognition has always been peculiar to ,berlin4 ,tired out by hundreds of aspiring virtuosi and artists of every description1 an average ,berlin critic1 like one of ,new ,york1 grows at the end of a season nervous in the presence of the vast majority of mediocrities and press-agented celebrities1 so that he is likely to ignore or tear down the serious beginner1 if her performance coincides with his #8blue' moods4 ,this is what probably happened to ,miss ,sacchetto4 ,the connoisseurs and authorities of other countries who have seen her dances speak of them in highest terms as pretty and exceedingly graceful exhibitions of poetic youthful soul4 ,what has become of ,miss ,sacchetto lately the writer has been unable to learn4 ,,iii ,though none of the above mentioned dancers of ,germany has pretended to be a follower of ,miss ,duncan1 yet all belong to the new movement that was brought into being by her persistent efforts4 ,they all defy the principle of the classic ballet1 they all pretend to interpret music in their #8plastic art1' as they have preferred to term the dance4 ,traditionally the ,german music has been either inclined to classic abstraction1 or to strictly operatic lines4 ,the spectacular ballet of ,richard ,strauss1 #8,the ,legend of ,joseph1' belongs more to pantomimic pageantries than a class of actual dance dramas1 of which we shall speak in another chapter4 ,the music of a foreign school and race is always lacking in that natural stimulating vigor that it gives to those who are absolutely at home with racial peculiarities choreographically4 ,in this the ,russians have been lately more fortunate than other nations4 ,a great number of talented young ,russian composers have written an immense amount of admirable dance music1 ballets and instrumental compositions that could be danced4 ,they have an outspoken rhythmic character1 which is the first requirement of the dance4 ,in this the recent ,german composers have remained behind the ,russians4 ,the compositions of ,richard ,strauss1 ,reger1 ,schnberg and the other distinguished musical masters of modern ,germany offer nothing that would inspire a new school of the art of dancing4 ,in the first place they lack the instinct for rhythm1 and in the second1 they lack the plastic sense so essential for the dance4 ,this circumstance has been most detrimental to those of the young ,german dancers who attempted to follow the naturalistic movement4 ,how much better than the ,german ,duncanites have been those of ,scandinavia1 ,finland and ,france in this direction is difficult to say authentically1 though they have had the advantage over the ,germans1 of having at their disposal the works of some of the most talented young composers of dance music4 ,grieg1 ,lange-,mller1 ,svendsen and many others have written music with strong rhythmic and choreographic images4 ,but superior to all the ,scandinavian composers1 in the modern dance music or music that could be danced1 are the ,finns3 ,sibelius1 ,jaernefelt1 ,melartin1 ,merikanto and ,toiwo ,kuula4 ,many of ,sibelius's smaller instrumental compositions offer excellent themes and music for dancing4 ,a few of them are real masterpieces of their kind4 ,but the ,finns have shown up to this time little interest for the modern dance movements4 ,the ,danes1 ,swedes and ,norwegians have been more affected by the new ideas that are connected with the stage1 though none of them has shown any marked achievement that would be known in wider circles4 ,ida ,santum1 a young ,scandinavian girl in ,new ,york1 has given evidence of some graceful plastic forms and idealized folk-dances4 ,thus far she has not shown anything strikingly appealing to the audiences4 ,aino ,akt's ,salome ,dances are purely operatic and have no bearing upon our subject4 ,among ,english and ,american girls who have followed the footsteps of ,miss ,duncan are ,gwendoline ,valentine1 ,lady ,constance ,stewart-,richardson1 ,beatrice ,irvin1 and a number of others1 but the writer has been unable to gather any sufficient data for critical arguments4 ,undoubtedly the most talented dancer of the naturalistic school whom we have known among the ,russians is ,mlle4 ,savinskaya of ,moscow4 ,in power of expressing depth and subtlety of dramatic emotions ,savinskaya is supreme4 ,she is an actress no less than a dancer4 ,her conception of naturalistic dancing is so deeply rooted in her soul and temperament that it often acts against the plastic rules and grace1 often displayed by the dancers for the sake of pleasing effects4 ,miss ,duncan herself strives to create moods by means of classic poses1 but ,savinskaya's ideal is to express the plastic forms of music in her art4 ,she is romantically dramatic1 more a tragedian than anything else4 ,her dance in the graphically fascinating ballet ,chrisis by ,reinhold ,glire1 in ,moscow1 revealed her as an artist of the first rank1 and perhaps the first thoroughly trained ,duncanite whose technique and dramatic talent rival with any ballerina1 of the new school or the old4 ,probably the lack of suitable music has been thus far the greatest obstacle in the way of the naturalistic dancers1 though they pretend to find their ideals in the eighteenth and nineteenth century's classic compositions4 ,no doubt some of the old music can be aptly danced1 such as the light instrumental works of ,grieg1 ,mozart1 ,chopin and ,schumann1 but the proper music has yet to be composed4 ,the phonetic thinking of past music was involved1 hazy in closed episodes and often disconnected in structural form4 ,there is one single theme of a poem in a whole symphony4 ,to illustrate this plastically is a physical impossibility4 ,maud ,allan's and ,isadora ,duncan's attempts to dance symphonies of ,beethoven and other classic idealists have been miserable failures4 ,those who pretend to see in such dances any beauty and idea1 are ignorant of musical and choreographic principles4 ,to our knowledge ,reinhold ,glire1 the genial young ,russian composer and director of the ,kieff ,symphony ,society1 is the first successful musical artist in the field of naturalistic ballets4 ,his ballet ,chrisis1 based on an ,egyptian story by ,pierre ,louis1 is a rare masterpiece in its line4 ,though built on the style of the conventional ballets1 its music is meant for naturalistic interpretation and lacks all the pirouette1 chasse1 and other semi-acrobatic ballet music forms4 ,like the principles laid down by ,delsarte and his followers1 ,glire's music #8moves with the regular rhythm1 the freedom1 the equipoise1 of nature itself4' ,it has for the most part a slow ancient ,egyptian measure1 breathing the air of the pleasant primitive era4 ,it suggests the even swing of the oar1 the circular sweep of the sling1 the rhythmic roar of the river1 and all such images that existed before our boasted civilization4 ,it gives a chance for the dancer of the naturalistic school to display pretty poses1 primitive gestures and #8sound' steps4 ,like all ,glire's compositions this is exceedingly lyric1 full of charming old melodies and curved movements that occasionally call to mind ,schumann1 ,schubert and ,chopin4 ,the ballet begins with ,chrisis in the majestic valley of the ,nile spinning cotton on a spinning-wheel1 which she stops when a soft music1 coming from a far-away temple1 comes to her ears4 ,it is the music of the morning-prayer4 ,she prays1 dancing to the trees and the clouds4 ,at this time ,kise1 another little maiden1 is passing with food for her parents and ,chrisis calls her4 ,they dance together and spin for a while4 ,there is in the background a sacred tree4 ,chrisis approaches it in slow dance and utters her secret wish4 ,during this time ,kise meets on the river shore a blind musician carrying a lyre4 ,he plays a gay dance to the girls1 to which they dance so exquisitely that phantom-like nymphs and fawns emerge from the river1 and stop to watch4 ,finally a shepherd1 who has been looking on from the top of the hill1 becomes interested in the dance and makes friends with the girls4 ,there ensues a passionate love scene and dramatic climax for the first act1 ,chrisis going into a convent4 ,the second act takes place in an ancient convent1 ,chrisis as a dancing priestess4 ,the last act takes place with ,chrisis as a courtly lady with every luxury around her4 ,it is a magnificent piece of work musically and choreographically1 and should find widespread appeal4 ,we may count as belonging to the naturalistic school of dancing the exponents of idealized and imitative national dances1 though they do not belong among the ,duncanites4 ,particularly we should mention ,ruth ,st4 ,denis1 who is widely known through her skilled imitation and idealization of the ,oriental dances4 ,as ,isadora ,duncan sought by the ancient ,greeks the ideal of her #8natural' dances1 so ,ruth ,st4 ,denis attempted to find choreographic beauties in the art of the ,east4 ,in this she has been strikingly successful4 ,her ,japanese dances can be considered as real gems of the ,orient in which she has made the impression as if an exotic old print of the empire of the ,mikado became alive by a miracle1 though it was in the ,indian sacred dances that she made her reputation4 ,this is what a dance critic writes of her3 #8,clad in a dress of vivid green spangled with gold1 her wrists and ankles encased in clattering silver bands1 surrounded by the swirling curves of a gauze veil1 the dancer passed from the first slow languorous movements into a vertiginous whirl of passionate delirium4 ,alluring in every gesture1 for once she threw asceticism to the winds1 and yet she succeeded in maintaining throughout that difficult distinction between the voluptuous and the lascivious4 ,the mystic ,dance of the ,five ,senses was a more artificial performance and only in one passage kindled into the passion of the ,nautch4 ,as the goddess ,radha1 she is dimly seen seated cross-legged behind the fretted doors of her shrine4 ,the priests of the temple beat gongs before the idol and lay their offerings at her feet4 ,then the doors open1 and ,radha descends from her pedestal to suffer the temptation of the five senses4 ,the fascination of each sense1 suggested by a concrete object1 is shown forth in the series of dances4 ,jewels represent the desire of the sight1 of the hearing the music of bells1 of the smell of the scent of flower1 of the taste of wine1 and the sense of touch is fired by a kiss4 ,her dancing was inspired by that intensity of sensuous delight which is refined to its farthest limit probably only in the women of the ,east4 ,she rightly chose to illustrate the delicacy of the perceptions not by abandon but by restraint4 ,the dance of touch1 in which every bend of the arms and the body described the yearning for the unattainable1 was more freely imaginative in treatment4 ,and in the dance of taste there was one triumphant passage1 when1 having drained the wine-cup to the dregs1 she burst into a ,dionysiac ,nautch1 which raged ever more wildly until she fell prostrate under the maddening influence of the good wine4 ,then by the expression of limbs and features showing that the gratification of the senses leads to remorse and despair1 and that only in renunciation can the soul realize the attainment of peace1 she returns to her shrine and the doors close upon the seated image1 resigned and motionless4 ,so she affirmed in choice and explicit gesture the creed of ,buddha4' ,very strange yet effective are the dances of ,ruth ,st4 ,denis in which she exhibits the marvellous twining and twisting art of her arms1 which act as if they had been some ghastly snakes4 ,her arms possess an unusual elasticity and sinuous motion which cannot be seen better displayed by real ,oriental dancers4 ,the hands1 carrying on the first and fourth finger two huge emerald rings1 give the impression of gleaming serpents' eyes4 ,miss ,st4 ,denis is apparently a better musician than ,miss ,duncan1 while in her poetic sense and in the sense of beauty she remains behind4 ,however1 as a musician she is excellent1 and always acts in perfect rhythm with the composition4 ,but unfortunately all her dance music is just as little ,oriental as ,miss ,duncan's is ,greek4 ,ruth ,st4 ,denis seemingly is ignorant of the numerous ,russian ,oriental compositions which would suit her art a thousand times better than the works of the ,occidental classics4 ,in justice to her efforts it must be said that she is a thorough artist in spite of the fact that she has never studied her dances in the ,east4 ,her slender tall figure and semi-,oriental expression give her the semblance of an ,indian ,bayadere4 ,it has always impressed us that she minimizes her art by affected manners and an air that lacks sincerity4 ,we believe her to have very great talent1 but for some reason or other1 she has failed to display it fully4 ,,iv ,the modern ,spanish dances as performed by ,rosario ,guerrero1 ,la ,otero and ,la ,carmencita1 are in fact a perfected type of ,spanish folk-dances4 ,the ,kinneys write of them as follows3 #8,so gracious1 so stately1 so rich in light and shade is the ,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 8,the ,rose and the ,dagger10 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 day 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' ,it is clear that none but a ,spaniard could perform the more or less perfected folk-dances of the country4 ,it requires a physique with born talent and traditions to give the dance its proper fire and brutal elegance4 ,illustration3 ,maud ,allan ,after a painting by ,otto ,marcus ,havelock ,ellis gives a graphic picture of the ,spanish dance4 #8,one of the characteristics of ,spanish dancing1' he writes1 #8lies in its accompaniments1 and particularly in the fact that under proper conditions all the spectators are themselves performers4 ,in flamenco dancing1 among an audience of the people1 every one takes a part by rhythmic clapping and stamping1 and by the occasional prolonged 8oles0 and other cries by which the dancer is encouraged or applauded4 ,thus the dance is not the spectacle for the amusement of a languid and passive public1 as with us4 ,it is rather the visible embodiment of an emotion in which every spectator himself takes an active and helpful part2 it is1 as it were1 a vision evoked by the spectators themselves and upborne on the continuous waves of rhythmical sound which they generate4 ,thus it is that at the end of a dance an absolute silence often falls1 with no sound of applause2 the relation of performer and public has ceased to exist4 ,so personal is this dancing that it may be said that an animate association with the spectators is necessary for its full manifestation4 ,the finest ,spanish dancing is at once killed or degraded by the presence of an indifferent or unsympathetic public1 and that is probably why it cannot be transplanted but remains local4' ,the naturalistic school of dancing is by no means an invention of ,isadora ,duncan1 though she has been one of its most persistent preachers4 ,the true psychological origin belongs to ,delsarte1 whose method of poetic plasticism inspired ,mrs4 ,hovey to give lessons and lectures on the subject4 ,it branched out like a tree4 ,every country was interested in the new idea in its own way4 ,america1 having no sthetic traditions whatsoever1 found the pioneers in ,isadora ,duncan and ,ruth ,st4 ,denis2 ,germany found hers in the sisters ,wiesenthal1 ,miss ,rita ,sacchetto and others2 ,france1 in ,mme4 ,olga ,desmond2 ,spain1 in the refined and talented folk-dancers2 ,russia1 in the rise of a new ballet1 and so on4 ,like a magic message1 the idea filled the air and was inhaled by special minds4 ,there was a strong argument in favor of its development1 and that argument was the spiritual yeast that set the world into a ferment4 ,the more it was opposed and fought the more it spread and grew4 ,the naturalistic dance has been thus far more an awakening than a mature art4 ,as such it is apt to be crude and imperfect4 ,there is no reason to fear that a fate like that which befell the ,skirt ,dance may overtake the #8classical' dancing of the naturalistic school4 ,it has accomplished a great service in bringing the audiences to realize that the argument of natural plasticism is based on philosophical truth4 ,soon the ranks of those who believe that #8natural' dancing is that which requires the least technique will decrease in favor of those serious minded artists1 who seek the solution in technique plus talent4 #8,the theory that a dancer can ignore with impunity the restrictions of technique1 that she is bound to please if only she is natural and happy and allows herself to follow the momentary inspiration of the music and dances with the same gleeful spontaneity as a child dancing to a barrel-organ is a doctrine as seductive as it is fatal4' ,the future solution of the movement lies in perfection of the technique and in grasping the deeper depths of musical relation to the art of dancing4 #8,the chief value of reaction resides in its negative destructive element1' says ,prince ,volkhonsky4 #8,if1 for instance1 we had never seen the old ballet1 with its stereotyped character1 ,i do not think that the appearance of ,isadora ,duncan would have called forth such enthusiasm4 ,in ,isadora we greeted the deliverance4 ,yet in order to appreciate liberty we must have felt the chains4 ,she liberated1 and her followers seek to exploit that liberty4' ,,chapter ,,xvii ,,the ,,new ,,russian ,,ballet ,the old ballet3 arguments pro and con--,the new movement3 ,diaghileff and ,fokine2 the advent of ,diaghileff's company2 the ballets of ,diaghileff's company2 #8,spectre of the ,rose1' #8,cleopatra1' ,le ,pavillon d',armide1 #8,scheherezade'--,nijinsky and ,karsavina--,stravinsky's ballets3 #8,petrouchka1' #8,the ,fire-,bird1' etc42 other ballets and arrangements4 ,i ,gordon ,craig very aptly characterized the ,french ballet as the most deliciously artificial impertinence that ever turned up its nose at ,nature4 ,commenting on this ,prince ,volkhonsky says3 #8,seldom one meets in a short definition with such an exhausting acknowledgment of the positive and negative sides of the question4 ,how easy and pleasant it is to agree with a judgment which is penetrated with such impartiality4 ,who will not acknowledge that that powdered ,marquise is charming1 and yet who will not acknowledge that that huge pile of false hair sprinkled with powder is against ,nature8' ,magnificent as the old ,russian ballet has been dramatically and acrobatically1 yet it failed to acknowledge the artificialities of its form and the deficiencies of its phonetic conceptions4 ,it failed to see what ,delsarte1 ,mrs4 ,hovey1 ,isadora ,duncan and the partisans of the naturalistic school had grasped3 the call of ,nature4 ,though it banished the powdered ,marquise of the ,french school from the stage1 yet it did not banish the creed from the ballerina's toe--the unmusical acting1 the spectacular leaps and pirouettes1 the umbrella-like tunics1 the acrobatic stunts1 the fossilized forms of the dead ages4 ,in praise of the old ballet ,mr4 ,a4 ,levinsohn has written in a ,russian magazine of the dance3 #8,when a ballerina rises on the tips of her toes 7points71 she frees herself of a natural movement and enters a region of fantastic existence4' ,the principal meaning of all the ballet technique in preaching the toe-dance is to defy the laws of gravity and give the dance the semblance of a flight1 or floating in the air4 ,there is no question that a few musical phrases require such plastic1 particularly in such compositions as ,saint-,sans' #8,the ,swan1' or ,drigo's ,papillons1 which ,pavlova has visualized so magnificently4 ,but to apply the same style to express the romantic1 poetic1 tragic and other human emotions1 to apply the toe-technique to every form of dancing1 is really abnormal4 ,prince ,volkhonsky1 who has contributed so much to the ,russian ballet reform1 writes with striking argument and vigor3 #8,movement cannot be an aim in itself2 such a movement would be nonsense4 ,what does a dancer express when he imitates a spinning-top8 ,what does the ballerina express when with a fascinating smile she regards caressingly her own toe1 as she toe-dances over the smooth floor8 ,what does her body express1 the human body--the most wonderful instrument of expression on earth--when1 carried away by gymnastic enthusiasm in an acrobatic ecstasy1 with panting chest and terror in her open eyes1 she crosses the stage diagonally1 whirling on one toe1 while with the other she executes the famous 8thirty-two fouetts08' #8,gymnastics transform themselves into fantastics1' exclaims ,levinsohn2 #8but ,i assure you1 when in the circus the man-serpent1 all dressed in green scales1 puts his legs behind his shoulder1 this is no less fantastic4' ,the so-called tunic 7the ,french tutu7--a light short garment of pleated gauze--has1 with ,mr4 ,levinsohn1 not only a physical justification from the point of view of comfort but a logical explanation1 an sthetic sanction2 it #8lends to the body a seeming stability4' #8,do you catch this8' he continues4 #8,the perpendicularity of the human figure in our eyes is1 so to speak1 balanced by the horizontality of the skirt2 just the principle of the spinning-top4 ,now1 is it possible to invent a more deplorable formula for transforming man into a machine8 ,is it possible to give a more definite expression to the principle of eliminating one's 8ego08 ,is not art the expression1 the manifestation1 the blossoming of man8 ,and what1 finally1 shall we say from the purely sthetic point of view of that exaltation of a costume which by its umbrella-like stiffness cuts the human body into two8 ,shall we remain indifferent to the beauty of folds1 to the obedience of the flowing veils1 to the plastic injunctions of the living movement8 #8,the theory of mechanisation of the human body could not but lead to the panegyric of the 8flat-toed0 ballet slipper4 ,the simple sad necessity of giving to the ballerina a point of support receives a philosophico-sthetic interpretation3 this slipper 8generalises the contour of the foot0 and 8makes the impression of the movement clearer and more finished40 ,in the name of all--,i won't say of all that is sacred--but of all that is beautiful1 is it possible to say such things8 ,you have never admired a foot2 you do not know what it is--a foot that slowly rises from the ground1 first with the heel1 then with the sole2 you do not know the beauty of supple toes2 you evidently never saw the foot of ,botticelli's 8,pallas10 the foot of ,houdon's 8,diana40 ,if it is so valuable to 8generalise0 the contour of the foot by the flat-toed slipper1 why not1 then1 8generalise0 the contour of the hand and give to the ballerinas boxing-gloves8 ,art is an exteriorisation of man1 a spreading of one's self outside the limits of one's ego1 and here we are asked to cut1 to shorten1 to hide3 a principle which is exactly the contrary of art4 ,it was also a 8generalisation0 of the human figure when ,niobe was being metamorphosed into a rock1 but it remains till the end of time the expression of grief2 the ,greeks have not found a more eloquent myth for the eternalisation of human sorrow than the return of form into that which is not formed4 ,they knew that all process of creation goes from the general to the particular4 ,when the musician shapes the musical material accessible to everybody into a particular musical melody1 he goes from the general to the particular4 ,when the sculptor takes away piece by piece from the block of marble1 he goes from the general to the particular4 ,if1 out of the shapeless mass of the human family1 the great types could detach themselves and crystallise themselves into definite characters1 it is only thanks to their particularities that they conquer and receive their universal value4 ,the direction of the artist is from the shapeless1 from the abstract1 into the concrete2 the process of art is a process of individualisation4 ,it is easy to understand1 therefore1 the instinctive hostility which is provoked in a man who loves art1 by all attempts at 8generalisation03 it is the infiltration into art of that which is not art1 it is that which in the course of centuries has deserved the appellation of 8routine40 ,this crust of uniformity and impersonality which spreads over art is nothing but an infiltration of the generalising principle into that which is and ought to remain the sacred domain of personality4 ,it is the desert under whose breath fades and withers the beauty of the oasis4 #8,no wonder that a reaction should set in against an art which seeks its justification in such theories2 the reaction against the stereotyped ballet is a direct act of logic--it is the voice of common sense3 it would be impossible that a form of art should live which is in contradiction to the principle of art4 ,when ,i say 8live10 ,i do not mean the right of existence2 ,i take the word in its most real sense3 to live1 that is1 to possess the elements of development4 ,in the form into which it has developed the 8classical0 ballet lacks these elements--it cannot evolve2 as ,mr4 ,svetloff judiciously remarked1 if every ballerina could execute seventy-five instead of 8thirty-two fouetts10 it would be a greater difficulty to overcome1 it would not be art developed4 ,thus ,i repeat1 when ,i say that such a form of art as the old ballet cannot live ,i am not denying its right to exist1 but ,i am indicating the absence of elements of development1 the atrophy of the principle of vitality4 #8,there is one point of view possible as to the 8classical ballet02 it is the one form in which we see the established forms of old dances4 ,who will deny the charm of the minuet1 of the gavotte1 of the pavane8 ,but1 on the other hand1 who ever will dare to say that this is the final word of plastic art8 ,miniature painting is a lovely art1 is it not8 ,yet equally wrong are those who would assert that the miniature has expressed all that painting is capable of1 and those who would say that miniature is 8all right1 but it needs enlarging40 ,and when we consider the ballet from the only possible point of view1 from the point of view of the crystallised dance1 how offensive will appear to us 8gymnastics that transform themselves into fantastics40 ,on the other hand1 we shall not be astonished when we hear the regrets of some adherents of the old 8dance0 in the presence of the 8,scythian invasion0 on that same stage where the plastic formulas of the ,latin race have blossomed2 only imagine it--where the gavotte and sarabanda used to reign there now bursts out the tempest of the 8,tartar hordes06' ,,ii ,the appearance of ,isadora ,duncan and her pupils in ,russia was truly a high explosive bomb4 ,her art startled the ,russian dancers and public4 ,it was the very opposite of what everybody had been accustomed to see1 and what everybody imagined the dance to be4 ,though the limited character of her technique decreased the effect1 yet the truth of her principle was what caused the greatest discussion and made the deepest impression4 ,in the fundamentals of her dance were that freedom1 individuality and relief which the ,russian mind had missed in the old ballet4 ,it was this theoretical argument that made ,miss ,duncan's art such a factor in ,russia4 ,marius ,petipa had been an excellent scholar and academician in his days1 but he had grown old and his views had become obsolete4 ,his genius saw the evolution of the ballet only in the conventional channels4 ,among his assistants were a group of talented young dancers and teachers1 some of whom were dissatisfied with the old order1 yet found themselves forced to follow the time-worn rules4 ,one of the young students of this type was ,m4 ,fokine1 a very intelligent student and gifted artist1 who was particularly electrified by ,miss ,duncan's art4 ,he saw the shortcomings of ,miss ,duncan's school and realized that here he1 with his thorough understanding of the ballet and its technique1 could do much that she had been unable to do4 ,with all the best will ,fokine found himself bound to the old order of things4 ,but it was at this very juncture that ,m4 ,diaghileff1 who had been successfully editing the annual ,reviews of the ,imperial ,ballet1 laid the foundation for a new art magazine on radical principles4 ,having been a graduate of the ,conservatory of ,music of ,petrograd and a connoisseur of the art of dancing1 he was just the man to gather a group of radical dance and music students and artists of every description around his venture and attempt to accomplish something radically modern in all the fields of stage art4 ,his efforts found a quick response among the various artists of the ballet1 who already knew of his work and tendencies4 ,one of them was ,fokine1 and with him came many of his talented pupils and friends4 ,like with every other new movement this needed crystallization theoretically and practically4 ,for some reason or other ,diaghileff's magazine failed4 ,but it had already accomplished its evolutionary task3 a group of artists was ready to join any leaders of revolution who would be worthy of their confidence4 ,the next move from the revolutionary ,diaghileff and his general ,fokine was their unexpected appearance in ,paris4 ,here they had surrounded themselves with a few genial ballet dancers of ,petrograd and ,moscow4 ,the announcement of an appearance of the ,russian ballet in ,paris1 under the management of ,diaghileff and ,fokine and with stars like ,nijinsky1 ,mmes4 ,fokina1 ,karsavina and ,astafieva1 marks the first revolutionary move in ,russian dance history4 ,it was undoubtedly the phenomenal success that ,pavlova and ,mordkin had had outside of ,russia1 particularly in ,paris and ,london1 which actuated and encouraged the rebels4 ,they argued1 #8,if ,pavlova and ,mordkin had such phenomenal success as solo dancers1 in the old classic style1 we are more sure of a success in real modern ballets4' ,and they proved that they had4 ,here is what a ,london critic writes of the appearance of the ,diaghileff company3 #8,for the unknown to be successful in ,london it is always necessary to create what is called a boom--marvelous clothes or the lack of them2 a terrifying top note2 a tame lion2 a ,star that has been shining with unparalleled brilliancy in another city4 ,but we were told nothing about the ,russian dancers when they arrived in #aiji--some half dozen of them only--and so we expected nothing4 ,and it is to be feared that some of us found what we expected4 ,now1 two years later1 we are slowly opening our eyes4 #8,there is no need to describe either ,karsavina or ,pavlova4 ,if there were1 indeed1 pen and ink would be incapable of the task1 for they both typify and express the woman of all ages1 and ageless4 #8999999 ,for many it was as if they understood life for the first time1 had entered a chamber in the castle ,existence which hitherto had been hidden from them4 ,they gave us thoughts1 these ,russian magicians1 for which we have been unconsciously seeking and travailing many years4 ,they gave us knowledge we thought to buy in a huckster's shop1 steal from a bottle of wine1 or find in a bloodless novel or in the crude stage play of the average theatre1 bearing little or no relation to life4 ,now here it was1 all expressed in dances men and women danced thousands of years ago3 music of face and body1 of muscle and brain1 which stirred and sang in our hearts like wind in the trees4 #8,the elusive spirit of youth she 7,karsavina7 most eloquently expresses in ,les ,sylphides1 the music by ,chopin1 which is described as a ,rverie ,romantique4 ,the sex of the dancer1 instead of dominating1 disappears4 ,and so1 of all the good things the ,russian ,dancers have given us1 the ,spirit of ,youth of ,tamara ,karsavina comes first and foremost4 #8,the men of the ,russian ,ballet possess the same technical perfection1 the same marvelous grace1 as the women4 ,whether their bodies be as slim and light as ,nijinsky's and ,kosloff's1 or as massive and muscular as ,mordkin's and ,tichomiroff's1 makes no difference3 they can be as graceful1 as supple1 as tender as a girl1 without losing a scrap of their superb masculinity4' ,among the most conspicuous ,russian dancers who followed the revolutionary call of ,diaghileff and ,fokine1 were ,vera ,fokina1 ,tamara ,karsavina1 ,sophie ,feodorova1 ,seraphime ,astafieva1 ,nijinsky1 and ,kosloff4 ,the real drawing cards of the revolutionary group were ,karsavina and ,nijinsky1 one more genial than the other1 the one the very type of the ,russian youthful poetic and passionate girl1 the other that of masculine virility and grace4 ,the leaping of ,nijinsky and the darting of ,karsavina will remain as the most effective symbols in the mind of those who have witnessed their inspiring dances4 ,in ,le ,spectre de la ,rose1 danced by ,karsavina and ,nijinsky1 we can best compare their individualities4 #8,their bodies1 flower-like1 representing the spirit of flowers1 weave dreams with silent and graceful movements1' writes a critic4 #8,we are altogether removed from the world of flesh and blood to a kingdom of enchantment4' ,nijinsky and ,karsavina are the two talented exponents of the ,new ,russian ,ballet1 in the same sense as ,pavlova and ,mordkin belong to the ,old ,ballet4 ,the question arises in what respect ,nijinsky differs from ,mordkin and ,karsavina from ,pavlova8 ,if we could see illustrative performances by these four greatest figures of the two ,russian schools the difference would be immediately evident1 in spite of their individual traits4 ,where ,pavlova concentrates attention on her conventional toe-dancing1 ,karsavina employs conspicuously the naturalistic steps and strives to display the plastic lines of her beautiful body4 ,where ,mordkin resorts to pantomime1 ,nijinksy finds his expression through the movements of the dance4 ,however1 the difference between the two ballets is not so clearly cut with the men as with the women dancers4 ,fokine has introduced a great deal of the plastic element that has actuated the partisans of the naturalistic school4 ,we find the acrobatic stunts of the old ballet almost lacking in the new4 ,you will hardly see ,karsavina1 ,fokina or ,astafieva performing the leg-bending tricks of the followers of the old school4 ,if they resort to pirouettes and leg agility1 they do so in a different sense than the others4 ,,iii ,a highly praised dance of ,karsavina and ,nijinsky is ,le ,spectre de la ,rose 7with music arranged from the compositions of ,weber71 which takes place in a summer night in old aristocratic ,france4 ,the music1 though old-fashioned1 is soft and tender4 ,karsavina represents a young sentimental girl who has just returned from the ball4 ,she is thinking of her lover1 while raising to her lips a red rose which he gave her at the ball4 ,going through a pantomimic scene of her sentimental dreams ,karsavina depicts the romantic prelude of a young girl until ,nijinsky1 representing her visionary lover1 leaps in4 #8,the spirit of the garden and the song of the night have entered her bedroom1 and the wind blows this rose-spirit to and fro4 ,it is love in human shape3 now he hovers above the sleeping figure1 caressing3 now he is dancing just in front of the window4 ,and we dare not breathe lest by so doing the air is stirred to drive him back into the moving shapes outside4 ,but he rises on the arms of the wind1 he crouches beside the girl4 ,she falls into his arms and the love dream of a ballroom is realized4 ,the music of the night has entered the room1 languid music like water which these two spill as they dance to and fro1 until1 our eyes being opened1 we can see as well as hear music4 ,the miracle is so brief that we scarcely realize it before it has gone4 ,but they were chords and harmonies1 these two spirit shapes floating on the implacable air3 hands and feet1 arms and legs1 lips and eyes spilling and spelling each note of music4 ,the hour has passed4 ,jealous dawn lays his fingers on the night4444 ,the girl is in her chair again4 ,the spirit of the rose hovers like love with trembling wings above her4' ,a favorite ballet of the ,diaghileff company is ,clopatre1 arranged by ,fokine to music by ,arensky1 ,taneieff1 ,rimsky-,korsakoff1 ,glinka1 ,glazounoff1 and ,moussorgsky4 ,the chief characters of this ballet are ,seraphime ,astafieva1 as ,cleopatra1 ,sophie ,feodorova1 as ,ta-,hor1 ,vera ,fokina1 as a ,greek woman1 and ,nijinsky1 as the favorite of ,cleopatra4 ,it has been declared the most popular of all ,fokine's ballets4 ,it describes the well-known love drama of the great ,egyptian queen4 ,the first scene is laid on the shores of the ,nile4 ,there is just visible the arch of an ancient temple and its entrance with great figures of stone4 ,the ground on which it stands is flanked by pillars which tower towards the sky4 ,the waters of the river gleam between these pillars4 ,the sun is sinking into the hot desert4 ,the first character of the dance is ,ta-,hor1 a priestess2 the second ,amoun1 a warrior1 her beloved4 ,she emerges through the dark curtain of the night and meets him in the silent precincts of the temple4 ,music quivers from hands and feet1 lips and eyes4 ,we feel an impending danger4 ,the silence is broken with the sudden appearance of the ,high ,priest4 ,cleopatra is coming4 ,but ,ta-,hor clings to the lips of ,amoun4 ,when the ,queen appears the lovers shrink back into the shadows of the temple4 ,she is a voluptuous beauty4 ,we see her resting1 her limbs tangled in a mass of color1 her eyes fixed like serpent's1 staring into the hot night of the desert while she waits for what it will bring her4 ,she is tired of the wealth the world has poured at her feet4 ,there is but one thing that never tires her and is ever new4 ,her subtle limbs uncurl from the tangled colors1 open like a rose at a breath of warm wind--to close again with a little shiver of ecstasy4 ,love is always new and beautiful4 ,of love she has never tired1 only of lovers4 ,cleopatra finally sees ,amoun dancing1 and falls madly in love with him4 ,there are many passionate and dramatic scenes4 #8,like the sea-foam1 her body is tempest-tossed4 ,her eyes burn into his soul4 ,the music sings songs of the desert1 invocations to the ,nile1 hymns to the god of love4 ,around the royal divan of ,cleopatra we see a medley of men and women1 twining and grouping themselves4 ,the music sounds like a gentle breeze1 full of love and enchantment1 which longs yet fears to slake its thirst4 ,we see ,egyptian dancers moving slowly and quietly4 ,string instruments are thrumming like nightingales4 ,we see a whole company of men and women dancing in the torchlight4 ,the sight of the costumes pours a spell of the ,nile upon us4 ,the stars of the desert and the passionate music of string instruments1 the beautiful girls and the black virile bodies of the slaves1 the waves of light and the distant wall of soldiers and priests1 fill the air with something tragic and black4 ,we get a glimpse of ,cleopatra and ,amoun1 he standing beside her couch4 ,the high priest of the temple holds between his hands the sacred cup filled with the poisonous wine that ,amoun must drink4 ,he takes the cup firmly and looks into her eyes1 and smiling he drinks4 ,she smiles1 too4 ,at this moment ,amoun drops the cup to the ground4 ,death lays hands upon him4 ,his agony is brief4 ,cleopatra stands waiting4 ,when he falls his fingers clutch the air4 ,a shiver shakes the ,queen's body4 ,cleopatra goes out from the night passing through the vast pillars of the temple into the dawn of the desert4 ,after her comes ,ta-,hor1 looking for her lover4 ,but she finds the dead body4 ,we see her warm brown body shiver and shrink4 ,she would tear out her heart4 ,a soft wind comes whispering over the desert bringing with it the red of the rising sun4 ,it is the end of a ghastly picture4' ,impressive as ,clopatre is in its scenic and pantomimic vigor and tragic atmosphere1 yet it is hardly a ballet in the modern sense4 ,there is no unity of music1 this being altogether a patch-work4 ,it may sound exceedingly pretty and appropriate occasionally to the accompaniment of the mute drama1 yet it is by no means dance music4 ,this is an example of the patchy ballet music that the ,diaghileff company is continually trying to employ4 ,musically less patchy is ,le ,pavillon d',armide1 with music by ,tcherepnin and setting by ,benois4 ,but the theme is old-fashioned and over-perfumed4 ,the story takes place in medival ,france at the castle of a certain ,marquis1 a magician4 ,it is night4 ,winds blow1 rain pours down and thunder rolls4 ,a nobleman is to meet his sweetheart near the ,marquis' castle and takes refuge from the bad weather4 ,the ,marquis places his ,pavillon d',armide at his disposal4 ,in the pavilion he sees an old ,gobelin tapestry representing the beautiful ,armide1 beneath it1 a great clock supported by ,love and ,time4 ,the nobleman goes to sleep and at midnight sees the figures of ,love and ,time step down from the clock4 ,armide becomes alive4 ,the nobleman falls in love with her and ,armide embraces him4 ,this is the beginning of an animated dance4 ,it is a fantastic scene1 the old ,marquis taking part in the feast4 ,finally ,time triumphs over ,love and they return to their places4 ,it is an interesting short phantasy1 a poem in pantomime4 ,a ballet which has created the greatest comment and discussion in its dramatic and scenic beauty is the ,scheherezade1 with music by ,rimsky-,korsakoff4 ,this is a symphonic suite of which ,bakst and ,fokine have manufactured a kind of pantomime-ballet4 ,though the music is magnificent as an orchestra piece by itself1 yet it is a perversion to employ it to accompany a queer pantomimic drama4 ,rimsky-,korsakoff had no idea of a ,zobeide played by ,karsavina1 of her negro lover1 danced by ,nijinsky1 of ,schariar1 the ,grand ,eunuch1 and of the ,odalisque1 who are the characters of the ballet4 ,this again is a patch-work and not a dance in its real sense4 ,if it is a dance1 it is such that only one artist or at most two could depict4 ,according to the scenario writers it draws the story of a ,sultan's harem from #8,the ,arabian ,nights4' ,all the harem beauties are dancing with their lovers and slaves4 ,among them we find the pretty ,sultana4 ,the ,sultan enters and suspects that ,zobeida has betrayed him4 ,he finds her lover4 ,we see death and passion4 ,it is picturesque1 but the dance is only an incidental affair4 ,scheherezade without ,karsavina's vivid mimicry and youthful beauty1 and ,nijinsky's agility1 would be nothing4 ,in the words of a ,russian critic1 #8,nijinsky makes us understand that a gesture is1 as ,blake said of a tear1 an intellectual thing4 ,his gestures1 by which ,i do not mean the technical steps1 are different in manner and in spirit from those of the traditional ,italian school4 ,with the conventional gestures of the academies1 which mimic such attitudes as men are supposed naturally to adopt when they perform certain actions or experience certain emotions1 he will have nothing to do4 ,nijinsky's gestures mimic nothing4 ,they are not the result of a double translation of idea into words1 and words into dumb show4 ,they are the mood itself4 ,his limbs possess a faculty of speech4 ,wit is expressed in his ,arlequin dance as lucidly as in an epigram4 ,his genius consists in a singular pliancy of the body to the spirit4',c ,c ,s4 ,hudekoff3 #8,history of ,dancing' 7in ,russian74 ,if ,karsavina had not joined the choreographic revolutionists her dramatic talent would have had little or no opportunity to express itself1 for the exponents of the old classic ballets are strictly opposed to display of natural gestures and acting4 ,while she now exhibits a talent equal to ,pavlova's1 in the old ballet she would be only half of what she is4 ,although her excellent dramatic sense is displayed in ,le ,spectre de la ,rose1 ,scheherezade and in several of ,stravinsky's ballets1 still we have not had a chance yet to become enthusiastic over any of her abstract dances4 ,this view we notice also expressed by many ,french and ,english critics4 #8,of her performances at ,covent ,garden1 all were marked by such rare technique and instructed grace that it is difficult to put any one before another2 but certainly she never surpassed her achievement in ,le ,spectre de la ,rose4 ,her dancing caught the very spirit of a maiden's revery1 and nothing could have been more finely imagined than those transitions from languor into quick rushes of darting movement1 which illustrate the abrupt and irrational episodes of a troubled dream4 ,she was the very embodiment of faint desire4 ,we felt1 as it were1 a breath of perfume1 and were troubled in spite of ourselves4 ,moreover1 the long partnership between the two performers seemed to have resulted in a very special and intimate harmony4 ,for the most part they simply floated about the stage as though borne upon a common current of emotion4 ,there was a marriage1 not only between their bodily movements1 but between their spirits1 such as ,i have never noted in the union of any other dancers4' ,like the ballet ,prince ,igor1 music by ,borodine1 scenario by ,fokine1 ,le ,carneval1 music from ,schumann1 ,liadoff1 ,glazounoff1 ,tcherepnine and various other sources1 are nothing but dances from an opera1 dances taken here and there4 ,neither is there any unity of theme or style in these trimmed-up panoramas4 ,the ,polovetsi dances of ,borodine's opera ,prince ,igor are magnificent examples of savage ,tartar art4 ,the music is the very image of the hot and restless ,mongolian temperament1 the very breath of battle lust1 the exaltation of victory4 ,fokine has taken a scene from the second act of the opera and patched a story together with some characters of the opera4 ,the dance in the opera itself is wonderful4 ,but in the ballet form1 as arranged by ,fokine1 it is a mediocrity4 ,,iv ,in the repertoire of ,diaghileff's company there have been1 thus far1 only two more or less satisfactory ballets1 ,le ,pavilion d',armide1 by ,benois and ,tcherepnin1 and ,le ,spectre de la ,rose by ,weber and ,vaudoyer4 ,but both might be termed choreographic sketches in one scene rather than ballets4 ,without ,nijinsky and ,karsavina even these would not be very charming4 ,the aristocratic sentimentality and poetic pathos of the two dance pantomimes are perfectly displayed by these two most talented artists of the revolutionary group1 as their miming and dancing are characterized by a certain natural softness of movement1 the quality of languor and passion4 ,but it was the music of ,igor ,stravinsky1 a young ,russian composer working in the impressionistic style1 that saved the situation of the new ballet4 ,stravinsky has a genius for the ballet1 such as perhaps the world has never seen before4 ,however1 he seems to be greatly hampered by lack of proper conception of what constitutes the modern ballet4 ,it is evident that he is influenced in his compositions too much by the ,diaghileff-,fokine tendencies1 as most of his ballets are built up in the old form of construction1 though the phonetic images and spirit are new4 ,his music is graphically vivid1 as it should be1 has a strong rhythm and inspiring modern spirit4 ,it is the form of construction that he has not grasped yet fully1 except in his ,petrouchka4 ,this ,petrouchka1 ,stravinsky's masterpiece1 is a ,russian burlesque taken from an old fairy-story of ,harlequin in love with the ,clown's wife4 ,in this ballet the scenes are splendidly arranged by ,fokine and the music is thrilling4 ,the puppet has always exercised a curious fascination upon the human mind4 ,the animated doll is a fantastic and yet pathetic symbol of our emotions4 ,petrouchka is the ,russian counterpart of ,english #8,punch and ,judy1' though differing in its more sentimental character4 ,petrouchka represents the character of a real puppet4 ,stravinsky has woven a dramatic plot around the puppet stage4 #8,to take us behind the scenes and show the mingled comedy and tragedy of the puppet world1 was a true and dramatic inspiration' of the composer4 ,the scenic effect of ,petrouchka is calculated to create a melancholy feeling in the spectator with its bleak gray background and dull frigidity4 ,it gives a striking contrast to the barbaric colors of the crowd on the stage4 ,one has the feeling of opaque leaden skies1 of snow and gay people at a fair4 ,the costumes and scenery designed by ,benois are true to ,russian life and strikingly in harmony with the dance4 ,in every phrase of the music the composer shows himself a master of the art of writing ballet music4 #8,throughout the four scenes he displays not only a nice sense of dramatic firmness1 but a shrewd appreciation of character4 ,in the treatment his humorous percept is of large assistance4 ,in the trumpet dance by which the ,blackamoor is first lured into the fair one's toils or in the slower pas de fascination1 by which the conquest of him is completed1 ,stravinsky's sense of the ludicrous has turned two slender occasions to most diverting account4 ,a piece of clever orchestration is a passage at the outset of the opening scene where the composer succeeds not only in reproducing the peculiar sounds of an old hurdy-gurdy1 but weaves the opposition between two such competing instruments into a most entertaining and harmonious discord4' ,as in all the other ,stravinsky ballet compositions1 the orchestration of ,petrouchka is realistically true to the action and the characters of the play4 ,it is full-blooded and modern4 ,it breathes an air of the unsophisticated joy of a simple people who attend to their affairs regardless of conventional restrictions4 ,nijinsky1 with his dramatic flexibility and vigor1 makes the play a vivid fairy tale in actuality1 or rather gives life to a dream of a fairy tale4 #8,that the ballet is thereby endowed with meaning1 an inwardness1 which it might not otherwise possess1 must be accounted as a tribute to the dancer's genius1' writes an ,english critic4 ,another splendid ,stravinsky ballet performed by the ,diaghileff company is ,l',oiseau de ,feu4 ,fokine has arranged the music successfully in this ballet4 ,like ,petrouchka1 it is based upon a folk-tale4 ,the overture of the play indicates that a fantastic story is to follow4 ,strange mutterings and unexpected harmonies dispose the hearer to an atmosphere of another world4 ,the adventurous pantomime opens in a gloomy forest emanating an air of midnight mysteries4 ,but the music glows gradually like the magic glow in the forest4 ,one sees the spectacular ,fire ,bird floating downward toward the stage4 ,now dancing and music melt into one fascinating picture of two dimensions1 to which the brilliant scenic effects add a special spiritual note4 ,performed by ,karsavina1 as the ,fire ,bird1 the ballet is excellent4 ,but ,stravinsky has succeeded less well in his post-impressionistic ,le ,sacre du ,printemps4 ,this consists of two tableaux of ancient pagan ,russia4 ,the first scene is the adoration of the earth2 the second1 the adoration of the sun4 ,the music is less spontaneous and less graphic than that in ,stravinsky's other ballets4 ,but1 all in all1 ,stravinsky remains the greatest drawing card and the greatest sthetic factor in the art of the ,russian ballet rebels4 ,a charming number in the repertoire of the ,diaghileff company is ,balakireff's ,thamar4 ,balakireff wrote this as a symphonic poem on an ,oriental theme1 but ,bakst has manufactured out of it a ballet4 ,the music is very beautiful and typically ,russian4 ,the story is a thrilling tale of ,caucasian life1 which takes place at an ancient castle built in a gorge of romantic mountains4 ,but because it is an artificial construction1 it is less interesting musically and choreographically than the ,stravinsky ballets4 ,the ,russian new ballet has attempted to perform ,claude ,debussy's ,l',aprs-,midi d'un ,faun1 and ,richard ,strauss' ,la ,lgende de ,joseph4 ,in the latter ballet a new ,russian dancer1 ,leonide ,miassine1 was introduced in the title rle4 ,neither ,miassine nor ,la ,lgende de ,joseph proved great attractions4 ,magnificent as ,strauss and ,debussy are in their modern compositions otherwise1 in ballet music they remain mediocrities4 ,their rhythm is so anmic1 their images so hazy and their episodes so disconnected that not even a ,nijinsky or a ,karsavina could put life into them4 ,in criticising the new ,russian ballet of ,diaghileff and ,fokine1 ,prince ,volkhonsky writes3 #8,their main defect is that they develop the dance independently from the music2 they are a design by themselves--complicated1 interesting1 very often pleasing to the eye1 yet independent of the music4 ,and we have already seen when we spoke of the old codas that the most unpretentious figure1 even when banal1 becomes inspiring when it coincides with the musical movement1 and1 on the contrary1 the most interesting 8picturesque0 figure loses meaning when it develops in discord with music4 ,look at some dance1 definite1 exact1 that has crystallized itself within well-established limits2 you may look at it even without music4 ,but try to watch a pantomime without music4 ,in the first place1 it will be a design without color1 quite an acceptable form2 in the second it will be a body without skeleton--something unacceptable4' ,the ,russian new ballet is an interesting proof of the far-reaching effect that the naturalistic school of dancing indirectly exercised upon the development of the art of dancing4 ,the efforts of the reform that ,fokine is attempting to achieve are admirable and show the great possibilities that the revolutionists face in the immediate future4 ,their whole drawback has been in their conception of the form and music4 ,even ,stravinsky has not been able to shake himself loose from the old pantomimic form4 ,but sooner or later they will see the new point of view and acknowledge the mistake that every reformer is apt to make in his first step4 ,the ,russians have the technique1 the music1 the innate talent and the traditions for all future choreographic inspiration4 ,the solution lies1 to a great extent1 in the coperative work of their composers1 writers1 critics1 painters1 designers1 teachers and dancers4 ,,chapter ,,xviii ,,the ,,eurhythmics ,,of ,,jacques-,,dalcroze ,jacques-,dalcroze and his creed2 essentials of the #8,eurhythmic' system--,body-rhythm2 the plastic expression of musical ideas2 merits and shortcomings of the ,dalcroze system--,speculation on the value of ,eurhythmics to the dance4 ,i ,what apparently proves to be the elementary step in building up a new school of choreography--perhaps that which some of the younger dancers have chosen either by accident or by roundabout ways--are the ,jacques-,dalcroze ,rhythmic ,gymnastics or #8,eurhythmics' on the order of the ancient ,greeks4 ,thus far this style of dancing is merely in its preliminary form4 ,therefore it is now as difficult to draw any definite conclusion1 as it was about #aije1 when the ,swiss composer ,dalcroze1 who had been since #ahib a professor of harmony at the ,geneva ,conservatoire1 first launched the movement4 ,however1 the systematic work of instruction by ,dalcroze began in #aiaj1 when the brothers ,wolf and ,harald ,dohrn invited him to come to ,dresden1 where1 in the suburb of ,hellerau1 they built for him a ,college of ,rhythmic ,gymnastics4 ,from this time on the inventor of the new method began a systematic training of young men and women4 ,ethel ,ingham writes of the life at the college at ,hellerau3 #8,the day commences with the sounding of a gong at seven o'clock2 the house is immediately alive1 and some are off to the ,college for a ,swedish gymnastic lesson before breakfast1 others breakfast at half-past seven and have their lesson later4 ,there is always a half hour of ordinary gymnastics to begin with4 ,then there will be a lesson in ,solfge1 one in ,rhythmic ,gymnastics1 and one in ,improvisation1 each lasting for fifty minutes1 with an interval of ten minutes between lessons4' #8,one of the most marked tendencies of the modern sthetic theory is to break down the barriers that convention has created between the various arts1' writes ,michael ,t4 ,h4 ,sadler of the value of ,jacques-,dalcroze's eurhythmics to art4 #8,the truth is coming to be realized that the essential factor of poetry1 painting1 sculpture1 architecture and music is really of the same quality1 and that one art does not differ from another in anything but the method of its expression and the conditions connected with that method4 #8,the common basis to the arts is more easily admitted than defined1 but one important element in it--perhaps the only element that can be given a name--is rhythm4 ,rhythm of bodily movement1 the dance1 is the earliest form of artistic expression known4 ,it is accompanied in nearly every case with rude music1 the object being to emphasize the beat and rhythmic movement with sound4 ,the quickness with which children respond to simple repetition of beat1 translating the rhythm of the music into movement1 is merely the recurrence of historical development4 #8,to speak of the rhythm of painting may seem fanciful1 but ,i think that is only lack of familiarity4 ,the expression is used here with no intention of metaphor4 ,great pictures have a very marked and real rhythm1 of color1 of line1 of feeling4 ,the best prose-writing has equally a distinct rhythm4 #8,there was never an age in the history of art when rhythm played a more important part than it does to-day4 ,the teaching of ,m4 ,dalcroze at ,hellerau is a brilliant expression of the modern desire for rhythm in its most fundamental form--that of bodily movement4 ,let it be clearly understood from the first that the rhythmic training at ,hellerau has an importance far deeper and more extended than is contained in its immediate artistic beauty1 its excellence as a purely musical training1 or its value to physical development4 ,the beauty of the classes is amazing2 the actor as well as the designer of stage-effects will come to thank ,m4 ,dalcroze for the greatest contribution to their art that any age can show4 ,he has recreated the human body as a decorative unit4 ,he has shown how men1 women and children can group themselves and can be grouped in designs as lovely as any painting design1 with the added charm of movement4 ,he has taught the individuals their own power of gracious motion and attitude4 ,musically and physically the results are equally wonderful4 ,but the training is more than a mere musical education2 it is also emphatically more than gymnastics4 #8,to take a joy in the beauty of the body1 to train his mind to move graciously and harmoniously both in itself and in relation to those around him1 finally1 to make his whole life rhythmic--such an ideal is not only possible but almost inevitable to the pupil at ,hellerau4 ,the keenness which possesses the whole ,college1 the delight of every one in his work1 their comradeship1 their lack of self-consciousness1 their clean sense of the beauty of natural form1 promise a new and more harmonious race1 almost a realization of ,rousseau's ideals1 and with it an era of truly artistic production4' ,dalcroze's school has emphasized that its purpose is not merely to train dancers but to educate for life generally4 ,his theory is that all the people should be raised to feel and appreciate the intrinsic value of the rhythm1 which is best proven in ,m4 ,dalcroze's own essay1 ,le ,rhythme1 which was published in #aiji4 #8,schools of ,music1' he says1 #8formerly frequented only by born musicians1 gifted from birth with unusual powers of perception for sound and rhythm1 to-day receive all who are fond of music1 however little ,nature may have endowed them with the necessary capacity for musical expression and realization4 ,the number of solo players1 both pianists and violinists1 is constantly increasing1 instrumental technique is being developed to an extraordinary degree1 but everywhere1 too1 the question is being asked whether the quality of the instrumental players is equal to their quantity1 and whether the acquirement of extraordinary technique is not joined to musical powers1 if not of the first rank1 at least normal4 #8,of ten certified pianists of to-day1 at the most one1 if indeed one1 is capable of recognizing one key from another1 of improvising four bars with character or so as to give pleasure to the listener1 of giving expression to a composition without the help of the more or less numerous annotations with which present-day composers have to burden their work1 of experiencing any feeling whatever when they listen to1 or perform1 the composition of another4 ,the solo players of older days were without exception complete musicians1 able to improvise and compose1 artists driven irresistibly towards art by a noble thirst for sthetic expression1 whereas most young people who devote themselves nowadays to solo playing have the gifts neither of hearing nor of expression1 are content to imitate the composer's expression without the power of feeling it1 and have no other sensibility than that of the fingers1 no other motor faculty than an automatism painfully acquired4 ,solo playing of the present day has specialized in a finger technique which takes no account of the faculty of mental expression4 ,it is no longer a means1 it has become an end4 #8,there are two physical agents by means of which we appreciate music4 ,these two agents are the ear as regards sound1 and the whole nervous system as regards rhythm4 ,experience has shown me that the training of these two agents cannot easily be carried out simultaneously4 ,a child finds it difficult to appreciate at the same time a succession of notes forming a melody and the rhythm which animates them4 #8,before teaching the relation which exists between sound and movement1 it is wise to undertake the independent study of each of these two elements4 ,tone is evidently secondary1 since it has not its origin and model in ourselves1 whereas movement is instinctive in man and therefore primary4 ,therefore ,i begin the study of music by careful and experimental teaching of movement4 ,this is based in earliest childhood on the automatic exercise of marching1 for marching is the natural model of time measure4 #8,by means of various accentuations with the foot1 ,i teach the different time measures4 ,pauses 7of various length7 in the marching teach the children to distinguish duration of sound2 movements to time with the arms and the head preserve order in the succession of the time measures and analyze the bars and pauses4 #8,unsteady time when singing or playing1 confusion in playing1 inability to follow when accompanying1 accentuating too roughly or with lack of precision1 all these faults have their origin in the child's muscular and nervous control1 in lack of cordination between the mind which conceives1 the brain which orders1 the nerve which transmits and the muscle which executes4 ,and still more1 the power of phrasing and shading music with feeling depends equally upon the training of the nerve-centres1 upon the cordination of the muscular system1 upon rapid communication between brain and limbs--in a word1 upon the health of the whole organism2 and it is by trying to discover the individual cause of each musical defect1 and to find a means of correcting it1 that ,i have gradually built up my method of eurhythmics4 #8,the object of the method is1 in the first instance1 to create by the help of rhythm a rapid and regular current of communication between brain and body2 and what differentiates my physical exercises from those of present-day methods of muscular development is that each of them is conceived in the form which can most quickly establish in the brain the image of the movement studied4 #8,it is a question of eliminating in every muscular movement1 by the help of will1 the untimely intervention of muscles unless for the movement in question1 and thus developing attention1 consciousness and will-power4 ,next must be created an automatic technique for all those muscular movements which do not need the help of the consciousness1 so that the latter may be reserved for those forms of expression which are purely intelligent4 ,thanks to the cordination of the nerve-centres1 to the formation and development of the greatest possible number of motor habits1 my method assures the freest possible play to subconscious expression4 #8,the first result of a thorough rhythmic training is that the pupil sees clearly in himself what he really is1 and obtains from his powers all the advantage possible4 99 99 99 ,the education of the nervous system must be of such a nature that the suggested rhythms of a work of art induce in the individual analogous vibrations1 produce a powerful reaction in him and change naturally into rhythms of expression4 ,in simpler language the body must become capable of responding to artistic rhythms and of realizing them quite naturally without fear of exaggeration4 #8,gestures and attitudes of the body complete1 animate and enliven any rhythmic music written simply and naturally without special regard to tone1 and1 just as in painting there exist side by side a school of the nude and a school of the landscape1 so in music there may be developed1 side by side1 plastic music and music pure and simple4 ,in the school of landscape painting emotion is created entirely by combinations of moving light and by the rhythms thus caused4 ,in the school of the nude1 which pictures the many shades of expression of the human body1 the artist tries to show the human soul as expressed by physical forms1 enlivened by the emotions of the moment1 and at the same time the characteristics suitable to the individual and the race1 such as they appear through momentary physical modifications4 #8,at the present day plastic stage music is not interpreted at all1 for dramatic singers1 stage managers and conductors do not understand the relation existing between gesture and music1 and the absolute ignorance regarding plastic expression which characterizes the lyric actors of our day is a real profanation of scenic musical art4 ,not only are singers allowed to walk and gesticulate on the stage without paying any attention to the time1 but also no shade of expression1 dynamic or motor1 of the orchestra--crescendo1 decrescendo1 accelerando1 ralletando--finds in their gestures adequate realization4 ,by this ,i mean the kind of wholly instinctive transformation of sound movements into bodily movements such as my method teaches4' ,,ii ,this is briefly the essential part of the ,jacques-,dalcroze school of ,eurhythmics4 ,the method falls into three main divisions3 7#a7 ear training2 7#b7 rhythmic gymnastics2 and 7#c7 improvisations4 ,the ear method is nothing but the training of the pupil in an accurate sense of pitch and a grasp of tonality4 ,however1 the system of teaching rhythmic gymnastics is based upon two different methods3 time and time-values4 ,time is expressed by movements of the arms2 time-values--note durations--by movements of the feet and body4 ,a combination of these two methods is called the plastic counterpoint1 in which the actual notes played are represented by movements of the arms1 while the counterpoint in crotchets1 quavers or semi-quavers1 is given by the feet4 ,the crotchet as the unit of note-values is expressed by means of a step4 ,thus for each note in the music there is one step4 ,notes of shorter duration than the crotchet are also expressed by steps1 only they are quicker in proportion to their frequency4 #8,when the movements corresponding to the notes from the crotchet to the whole note of twelve beats have1 with all their details1 become a habit1 the pupil need only make them mentally1 contenting himself with one step forward4 ,this step will have the exact length of the whole note1 which will be mentally analyzed into its various elements4 ,although these elements are not individually performed by the body1 their images and the innervations suggested by these images take the place of the movements4' ,the first training of a pupil in the ,dalcroze school consists of steps only4 ,simple music is played to which the pupils march4 ,after the pupil has an elementary command of his legs the rhythmic training of his arms and body begins4 ,at this stage the simple movements to indicate rhythms and notes are made a second nature of the pupil4 ,this can be compared to the pupil's learning of the alphabet4 ,plastic reading consists of composing more or less definite images from the elementary rhythm-units4 ,this is done either individually or in groups4 ,the pupil is taught to form clear mental images of the movements corresponding to the rhythm in question and then give physical expression to those images4 ,as a child learns to compose letters and syllables to words and words to phrases1 a ,dalcroze pupil is taught to understand the elementary parts of the music and the rules of its composition and to recompose it into a lengthy series of body movements4 ,the main object of ,dalcroze's method is to express by rhythmic movements rhythms perceived by the ear4 ,the exactness of such expression is the main aim of the school4 ,the body must react momentarily to the time and sound-units of the music that the ear perceives4 ,as the wind creates waves in the sea1 music is meant to create motion in the human body4 ,percy ,b4 ,ingham writes that characteristic exercises of this group are #8beating the same time with both arms but in canon1 beating two different tempi with the arms while the feet march to one or perhaps march to yet a third time1 e4 g41 the arms #c_/d and #d_/d1 the feet #e_/d4 ,there are1 also1 exercises in the analysis of a given time unit into various fractions simultaneously1 e4 g41 in a #f_/h bar one arm may beat three to the bar1 the other arm two1 while the feet march six4' ,according to ,dalcroze's plastic theory the arms should express the theme in making as many movements as there are notes1 while the feet should mark the counterpoint in crotchets1 quavers1 triplets or semi-quavers4 ,a compound rhythm can be expressed by the arms taking one rhythm1 the feet1 another4 ,this is meant to correspond to the technical exercises of orchestral music1 by training the body to react to the various tones of different instruments4 ,the general purpose1 however1 is and remains the development of feeling for rhythm by teaching the physical expression of body rhythms4 ,there is no doubt that shades of crescendos and decrescendos1 fortes and pianissimos are achieved by this method1 yet the question remains3 how near does the ,dalcroze school come to visualizing the music in all its symbolic and spiritual depths8 ,music is more than rhythm2 it is a subjective symbolic language of our soul and the universe4 ,it is a mystic factor of life1 human and cosmic4 ,there is an unaccentuated language in every genial and great composition1 an sthetic image and philosophic meaning that we can grasp not by means of the intellect but mostly through the emotions1 and it is in expressing this that ,dalcroze's school has failed in so far4 ,dalcroze has aimed to express the elemental factors of the music1 and in this he has succeeded4 ,the performances given by ,mr4 ,t4 ,jarecki1 one of the most talented of the graduates of ,hellerau1 are sufficient proof of the fact that the school has its shortcomings in the above-mentioned directions4 ,he performed a ,prelude by ,chopin1 a composition of ,rachmaninoff1 one by ,schubert1 and several numbers of other classics in a costume that looked like a bathing suit4 ,powerful as he was in all his rhythmic grace1 he yet failed to translate the musical language of the compositions by means of bodily plasticity4 ,chopin's and ,rachmaninoff's preludes possess distinct tonal expressions and designs of something very human and emotional that lies beyond mere rhythm4 ,poetry is based on the laws of rhythm1 yet it is not alone the rhythm that makes a poem beautiful1 but the image that it creates4 ,thus in the art of dance it is not only the rhythm but the sthetic episode that concerns a dancer most of all4 ,it is the transformation of this phonetic episode into plastic forms1 the visualization of the audible beauty1 that lies at the bottom of every great dance4 ,this requires certain symbols and those lie beyond the achievements of the ,dalcroze graduates4 ,,iii ,the great value of ,dalcroze's method lies in his insistence on perfect rhythm as an elementary training upon which the coming art of dancing can be based4 ,the various folk-dances are outspokenly rhythmic1 but they contain that peculiar racial flavor which is very difficult to keep outside its proper atmosphere and race4 ,we have found that the best ,russian dancers could not give the simple folk-dances of another race with the racial perfection which a native untrained folk-dancer would have imparted to it4 ,in the same way foreign dancers with their best efforts fail in trying to dance what a ,russian dances4 ,the national dances can be employed as valuable bases for the individual art1 but that is all4 ,they lack the cosmic element1 the language of the world4 ,an ,italian understands his ,tarantella1 a ,spaniard his ,fandango1 a ,russian his ,trepak best of all4 ,the future art of dancing needs a universal element of choreographic design and it is in this that the ,dalcroze school may be of immense value4 ,it bases everything on rhythm only1 which is very significant1 but its aim should lie far beyond that4 ,rhythm is the syllable and the word1 but words must be combined into phrases and phrases into paragraphs before we can read a story4 ,it is after all the story in which the mind is interested1 not the words and phrases4 ,we have seen in previous chapters that the foundation of the ballet lacks the firmness and soundness of a natural art4 ,it is decadent and altogether shaky4 ,no genius could build anything lasting unless the foundation is firm4 ,the aim of dancing is not acrobatic nor gymnastic effect1 but plasticity4 ,symmetry is the chief element of architecture1 rhythm that of music4 ,if we can combine the symmetric rules with those of the rhythmic we have the basis upon which a new choreography can be built4 ,isadora ,duncan1 ,fokine1 ,lada1 ,trouhanova and many others are trying to grasp the truth in their individual ways1 but the elemental truth lies in ,dalcroze's system4 ,that ,dalcroze has not aimed to train any stage artists is evidenced by the bathing-suit-like costume that his pupils wear1 which in itself is unsthetic and objectionable to our eye1 though it may fit well for regular class-room work4 ,it is at illusion that the stage aims1 and this is not to be found in naked realism but in something else4 ,illustration ,illustration3 ,a ,plastic ,pantomime 7,dalcroze ,eurhythmics7 ,some writers and critics seem to think that the great importance of ,dalcroze's system lies in his ,neo-,hellenism1 in that it is so close to the ancient ,greek ideas4 ,this view is particularly widespread in ,germany1 the country of classic adoration4 ,but ,greek spirit and ideals cannot help but only mislead a modern man4 ,we have our problems1 so many thousand years of evolution after the ,greek civilization1 that differ fundamentally from those of the bygone centuries4 ,it is not in looking backward1 but in looking forward that we have to find the great cosmic ideal of beauty4 ,dalcroze is by no means an imitator of the ,greeks1 but a man of to-day4 ,he maintains emphatically that his method of eurhythmics is meant to be a general educational subject in all the schools--an elementary rhythmic training for life4 ,it is to be hoped that the ,dalcroze system of training dancers will be employed as the elementary step in all the dancing schools1 for only then we may hope to see the rise of a new art of dancing4 ,without learning the alphabet thoroughly or without knowing the most elementary rules of a science nothing could be obtained by a pupil in his later studies4 ,here is the elementary system in all its primitive simplicity and truth4 ,all we need is to adapt it to the higher schools of choreography4 ,what the ,dalcroze schooling of to-day gives is insufficient for a stage art4 ,but it is by far a more thorough elementary training than any ballet1 naturalistic or individual school can give1 as it makes a student feel the music in his body and soul before he expresses it in his plastic forms4 ,then again1 there is a strict system1 a method of gradual development of those essentials which lie at the bottom of every art dance4 ,in spite of the many shortcomings the ,jacques-,dalcroze school can be considered as the first move towards a new stage art4 ,it means the beginning of a new school of dancing altogether4 ,however1 it needs another reformer to begin where ,dalcroze ended4 ,can we expect this of ,fokine1 ,volkhonsky or some one else8 ,dance in its highest sense is symbolic4 ,the symbols that it expresses should not be others than those of music4 ,we know only that they should form images of the symmetric and rhythmic elements1 but their exact nature remains either for an individual artist or a future school to determine4 ,,chapter ,,xix ,,plastomimic ,,choreography ,the defects of the new ,russian and other modern schools2 the new ideals2 ,prince ,volkhonsky's theories--,lada and choreographic symbolism--,the question of appropriate music4 ,i ,we have witnessed the various phases and changes which the art of dancing has undergone during the past centuries4 ,the ancient ,egyptians danced the movements of astral bodies1 the ,greeks danced the hymns of their mythology1 the ,romans their war songs1 the ,middle ,ages danced the aristocratic etiquette of gilded ball-rooms1 the ,french ,ballet danced to stereotyped tunes with marionette-like manners1 the ,russian ,ballet danced to dramatic scenarios that had musical accompaniment1 the various nations danced to their simple tunes1 the ,duncanites to the mood-creating elements of the music1 the ,jacques-,dalcrozists to the rhythm of a composition only4 ,it is inconceivable that none of the reformers1 none of the new schools1 danced the music itself4 ,those among the partisans of #8natural' or #8classic' dancing who claim to interpret the music have given us thus far supposed imitations of the ,greek1 ,oriental or fantastic styles of some kind1 based upon hazy rhythmic mood-producing forms of a composition4 ,we have seen only fragmentary passages here and there1 single numbers of the celebrated dancers1 which expressed the phonetic designs of the music in true plastic lines4 ,pavlova has certainly succeeded in expressing all the emotional fury of ,glazounoff's ,l',autmne ,bacchanale1 the grace of ,drigo's ,papillons1 and ,saint-,sans' #8,the ,swan4' ,we must give all due credit to ,karsavina1 for her dancing of ,stravinsky's ,l',oiseau de ,feu1 and half a dozen others of her repertoire depict truly the very soul of the music4 ,the child pupils of ,miss ,duncan dance all the ethereal grace of ,schubert's ,moments ,musicals4 ,in the same way we find in one or several dances of ,mordkin1 ,nijinsky and ,volinin1 of ,lopokova1 ,fokina and ,kyasht that they have succeeded in dancing the music4 ,we are pretty safe to say that each of the celebrated dancers of history has probably been able to translate into visible #8plasticism' only a few of the phonetic forms of one or another composition of his repertoire4 ,and this is what we may term #8dancing the music4' ,we have attended innumerable dance performances1 have seen many new and old ballets1 in ,russia and abroad1 have seen the new and ultra-modern dancers1 yet we have so far seen but a microscopic fragment of what we here call #8dancing the music4' ,certainly the greatest part of the repertoire of all the celebrated dancers has been the dancing of something else than the music4 ,all the ,pavlova ballets that have been given in ,america1 all the elaborate ballets of the ,russian classic school1 all the ballets of the ,diaghileff-,fokine group1 are and remain dances to preconceived plots1 dances to a style or a mood1 but rarely dances of the music4 ,we should like to have any of the celebrated dancers show us where there is expression of the music in all the spectacular pirouettes of ,pavlova1 ,karsavina1 ,nijinsky and ,fokina1 in their dramatic acting to a musical composition1 even in the most modern ballets of ,stravinsky4 ,the dancing that they perform during the whole ballet is pantomimic acting to a certain plot1 arranged to music4 ,we are not by any means biased in making the statement1 but make it with deliberation4 ,dancers of various schools and ages have failed to see the point4 ,though ,prince ,volkhonsky is preaching exclusively the ,jacques-,dalcroze rhythmic gymnastics as the basis of a new school of dance and therefore sees nothing more in a dance than the rhythmic expression1 yet he has described aptly the defects of the ,russian ballets1 old and new1 of the ,duncanites and other modern schools of dancing4 #8,their main defect is that they develop independently of the music1' he writes2 #8they are a design by themselves--complicated1 interesting1 very often pleasing to the eye1 yet independent of the music4 ,and we have already seen when we spoke of the old codas that the most unpretentious figure1 even when banal1 becomes inspiring when it coincides with the musical movement1 and1 on the contrary1 the most interesting picturesque figure loses meaning when it develops in discord with music4 ,look at some dance1 definite and exact1 which has crystallized itself within well-established limits2 you may look at it even without music1 but try to watch a pantomime without music4 ,in the first place1 it will be a design without color1 quite an acceptable form2 in the second1 it will be a body without skeleton--something unacceptable4 #8,the main fault of the leaders of the modern ballet is that they put the centre of gravity of the ballet in the plot1 in the event1 in the story3 what in painting is called literature4 ,whereas the subject of the ballet is not in the plot1 the subject is in the music4 ,any picture which is not dictated by music1 any independent movement1 is synonymous with abandonment of the subject1 the essence2 it is in the end an interruption of art1 an interruption caused by a rupture between the two equivalent elements of the visuo-audible art--sound and movement4 ,this rupture with music is all the more felt the more participants there are in the picture1 and the more markedly it tends towards 8realism40 ,only look at them when they represent scenes of disorder2 and by and by we lose the impression of 8art02 we see real1 not represented1 disorder2 and finally we are turned to the dramatic point of view1 and we are called upon to admire the 8acting crowd40 ,and if you are musical1 if you live in the movement of sound1 this independent visible movement cannot but appear as a sort of unasked-for interference of some intruder4 ,the acting crowd is not admissible where a rhythmically moving crowd is required4 ,acting leads the artist out of music and conducts him into the plot2 and the subject of ballet1 ,i repeat1 is not in the plot1 it is in the music2 the plot is but the pretext4 #8,only through the rhythm will the ballet come back to music and accomplish the fusion which has been destroyed by independent acting4 ,schopenhauer said that music is a melody to which the universe serves as a text2 take away the music from the ballet--it will have nothing to say4 ,there is quite a clear parallel here with the vocal art4 ,the musician composes a song2 he puts words to music4 ,imagine a singer coming out and telling us only the words2 he will be far from the fulfillment of his task2 he will have accomplished but the half of it1 the lesser part of it4 ,it is the same with the ballet2 the musician composes the ballet1 he puts the plot to music4 ,imagine a dancer coming out and acting the plot alone2 he will be far from the fulfillment of his task2 he will have accomplished but the lesser part of it4 ,for the ballet does not relate how the ,sleeping ,beauty1 for instance1 fell asleep and awoke 7this is the business of literature1 declamation and drama72 the ballet relates how music tells it4 ,music is the only real essence in that which forms the subject of the ballet4 ,all the remaining 8reality10 the real man with his real movement1 is nothing but a means of expression1 nothing but artistic material4 ,it is evident how wrong1 how offensive it is 7for a musician7 when this material of living movement embodies a new moving formula which is not implied in the music4 ,have you seen those 8processions0 of maidens1 slaves1 priests1 etc48 ,have you ever been shocked by the discord of their walk with music8 ,have you noticed that the pace which you see is quite different from the one you hear8 ,have you ever felt offended on seeing that they step between the notes and thus give you the impression of syncopes which are in no way justified by music8 ,i am afraid you have not4 ,few are those who realize the importance of the accord of movement and sound1 who long for its realization1 and1 together with ,schiller1 desire that 8,music in its ascendant ennoblement shall become ,image40 #8,the music we hear is the subject of the image we see4 ,and in fact the singer sings music1 the dancer dances music1 and cannot dance anything else2 he cannot 8dance0 jealousy or grief or fright1 but he can and must dance the music which expresses the feeling of jealousy1 grief or fright4 ,and when he has rendered the music he will1 by the same means1 have rendered its contents1 and naturally the silly question will be dropped3 8,how is it possible that on the stage the people should dance everything1 whereas in life only dances are danced1 or1 at the utmost1 joy80 ,the question is strange1 to be sure1 yet no less strange are those who forget that the only thing they may dance is music1 and think they may dance a 8rle40 ,the dramatic principle based upon an arbitrary division of time is directly opposed to the choreographic principle1 which is wholly founded on the musical1 consequently regulated1 division of time4 ,therefore the introduction of the element of 8personal feeling10,d of individual choice1 and even more1 destroys the very essence of the choreographic art1 and eats away its very texture4 ,d ,as the ,duncanites do4--,editor4 ,i do not speak against the working out of such2 ,i speak against an independent working out--that is1 a separate one running a course other than that in which music is the greatest essential4 ,i remember one of the best ballerinas contorting herself in wild movements of anguish while the notes of the violin were dying away in one long sound of a trill4 ,she 8acted10 and there is1 of course1 no harm in this1 but she acted according to her ideas1 instead of acting according to music4 ,it is just the same sin against art as if a singer were to execute a lyric song with bravado4 ,would you forgive him8 ,why1 then1 do we not forgive a singer1 yet forgive a mimic1 even admire his 8acting08 ,why is it every one understands that singing must agree with music1 and so few1 almost nobody1 feel the offensiveness of movement which disagrees with music8 ,and yet how sensitive to the observation of the musico-plastic principle are those who are so indifferent to its non-observation4 ,how much they enjoy1 though unconsciously1 every manifestation of that concordance6 ,we may say with certitude that for the best moments1 the moments of greatest satisfaction in the living art--that is1 the musico-plastic art combining the visible with the audible--we are indebted to the simultaneous concurrence of the plastic movement with the musical2 in other words1 to the equality in division of space and time4 ,in an old ,french treatise on the dance1 published in the year #aehi1 the author says among other bits of advice3 8,it is wrong for the foot to say one thing and the instrument the other40 ,in its nave conciseness this sentence represents the germ of all that has been said1 perhaps with some prolixity1 in these pages4 #8,space and time are the fundamental conditions of all material existence--and for that same reason the inevitable conditions of all material manifestation of man within the limits of his earthly being4 ,if we agree that art is the highest manifestation of order in matter1 and order in its essence nothing but division of space and time1 we shall understand the fullness of artistic satisfaction which man must feel when both his organs of perfection1 eye and ear1 convey to him not only each separate enjoyment1 but the enjoyment of fusion2 when all his sthetic functions are awakened in him not separately but collectively1 in one unique impression3 the visible rhythm penetrated by the audible1 the audible realized in the visible1 and both united in movement4 ,this is the combination of the spacial order with the temporal4 ,and when this combination is accomplished1 and still more when it is animated with expression1 then no chord of human impressionability is left untouched1 no category of human existence is neglected2 space and time are filled with art1 the whole man is but one sthetic perception4 #8,and1 once we have understood all that1 how is it possible not to express the wish that the leaders of the art of the ballet should assimilate the principle of concordance of motion and music8 ,without this there is no art in movement1 and all our old 8points0 and 8fouetts10 all those records of rapidity and difficulties are nothing but words without significance1 whereas the new 8choreographical0 pictures are but a dramatization of movement to the sound of an accompanying music4' ,,ii ,one of the first among living dancers to realize the truth of the above-described lack of concordance between motion and music in all the ancient and new schools1 and to devise1 intuitively1 a method of her own in expressing only the music1 is ,lada1 a young ,american girl1 who had been assiduously studying dancing in ,europe and in ,russia4 ,she felt so keenly the discord in the ballet1 in the art of ,isadora ,duncan1 in the dances of so many modern celebrities1 that she was led to draw her inspiration from the folk-dances of various ,european countries4 ,here was something simple and primitive1 the simple and nave harmonic relation between the audible1 and the visible1 the plastic1 conception4 ,it was the concordance of motion and music4 ,lada's ,new ,york dbut in the late spring of #aiad was1 in spite of so many unfavorable circumstances1 a choreographic triumph such as few dancers have achieved under similar conditions4 ,the ,new ,york musical and dramatic critics1 though unfamiliar with subtle choreographic issues1 declared her an artist of the foremost rank4 ,yet this girl has not had yet the chance to display the best of her art4 ,her art may be divided into three different categories3 those based on the racial1 on the dramatic and on the symbolic principles4 ,her ,brahms' ,hungarian ,dance1 ,glinka's ,kamarienskaya1 and ,schubert's ,biedermayer are distinct ethnographic plastic panoramas2 her ,sibelius' ,valse ,triste is a masterpiece among her dramatic and realistic dances1 while ,mac,dowell's #8,shadow ,dance1' ,sibelius' #8,swan of ,tuonela1' ,glire's ,lada1 and ,rimsky-,korsakoff's ,antar are perfect choreographic gems of unusual symbolic breadth4 ,in the ,valse ,triste the sad majesty1 as if absorbed in infinite grief1 overcomes the spectator so irresistibly that he almost forgets the morbidly beautiful music of ,sibelius4 ,on occasions1 impressively executed with unsurpassed loftiness and freedom1 she places before us a visionary being1 though on the verge of death1 in whose presence everything low falls from us1 and our feelings express the same elevation that they do in genuine tragedy4 ,but1 however excellently ,lada may interpret the sentimental issues of various ethnographic compositions and how well she may portray the tragic vigor of the dramatic music1 the best of her art lies in the symbolic visualization of phonetic beauties4 ,in these she appears like a supernatural being raised above common humanity4 ,her rendering of ,gretchaninoff's #8,bells1' which we have seen so far only in rehearsals1 makes an impression as if she were lost in sacred revery4 ,a touch of religious feeling pervades the beautiful panorama4 ,in other dances of similar religious character she seems floating in mid-air1 unsubstantial as the moon whose pale beams pour a magic beauty over sleeping ,nature--and yet so far removed4 ,her art is an absolute image of the music4 ,lada is by no means a mood creator or a believer in genial spontaneity that requires nothing but a stage and orchestra4 ,she possesses in her simplest folk-dance-like choreographic sketches the same technical perfection1 the same strenuous practice1 as the most accomplished ballet dancer4 ,this is what makes her body seem like a highly strung instrument1 whose strings the slightest breath of wind can set quivering4 ,let us hope that she will not change her views and aspirations for the sake of managerial or timely requirements1 as so many successful dancers have done4 ,it would be a loss to the evolution of the art of dancing4 ,to this school of dancing belongs also ,natasha ,trouhanova1 a fascinatingly beautiful ,caucasian girl1 whose appearances in ,russia and ,paris have attracted great attention4 ,being of semi-,oriental descent herself1 ,trouhanova's art has verged on ,oriental conceptions4 ,russian music is rich in excellent ,oriental themes2 ,borodine1 ,rubinstein1 ,balakireff1 ,ippolitoff-,ivanoff and ,spendiaroff have written a large number of instrumental works of ,oriental cast1 which adapt themselves magnificently to dancing4 ,indeed1 the composers of other countries have not been able to approach the ,russians in the treatment of ,oriental subjects4 ,mlle4 ,trouhanova has specialized in a romantic ,oriental symbolism1 in which she has succeeded more than any of the other living dancers4 ,there is an enchanting1 exotic atmosphere in ,trouhanova's plastic expressions1 something that breathes of the ,thousand and ,one ,nights1 seductive and saturated with passion1 yet beautiful in every detail4 ,her best performances have been those which she has given in ,oriental surroundings1 in the atmosphere to which such expressions belong4 ,like ,lada1 ,trouhanova seeks the solution of choreography in the music itself4 ,she has been inclined to a kind of symbolism that pertains to the romantic emotions1 and in this particular field she stands supreme4 ,,iii ,how important ,lada's illustration of the theory of concordance of motion and music is at this time of dancing evolution can be more concretely grasped by the coming generations than by an average dance-lover to-day4 ,it is perspective that gives the true visual impression of a mountain4 #8,in the unison of plasticity and music1 of the visible with the audible1 of the spacial with the temporal1 lies the guarantee of that new art which we so ardently desire and so unsuccessfully seek1' writes a celebrated dance authority4 ,but here comes the question of music1 the phonetic image that should guide the choreographic artist4 ,lada complains that she has a very limited choice of compositions that can be danced4 ,the problem of proper dance music is more serious than one would think4 ,sibelius' ,valse ,triste is perhaps the best sample of dramatic dance music that corresponds perfectly to a dancer's requirements4 ,mac,dowell's #8,shadow ,dance' is another gem of this kind4 ,there are quite a few by other composers4 ,the sum is slight4 ,but the dancer can hardly blame the composer alone1 for the latter knows only the old ballet1 the naturalistic school or folk-dance themes4 ,he has never heard of any other dance music than the one which has been danced1 either socially or on the stage4 ,dancing to music requires short phonetic episodes with sufficient poetic1 symbolic or dramatic element1 and images clearly depicted in strong rhythmic measure and sufficient background for the story4 ,the more variety of figures1 the greater contrasts and the more #8chapters' in such a composition1 the better for the dancer4 ,the modern decadent1 unrhythmic1 vague mood music of the radical ,french and ,german schools is of little appeal and practically impossible to render in plastic forms4 ,it is the ,russian school of music1 as also the works of modern ,finnish composers1 that have all the rich1 clear and powerfully vivid magic of the north1 and appeal so strongly to a dancer's imagination4 ,sibelius' ,en ,saga1 a tone-poem for full orchestra1 would be the most grateful composition for this purpose had it not been written in the old symphonic form4 ,it belongs to that baffling and unsatisfactory class of symphonic poems to which ,sibelius has failed to give a clear literary basis4 ,the music suggests the recital of some old tale in which the heroic and pathetic elements are skillfully blended4 ,the music is vigorous and highly picturesque1 but its interest would be greatly enhanced by a more definite program4 ,again1 the same composer's #8,lemminkainen's ,home-,faring' would make an excellent dance for a man dancer1 had the composer rearranged it for a smaller orchestra and for dancing4 ,it is an episode from the ,kalevala4 ,sibelius' ,fourth ,symphony is a composition that could be danced1 being based on a series of single episodes of extremely imaginary character4 ,but the score is written for a large symphony orchestra1 therefore unpractical for dancing in a general way4 ,sibelius' incidental music to ,adolf ,paul's tragedy1 #8,king ,christian ,,ii1' and the other to ,maeterlinck's #8,pellas and ,mlisande' are large ballets rather than music that could be performed without any particular difficulties by dancers of ,lada's type4 ,the question of appropriate music for the latest phase of the art of dancing is so serious that it requires earnest consideration4 ,in considering the best dances of all the great dancers of all ages and schools we find that among the phonetic images the symbolic element renders itself most gratefully to plastic transformation4 ,by its very nature dancing is the symbolic rendering of music4 ,the more symbolic the subject of a composition the better chance it has of being transmitted into a visible language4 ,a dancer represents in his vibrating body lines the symbolic complex of all the phonetic unities of a composition4 ,he is1 so to speak1 the unset type4 ,music is the text that he has to print in such pictorial forms1 in such symbols that our mind can grasp it4 ,throughout his dance1 he remains a kaleidoscopic tracer of the musical designs of the composition4 ,the plastic positions of the human body1 the mimic expression of the face1 the gestures and the steps1 are the mediums that can suggest certain phases of emotion and feeling1 certain ideas and impressions of soul and body4 ,there is a certain tonal and pictorial #8logic1' a kind of unarticulated thinking1 in music as well as in dancing4 ,but this cannot be depicted in any other than symbolic form4 ,essentially both arts are composed of a succession of peculiar emotional symbolic images4 ,music is the vibration of the sound1 dancing the vibration of the form4 ,both arts appeal directly to our emotions1 music more than dancing1 the latter being more mixed with our intellectual processes4 ,dancing may be termed the translating of the absolutely subjective language into a more objective one4 ,according to this theory all the ballets in the old form of drama1 where the characters dance their rles1 is against the principle of pure art dancing4 ,it is impossible to imagine that there is any music on the order of our conventional dramas1 of so or so many characters4 ,at the utmost there can be only two dancing figures1 two characters that we could imagine in a tone-drama of this kind2 but even so1 the other could be only the acting1 the pantomimic character1 while only one dancer at a time can render the real transformation process of the musical theme4 ,to comply with the requirements of the above-described theory of musical dancing1 the writer has composed a scenario1 #8,the ,legend of ,life1' to which ,reinhold ,glire is composing the music4 ,in this ballet1 or more correctly plastomime1 which is arranged in three scenes1 there is only one single dancer throughout the whole performance1 and she is the symbolic image1 the visualized imagination of a young monk1 who is sitting in the evening before the festival of ordainment in his gloomy cell and thinking of the girl he used to love outside4 ,here he begins to hear the worldly music that is interrupted by the chimes and the choir of the church4 ,the girl of whom he is thinking appears before him and dances romantic episodes--dances1 so to speak1 his vivid reminiscences4 ,the monk is the realistic figure1 the dancing girl the symbolic image of the music4 ,it is a whole drama1 which takes place in the monk's mind4 ,the drama is in music1 and is his love1 his romantic emotion1 which is often interrupted by ecclesiastic surroundings4 ,the second scene is the dream of the monk at night in a beautiful garden4 ,the vision of the dancing girl4 ,the third scene depicts him watching his own ordination in the church and the people arriving solemnly through the courtyard to witness the ceremony4 ,among them he sees his beloved4 ,this scene is laid in the monastery's courtyard4 ,the charm of the dancing girl here becomes so overwhelming to the monk that he throws off his robe and rushes to her4 ,here she vanishes like a phantom and the plastomime ends4 ,this1 briefly1 is an attempt at the sort of literary basis upon which the author considers dance music can be constructed in concordance with the new symbolic ideals4 ,the above-described scenario is merely one of the innumerable dance themes that modern composers could employ in their future dance music4 ,it is to be hoped that composers will grasp the idea and enrich musical literature with works that adapt themselves to the requirements of a new choreography4 ,,epilogue ,,future ,,aspects ,,of ,,the ,,art ,,of ,,dance ,as in the physical so in the spiritual world there prevails a kind of circulation of energies and life2 growth1 maturity and decline4 ,individuals seem nothing but the beginnings where the universes end1 and vice versa4 ,as a man mirrors the world in his soul1 so a protoplasm mirrors the man4 ,an invisible hand pushes a worm along the same road of evolution as it does an imperious ,csar4 ,one and the same feeling heart seems to beat in the breast of man that beats in the action of the constellations4 ,yet the hand of evolution that tends to adjust the equilibrium between the individual and the cosmic will gives by every new turn a new touch of perfection to the subjective and the objective parties4 ,this tendency manifests itself in the history of individuals and races1 and also in the history of art4 ,the greatest genius of to-day is surpassed by another to-morrow4 ,the art of dancing1 as it stands to-day1 promises much encouragement for to-morrow4 ,it is near the beginning of a new era--the era of the cosmic ideals4 ,the past belongs to the aristocratic ideals1 in which the ,russian ballet reached the climax4 ,the ,french were the founders of aristocratic choreography2 the ,russians transformed it into an aristocratic-dramatic art2 to the ,americans belongs the attempt at a democratic school4 #8,the chief value of reaction resides in its negative1 destructive element1' says ,prince ,volkhonsky4 #8,if1 for instance1 we had never seen the old ballet1 with its stereotype1 ,i do not think that the appearance of ,isadora ,duncan would have called forth such enthusiasm4 ,in ,isadora we greeted the deliverance4' ,the chief merit of ,duncan lies in destroying the aristocratic foundation of the ballet1 and in attempting to find a democratic expression4 ,she meant to find the solution in ancient ,greek ideas and tried to imitate them4 ,but she forgot that she was an outspoken ,american individualist and grasped only the democratic principles of a young race4 ,all she achieved was to prove that the democratic essentials are no more satisfactory in the future sthetic evolution of the dance than were the aristocratic traditions of the bygone centuries4 ,the question remains1 where is to be found the true basis of the coming choreography8 ,it is strange to contemplate what different directions the development of the dance in various countries and in various ages has taken4 ,in ancient ,egypt and ,greece the primitive folk-dances developed into spectacular religious ballets1 in ,japan they assumed the same impressionistic character as the rest of the national art1 in aristocratic ,france the folk-dances grew to a gilded salon art1 in ,italy they became acrobatic shows1 while in ,russia they transformed themselves into spectacular racial pantomimes4 ,in every age and country the art of dancing followed the strongest sthetic motives of the time4 ,if a nation worshipped nobility it danced the aristocratic ideals1 if it worshipped divine ideas it danced them accordingly4 ,the social-political democratic ideals of the ,new ,world have exercised a great influence in this direction upon the art of the ,old4 ,though imitating aristocratic ,europe1 ,america has not failed to add an element of its own to the sthetic standards of the former4 ,but had ,america been only democratic there would be little hope left that it could attribute anything to the future beauty1 particularly to the future dance4 ,there are1 however1 other elements that give encouragement to something serious and lasting1 and this is the cosmic tendency in ,american life and art4 ,the chief characteristics of the ,american mind are to condense expressions and ideas into their shortest forms4 ,this is most evident in the syncopated style of its music1 in its language and in its architecture4 ,like the ,american #8ragtime' tune1 an ,american skyscraper is the result of an impressionistic imagination4 ,both are crude in their present form1 yet they speak a language of an un-ethnographic race and form the foundation of a new art4 ,instead of having a floating1 graceful and1 so to speak1 a horizontal tendency like the sthetic images of the ,old ,world1 the ,american beauty is dynamic1 impressionistic and perpendicular4 ,it shoots directly upwards and denies every tradition4 ,the underlying motives of such a tendency are not democratic but cosmic4 ,while a nationalistic art is always based on something traditional1 something that belongs to the past evolution of a race1 the cosmic art strives to unite the emotions of all humanity4 ,the task of the latter is very much more difficult4 ,it requires a universal mind to grasp and express what appeals to the whole world4 ,it requires a ,titanic genius to condense the sthetic images so that in their shortest form they may say what the others would express in roundabout ways4 ,this gives to beauty a dynamic vigor and makes it so much more universal than the art of any nation or age could be4 ,but this requires the use of symbols1 and tends to subjectivism4 ,however1 the symbols employed in this case are fundamentally different from those employed by the ,orientals4 ,since the earliest ages the ,orient has made use of symbols in art and religion4 ,but the ,oriental symbols have been mystic or philosophic in their nature4 ,the ,american symbols will either be purely intellectual or they will be poetic4 ,the future of the art of dancing belongs to ,america1 the country of the cosmic ideals4 ,this is evident from its evolution since ,isadora ,duncan's dbut4 ,the ,russian ,new ,ballet 7of ,diaghileff's group7 is the best proof that the traditional racial plasticism is being transformed into a cosmic one4 ,compare the steps and gestures of ,karsavina and ,nijinsky with those of ,pavlova and ,volinin4 ,where the former have become realistically dramatic1 the latter remain acrobatically academic4 ,there is more symbolism in ,karsavina's and ,nijinsky's art than in that of ,pavlova and the followers of the old ballet4 ,but the plastic symbols of ,lada are far more condensed than those of ,karsavina4 ,this is what we have termed the essential of a cosmic choreography4 ,the tendency of every art is from the simple to the complex and then again from the complex to the simple4 ,the greatest dancer is the one who can express the most complex musical images in the simplest plastic forms4 ,dancing in the future will be nothing but a transformatory process of the time-emotions in the space-emotions4 #8,rhythm is in time what symmetry is in space--division into equal parts corresponding to each other1' said ,schopenhauer4 ,arthur ,symons called dancing #8thinking overheard4' #8,it begins and ends before words have formed themselves1 in a deeper consciousness than that of speech4 99 99 99 ,it can render birth and death1 and it is always going over and over the eternal pantomime of love2 it can be all the passions1 all the languors2 but it idealizes these mere acts1 gracious or brutal1 into more than a picture2 for it is more than a beautiful reflection1 it has in it life itself1 as it shadows life2 and it is farther from life than a picture4 ,humanity1 youth1 beauty1 playing the part of itself1 and consciously1 in a travesty1 more natural than nature1 more artificial than art3 but we lose ourselves in the boundless bewilderment of its contradictions4' ,it follows that a neo-symbolism is the logical outcome of the future dance4 ,dancing will become an independent stage art and take the place of the obsolescent opera4 ,but before it reaches that stage1 composers will be compelled to realize the importance of the new choreography1 and produce music that contains all the graphic designs1 the plastic possibilities1 the dynamic drama and1 above all1 that structure of sounds which gives ample possibility for symbolic plasticism and yet contains a message4 ,the real future dance will be expressionistic and subjective4 ,instead of copying life it will suggest its deepest depths and highest heights by combining the plastic symbols with the musical ones4 ,it will not try to imitate nature but transpose it1 as a painting transposes a landscape4 ,our mind is growing tired of the prevailing naked realism and its photographic effects4 ,the realistic drama is gradually losing its sthetic appeal4 ,the aristocratic opera seems to belong to past centuries4 ,opera has lost its grip on the modern mind4 ,our sthetic conception has reached the point where our subjective mind requires not imitation but inspiration4 ,instead of traditional beauties we require dynamic ones4 ,we enjoy a suggestion of an sthetic sensation more than an accurate description of it4 ,this proves that the symbolic sensations will sooner or later take the upper hand1 and symbolic dancing will be the watchword of the coming age4 ,since1 according to our theory1 the future of the art of dancing belongs to ,america1 we should take into consideration those primary elements of musical art that form the foundation of every dance4 ,american art naturally lacks fundamentally national elements2 it strives toward cosmic ideals instead4 ,miserable as is the syncopated form of ,american popular music it yet constitutes the musical ,volapk of all the nations4 ,this same syncopated form of expression manifests itself in ,american architecture and in its social dancing4 ,the broken lines1 the irregular dynamics1 and the restless corners here and there that we find predominant in ,american architecture are nothing but a transposed form of popular music4 ,it is evident that neither one of the arts has yet found its foundation4 ,a ,new ,york skyscraper is a silent #8ragtime' tune1 and vice versa4 ,but the #8ragtime' rhythm can be modulated to the same sthetic expressions as the skyscrapers4 ,unconsciously the dance follows the patterns of architecture and music4 ,the future choreography does not necessarily need to be based upon syncopated rhythm only1 but upon the various factors of the style1 the method of expression and the spiritual issues4 ,the physical and spiritual bases of every folk-art lie in the rural life4 ,a folk-song or a folk-dance is and remains the product of idyllic village atmosphere4 ,it mirrors the joys and sorrows1 hopes and passions of the country people4 ,it has been molded under the blue sky1 in sunshine and storm4 ,the songs of birds and the voices of nature form its sthetic background4 ,a village troubadour or poet is usually its creator1 and simplicity is its fundamental trait4 ,it exalts the rural atmosphere1 poetry and characteristics4 ,the place of the birth and growth of syncopated rhythm and broken symmetry is exclusively the city4 ,it exalts the noise1 rush and triviality1 also the alertness and forces of the street4 ,it suggests motion and intellectual fever4 ,it leaves images of something artificial and fatal in the mind4 ,the spirit of the country is different in every nation2 but the spirit of the city is a similar one all over the world4 ,it is in this very fact that we have to look for the logical foundation of the future choreography4 ,it will emanate from no particular race1 from no particular country1 nor from any particular element of national art4 ,it will come from the artificial city1 the mother of cosmic idealism4 ,the symbolism of the city is destined to take the place of the symbolism of the country4 ,the ,new ,york plasticism will be also the plasticism of ,paris and ,petrograd4 ,the ethnographic and aristocratic era in the art of dancing has reached the climax of sthetic development4 ,we are entering the era of cosmic art4 ,we begin it with the same primitive steps that our ancestors made so many centuries ago2 only with this difference--that now we view the problem from a universal point of view while our forefathers beheld it from a nationalistic and aristocratic point of view4 ,we are in the cosmic current of evolution and begin our circle where it was left by those who had passed the current of a certain race or class4 ,the future dance will grasp beauty from a broader stretch and deeper depths than the greatest virtuosi of the past and present could do4 ,the fundamental law of all spiritual as well as physical evolution is to bring about a better equilibrium between the individual and the universal powers4 ,,literature ,,for ,,volume ,x ,in ,english ,s4 ,a4 ,,barrett3 ,the ,dream ,dance of the ,chippewa and ,menominee ,indians 7,milwaukee1 ,wis41 #aiaa74 ,,caroline ,,and ,,charles ,,caffin3 ,dancing and ,dancers of ,to-day 7,new ,york1 #aiab74 ,,havelock ,,ellis3 ,the ,philosophy of ,dancing 7,atlantic ,monthly1 ,boston1 ,april1 #aiad74 ,j4 ,e4 ,,crawford ,,flitch3 ,modern ,dancing and ,dancers 7,london1 #aiab74 ,,marcella ,a4 ,,hincks3 ,the ,japanese ,dance 7,london1 #aiaj74 ,a4 ,,holt3 ,how to ,dance the ,revived ,ancient ,dances 7,london1 #aijg74 ,,troy ,,and ,,margaret ,,west ,,kinney3 ,the ,dance 7,new ,york1 #aiad74 ,,cecil ,j4 ,,sharpe ,,and ,,herbert ,c4 ,,macilwaine3 ,the ,morris ,book 7,london1 #aiaj74 ,g4 ,,vuillier3 ,a ,history of ,dancing 7,new ,york1 #ahih74 ,in ,german ,w4 ,,angerstein3 ,volkstnze im deutschen ,mittelalter 7,berlin1 #ahfh74 ,f4 ,m4 ,,boehme3 ,geschichte des ,tanzes in ,deutschland 7,leipzig1 #ahhf74 ,,hans ,,brandenburg3 ,der ,moderne ,tanz 7,munich1 #aiac74 ,,mile ,,jacques-,,dalcroze3 ,der ,eurythmus 7,dresden1 #aiac74 ,h4 ,,flach3 ,der ,tanz bei den ,griechen 7,berlin1 #ahhj74 ,g4 ,,fuchs3 ,der ,tanz 7,stuttgart1 #aijf74 ,g4 ,,mohr3 ,die deutschen ,volkstnze 7,leipzig1 #ahgd74 ,,heinz ,,schnabel3 ,kordax3 ,archeologische ,studien 7,munich1 #aiaj74 ,r4 ,,voss3 ,der ,tanz und seine ,geschichte 7,erfurt74 ,in ,french ,,castil-,,blaze3 ,histoire littraire1 musicale1 chorographique1 etc4 7,paris1 #ahdg74 ,,auguste ,,ehrhard3 ,une vie de danseuse3 ,fanny ,elssler 7,paris1 #aiji74 ,,maurice ,,emmanuel3 ,la danse grecque antique 7,paris1 #ahif74 ,j4 ,g4 ,,noverre3 ,lettres sur les arts imitateurs en gnral 7,paris1 #aijg74 ,in ,italian ,g4 ,b4 ,,dufort3 ,trattato del ballo nobile 7,naples1 #agbh74 ,in ,russian ,bulletins of the ,russian ,imperial ,ballet ,school 7,petrograd1 #aijj-aiad74 ,c,,sar ,,cui3 ,istoria ,russkoi ,musyki 7,petrograd1 #aijc74 ,s4 ,,hudakov3 ,istoria ,tanzev1 #b vols4 7,petrograd1 #aiad74 ,n4 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quoted 7on ,american ,indian dances71 iv2 7on relation of rhythm to life71 vi2 7on modern ,spanish dances71 #baa4 ,elssler1 ,fanny1 #aea1 #aee;ff4 ,emerson1 ,ralph ,waldo 7quoted on ,elssler71 #aee4 ,emmanuel 7cited on ,greek choreography71 #gj4 ,emmeleia 7,greek dance71 iv1 #fa1 #fb;f4 ,endymatia 7,greek dance71 #fa4 ,england 7folk-dancing71 #aac2 7waltz71 #aca;f2 7social dancing71 #aej4 ,english ,cathedrals 7rhythmic ritual used in71 viii4 ,entrechat1 #ih2 7in ,egyptian dance71 #bj4 ,erfurt1 #abi4 ,esclatism 7,greek gymnastics71 #ga4 ,la ,esmeralda 7,perrot and ,pugni71 #aeb4 ,esthonian folk-dances1 #aba1 #abf;f4 ,eugenius ,,iv1 #gh;f4 ,eurhythmics 7of ,jacques-,dalcroze71 #bcd;ff4 ,excelsior 7ballet71 #aeb4 ,f ,fabiol 7in ,spanish dance71 #gi;f4 ,fackeltanz1 #abh1 #acj4 ,fakir dances1 #bh;f4 ,falkenfleth1 ,haagen 7quoted on ,jrgen-,jensen71 #afe4 ,fandango 7,spanish folk-dance71 #ej1 #aje1 #ajf;f1 #aab4 ,farandole 7,french folk-dance71 #aba2 7as court dance71 #abb4 ,la ,farandole 7,dubois71 #aeb4 ,la ,farruca 7,spanish folk-dance71 #aaa4 ,fauns1 #hj4 ,faust 7ballet by ,perrot71 #aeh4 ,feodorova1 ,sophie1 #bba1 #bbd4 ,ferrabosco1 ,alfonso1 #hd4 ,festen i ,albano 7,danish ballet71 #afc4 ,festival of the ,sacred ,bull 7,egyptian71 #ae;f4 ,festival of the ,supreme ,being 7,french strolling ballet71 #ic;f4 ,festivals 7,roman71 #gd1 #ge;f4 ,finland 7folk-dances71 #b1 #aba1 #acb2 7compared to ,american ,indian dances71 #ci2 7rune tunes71 #fc2 7horn dance71 #aag2 7naturalistic school71 #bje4 ,fiorella 7ballet71 #afc;f4 ,fire ,bird ,the1 #bca4 ,fire ,dance1 #aib4 ,fleure 7ballet step71 #ih4 ,fleury 7quoted71 #aja4 ,flitch1 ,j4 ,e4 ,crawford1 quoted 7on ,fuller71 #aij;f4 ,floralia 7,roman festivals71 #ge4 ,flore et ,zphire 7,french ballet71 #aeb1 #aed4 ,florence 7court ballet71 #ij2 7folk-dance71 #abd4 ,flower ,dance1 #aib4 ,flute 7in ,egyptian dance music71 iv1 #h2 7in ,indian dance music71 #bg2 7in ,chinese dance music71 #cb2 7in ,japanese dance music71 #ch2 7in ,american ,indian dance music71 #da2 7in ,arabian dance music71 #di2 7in ,greek dance music71 #ef1 #eh;f1 #fa1 #gj2 7in ,roman dance music71 #gd1 #gf2 7in #aeth cent4 ,italian ballet71 #hb4 ,fokina1 ,vera1 #aga1 #bbj1 #bba1 #bbd4 ,fokine1 vi1 #bai;f1 #bbj1 #bbh1 #bca1 #bdd4 ,folk-dances1 #bff2 7rel4 to sex instinct71 v2 7,spanish71 #aje;ff2 7,italian71 #abb;ff2 7,german71 #abh;f2 7,finnish71 #acb;f2 7,scandinavian71 #acc2 7,dutch71 #ace2 7,lithuanian71 #ace;f2 7,polish71 #acf2 7,slavic71 #acf;ff2 7,armenian71 #ach;f2 7,russian71 #aci;ff1 #aga4 ,folk-songs1 #bfe2 7,russian71 #ahc4 ,forlana 7,italian folk-dance71 #abd4 ,fouett 7,french ballet step71 #ig4 ,fouett pirouette 7in ,egyptian dances71 #ah4 ,fountain of ,magic ,dances 7in ,eleusinian ,mysteries71 #fg4 ,fox ,dance 7,greek71 #fi4 ,france 7rhythmic church ritual71 iii-f1 #ha2 7folk-dancing71 #b1 #aba;ff1 #bfb2 7court dancing71 #aj2 7grand court ballets71 #hc1 #hf;ff1 #bdg2 7democratic influence71 #ajb2 7waltz71 #aca2 7influence of1 on ,russian ballet71 #aga2 7naturalistic school71 #bje4 ,french ,academy of ,dancing1 #id;f1 #ii1 #aje4 ,french ballet1 #hf;ff2 7modern criticism of71 #bad;ff4 ,french ,revolution1 #ib1 #ic;f1 #adh4 ,froehlich 7,danish composer71 #afc4 ,fuentes 7cited on ,seguidilla71 #aji;f4 ,fuller1 ,loie1 #ahi1 #aij;ff4 ,fuller1 ,margaret 7quoted on ,elssler71 #aee4 ,funeral dances 7,japanese71 #cf2 7,greek71 #ed4 ,g ,gade1 ,niels ,w41 #acc1 #aea4 ,gaita 7,spanish instrument71 #ajf4 ,galcotti 7ballet composer71 #aeb4 ,galeazzo1 ,visconti1 ,duke of ,milan1 #aj1 #ha4 ,galen 7quoted71 #ed4 ,galeotti1 ,vincenzo ,tomaselli1 #afb4 ,galicia 7church dancing71 #gh2 7folk-dancing71 #ajf4 ,galliard1 #adi;f4 ,gardel1 ,maximilian 7ballet composer71 #ad1 #hi1 #ia1 #aca1 #adh1 #aea1 #afb4 ,el ,garrotin 7,spanish folk-dance71 #aaa4 ,gautier1 ,thophile1 #aeb1 #aeh2 7quoted on ,elssler71 #aeg4 ,gavotte1 #gj1 #hf1 #adh4 ,gedeonoff1 #aha4 ,geltzer 7,russian ballet dancer71 #ahe4 ,gene1 ,adeline1 #aea1 #afg4 ,generalization1 theory of 7in ballet71 #baf;f4 ,germany1 v2 7folk-dancing71 #abh;f2 7the waltz71 #aca;f2 7social dancing71 #aej2 7influence of ,duncan71 #bja4 ,gesture 7relation between1 and music71 #bdj4 ,see also ,pantomime4 ,ghiselle 7,french ballet71 #aeb1 #aeh4 ,ghost ,dance 7,american ,indian dance71 #ch1 #dj;f4 ,gia 7,chinese dance71 #cb4 ,gilchrist1 ,connie1 #ahi4 ,glazounoff1 ,alexander ,constantovich1 #ahc1 #ahf1 #bbd4 ,glire1 ,reinhold1 #bjf1 #bjg1 #bed1 #bei4 ,glinka1 ,mikail ,ivanovich1 #ajd1 #aha1 #bbd1 #bed4 ,glissade 7ballet-step71 #ig;f4 ,gluck1 ,christoph ,willibald1 #ajb;f1 #aba1 #adh1 #aeb1 #bjj4 ,gogol1 #ajd1 #aga4 ,golden ,calf 7in medival ballet71 #hj4 ,goulu ,la 7ballet dancer71 #aib4 ,grahn1 ,lucile 7ballerina71 #afc;f4 ,grand ballets 7of ,french court71 #hc1 #hf;ff4 ,gratiereness ,hulding 7,danish ballet71 #afb4 ,graveyard ,dance 7,oriental71 #ba;f4 ,gravity 7in naturalistic dancing71 #aif;f1 #bae4 ,greece 7philosophers of1 quoted on dancing71 iii2 7religious dancing71 iv1 #i1 #aj1 #eb;ff1 #ei2 7writers of1 cited on ,spanish dancing71 #df;f2 7its choreography71 #eb-ga2 7festival dancing71 #ed;f2 7folk-dancing71 #aba4 ,greek dancing 7modern #8revivals' of71 #aie;f2 7,jacques-,dalcroze system71 #bde1 #bdg4 ,greek ,church 7dancing in71 iii4 ,greek ,mysteries1 #fa4 ,gregory1 ,johann 7ballet master in ,russia71 #agi4 ,gretchaninoff1 ,alexander1 #bee4 ,gretna ,green 7ballet71 #aeb4 ,grtry1 ,andr ,erneste ,modeste1 #adh4 ,griboyedoff1 ,teleshova1 #agh4 ,grieg1 ,edvard1 #ajd1 #acc1 #bja1 #bje1 #bjf4 ,grisi1 ,carlotta1 #aea1 #aeh4 ,grouping 7decorative71 #bce4 ,guerrero1 ,rosario1 #baj4 ,guild dances 7,german71 #abi4 ,guillaume ,tell 7,french ballet71 #ib4 ,guimard1 ,madeleine 7,french ballet dancer71 #ia1 #id1 #ii1 #ajj;f4 ,guitar 7,egyptian71 #h2 7,african71 #dg2 7in ,spanish folk-dance71 #ajg1 #aaj4 ,gustave ,vasa 7,french ballet71 #ajb4 ,gymnastics 7rhythmic71 #bcd;ff4 ,gymnopdia1 #ei;f4 ,h ,hailii 7,finnish folk-dance71 #acc4 ,handel1 ,george ,frederick1 #ii2 7boures71 #aba2 7courantes71 #ade4 ,harlequin1 ,parisian 7,dominique71 #ajj4 ,harp 7in ,egyptian dance music71 #h2 7in ,american ,indian dance music71 #da2 7in ,greek dance music71 #ec1 #ef2 7in ,roman dance music71 #gf2 7in ,esthonian folk-dance music71 #abg2 7in ,finnish dance music71 #acc4 ,hartmann1 ,johann ,peter ,emil1 #acc1 #aea1 #aeb1 #afc4 ,hatton 7,english dancer71 #aej4 ,hawasis1 #bj;f4 ,haydn1 ,joseph1 v4 ,hebrews1 iii1 #dc;ff4 ,see also ,jewish ,marriage ,dances1 etc4 ,helen of ,sparta1 iv4 ,hellerau 7,college of ,rhythmic ,gymnastics71 #bcd;ff4 ,hempua 7,finnish folk-dance71 #acc4 ,henri ,,iv1 ,king of ,france 7patron of dancing71 #hf4 ,henrietta ,maria1 ,queen of ,england1 #hd4 ,henry ,,vii1 ,king of ,england1 #hd4 ,herculaneum1 #eg4 ,hercules in ,love 7,french ballet71 #hg4 ,hermes1 ,egyptian god 7,thoth71 #ac4 ,hro et ,leandre 7,french ballet71 #id4 ,herodotus 7cited71 #ac4 ,hesiod 7cited71 #eb1 #fe4 ,heter 7,greek71 #fi1 #gj4 ,hieroglyphs1 #ab;ff4 ,high ,kickers1 #ahi4 ,highland ,fling 7,scotch folk-dance71 #aah4 ,hilferding1 #ahj4 ,hincks1 ,marcella ,a4 7cited on ,japanese dancing71 #ce4 ,historical ,ballet 7,chinese71 #cc4 ,homer 7cited71 #eb1 #ec;f1 #ef;f1 #eg1 #fe4 ,hoppe1 ,johann ,ferdinand1 #afd4 ,hora 7,roumanian folk-dance71 #acg;f4 ,horace 7cited71 #gb4 ,horatii 7,french ballet71 #ij4 ,hormos 7,greek dance71 #fa1 #fd4 ,horn 7in ,finnish dance music71 #acc4 ,horn ,dance 7,english folk-dance71 #aag;f4 ,hornpipe 7,scotch folk-dance71 #aai4 ,hovey1 ,mrs4 ,richard1 #aie;f1 #bab1 #bad4 ,huang-,ta1 #cj4 ,humpty-,dumpty 7ballet71 #aij4 ,hungary 7folk-dancing71 #b1 #abd;ff4 ,hymn to ,apollo1 #ef4 ,hymnea 7,greek dance71 #fa4 ,hyporchema 7,greek dance71 #ee1 #ei4 ,i ,ibsen1 ,henrik1 #ajd4 ,idealism 7classic71 #aeg4 ,ilia ,murometz 7,russian folk-dance71 #adj4 ,iliad 7cited71 #ec;f1 #abg4 ,impatiencem 7#agth-cent4 ballet71 #hg4 ,imperial ,ballet ,school 7,russian71 #ij;f1 #aje1 #agb1 #aha4 ,imperial ,dramatic ,dancing ,school 7,russian71 #ahj4 ,improvisation 7course in ,jacques-,dalcroze school71 #bdj4 ,india 7relation of dancing and religion71 #i2 7choreographic art71 #bd;ff2 7effect of music on dancing71 #be2 7dances of1 in ,european imitation71 #bji4 ,indians4 ,see ,american ,indian4 ,indulgences 7sold by clergy for dancing71 #ha4 ,ingham1 ,ethel 7quoted71 #bcd;f4 ,ingham1 ,percy ,b4 7quoted71 #bdb4 ,innocence1 ,dance of 7,egyptian71 iv4 ,innsbruck1 #abi4 ,instruments 7in ,egyptian dance music71 #h1 #af4 ,ionic ,movements1 #ef4 ,iphigenia in ,aulis 7,gluck71 #aeb4 ,ippolitoff-,ivanoff1 ,mikail ,mikailovitch1 #bef4 ,ireland 7folk-dancing71 #aai;f4 ,irvin1 ,beatrice1 #bjf4 ,isabella of ,aragon1 #ha4 ,isis cult1 #ae;f4 ,istomina 7,russian ballerina71 #agh1 #aha4 ,italy1 v1 #ajb2 7folk-dances71 #b1 #abb;ff2 7court dancing71 #aj2 7medival strolling ballets71 #hj;f2 7influence on ,russian ballet71 #aga4 #8,ivan the ,terrible' 7,russian folk-dance71 #adj1 #ada4 ,ives1 ,simon 7composer of masque music71 #hc4 ,ivi-,men 7,chinese dance71 #cb4 ,j ,jack ,sheppard 7ballet71 #aij4 ,jacques-,dalcroze1 mile1 #bcd;ff1 #bdg1 #bdi2 7eurhythmics of1 compared with ,greek dancing71 #ga4 ,jacques-,dalcroze ,school1 #aig;f1 #bjj4 ,jaernefelt1 ,armas1 #bje4 ,el ,jaleo 7,spanish folk-dance71 #aaa4 ,james ,i1 ,king of ,england1 #hd4 ,japan 7pantomimic character of dancing71 #c2 7dance of1 adopted in ,china71 #cc;f2 7funeral dances71 #ce;ff2 7,european choreographic imitations71 #bjh2 7folk-dances71 #bfb4 de ,jaulnaye 7cited on ,roman dancers71 #gc4 ,java 7pantomimic choreography71 #c4 ,jerusalem1 ,temple of1 #dd4 ,jet1 #id1 #ie2 7in ,egyptian dance71 #bj2 7in ,bibasis71 #fb4 ,jewish marriage dances 7in ,morocco71 #dd4 ,jewish moralists 7antagonism to dancing71 #i4 ,jig 7,irish folk-dance71 #aai;f4 ,jota 7,spanish dance71 #ej1 #aje1 #ajg;f4 ,jones1 ,inigo1 ,english architect1 #hc1 #hd4 ,jonson1 ,ben1 #hc1 #hd4 ,jrgen-,jensen1 ,elna 7ballet dancer71 #afe;ff4 ,judgment of ,paris ,the 7ballet by ,noverre71 #ij4 ,jupiter1 #ed4 ,juvenal1 #gd4 ,k ,kaakuria 7,finnish folk-dance71 #acc4 ,kaara ,jaan 7,esthonian folk-dance71 #abf;f4 ,kagura 7,japanese dance71 #ch4 ,kaiterma 7,cossack dance71 #adj4 ,kalevala1 #beg4 ,kalewipoeg1 #aba1 #abg4 ,kalmuk dances 7compared to ,american ,indian dances71 #ci4 ,kamarienskaya 7,russian folk-dance71 #adj1 #adb4 ,karsavina1 ,tamara1 #aga1 #agf1 #ahc1 #ahh1 #bbj1 #bba1 #bbb1 #bbf1 #bbg;f1 #bbi1 #bca1 #bdh4 ,kasatchy 7,russian folk-dance71 #adj1 #ada;f4 ,kia-,king 7ballet by ,titus71 #cd4 ,kinney1 ,troy and ,margaret ,west 7quoted on ,arabian dances71 #dg;ff2 7quoted on ,fandango71 #ajg;f2 7quoted on ,la ,farruca71 #aaa2 7quoted on modern ,spanish dances71 #baj;f4 ,kirchoff 7cited on ,greek dance71 #fc4 ,kolla 7,slavic folk-dance71 #acg4 ,kolossova1 ,eugeny1 #agi4 ,kon-,fu-,tse 7,chinese moralist71 #cj4 ,kosloff 7,russian ballet dancer71 #bba4 ,kostroma 7folk-dancing in71 #adj4 ,kreutzer1 ,rodolphe1 #ajb4 ,krohn1 ,dr4 ,ilmari1 #acb4 ,kshesinskaya1 ,mathilda1 #aea1 #agi1 #ahc1 #ahe1 #ahh4 ,kshesinsky1 ,felix1 #ahb4 ,kuljak 7,esthonian folk-dance71 #abf;f4 ,kuula1 ,toiwo1 #bje4 ,kyasht1 ,lydia1 #ahe1 #ahh4 ,l ,lacedmonian dance1 #ei;f4 ,see also ,spartan dance4 ,lada1 #bdd1 #bec;ff4 ,lancelot 7quoted71 #acg;f4 ,lande 7ballet director71 #ahj4 ,lange-,mller1 ,wilhelm1 #bje4 ,laniere1 ,nicholas1 #hd4 ,lanner1 ,katty1 #aei4 ,lantern ,festival 7in ,china71 #ce4 ,larcher1 ,pierre ,j41 #afc4 ,laurette 7ballet71 #aeb4 ,lawes1 ,william1 #hc4 #8,leap with ,torches' 7in ,eleusinian mysteries71 #fg4 ,lgende de ,joseph 7,strauss71 #bcb4 ,leggatt1 #ahb4 ,leicester1 ,earl of1 #aej4 ,lesginka 7,cossack dance71 #adj4 ,lessing1 #afa4 ,lessogoroff1 #ahj4 ,lettish folk-dances1 #aba4 ,levinsohn1 ,a4 7quoted on ,duncan ,school71 #aih2 7quoted on the old ballet71 #bae4 ,liadova 7ballerina71 #aea4 ,ligne1 ,princess de1 #ajj4 ,li-,kaong-,ti 7,chinese monarch71 #ca4 ,lily 7ballet by ,san-,leon71 #cd;f4 ,lind1 ,letti1 #ahi4 ,liszt1 ,franz1 #abe4 ,lithuania 7folk-dancing71 #aba1 #ace;f4 ,little ,mermaid ,the 7ballet71 #afg4 ,littr 7cited71 #hh4 ,livingston 7cited71 iii4 ,livry1 ,emma1 #aei4 ,livy 7cited71 #gd4 ,locatelli1 ,pietro1 #ahj4 ,lopokova1 ,lydia1 #ahc1 #ahe1 #ahh4 ,loti1 ,pierre 7cited on ,indian dancing71 #bh4 ,lou ,gue 7medival ballet71 #hj;f4 ,louis ,,xiv1 #hf;f1 #ade4 ,louis ,,xv1 #hf;f1 #hh1 #ade1 #adg1 #adh4 ,louis1 ,pierre1 #bjg4 ,love's ,triumph ,callipolis 7masque by ,ben ,jonson71 #hd4 ,lubke 7cited on ballet dancing71 #agc4 ,lucas et ,laurette 7,french ballet71 #id4 ,lucceia 7,roman dancer71 #gg4 ,lucian 7quoted71 iii2 7cited71 #ad1 #eb1 #ed1 #fc1 #fd1 #fe4 ,ludiones 7,roman bards71 #gd4 ,lully1 ,jean-,baptiste1 #hf1 #hg2 7sarabandes71 #adg2 7gavottes71 #adh4 ,lupercalia 7,roman festival71 #ge4 ,lutes 7in #aeth cent4 ,italian ballet71 #hb ,lyre1 iv2 7,egyptian71 #h1 #ac2 7,hebrew71 #dd2 7in ,greek dance music71 #eg1 #eh2 7in #aeth cent4 ,italian ballet71 #hb4 #8,lysistrata' 7comedy by ,aristophanes71 #fa4 ,lysistrata 7,greek dance71 #fa4 ,m ,mac,dowell1 ,edward1 #bed1 #bef4 ,mac,dowell ,festival 7,peterboro1 ,n4 ,h471 #aag4 ,mnad ,dance 7,greek71 #fi4 ,maeterlinck1 ,maurice1 #beg;f4 ,mahabharata 7,indian epic71 #abg4 ,maillard1 ,mlle4 7ballet dancer71 #ib4 ,malakavel 7,french ballet71 #ajb4 ,la ,mancha 7its folk-dances71 #aji4 ,mandarin dances 7,chinese71 #cd4 ,maneros 7dancing ,pharaoh71 #ac4 ,marathon games1 #ed4 ,marie ,antoinette1 #adh4 ,marriage ceremonies1 masques performed at1 #hc4 ,see also ,jewish marriage dances4 ,mars1 #gd4 ,mars et ,venus 7,french ballet71 #aec4 ,marseillaise 7ballet71 #ib;f4 ,martial 7cited71 #gg4 ,masai 7war dancing71 #e4 ,masque of ,beauty 7,ben ,jonson71 #hc4 ,masque of ,blackness 7,ben ,jonson71 #hc4 ,masque of ,cassandra1 #hf4 ,masque of ,castillo 7,john ,crowne74 #hc ,masque of ,owles1 #hd4 ,masques 7,english71 #hc4 ,mathematics 7relation of1 to dancing and architecture71 vi4 ,mauri1 ,rosetta 7ballerina71 #aei4 ,mazurka1 #acf4 ,medivalism 7relation to dancing71 v4 ,see also ,middle ,ages4 ,medici1 ,catherine de'1 #aj1 #hf1 #aba4 ,mek na snut 7,egyptian pirouette71 #bj4 ,melartin1 ,erik1 #bje4 ,melkatusta 7,finnish folk-dance71 #acb4 ,memphis 7temple dances to ,osiris71 #ae;f4 ,merchant ,taylor's ,hall 7masques performed at71 #hc4 ,merikanto1 #bje4 ,messertanz 7of ,nuremberg71 #abi4 ,mexicans1 iii4 ,meyerbeer1 ,giacomo1 #ajc1 #aea4 ,miassine1 ,leonide1 #bcb4 ,middle ,ages 7choreography of71 #gh;ff1 #bdg4 ,milan ,school1 #aea4 ,military dance4 ,see ,war dance4 ,milon 7,french composer and ballet master71 #ia1 #id1 #aja4 ,mimii 7,roman dancers71 #gd4 ,minerva1 #ed4 ,minuet 7comparison of1 to ,greek dances71 #gj2 7in ,lou ,gue71 #hj2 7in #agth-cent4 ,french court71 #hf1 #adg;f4 ,miriam 7,biblical character71 #ai4 ,mirror ,dance1 #aib4 ,mohammedans1 #ba4 ,molire1 #hf4 ,mongolian tribes 7dancing of1 compared with ,indians71 #bh2 7use of ,pyrrhic dance by71 #fj4 ,monteverdi1 #hb4 ,moors1 #df2 7influence of1 on ,spanish dances71 #ej;f1 #aje1 #ajf1 #aab4 ,mordkin1 ,mikail1 #ahe1 #ahg1 #bbj1 #bba1 #bbb1 #bdh4 ,moreau 7painting of ,salome dance71 #de4 ,morocco 7,almeiis dancing71 #ba4 ,morris ,dances1 #aac;ff4 ,moscow 7,imperial ,ballet ,school71 #agb2 7opera house71 #age4 ,moses1 #dc1 #dd4 ,moujiks1 #agb1 #agh4 ,mount ,ida1 #ed4 ,moussorgsky1 ,modest1 #ajd1 #aga1 #aha1 #bbd4 ,movement 7rel4 to sound71 #bch4 ,mozart1 v1 #aja1 #ajb;f1 #bjf4 ,mller1 ,max 7cited71 #fj1 #fb4 ,munich 7guild dance71 #abi4 ,muravieva 7ballerina71 #aea4 ,murcia 7folk-dances of71 #ajf4 ,muses 7,egyptian71 #ac2 7,greek71 #aj1 #ed1 #eg4 ,museums4 ,see ,british ,museum1 ,petrograd ,museum1 ,naples ,museum4 ,music 7of ,japanese71 #ch2 7in ,greek dances71 #eh2 7influenced by ,russian ballet71 #agf2 7as underlying principle of dancing71 #aih2 7in relation to eurhythmics71 #bce1 #bcf;f1 #bdb2 7relation to gesture71 #bdj1 #bdh2 7in rel4 to modern ballet71 #bdi;ff2 7syncopated1 of ,america71 #bfe4 ,musical notation 7,arabic71 #ag1 #dg2 7,egyptian71 #ag2 7,spanish71 #ag2 7,chinese71 #cc4 ,muyniera 7,galician folk-dance71 #ajf4 ,mysteries4 ,see ,eleusinian ,mysteries1 ,dionysian ,mysteries4 ,mysteries of ,demetrius1 #fi4 ,n ,naples ,museum1 #fi4 ,napoleon1 #ajb1 #adh4 ,nationalism 7expressed in folk-dancing71 #c1 #aac2 7rel4 to arts71 #ajd;ff2 7in ,scandinavia71 #ajd2 7in ,russia71 #ajd;f2 7in ,irish folk-dance71 #aai;f2 7in ,finnish folk-dances71 #acb;f4 ,naturalistic ,school1 #aie;ff1 #bcb;f4 ,nature 7expression of1 in dancing71 #aif4 ,nausicaa1 #eb4 ,nautch ,dance1 #bji4 ,nautch girls1 #bf4 ,naxos1 #ed4 ,neo-,hellenism1 #bde4 ,neoptolemus1 #fj4 ,nero1 #gd1 #ge4 ,nicomedes of ,pithynia1 #ee4 ,nielsen1 ,augusta1 #afd4 ,nijinsky1 ,waslaw1 #bbj1 #bba1 #bbb1 #bbd1 #bbf1 #bbi1 #bdh4 ,nijny ,novgorod1 #adj4 ,nile 7centre of ancient dancing71 #aj4 ,nina 7,french ballet71 #id4 ,notation4 ,see ,musical notation4 ,noverre1 ,jean ,georges1 vi1 #aj1 #hg1 #hi1 #ia1 #ii1 #aea1 #aeb1 #ahj1 #aif4 ,novikoff 7,russian ballet dancer71 #ahe4 ,novitzkaya 7ballerina71 #aea1 #aha4 ,nude ,bayaderes1 #ahi4 ,nudity 7in ,egyptian dances71 #ah2 7in ,greek dances71 #ed;f2 7in modern degenerate dances71 #aic4 ,nuitter1 ,charles ,louis tienne 7as ballet composer71 #aea1 #aeb4 ,numa 7mythical founder of ,roman sacred dance71 #aj1 #gc4 ,nuremberg 7its guild dance71 #abi4 ,nut ,cracker ,suite 7,tschaikowsky71 #ahe4 ,nymphs1 dances of 7in ,dionysian ,mysteries71 #fh;f4 ,o ,oberammergau ,passion ,play 7comparison with ,chinese #8,historical ,ballet'71 #cc4 ,obertass 7,polish dance71 #acf4 ,oboe 7in ,indian dance71 #bg4 ,odyssey 7cited71 #eb4 ,l',oiseau de ,feu 7ballet71 #bca4 ,ojibways1 #ci4 ,olaf den ,hellige 7,danish ballet71 #afc4 ,olympic games1 #ed4 ,opera 7influenced by ,russian ballet71 #agf2 7in rel4 to modern ballet71 #bfe4 ,opera houses1 #age4 ,see also ,paris ,opra2 ,moscow 7opera house74 ,l',oracle 7ballet71 #ib4 #8,oranges and ,lemons' 7,british folk-dance71 #abj4 #8,orchestra' 7in ,greek dance71 #fc4 ,orchestration 7in #aeth-cent4 ballets71 #hb4 ,orient1 dancing in1 #c4 ,see also ,china1 ,india1 ,japan1 etc4 ,oriental dances 7,european imitations71 #bjh;f4 ,orpheus' ,descent into ,hell 7ballet by ,noverre71 #ij4 ,orpheus and ,euridice 7#agth-cent4 ballet71 #agi4 ,osiris cult1 #ae;f4 ,ostrovsky1 #ajd;f1 #aga1 #agg4 ,la ,otero 7,spanish dancer71 #baj1 #baa4 ,owl ,dance 7,greek71 #fi4 ,p ,pasiello1 ,giovanni1 v4 ,paimensoitaja 7,finnish folk-dance71 #acc4 ,painting1 #bce2 7influenced by ,russian ballet71 #agf2 7in relation to eurhythmics71 #bci4 ,pallas1 #gd1 #ge4 ,pan 7,greek and ,egyptian deity71 #eg2 7,roman71 #gd4 ,pantin 7amateur stage at71 #aja4 ,pantomime 7in ,chinese dancing71 #ca;ff2 7in ,japanese dancing71 #cf;ff2 7in ,american ,indian dances71 #da;f2 7,arabian71 #dg;f2 7,roman71 #gd1 #gf;f2 7medival sacred71 #ha2 7in ,spanish folk-dance71 #aaa2 7in ,roumanian folk-dance71 #ach2 7in ,salome dance71 #aia2 7used by ,duncan71 #aii2 7in rel4 to music71 #bdi4 ,le ,papillon 7ballet71 #aei1 #ahf4 ,paris 7,italian court pantomime introduced71 #aj2 7#8,fatima' sensation71 #bb2 7ecclesiastical attitude toward dancing71 #ha2 7#ahth-cent4 ballet71 #ia2 7popularity of the ,psyche ballet71 #ib2 7,camargo71 #ajj2 7,taglioni71 #aec4 ,paris ,opra1 #ia1 #ajj4 ,paris ,school1 #aea4 ,pas bourre1 #ig4 ,pas coup1 #ie4 ,pas d'allemande1 #bj4 ,pas de basque1 #ig2 7in ,passepied71 #adi4 ,pas de bourre embot1 #ig4 ,pas de cheval 7in ,egyptian dances71 #ah4 ,pas march1 #ie4 ,pas saut1 #ih4 ,passepied1 #adi4 ,paul1 ,adolf1 #beg4 ,paul1 ,czar1 #agh;f1 #aha4 ,paul et ,virginie 7,french ballet71 #ib4 ,paulli1 ,simon ,holger1 #aeb4 ,pavana 7,murcian folk-dance71 #ajf4 ,pavane1 #gj2 7characteristics71 #hg2 7in #agth-cent4 ,french court71 #hf1 #add4 ,pavilion d',armide 7ballet71 #bbf1 #bbi4 ,pavlowa1 ,anna1 vi1 #aga1 #age;f1 #ahc1 #ahe1 #ahf;f1 #ahg1 #bae1 #bbj1 #bbb1 #bdg4 ,pecour 7ballet dancer71 #hg1 #hh4 ,peer ,gynt ,suite 7as ballet71 #bja4 ,la ,peri 7ballet71 #aeh4 ,pericles1 #gj4 ,perrot 7ballet dancer and composer71 #aeb1 #aed1 #aeh4 ,persian ,graveyard ,dance1 #ba4 ,peter the ,great1 #agi4 ,petipa1 ,marius1 vi1 #ba1 #aea1 #aei1 #ahb;f1 #aif1 #bai2 7quoted on ,petrograd ,imperial ,ballet ,school71 #agc;f4 ,petipa school1 #ahe4 ,petit battements1 #ie4 ,les ,petits ,riens 7,noverre and ,mozart71 #ia4 ,petrograd 7,museum71 #ac2 7,imperial ,ballet ,school71 #agb2 7opera house71 #age4 ,petrouchka 7,stravinsky71 #bbi;ff4 ,pharaohs 7dancing in the court of71 #ag4 ,philip of ,macedonia1 #ee4 ,philippus 7,roman consul71 #gf4 ,philosophic symbolism 7in ,indian dance71 #bi4 ,phnicians1 #eg4 ,physical exercises1 #bci4 ,pipe 7,egyptian71 #h1 #ah4 ,pipes 7in ,graveyard ,dance71 #bb2 7in #aeth-cent4 ,italian ballet71 #hb4 ,pirouette1 #id1 #ig1 #aej1 #afc2 7in ,egyptian dancing71 #ah1 #bj4 ,plaasovaya 7,russian folk-dance71 #adj4 ,plastomimic choreography1 #bdg;ff4 ,plato 7quoted71 iv2 7cited71 #eb1 #eh1 #fg1 #fi4 ,plots 7for ballets71 #bej4 ,plutarch 7cited71 iv1 #ad1 #de1 #fg4 ,poetry1 #bce4 ,pointes1 #afc1 #bae4 ,poland 7folk-dancing71 #acf4 ,pollux1 #ed4 ,polo 7,moorish dance71 #ajf4 ,polonaise 7,polish folk-dance71 #acf4 ,polowetsi dance 7,cossack71 #adj4 ,portugal 7medival strolling ballets71 #hj;f4 ,positions4 ,see ,steps4 ,poushkin1 #agh4 ,prvost1 ,mme41 #ajj4 ,priapus1 #ed4 ,price1 ,waldemar 7,danish ballet dancer71 #afd4 ,primitive dances 7rel4 to sexual selection71 #f4 ,primitive peoples1 #c;ff4 ,prince ,igor1 #bbh4 ,professional dancing1 #g2 7,egyptian71 #ah4 ,provence1 #hj;f1 #abb1 #aca4 ,prussia 7,fackeltanz71 #abh4 ,pskoff1 #adj4 ,psyche 7,french ballet71 #ib4 ,psychology1 #a;ff1 #bd1 #de1 #acf1 #aci4 ,pugni1 ,cesare 7ballet composer71 #aeb4 ,pygmalion and ,galatea 7ballet71 #ii4 ,pylades 7,roman dancer71 #gc1 #gd;f4 ,pyrrhic dance1 #fj;f4 ,pythian games1 #ed4 ,q ,quadrille 7,french social dance71 #abb4 ,quintilian 7quoted71 #gb4 ,r ,rabinoff1 ,max1 #ahh4 ,racial characteristics1 #aa4 #8,ragtime1' #bfc4 ,rainbow ,dance1 #aib4 ,ramble 7,indian goddess of dancing71 #bd;f4 ,realism1 #aeg1 #bdi;f4 ,rception d'une jeune ,nymphe la ,court de ,terpsichore1 #aeb4 ,reed pipes4 ,see ,pipes4 ,reger1 ,max1 #bje4 ,regnard 7quoted71 #hh4 ,reinach1 ,thodore 7cited on ,greek arts71 #fi4 ,ren of ,provence 7author of medival ballet71 #hj4 ,reno 7painter of ,salome dance71 #de4 ,rheinlnder 7,german dance71 #aca4 ,rhythm1 #a1 #b2 7in naturalistic dancing71 #aif1 #aih2 7as basis of all arts71 #bce2 7in ,jacques-,dalcroze system71 #bci1 #bdd2 7in ballet71 #bej4 ,rhythmic gymnastics1 #bcd;ff1 #bdj1 #bdi4 ,richelieu1 #hf1 #ajj4 ,rigaudon1 #adh;f4 ,rimsky-,korsakoff1 ,nicolai1 #aea1 #aeb1 #aga1 #ahc1 #bbd1 #bbf1 #bed4 ,rinaldo and ,armida 7ballet by ,noverre71 #ij1 #ii4 ,risti ,tants 7,esthonian folk-dance71 #abf;ff4 ,robert of ,normandie 7ballet71 #afd4 ,robespierre1 #ic4 ,robinson1 ,louis 7cited on dance instinct71 #c4 ,rodin 7quoted71 #aif4 ,romaika 7,slavic folk-dance71 #acg4 ,rome 7dancing in71 #c1 #gb;ff1 #bdg2 7sacred dancing71 #i2 7imitation of ,greek dances71 #aj2 7,pyrrhic dance71 #fj4 ,roman ,church4 ,see ,church4 ,romulus1 #gc4 ,rondes 7similarity to ,eleusinian ,mysteries71 #fg2 7,french folk-dance71 #aba4 ,roses of ,love 7ballet by ,noverre71 #ij4 ,rossini1 #aja1 #ajc1 #aea4 ,rouen1 #ajj4 ,roumania 7folk-dance71 #acg;f4 ,round4 ,see ,ronde4 ,royal ,academy of ,dancing 7,french71 #hf4 ,rubinstein1 ,anton1 #ahc1 #bef2 7composed #8,tarantella'71 #abd4 ,rubinstein1 ,ida1 #de4 ,ruggera 7,italian folk-dancing71 #abd4 ,rune tunes 7,finnish71 #fc4 ,russia 7,imperial ,ballet71 #ib2 7influence of1 on choreography71 #ajb2 7nationalistic tendencies71 #ajd;f2 7folk-dancing71 #aci;ff1 #bfb2 7influences on ballet71 #afi2 7ballets of opera house71 #age2 7influence of ,duncan school71 #bjj1 #bjf1 #bah;f4 ,russian ,imperial ,ballet ,school1 #ij;f1 #aje1 #agb4 ,russian ,imperial ,dramatic ,dancing ,school1 #ahj4 ,ruthenia 7folk-dancing74 ,see ,slavic folk-dances4 ,s ,sacchetto1 ,rita1 #bjc1 #bab4 ,sacre du ,printemps 7,stravinsky71 #bca4 ,sacred dancing 7in rel4 to folk-lore71 #i2 7,egyptian71 #ae2 7,indian71 #bf2 7,japanese71 #ch2 7,american ,indian71 #ci1 #da;f2 7,greek71 #ei1 #fg;ff2 7,roman71 #gc;f4 ,sadler1 ,michael ,t4 ,h4 7quoted on ,jacques-,dalcroze ,school71 #bce;f4 ,sahara ,graveyard ,dance1 #ba4 ,sailor's ,dance 7,dutch71 #ace4 ,st4 ,basil 7cited71 iii4 ,st4 ,carlos 7celebrated by strolling ballet71 #hj4 ,st4 ,denis1 ,ruth1 #bjh1 #bab4 ,saint-,lon1 #aei4 ,st4 ,matthew 7quoted71 #dd4 ,st4 ,petersburg 7court ballet71 #ij1 #afa4 ,see also ,petrograd4 ,saint-,sans1 ,camille1 #ahf4 ,st4 ,vitus' ,dance1 #abi4 ,sakuntala 7,french ballet71 #aeb4 ,sall1 ,mlle41 #id1 #ii1 #ajj4 ,salmacida ,spolia 7,sir ,william ,davenant71 #hd4 ,salome dances1 #dd;f1 #aia4 ,salome 7,richard ,strauss71 #de4 ,saltarello 7,italian folk-dance71 #abd4 ,sangalli1 ,rita1 #aei4 ,sappho1 #gj1 #id4 ,sarabande1 #adf4 ,sarasate1 ,pablo1 #ajh4 ,satyr ,dance 7in ,dionysian ,mysteries71 #fh1 #fi4 ,sauvages de la ,mer du ,sud1 ,les 7,french ballet71 #id4 ,savage peoples4 ,see ,primitive peoples4 ,savinskaya1 #bjf4 ,saxony 7folk-dancing71 #acj4 ,scaliger1 ,joseph ,justa 7cited71 #ed4 ,scandinavia 7folk-dances71 #b1 #acc2 7nationalistic tendencies71 #ajd;f2 7waltz71 #aca2 7naturalistic school71 #bje4 ,schafftertanz 7of ,munich71 #abi4 ,scheherezade 7,rimsky-,korsakoff71 #aeb1 #bbf4 ,schiller1 #aff1 #bej4 ,schirjajeff1 #ahb4 ,schliemann 7,egyptologist71 cited1 #ag4 ,schmoller 7,saxonian folk-dance71 #acj4 ,schnitzler1 ,arthur1 #aff4 ,schnberg1 ,arnold1 #bje4 ,schools of dancing1 7,petipa71 #ahe2 7,duncan71 #aig2 7,jacques-,dalcroze71 #aig;f4 ,see ,academies4 ,schopenhauer 7cited71 #bej2 7quoted71 #fd4 ,schleiftnze1 #abi4 ,schreittnze4 #abi4 ,schubert1 ,franz1 #ajc;f1 #bed4 ,scotch ,reel1 #aah;f4 ,scotland 7folk-dancing71 #aah;f4 ,scribe1 ,eugne4 #ajc4 ,schuhplatteltanz 7,bavarian folk-dance71 #abi;f4 ,schumann1 ,robert1 #bjf4 ,sculpture 7in rel4 to dancing71 #agc1 #aif1 #bce4 ,seguidilla 7,spanish dance71 #ej4 ,sensationalism1 #aij4 ,seroff1 ,alexander ,nikolayevitch1 #ajd1 #aga1 #aha4 ,serpentine ,dance1 #ahi1 #aij;f4 ,servia 7folk-dancing74 ,see ,slavic folk-dances4 ,setche1 ,egyptologist 7cited71 #ad4 ,seville 7church dancing71 iv1 #gh2 7court dancing71 #dg4 ,sex instinct 7in rel4 to folk-dancing71 v1 #aa1 #acd1 #aci4 ,shakespeare 7cited on the jig71 #aai4 ,sharp1 ,cecil 7quoted on ,morris dances71 #aac;f4 ,shean ,treuse 7,scotch folk-dance71 #aah4 ,shintoism 7,japanese religion71 #cf4 ,shirley1 ,james1 #hc4 ,sibelius1 ,jean1 #bje1 #bed1 #bef1 #beg;f4 ,siberia 7folk-dancing71 #adj4 ,siciliana 7,italian folk-dance71 #abd4 ,le ,sicilien 7ballet71 #aec4 ,sieba 7ballet71 #aeb4 ,siebensprung 7,swabian folk-dance71 #acj4 ,singing 7in ,finnish dances71 #acc4 ,singing ballet1 #agg;f4 ,singing ,sirens1 #eg4 ,skirt ,dance1 #ahi1 #bab4 ,skoliasmos 7in ,dionysian mysteries71 #fh;f4 ,skralat 7,swedish folk-dance71 #acc4 ,slavic folk-dances1 #acf;ff4 ,sleeping ,beauty 7,tschaikowsky71 #aeb1 #ahe4 ,snake dances 7,lithuanian71 #ace2 7,american ,indian71 #ch1 #da1 #ace4 ,snegourotchka 7,rimsky-,korsakoff74 ,see ,snow ,maiden4 ,snow ,maiden 7,rimsky-,korsakoff71 #aeb1 #agg1 #ahc;f4 ,social dancing 7,greek71 #ed;f2 7,polish71 #acf2 7in #agth cent471 #add;ff4 ,see also ,court dancing4 ,socrates1 #ed1 #ef4 ,sokolova 7ballerina71 #aea1 #ahc4 ,solomon1 ,hebrew king1 #dc1 #dd4 ,sophocles1 #fb4 ,sound 7in relation to movement71 #bch ,la ,source 7,delibes71 #aeb4 ,spain 7religious dancing71 iv2 7folk-dancing71 #b1 #aje;ff1 #baj;ff2 7choreographic art of ,moors71 #df1 #ej;f2 7medival strolling ballets71 #hj;f4 ,spartan dance1 #ed;f1 #fj4 ,spectre de la ,rose 7ballet71 #bba1 #bbc1 #bbi4 ,spendiaroff1 #bef4 ,spinning top principle1 #baf4 ,stage dancing 7in ,middle ,ages71 #ha1 #adh4 ,see also ,professional dancing4 ,steps1 #b2 7in ,american ,indian dances71 #db2 7in courante71 #hh2 7in classic ,french ballet71 #ie;f2 7,bolero71 #aji2 7,seguidilla71 #aaj2 7,hungarian folk-dances71 #abe;f2 7,rigaudon71 #adi2 7,bournoville's reform71 #afc4 ,stephania 7,roman dancer71 #gg4 ,stewart-,richardson1 ,lady ,constance1 #bjf4 ,stockholm 7ballet dancing71 #afa4 ,stockholm school1 #aea4 ,stomach ,dance 7,arabian dance71 #c1 #ba1 #bb4 ,stone ,age1 #e4 ,stramboe1 ,adolph ,f41 #afd4 ,strassburg1 #abi4 ,strauss1 ,johann1 #acb4 ,strauss1 ,richard1 #bjd;f1 #bcb4 ,stravinsky1 ,igor1 #ahe1 #bbi;ff4 ,strindberg1 ,august1 #afe4 ,string instruments 7,indian71 #bg4 ,strolling ballets 7medival71 #hj;f2 7in ,french ,revolution71 #ic;f4 ,strophic principle1 #fc4 ,stuck 7painter of ,salome dance71 #de4 ,stuttgart 7court71 #ij1 #aec4 ,subra1 ,mlle4 7ballerina71 #aei4 ,su-,chu-,fu 7dancing academy71 #cd4 ,suetonius 7cited71 #gf4 ,sun's ,darling 7,english masque71 #hd4 ,svendsen1 ,johann1 #acc1 #bje4 ,svetloff 7cited71 #bah4 ,swan1 ,the 7,saint-,sans71 #ahf4 ,swanhilde 7ballet71 #afg4 ,swan ,lake 7,russian ballet71 #aeb1 #ahd;f4 ,swabia 7folk-dancing71 #acj4 ,sweden 7influence on ,russian ballet71 #afi4 ,see also ,scandinavia4 ,sword ,dance 7,english71 #ba1 #cc1 #aac1 #aae;ff4 ,la ,sylphide 7,delibes71 #aeb1 #aec1 #aed1 #aef1 #afc4 ,les ,sylphides1 #age1 #bba4 ,sylvia 7,delibes71 #aeb4 ,symbolism 7in ,indian dancing71 #bi1 #bfc;f2 7in ,hungarian folk-dancing71 #abf2 7in ,lada's dances71 #bed;f2 7in modern ballet71 #beh1 #bfe4 ,symons1 ,arthur 7quoted71 #bfd;f4 ,symphonic music 7as basis for dancing71 #bjj1 #bjf4 ,syrinx 7,egyptian instrument71 iv4 ,szolo 7,hungarian folk-dance71 #abf4 ,t ,tabor 7in ,morris dance71 #aae4 ,tacitus 7cited71 #gf4 ,taglioni1 ,maria1 #aa1 #aea1 #aeb;ff1 #aef1 #aeg1 #aic4 ,taglioni1 ,salvatore1 #aea1 #aeb1 #afa4 ,ta-gien 7,chinese dance71 #cb4 ,ta-gu 7,chinese dance71 #cb4 ,ta-knen 7,chinese dance71 #cb4 ,talmud1 #dc4 ,ta-mao 7,chinese dance71 #cb4 ,tambourine 7in ,hebrew dance71 #ai2 7in ,indian dance71 #bg2 7with bells1 ,chinese71 #cb2 7in ,greek dances71 #ga2 7in ,spanish dance71 #gi;f1 #ajf2 7in ,tarantella71 #abb4 ,taneieff1 ,sergei ,ivanovich1 #bbd4 ,tarantella 7,italian folk-dance71 #abb;ff4 ,tartar tribes1 #adj4 ,tascara 7,spanish folk-dance71 #aaa;f4 ,taubentanz 7,black ,forest71 #acj4 ,ta-u 7,chinese dance71 #cb4 ,tcherepnin1 #ahe1 #bbf1 #bbi4 ,technique 7,duncan71 #aii2 7instrumental71 #bcg2 7eurhythmic71 #bci4 ,telemachus1 #ec4 ,telemaque 7,french ballet71 #ib4 ,teleshova 7ballerina71 #aea1 #aha4 ,telethusa 7,roman dancer71 #gg4 ,tempe ,restored 7,aurelian ,townsend71 #hd;f4 ,temple dancing 7,hebraic71 #dc1 #dd2 7,greek71 #ed;f2 7,esthonian71 #abg4 ,see also ,sacred dancing4 ,terpsichore1 #aj1 #eg4 ,terpsichore 7ballet by ,handel71 #ii4 ,teu-,kung 7,chinese dancing teacher71 #ca4 ,thackeray 7quoted on ,taglioni71 #aed4 ,thales1 #ei4 ,thatre des ,arts1 #ib4 ,theatre of ,dionysius1 #fd;f4 ,thebes1 #ai4 ,theseus1 iv1 #ed1 #fi4 ,they 7,chinese monarch71 #cj4 ,tiberius 7,roman emperor71 #gf4 ,tichomiroff1 #bba4 ,time1 #bdj;f4 ,time-marker 7in ,greek dancing71 #gj;f4 ,time-values1 #bda4 ,titans1 #ei4 ,titus 7,roman emperor71 #cd4 ,toe-dance1 #bae4 ,toledo 7church dancing71 iv1 #gh4 ,toreadoren 7ballet71 #afd4 ,torra 7,murcian folk-dance71 #ajf4 ,tourdion 7social dance71 #aej4 ,townsend1 ,aurelian1 #hd;f4 ,trepak 7,russian folk-dance71 #adj4 ,trescona 7,florentine folk-dance71 #abd4 ,triangle 7in ,english ,horn dance71 #aag4 ,tripoli 7,almeiis dancers in71 #ba4 ,triumph of ,love1 #hg4 ,triumph of ,peace 7,james ,shirley71 #hc4 ,trouhanova1 ,natasha1 #de1 #bdd1 #bef;f4 ,trumpets 7in #aeth-cent4 ,italian ballet71 #hb4 ,tschaikowsky1 ,peter ,ilyitch1 #ajd1 #aea1 #aeb1 #aga1 #agg1 #ahc1 #ahd1 #ahe4 ,tshamuda 7,indian goddess71 #bf4 ,tuileries1 #hg4 ,tunic1 ballerina's1 #bae4 ,tunis 7,almeiis dancers in71 #ba4 ,turgenieff1 #ajd1 #aga2 7quoted on ,elssler71 #aee;f4 ,tuta1 #bae4 ,u ,uchtomsky1 ,prince 7cited71 #bh4 ,u-gientze 7,chinese dance71 #cb4 ,ulysses1 #eb4 ,urbino1 ,duke of1 #hj4 ,v ,vafva ,vadna 7,swedish folk-dance71 #acc;f4 ,valdemar 7,danish ballet71 #afc1 #afd4 ,valencia1 iv1 #gh1 #ajg;f4 ,valencian ,bishop 7advocate of dancing71 #gh4 ,valentine1 ,gwendoline 7ballet dancer71 #bjf4 ,vanka 7,cossak dance71 #adj4 ,van ,staden 7,colonel71 #agi4 ,vaudoyer1 ,j4 ,l41 #bbi4 ,vaughan1 ,kate 7ballet dancer71 #aic4 ,veie de ,noue 7in ,lou ,gue71 #hj4 ,veils 7used in ,greek dancing71 #ff1 #gj4 ,venera 7,indian goddess71 #bd4 ,la ,ventana 7ballet71 #aff4 ,venus of ,cailipyge1 #gf;f4 ,verbunkes 7,hungarian folk-dance71 #abf4 ,la ,vestale 7ballet71 #aec4 ,vestris brothers1 #ia1 #aja1 #adh1 #aea1 #afb4 ,viennese court1 #ij4 ,viennese ,school1 #aea4 ,villiani1 ,mme4 7ballet dancer71 #bb1 #aic4 ,vingakersdans 7,swedish folk-dance71 #acd4 ,violin 7in #aeth-cent4 ,italian ballet71 #hb2 7in ,spanish folk-dance71 #ajg4 ,vision of ,salome 7ballet71 #bja4 ,vocal ballets1 #agg;f4 ,vocal music 7dependence of dancing upon71 #h2 7in ,greek dances71 #eh4 ,voisins1 ,comte ,gilbert des1 #aed4 ,volga1 #adj4 ,volinin 7,russian ballet dancer71 #ahe1 #ahg1 #bdh4 ,volkhonsky1 ,prince ,serge 7quoted71 #aig;f1 #bab;f1 #bae;ff1 #bcb1 #bdi4 ,voltaire 7cited71 #ii4 ,volte 7,french folk-dance71 #aca4 ,vuillier 7quoted on ,spanish temple dancing71 #gi;f4 ,vulcan1 #ec4 ,vulture ,dance 7,greek71 #fi4 ,w ,wagnerian operas1 #fc4 ,waldteufel1 #acb4 ,waltz1 #aca;f4 ,walzer1 #aca4 ,war-dances 7primitive71 #e;f2 7,pyrrhic71 #fj2 7,roman71 #gc2 7,hungarian71 #abf4 ,warsaw 7opera house71 #age4 ,weber1 ,carl ,maria von1 #ia1 #ajc1 #bbi4 ,weber1 ,louise1 #aib4 ,weiss1 ,mme41 #aei4 ,wellman1 ,christian1 #ahj4 ,whistles 7in ,american ,indian dances71 #da2 7in ,morris dance71 #aae4 ,whitehall 7masques performed at71 #hc4 ,wiesenthal1 ,elsa and ,grete1 #bjb;f1 #bab4 ,wilhelm ,,ii1 #acj4 ,wilkinson1 ,sir ,gardner1 on ,egypt 7cited71 #ah;f2 7quoted71 #bj;f4 ,women 7earliest appearance of1 in ballet71 #hg4 ,wood-wind instruments 7,indian71 #bg4 ,wsevoloshky1 #ahc4 ,wrtemberg 7folk-dancing71 #acj4 ,x ,xenophon 7quoted71 #ee;f4 ,xeres1 iv4 ,y ,yorkshire 7,english sword dance of71 #aaf4 ,yu-,wang 7,chinese emperor71 #cc4 ,z ,zarzuela 7,spanish comic opera71 #fc;f1 #ajf4 ,zeus1 #ei4 ,zorongo 7,spanish folk-dance71 #aaa4 ,zulus 7war dances of71 #e4 ,zunfttnze1 #abi4 ,zwlfmonatstanz 7,wrtemberg71 #acj4 ,transcriber's ,notes ,punctuation1 hyphenation1 and spelling were made consistent when a predominant preference was found in the original book2 otherwise they were not changed4 ,simple typographical errors were corrected2 unbalanced quotation marks were remedied when the change was obvious1 and otherwise left unbalanced4 ,the index was not checked for proper alphabetization or correct page references1 with this exception3 all references to pages iii-vi should be to pages vii-x4 ,in versions of this e,book that support hyperlinks1 the links have been corrected1 but the displayed page numbers have not been changed in any version of this e,book4 ,page #aaj3 8,albacetex0 was printed that way2 probably is a misprint for 8,albacete04 ,page #aca3 8#c_/d rhythm0 was printed as 8#c-d rhythm0 but changed here to conform with the predominant form of notation throughout the original book4 ,page #bge3 8,english ,cathedrals0 reference to page viii was printed as 8iii-f02 changed here4