,,the ,,russian ,,ballet ,illustration ,,the ,,russian ,,ballet ,,by ,a4 ,e4 ,,johnson ,,with ,,illustrations ,,by ,,ren ,,bull ,,houghton ,,mifflin ,,company ,,boston ,,new ,,york #aiac ,printed in ,england4 ,,contents4 ,,page ,,introduction #a ,p,,trouchka #ac ,,thamar #ce ,,le ,,carnaval #ea ,,cl,,op,,tre #fc ,,les ,,sylphides #gg ,,scheherazade #he ,,le ,,spectre ,,de ,,la ,,rose #aje ,,narcisse #aae ,l',,oiseau ,,de ,,feu #abg ,,le ,,pavillon ,d',,armide #ade ,,prince ,,igor 7,,polovtsian ,,dances7 #aec ,,le ,,dieu ,,bleu #afc ,,prelude ,l',,apr,s-,,midi ,d',,un ,,faune #agi ,,jeux #ahi ,,le ,,sacre ,,du ,,printemps #aii ,,la ,,trag,,die ,,de ,,salome #bac ,,le ,,lac ,,des ,,cygnes #bbc ,,anna ,,pavlova #bce ,,introduction4 ,there is no need to enlarge here upon the vogue which the ,russian ,ballet1 or rather that company of dancers which has become familiar outside its own country under that title1 has achieved in ,england1 ,france1 ,germany1 and ,america4 ,sufficient testimony to that is provided by the appearance of this book1 which seeks to present a souvenir of the performances with which so many spectators have been delighted4 ,it may be interesting1 however1 to sketch briefly the history of the ballet as a form of theatrical art1 and suggest an explanation of the enthusiasm with which1 after a long period of practical desuetude1 at least in ,london1 its revival by the ,russians had been greeted4 ,the theatrical ballet is comparatively a modern institution1 but its real origin is to be found in the customs of very early times4 ,the antiquity of dancing as a means of expression is well known1 of course1 and concerted movements on the part of a number of dancers1 which constitute the ballet in its simplest form1 are recognised to have been a feature of religious ceremonial in the furthest historic eras4 ,the evolutions of the ,greek chorus occur at once to the mind1 and there is evidence that among the ,egyptians1 ,assyrians1 and ,phnicians1 the formal dance was a part of religious ritual4 ,representations occur1 on early vases and other relics1 of dancers revolving round a central person or object1 standing for the sun1 and it may reasonably be surmised that some such ceremonial occurred among the most primitive pagan peoples4 ,rites of this kind1 indeed1 form the theme of 8,le ,sacre du ,printemps10 the most remarkable of the ,russian dancers' more recent performances1 which may be regarded as a deliberate attempt at reversion to type4 ,that provocative ballet is discussed elsewhere in the present volume1 but it may be remarked in passing that ,m4 ,nijinsky1 who is responsible for the 8choreography0 of it1 has endeavoured to restore to that word something more of its original significance than its use in modern times1 to describe the general planning and arrangement of a ballet1 ordinarily confers4 ,choreography or orchesography amongst the ,egyptians and the ,greeks was the art of committing a dance to writing just as a musical composition is registered and preserved by means of musical notation4 ,m4 ,nijinsky considers that music and the dance being closely allied and parallel arts--the one the poetry of sound1 the other the poetry of motion--a ballet should be as much the work of one creative mind as a piece of orchestral music4 ,the principle he has embodied in 8,le ,sacre du ,printemps0 is that the dancers shall execute only those gestures and movements pre-ordained by the 8choreographist10 and in the particular manner and sequence directed by the latter4 ,the polyphony of orchestral music is to be paralleled by the polykinesis1 if such a phrase may be coined1 of the ballet4 ,leaving this digression1 one may ascribe the immediate parentage of the modern theatrical ballet to the ,court ,ballets of the sixteenth and seventeenth centuries1 which in turn arose out of the medival mystery plays1 pageants1 and masques4 ,ballets were a favourite diversion of the ,french ,court of the period1 where they underwent a gradual refinement in style from the relative coarseness which at first distinguished them4 ,the opera-ballet was the next stage of development2 then1 towards the end of the eighteenth century1 singing was omitted1 and the ballet attained a dignity of its own4 ,the founder of what may be termed the dramatic ballet1 which is the form the ,russians have developed so magnificently1 was ,noverre1 a great celebrity of his day1 who took ,london as well as ,paris for his field4 ,after the fashion of his time1 ,noverre went to the classics for his themes1 and very banal1 it would seem1 were his efforts to interpret them in terms of the ballet4 ,but though his ambition as a matre de ballet outran his perceptions as an artist1 at least he initiated and firmly established a new form of art which was capable of being brought subsequently to a high degree of perfection4 ,vestris and ,camargo were among the more familiar names associated with the ballet1 both before and at ,noverre's period4 ,these were the great dancers of the eighteenth century1 to whom succeeded ,pauline ,duvernay1 the celebrated ,taglioni1 ,carlotta ,grisi1 ,fanny ,ellsler1 ,fanny ,cerito1 and others of the nineteenth century4 ,it is barely thirty years since ,taglioni died at the age of eighty1 and it is possible there are still persons alive who remember her at the zenith of her career4 ,pauline ,duvernay died even more recently 7in #ahid71 but she preceded ,taglioni on the stage1 and as her retirement took place at the time of ,queen ,victoria's accession1 there can be few1 if any1 who are able to recall her performances4 ,it is difficult to form a clear impression of what the ballet was like in ,taglioni's day4 ,one imagines1 however1 that it was less the ballet in which she appeared than the individual art1 or at least skill1 of the dancer herself1 which attracted the spectator4 ,at all events the ballet1 after ,taglioni1 steadily declined1 and one suspects that in her the tendency towards specialisation1 which is everywhere inevitable in a highly civilised state1 had reached its climax4 ,the ballet had become a mere background1 of no great significance or importance1 to the dancer1 and there being no one to maintain the standard of virtuosity set by so skilled an executant1 the result was inevitable4 ,there have been other dancers since ,taglioni1 probably as fine and perhaps finer1 but their distinction has been of a peculiarly personal and1 of necessity1 somewhat limited kind4 ,the decay of the ballet as a vehicle of expression has bereft them of opportunities for the full display of their art2 they have been in the situation of a singer who for lack of an operatic stage whereon to give vent to mature1 full-blooded powers1 would perforce have to be content with the comparatively limited opportunities of the platform4 ,for a long time before the ,russian revival the ballet had been all but extinct in this country2 it was scarcely better abroad1 save in ,russia itself1 of course1 where the existence of a ,state school of dancing since the end of the seventeenth century has produced a quite different state of affairs4 ,it is to be noted that even now the art of ,anna ,pavlova has only been seen under restrictions of the kind just mentioned4 ,her perfect skill in technique has been abundantly demonstrated2 to judge of her quality as an artist 7though she has given more than one suggestive hint of it7 it is necessary to see her in ballet--a privilege hitherto denied4 ,this lapse of the ballet into desuetude accounts very largely for the extraordinary success of the ,russians1 who burst dazzlingly upon the gaze of a listless public1 and demonstrated that ballet1 which had come to be synonymous with banality1 could be made both a forceful and a beautiful vehicle of artistic expression4 ,there had been forerunners of the 8,russian invasion0--brief appearances of one or two of the most distinguished dancers in isolated performances at a ,london variety theatre2 but it was not until the complete ,russian ,ballet1 as organised by ,m4 ,serge de ,diaghilev1 made its bow1 en grande tenue1 at the ,covent ,garden ,opera ,house1 that the ,london public awoke to recognition4 ,the descriptive power of music it knew1 8wordless plays0 were not unfamiliar1 pas seuls and pas de deux it had seen performed in countless number by accomplished dancers of every nationality and style4 ,but the art of the ballet1 which combines music1 pantomime and the dance1 was a revelation1 and its enthusiasm was great4 ,in ,russia the ballet has never been allowed1 as elsewhere1 to die of starvation and inanition4 ,apart from ,state encouragement of the dancer's art1 an outlet has been provided for the musician and the decorative painter and designer4 ,the result is that a ballet1 as understood in ,russia1 is no mere excuse for the exploitation of individual talents1 but a work of art in itself1 to the achievement of which the energies and abilities of all concerned are subordinated4 ,undoubtedly it is the unity of purpose1 the wonderful ensemble1 which the ,russian ballets exhibit that catches the imagination of the spectator4 ,it is significant that their best performances are those which are wholly1 or at least in chief part1 of native production1 and deal with native or closely kindred subjects4 ,indeed1 for their success in attaining coherence and unity the ,russians have to thank1 perhaps1 their comparative isolation and remoteness from ,western ,european civilisation4 ,their art is strong because native4 ,endorsement of this suggestion is to be found in the virility of the ,russian operas of ,moussorgsky and ,rimsky-,korsakov1 which made as profound an impression on their first performance in ,london as did the ,russian ballets before them4 ,beside such works of art as 8,boris ,godounov10 8,la ,khovantchina10 and 8,ivan the ,terrible10 the modern ,french and ,italian operas seem pitifully patched and thin1 sadly lacking in balance and proportion4 ,except for the framework on which it is constructed1 the modern dramatic ballet1 as evolved by the ,russians1 bears little resemblance to that in which ,noverre delighted4 ,the latter's method1 indeed1 was fundamentally the opposite to that by which such a man as ,michel ,fokine proceeds4 ,it was ,noverre's habit to lay impertinent hands on any theme1 no matter how august1 and twist it 7regardless of mutilation7 to his purpose--which was to exhibit his dancer's skill4 ,not even the tragedy of schylus was safe if ,clytmnestra seemed to the complacent chevalier a rle in which his latest pupil might agreeably air her graces4 ,the ,russian method is the converse2 its aim is to interpret the theme by gestures and the dance1 not forcibly adapt it to the irrelevant requirements of a dancer's special repertoire4 ,it would be ridiculous to suggest that this aim is always successfully achieved--there are occasions when it falls a long way short of accomplishment--but at least the principle is right1 and under ,fokine the ,russian ,ballet has brought dancing the nearest yet to a fine art4 ,that it should be their performance as a whole which has sealed the success of the ,russians1 is the more remarkable when the exceptional quality of the individual performers is considered4 ,it is not merely that the standard of excellence1 both in acting and miming1 throughout the entire corps de ballet is so high3 under ordinary circumstances 7unfortunately7 one would expect to see such performers as ,,mm4 ,bolm1 ,cecchetti1 ,kotchetovsky1 ,mdmes4 ,karsavina1 ,federova1 ,astafieva1 ,piltz--to name but a few--each figuring as that abomination a 8star03 probably supported by a company whose mediocrity would tend to mitigate rather than enhance the brilliance of the leading light4 ,but the ,russians know better than this1 and though it may be difficult to imagine 8,l',oiseau de ,feu0 without ,karsavina1 8,cloptre0 without ,federova1 8,prince ,igor0 without ,bolm1 it is of the dancer's association with the ballet1 not of the ballet as a background to the dancer1 that one thinks4 8,the play's the thing40 ,there are two personalities1 however1 which the performances of the ,russian ,ballet have thrown forward with especial prominence4 ,the first is1 of course1 ,m4 ,nijinsky1 than whom it may be doubted whether any more accomplished dancer has ever appeared4 ,he excited the more astonishment1 perhaps1 on his appearance in ,london1 because the male dancer was hitherto unknown--at least in any other than a grotesque or comic capacity4 7,nothing1 by the way1 could be more eloquent of the debasement of the ballet in this country than the custom of having the male parts taken by women47 ,but the perfection of ,nijinsky's technical skill1 extraordinary as this is1 provides but the lesser reason for his triumph4 ,he is an artist as well as a wonderful dancer4 ,he appeals not only to the eye but to the imagination4 ,conceivably there might be found another dancer with equal command of movement1 and another mime with equal subtlety of pose and gesture3 but one who can so weld into a single faculty of expression the twin arts of pantomime and the dance is surely far to seek4 ,consider his dancing1 and he seems to be less a dancer 7as the word is ordinarily understood7 than a mime who adds movement to gesture3 regard him as a mime1 and he seems rather a dancer who is acting while he dances4 ,nijinsky1 in brief1 is the true dancer3 dancing is his proper medium of expression1 in the use of which he shows himself an artist of fine perception4 ,to watch him as ,harlequin in 8,le ,carnaval0 or as the ,spectre of the ,rose 7in which rles it was the present writer's memorable good fortune to see him for the first time7 is to receive a revelation of what the dancer's art can compass4 ,let it be added that in the case of ,nijinsky no more unfitting prominence is allowed to the dancer's personality than in the case of his colleagues already named4 ,one may shudder at the thought of 8,le ,spectre de la ,rose0 without ,nijinsky as the ,spectre1 but it is the banality which a lesser artist might produce that is dreaded1 not the loss of those wondrous leaps and bounds4 ,the second outstanding personality is that of ,m4 ,lon ,bakst1 to whose designs for scenery1 costumes1 and all that is summed up in the convenient word dcor1 many of the ballets in the ,russian repertoire owe no small part of their success4 ,the impression made by the scenic methods of ,lon ,bakst was a worthy parallel to that effected by the performance of the dancers--or perhaps one should say that the two were but inseparable parts of the same thing1 since the services of ,bakst to the ,russian ,ballet have been not less than the opportunities which the ,ballet has furnished to ,bakst4 ,one scarcely thinks of the one without the other4 ,the vigour and impulse with which the ,russian dancers showed that the ballet1 as a means of artistic expression1 could be endowed1 ,lon ,bakst demonstrated could inspire the designing of scenery and costumes4 ,again one finds that a sense of unity and coherence has been the inspiration4 ,bakst's broad method is the converse of the stage realist who seeks to counterfeit fact by a laborious building up of detail4 ,he presents the essentials and little more1 using colour rather than form to suggest the association of ideas which he wishes to produce4 ,compare the cool green setting of 8,narcisse10 the violent riot of colour which forms a background to 8,scheherazade10 the simplicity and dignity of the orange environment of 8,cloptre10 with the fretful facsimiles of woodland grove1 harem1 and desert temple which a less original designer might have attempted4 ,in his designs for costumes there is not less vigour and attack4 ,while the conventional 8costumier0 is drawing a fiddling fashion plate or draping a lay figure1 ,bakst is portraying not only the clothing which befits the temperament and character of the dramatis persona under consideration1 but the very way in which that clothing would by such a one be worn or carried4 ,especially has he an eye for form and colour in movement--few of his designs for costumes show the wearers in repose--a fact which obviously gives his work a peculiar value for this particular purpose4 ,it will be readily appreciated how vital a bearing the designs of ,lon ,bakst have upon that ensemble which has been so strongly emphasised as the outstanding feature1 and the fundamental secret1 of the ,russian ,ballet's success4 ,but it should be remembered that ,bakst's creations as seen upon the stage fall short by a good deal of what they really are4 ,it is inevitable1 unfortunately1 that this should be so4 ,it is no easy task for the actual scene painter to reproduce upon a large scale the artist's design with that absolute fidelity to colour and tone which alone can do it proper justice3 and that the wearers of the costumes should be able to sustain without relapse their impersonations of the characters so vividly depicted in essentials by the artist's brush and pencil is more than can reasonably be expected from even the most accomplished corps de ballet4 ,how much the designs of ,lon ,bakst suffer in translation1 only those who have seen the wonderful originals can realise4 99 99 99 99 99 ,the music of the ballets is mostly the work of ,russian composers1 and the fact that1 as a general rule1 it has been specially written preserves the unity of purpose4 ,in a few cases the ,russians have ventured to lay hands on music to which they have no legitimate claim1 and though their sense of the fitting has saved them from banality or desecration1 it is notable that these are the occasions when they give the least complete satisfaction4 ,much may be forgiven for the beauty of the dancing1 qua dancing1 in 8,les ,sylphides10 but one doubts the propriety of the employment of ,chopin's music4 ,as an 8interpretation0 of the latter1 the dances are merely ridiculous1 but in justice to the ,russians it must be observed that they have never put them forward as such4 ,the use made of ,schumann's 8,carnaval0 and ,weber's 8,invitation la ,valse0 is more legitimate--indeed the delicate romance of 8,le ,spectre de la ,rose0 confers almost a dignity upon the latter somewhat sentimental composition4 ,more recently ,debussy has been pressed into service1 but the peculiar un-ballet-like nature of 8,l',aprs-,midi d'un ,faune0 and 8,jeux0 makes comment in the present connection needless4 ,the fact remains that the happiest results have been obtained from the co-operation of native composers like ,nicolas ,tcherepnin1 ,balakirev1 and ,igor ,stravinsky4 ,from the latter has come1 in 8,l',oiseau de ,feu0 and 8,ptrouchka10 perhaps the most effective music in the whole repertoire of the ,russian ,ballet--a circumstance which makes it the more disappointing1 at least to the simple-minded1 that his third ballet1 8,le ,sacre du ,printemps10 should be distinguished by such marked1 not to say eccentric1 characteristics4 ,it is regrettable to have to end these introductory words upon a note of disparagement4 ,but the more recent performances of the ,russian ,ballet1 while confirming the hold already established upon the public1 have also indicated the way in which that hold may presently be lost4 ,that abounding vitality with which the ,russians have invested their work arises out of a devotion to1 and enthusiasm for1 their art4 ,they have a zest which cannot fail of result4 ,but a belief in the possibilities of an art must be balanced by a recognition of its limitations1 or the result is chaos4 ,it is needless to anticipate here the comments which are later made upon some recent additions to the ,russians' repertoire4 ,it is enough for the moment to remark a tendency in them to chafe at what presumably seem to enthusiastic spirits1 confident in their own cleverness1 unnecessary bonds and restrictions4 ,but discipline is the very essence of ,art4 ,to abandon discipline is to run riot1 achieving nothing and arriving nowhere4 ,illustration ,illustration 8,p,,trouchka40 ,,burlesque ,,scenes ,,in ,,four ,,tableaux ,,by ,,igor ,,stravinsky ,,and ,,alexandre ,,benois4 ,,music ,,by ,,igor ,,stravinsky4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,,alexandre ,,benois4 ,the ,puppet has always exercised upon the human mind a curious fascination4 ,there is a lure in the antics of the animated doll so reminiscent of1 yet so unlike1 ourselves which most find irresistible4 ,punch and ,judy with their attendant satellites furnish1 of course1 a classic case in point4 ,the reason is that the puppet show discharges all the functions of the ordinary theatre1 with this advantage--that it gives its spectators the privilege of feeling as the gods upon ,olympus4 ,with amused and tolerant eye they watch the petty strife of puny creatures who1 but for the lack of high divinity1 would be life-like effigies of themselves4 ,it may be that 8the proper study of mankind is man10 but the occupation is pleasurable only when it can be pursued with such detachment as1 in the most complete form1 the puppet show makes possible4 ,the travesty of human passions which the mimic stage affords is near enough the truth to intrigue the fancy1 while sufficiently remote from reality to leave equanimity undisturbed4 ,no wonder all men show a kindly regard for the queer little figures that provide parodies of themselves which are shrewd1 but not too apposite6 ,ptrouchka1 it is understood1 is roughly the ,russian counterpart of our familiar ,punch1 though he would seem to have really but little in common with the riotous ,falstaffian character of the ,english hero4 ,in the ballet named after him1 however1 ,ptrouchka represents not so much certain human traits as himself1 the essential puppet4 ,in its trivial way the theme thus presented is a big one4 ,a ballet woven round the puppet stage would have been in any case attractive4 ,to take us behind the scenes and show the mingled comedy and tragedy of the puppet world was a true dramatic inspiration4 ,in the result 8,ptrouchka0 is an achievement perhaps finer than even its authors had intended4 99 99 99 99 99 ,not only in their miming1 but in their scenery also1 the ,russians have a subtle art of suggesting local atmosphere4 ,there is a bleak1 grey quality about the background to the scene with which 8,ptrouchka0 opens that conveys an instant sense of ,russian cold--a dull frigidity which not all the gay and vivid hues of the parti-coloured crowd thronging the stage can thaw1 which1 indeed1 the latter merely enhance1 as they in turn are intensified by contrast against so perfect a foil4 ,one has a sense of opaque1 leaden skies1 of snow impending4 ,it is fair-time1 the last few days of high revelry before the ,lenten fast begins4 ,carnival is in full swing1 and folk of every station are making merry amongst the booths and raree-shows that ,illustration have been set up in the market-place4 ,a spirit of careless jollity prevails1 and as the mingled nature of the moving throng betrays1 the licence of carnival time has broken down all barriers of ceremonious restraint4 ,coachmen1 ,cossacks1 nurse girls and grisettes rub shoulders freely with ladies and their escorts1 smart officers and sober burgesses4 ,illustration ,itinerant vendors offer their wares among the promenaders1 and an eager rogue sets up1 for tempting of the revellers' purses1 the clumsy peep-show which he carries on his back4 ,the coins begin to roll in as the gaping sightseers gather round1 but his harvest is interrupted by the greater attractions of a dancing girl1 who begins upon a strip of carpet laid with care upon the ground a posturing dance1 to the accompaniment of strains from a hurdy-gurdy turned by her male companion4 ,she likewise is not allowed to hold the field undisputed1 for a rival--also attended by a portable organ--establishes herself hard by4 ,the pair vie with each other in elegant poses and slow rhythmic movements1 while the thin strains of the opposing hurdy-gurdies dolefully assail the ear4 ,some coachmen1 challenging each other to feats of agility1 break into a dance4 ,the crowd stays to watch them1 paying but little attention to the frequent appeals for patronage of an old man stationed on the top of a booth1 who beseeches consideration of his astonishingly lengthy beard4 ,more likely to attract the eye are the pair of handsome gipsy girls who join him on his elevated platform4 ,but it is not until the coachmen pause for breath in their vigorous saltations that the sirens overhead succeed in fastening their allurements upon a festive and inebriated merchant who has pushed his way1 with uncertain gait1 to the front4 ,the sudden beating of a tattoo by a couple of drummers1 clad in gay livery1 summons the crowd to a long booth standing in the background1 of which the curtains have hitherto remained drawn4 ,the people press forward with such eager curiosity that the drummers have some ado to keep them at a sufficient distance2 but the apparition of a strange1 antique head1 which is suddenly thrust through an opening in the curtains of the booth1 arrests the attention of all4 ,the head looks quaintly right and left3 then the curtains are parted1 and the figure of its owner is revealed4 ,it is no ordinary showman or cheap-jack who steps forward and salutes the ring of attentive spectators4 ,the cabalistic signs upon the long robe in which his lean figure is swathed1 his cap of curious shape1 his flowing beard and yellow parchment skin--these are all attributes which belong rather to a wise magician of the ,east than to a peripatetic showman4 ,the spectators are evidently interested2 there is a something about this queer personage which fascinates and holds them4 ,when1 after courtly obeisances1 he puts to his lips the flute that he holds in his hand1 they press forward with undisguised curiosity4 ,with gestures odd and unexpected the strange old man pipes forth a tune upon his flute--a jerky little air to which he jerkily sways and twists his lank body4 ,the gaping onlookers follow his antics with half-mesmerised gaze1 and when presently he takes the flute from his lips and steps down to the front of the booth they are all agog to learn what sequel to this prelude the drawn curtains will reveal4 ,when drawn at length the curtains are1 an engaging spectacle greets the eye4 ,propped in a row upon slender rods are three life-size puppet figures4 ,in the middle is the ,dancer1 most radiant of dolls1 with the pinkest of waxen cheeks and the glassiest of stares1 elegantly arrayed in a striped jacket and pantaloons4 ,on one side of her is the ,blackamoor1 a fierce and swarthy fellow1 resplendent in green and gold1 with gorgeous turban on his head2 on the other1 poor ,ptrouchka1 a grotesque figure of fun tricked out in glaring and fantastic motley4 ,such are the three puppets which the ancient showman presents to the enthralled spectators--and puppets only1 mere things of tinsel and sawdust1 they seem as the curtains are drawn aside4 ,they hang limply upon their supports1 not making even of lifelessness other than a puppet's feeble travesty4 ,there is occult power in the showman's hand1 however1 and as he touches each in turn the figures are galvanised of a sudden into seeming life4 ,with a quick spasmodic movement their limbs stiffen1 their bodies are jerked upright upon the props1 and a semblance of alertness is obtained4 ,it is as though on the instant some hidden clockwork springs had been wound up tense and taut4 ,to a burst of lively music three pairs of legs start nimbly dancing4 ,the bodies of the puppets1 seemingly fastened to the supports so plainly visible1 remain fixed and stationary4 ,heads and arms move jerkily and unfreely1 but whatever the mechanical defects in other directions1 at least the puppets' legs are well and truly hung4 ,they beat a merry tattoo in concert on the floor2 they bend and straighten1 kick1 recoil and leap with such inspiriting and infectious gusto1 that blithe and nimble feet are soon a-jigging in the crowd of admiring and applauding onlookers4 ,the giddy reel is at its height when1 upon a mutual impulse1 the puppets start from their supports1 and tripping gaily from their little platforms in the booth1 come forward and continue the dance in the midst of the astonished spectators4 ,the latter1 much excited by a manuvre so unexpected1 gather hurriedly round4 ,the drummers strive to keep a clear arena for the puppets1 while the antique showman1 sardonically aware of the sensation which his dolls are making1 rubs covetous and expectant palms4 ,the dance develops into burlesque pantomime1 ,ptrouchka making a grotesque attack upon the ,blackamoor with a stick which the showman thrusts into his stiffly jointed arms4 ,captivated by this new feature of an entertainment already novel1 the laughing onlookers press more closely round1 and the curtain falls upon the hilarious crowd delightedly applauding the conclusion of the pantomime and dance4 99 99 99 99 99 ,when the curtain1 after a short interval1 rises again a very different scene is disclosed4 ,you are to understand that the queer old showman has some acquaintance with the black arts4 ,it is probable that from the moment when he first peered through the curtains of his booth you have suspected as much2 indeed1 if you share but a tithe of the superstitious instinct of the holiday-makers in the fair1 you will have been at once convinced of it1 and the sudden transformation of the sawdust puppets into the semblance of living1 sentient beings 7albeit a trifle odd and constrained in their movements7 will have aroused little emotion in your ignorant mind except a gaping wonder4 ,the old rascal is1 in truth1 something of a magician4 ,but though he has the power to endow his puppets with a certain degree of humanity1 there is a limit to his skill1 and the poor objects of his mischievous arts are but partially humanised--a kind of apish mockery of human flesh and blood4 ,at bottom they are puppets still4 ,in worst case1 because the most gifted with humanity1 is the luckless ,ptrouchka4 ,more nearly does the texture of his rag approximate to flesh1 the thin sawdust of his stuffing to red and pulsing blood4 ,vaguely there stir within him the passions and emotions of a man--blind feelings to which he strives mutely1 ineffectually1 to give expression4 ,he has learned to suffer--and no more4 ,the black rectangular chamber which the newly rising curtain shows us is that portion of the squalid puppet-box which forms ,ptrouchka's home4 ,through the door that flies open the showman's clumsy boot is seen1 and the flimsy figure of the hapless doll1 ridiculous in his pied and motley clothes1 is impelled through the opening by a cruel kick4 ,for a time he lies in a huddled heap upon the floor1 then woefully picks himself up1 striving to collect his feeble wits4 ,his pitiful frame is fired by yearnings which he does not comprehend4 ,aimless impulses stir him to spasmodic1 inconclusive movements4 ,he is the sport of he knows not what4 ,in a sudden access of panic he darts to the door1 seeking escape from his prison-like box to the life and gaiety of the outer world1 from which he has been so rudely torn4 ,there1 but a moment ago1 he was dancing1 and if the applause was mingled with laughter at his ungainly antics1 at least it was applause such as the ears of even a half-witted doll can greedily drink in4 ,but the door is shut4 ,it lies flush1 lacking handle or latch1 with the wall1 and ,ptrouchka's puppet hands1 with fingers stiffly glued together and muffled in black babyish gloves1 fumble at it in vain effort4 ,pathetically he totters the length of the walls1 groping wildly with his futile arms for an outlet4 ,at last he finds one--a portion of the wall collapses--but it is only a hole pasted over with paper1 into which the rickety figure of ,ptrouchka nearly disappears4 ,it is no real outlet1 it leads nowhere1 and dimly the poor puppet realises that even here his hopes and aspirations are baulked4 ,he is a prisoner1 close pent4 ,mournfully he bemoans his wretched lot1 his bitter discontent not lightened by ignorance of what he truly wishes in its stead4 ,illustration ,lacking the initiative1 the constructive power1 which full intelligence alone can give1 ,ptrouchka can yet perceive his shortcomings4 ,he passes himself in review1 and finds satisfaction in nothing4 ,his motions1 gestures--who could admire such awkward angularity1 such jerky1 jumpy movements8 ,thus he reflects dolefully1 as he strives experimentally to move his limbs with easy grace and rhythm4 ,as to his clothes1 such gaudy1 parti-coloured gear is fit only for buffoons and clownish oafs1 not for one who possesses 7in how limited degree1 poor fellow6 he does not realise7 the finer instincts4 ,his motley shames him1 his involuntary gaucherie moves him to anger with himself4 ,nothing is right2 and with a travesty of emotion which excites a smile while it moves to pity1 ,ptrouchka abandons himself to despair4 ,it is ,ptrouchka's crowning agony that he believes himself in love4 ,the object of his adoration is the ,dancer1 the radiant creature who occupies 7in striped pantaloons and the sauciest of caps7 the middle compartment of the puppet-box4 ,beyond lies the ,blackamoor1 a feared and hated rival4 ,how vie with the latter's rich and handsome dress1 his dashing1 martial bearing8 ,the ,blackamoor carries a sabre1 and though it is ,ptrouchka's exquisite privilege at periodic intervals to belabour his dusky rival with the stick he borrows from their mutual master1 the attack 7for all the feeble spite with which it is delivered7 is but a mimic one--a mere comic interlude in the dance with which the trio are wont to entertain the grinning public4 ,of what avail in private such brief and sham ascendancy against the subtle1 meretricious attractions of his competitor for the fair one's favour6 ,momentarily ,ptrouchka's gloom is lightened by the unexpected advent of the ,dancer1 come upon a visit to the apartment of her love-sick swain4 ,at sight of her ,ptrouchkas fears and doubts are dissipated on the instant4 ,no deepening of the rosy patches on her cheeks encourages the extravagant demonstration of delight with which he greets her2 nor does even a momentary softening relax the fixity of her stare4 ,but ,ptrouchka1 poor fool6 takes no ,illustration note of this4 ,he has learnt no art of restraint1 and in the sudden revulsion of feeling effected by the apparition of his beloved1 he rushes from one extreme to the other4 ,forgetful now of that gaucherie he was deploring but a moment earlier1 unconscious of the ridicule his foolish garb excites1 the hapless creature is betrayed1 by the ill-disciplined vehemence of his rudimentary emotions1 into ludicrous and preposterous behaviour4 ,the ,dancer stands affrighted at the ecstatic transports of her would-be lover4 ,not in this antic fashion had she expected to be wooed4 ,deficient in the graces and allurements of a suppliant1 ,ptrouchka lacks equally the masterful methods of the bolder kind of suitor4 ,he can but give an incomplete expression to the incomplete emotions with which his puppet's breast is charged4 ,the result is ludicrous1 a mere fiasco4 ,where ,ptrouchka thought to excite admiration he arouses only contempt2 he repels where he hoped to attract4 ,the object of his passion1 startled at first1 but soon disgusted1 retires in dudgeon1 and as the hapless lover throws himself forward in a despairing effort to detain her the door is slammed to in his face4 ,the curtain1 descending1 hides his pitiful fumbling as he tries the door anew4 99 99 99 99 99 ,at the other end of the puppet-box1 as we see when the curtain next rises1 lives the ,blackamoor4 ,a more expensive puppet than ,ptrouchka1 despite less sensibility to the showman's magic arts1 the ,blackamoor's apartment has some pretensions to comfort4 ,a wall-paper of violent hue and florid design 7everyone who has played with a doll's house will recognise it7 serves as background to the oriental divan on which the ,blackamoor reclines in luxurious ease4 ,indolent and stupid1 the rival of ,ptrouchka is happier than he4 ,less responsive to the showman's baneful influence1 the swarthy doll has been invested with but little more than the lowest of human appetites and instincts4 ,no dim perceptions of romance are his2 his brutish wits have not been sharpened1 like ,ptrouchka's1 to the point of suffering4 ,lolling in his gaudy chamber1 he passes the time in idleness and folly4 ,we see him1 as the curtain rises1 intent upon some clownish trifling with a coconut4 ,prone upon his back1 with legs in air1 he shows a doltish pleasure in juggling his toy with hands and knees4 ,presently tiring of this1 his vacuous mind casts round for fresh amusement4 ,a happy thought strikes him1 and flinging himself off the divan he rolls over and over across the floor1 clutching the precious nut1 till suddenly he finds himself1 with idiot leer1 in sitting posture4 ,he begins anew his juggling1 but the silly game has lost its savour4 ,he drops the coconut upon the floor and stupidly blames his clumsiness upon the toy4 ,angrily regarding it1 he flies into a rage1 and fetching his sabre1 slashes furiously at the object of his wrath4 ,failing to hit it1 he next finds fault with his weapon1 and flings it pettishly into a corner4 ,the coconut still lies at his feet1 and a superstitious notion creeps into his turbid brain4 ,retiring a few paces1 he prostrates himself before this fetish that has defied his wrath and violence4 ,he begins a series of elaborate obeisances designed at once to propitiate the ire which he supposes the inanimate coconut to nurse1 and cover the stealthy approach which he nevertheless makes towards it4 ,he grins facetiously as his silly antics gradually bring him nearer the object of his desires4 ,with a final prostration he achieves his purpose1 and sprawls delightedly over the nut1 just as the ,dancer1 fresh from her rejection of ,ptrouchka's fervent but ill-proffered advances1 enters the apartment4 ,coquettishly in her hand the ,dancer carries a toy trumpet1 and with this to her lips1 sounding a lively gallop1 she foots it merrily to and fro4 ,the ,blackamoor1 who took but little notice of her entry1 is distracted from his fervent occupation with the coconut4 ,beguiled by the inspiriting strains of the trumpet1 he watches her movements with increasing interest1 rolling his goggle eyes from side to side as she trips it up and down4 ,illustration ,with sudden ardour the ,blackamoor starts up1 and flinging away his wretched plaything1 seizes and embraces his fascinating visitor4 ,the latter seems nothing loth1 and gratified by this easy conquest the ,blackamoor seats himself to receive the homage of a further dance4 ,the lady1 eager to make the most of opportunity1 exerts herself in even livelier fashion than before1 and finds occasion to fall provocatively into her admirer's arms4 ,the ,blackamoor is now entirely captivated1 and when the ,dancer begins1 to a sugary1 sentimental strain1 a pas de fascination of which his sluggish wits at length realise himself to be the object1 his fondness is grotesquely manifested4 ,from the edge of his divan he fatuously ogles the fair one1 and is thrown into transports of delight when she accepts a rapturous invitation to sit upon his knee4 ,the flirtation receives unwelcome interruption by the unexpected arrival of ,ptrouchka4 ,fired by jealousy1 and impelled by his infatuation for the ,dancer1 he has escaped at last and come to seek her in the hated rival's domain4 ,but the poor fellow is so ineffectual that he cannot make even a passably impressive entry4 ,in his blundering haste he gets caught in the swinging door and hangs there1 half in the room1 half out1 an object of derision to his inamorata and her dusky swain4 ,even when he has struggled free of this embarrassment and confronts the guilty pair1 ,ptrouchka is pathetically at a loss4 ,tortured by vague fears1 he has yielded to a vague impulse1 only to find himself unable to deal with the situation he has so rashly sought4 ,not so the ,blackamoor1 whose lower type of intelligence is beset by neither doubts nor fears4 ,while the ,dancer1 with nice sense of propriety1 goes off into a genteel swoon1 he bounces angrily off the divan1 and advances threateningly upon the intruder4 ,ptrouchka1 half urged by passion1 half intimidated by force1 and wholly at a loss1 takes refuge in a futile demonstration1 which has not the least effect4 ,gloating1 like a true bully1 over the discomfiture of his rival1 the ,blackamoor hustles him to the door1 and with a vicious kick sends him flying across the threshold4 ,boastfully jeering at his defeated enemy1 he executes1 as the curtain comes down1 a loutish dance of triumph4 ,illustration ,meanwhile the fair1 to which the action of the ballet returns in the concluding scene1 is still in progress4 ,but evening is approaching1 and the revels are beginning to take on a noisy1 riotous turn4 ,to swinging1 pulsing music there is a dance of nursegirls and coachmen1 which sets the feet of all who watch it sympathetically a-stamping4 ,the advent of a performing bear1 walking gingerly upright at the end of the chain which his owner holds1 creates a small diversion2 a more lively one is produced by the reappearance of the tipsy merchant1 who scatters bank notes promiscuously among the crowd4 ,the horseplay which has already begun receives a fillip from the inrush of a group of masqueraders 7a devil with horns and tail among them7 whose hideous disguises cause pretended alarm among the women and girls4 ,snow begins to fall1 and under the play of flickering coloured lights1 which spasmodically illumine the gathering dusk1 the fun waxes fast and furious4 ,of a sudden the crowd becomes aware of a great commotion inside the puppet booth4 ,the curtains are drawn across the front1 but their violent agitation1 now at this end1 now at that1 indicates that something untoward is happening within4 ,the passers-by pause and look curiously at the booth4 ,in a moment the curtain at one end is flung back and ,ptrouchka dashes forth4 ,close on his heels the ,blackamoor1 brandishing his sabre1 strides vindictively4 ,the ,dancer 7agitated1 but as pink and white of cheek1 as glassy of stare1 as ever7 brings up the rear4 ,fleeing in panic down the length of the booth1 ,ptrouchka vanishes behind the curtain at the other end4 ,the ,blackamoor and ,dancer follow4 ,a wild commotion of the curtain at its middle part suggests a fearful struggle within4 ,a moment later the three puppets dash forth again1 ,ptrouchka still in front and seeking vainly to escape the uplifted sabre4 ,in the middle of the market-place the ,blackamoor overtakes his rival1 and with a vicious blow fells him to the ground4 ,the spectators1 up to this point too taken aback to interfere1 crowd round in consternation4 ,hapless ,ptrouchka lies huddled on the ground1 and though they seek to succour him1 no sound but a painful squeaking comes from him4 ,he strives to rise1 but cannot2 ineffectual to the last1 he can compass nothing more dramatic at his end than a few indeterminate jerky motions and a last pitiful squeak4 ,an alarm has been given1 and at this juncture a policeman approaches with the ancient puppet-showman1 an odder figure than ever1 wrapped in a voluminous black coat with a tall hat upon his head4 ,the crowd1 bewildered by the strange events just witnessed1 draws back and watches the showman with puzzled curiosity as he bends over the prostrate figure of ,ptrouchka4 ,can it be they have been spectators of a tragedy8 ,the showman is in no wise disconcerted4 ,stooping1 he takes hold of the bundle of gaily-coloured rags that lies so forlornly on the street1 and lifts it up4 ,it dangles limp and lifeless from his upraised hand before the astonished eyes of all4 ,a corpse8 ,nothing of the sort--a doll6 ,incredulous hands are stretched out to touch1 but there is no need of that4 ,the showman begs the company to see for themselves4 ,the head is wooden2 the body 7as a thin powdery stream falling to the pavement testifies7 is stuffed with sawdust6 ,the crowd disperses4 ,satisfied that the tragedy was no tragedy1 they yet feel a distaste for the scene of an occurrence so disturbing1 and drift away to another part of the fair4 ,the showman is left alone4 ,illustration ,with a shrug the old magician moves towards his booth1 trailing behind him the draggled figure of his puppet4 ,as he nears the steps a shrill screech bursts upon his ears4 ,he starts and looks fearfully about him1 for he recognises the sound4 ,again the screech greets him1 and looking up he espies1 mopping and mowing above the cornice of the booth1 the ghostly figure of ,ptrouchka4 ,the trailing bundle of rags and sawdust drops from the sorcerer's hands4 ,horror-struck1 he turns and flees4 99 99 99 99 99 8,ptrouchka0 is the joint work of ,,mm4 ,igor ,stravinsky and ,alexandre ,benois1 of whom the former composed the music1 while the latter designed the scenery and costumes4 ,the restraint1 the fine selective instinct1 which ,benois has shown in his manipulation of the wealth of material lying to his hand produces a most artistic result4 ,the local colour is firmly1 but without offending emphasis1 insisted upon--that it is a ,russian fair in which we find ourselves1 there is no mistaking4 ,nor does he lack humour2 nothing could be defter than the grotesque touches with which the rival puppets' boxes are adorned1 nothing more truly bizarre than the opera cloak and silk hat in which he garbs the fantastic showman for the dnouement4 ,in 8,ptrouchka10 as in 8,l',oiseau de ,feu10 ,stravinsky shows himself a master of the art of writing ballet music4 ,throughout the four scenes he displays not only a nice sense of dramatic fitness1 but a shrewd appreciation of character4 ,whether his theme is the quasi-pathetic sufferings of ,ptrouchka1 the dollish coquetry of the ,dancer1 or the grotesque humours of the ,blackamoor1 he never fails to be expressive4 ,in the treatment of such a subject as 8,ptrouchka0 7described by the authors as a series of 8burlesque scenes07 his humorous perception is of large assistance4 ,in the trumpet dance1 for instance1 by which the ,blackamoor is first inveigled into the fair one's toils1 or in the slower pas de fascination by which the conquest of him is completed1 ,stravinsky's sense of the ludicrous has turned two slender occasions to most diverting account4 ,conceive a tender1 sentimental passage between two grotesque dolls1 and in these engaging little melodies you have the exact expression of the absurd situation4 ,even more ingenious1 as a piece of clever orchestration1 is a passage at the outset of the opening scene1 where the composer succeeds not only in reproducing 7with the merest note of burlesque7 the peculiar sounds of an antique hurdy-gurdy1 but weaves the opposition between two such competing instruments into a most entertaining and harmonious discord4 ,as to the music which hurries the revels of the carnival upon their riotous course1 it has the true note of full-blooded vigorous enjoyment--a rhythmic pulsing quality which belongs to the fresh and unsophisticated pleasure of simple folk not too much hampered by conventions4 8,ptrouchka10 however1 would fall short of its ultimate effect but for the subtle art of its interpreters4 ,kotchetovsky1 as the ,blackamoor1 wonderfully realises the undisciplined temper and coarse appetites which are all of humanity that this puppet has acquired2 and the ,dancer1 whether played by ,karsavina or ,nijinska1 pirouettes or tiptoes with the exactitude of mechanical action4 ,but to the presentation of ,ptrouchka ,nijinsky brings more than mere cleverness4 ,there is a touch of diablerie in his impersonation of the luckless puppet which most poignantly conveys the sense of atrophied humanity4 ,it is not merely that from his jerky half-mechanical motions one can deduce the exact anatomy of the doll1 a joint here1 a loosely hung limb there2 he puts the whole character upon a plane above the level of mere grotesquery4 ,ptrouchka in his hands acquires a significance which places him amongst the centaurs and other half-brute1 half-human creatures of mythology4 ,that the ballet is thereby endowed with a meaning1 an inwardness1 which it might not otherwise possess1 must be accounted as a tribute to the dancer's genius4 ,illustration ,illustration ,,thamar4 ,,choreographic ,,drama ,,by ,l,,on ,,bakst ,,music ,,by ,,balakirev4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,in no ballet1 perhaps1 are the resources of the ,russians so characteristically and comprehensively displayed as in 8,thamar40 ,in certain other spectacles particular aspects of their art receive more emphasis1 are more acutely perceived4 ,but in this barbaric legend from the far ,caucasus their powers are revealed at their ripest and fullest4 ,there is a 8body10 a full-blooded vigour in this swift1 fierce drama1 and its vivid enactment1 which bespeaks maturity4 ,the miming1 the dancing1 the very mise-en-scne draw fire from quickened pulses1 albeit so subordinated to controlling restraint1 that of no ballet is it less possible to resolve into component elements the spontaneous1 arresting whole4 ,the ensemble is perfect4 ,and what 8,thamar0 lacks in preciosity is compensated by abounding vitality4 ,it is possibly not mere fancy which suggests that in 8,thamar0 the ,russians give peculiarly spontaneous vent to their artistic impulses4 ,western ,europe has a proverb1 which it would scarce be gallant to repeat here1 anent the affinity between a ,russian and a ,tartar2 and it would certainly seem as if to the presentment upon the stage of this old tale from the folk-lore of wild ,georgia had gone a native appreciation--a relish--of all that it embodies1 which must be wanting to the treatment of themes more conventional or exotic4 ,only in the wonderful exuberance of the crowded ,moscow fair in 8,ptrouchka0 does one find again that subtle access of spontaneity and vitality which can derive from a national instinct alone4 ,for the story of 8,thamar0 it seems there is some warrant in history4 ,at least tradition reports that the castle1 now in ruins1 which stands in the gorge of ,dariol1 had once a royal mistress1 whose inhospitable custom it was to lure unsuspecting strangers into her toils1 and presently cause them to be hurled to destruction from a secret door giving upon a precipitous face of the rocky crag on which the castle is perched4 ,what measure of historical fact is foundation for the legend1 who shall say8 ,certain it is that the tale has lost nothing by the telling1 in the handing down from one generation to another2 that the lurid colours in which ,queen ,thamar's character has been painted have lost nothing--have gained1 indeed--in intensity4 ,yet1 if time has not mellowed their barbaric crudity1 at least it has arranged them decoratively4 ,romance has been busy at her loom1 from which at length has issued a legend so cunningly woven as needs only the gorgeous embroidery of the ,russians' art to reach an apotheosis4 ,the master hand of ,lon ,bakst has designed nothing more startling and impressive than the great chamber of the castle in which ,queen ,thamar holds perpetual court4 ,by some wondrous trick of ,illustration his art he has induced a sense of height that leads the eye upward far beyond the proscenium's limit1 and creates a loftiness that seems to dwarf the figures grouped about the floor4 ,even more remarkable is the form and colouring of the decorations4 ,crude is the word that first presents itself1 but crudity ill suggests the ultimate harmony of this astounding tableau4 ,violence is rather the note--violence of colour1 violence of form3 meet setting for such deeds of violence as are soon to be enacted4 ,and as with the chamber1 so with the dress of its occupants--the splendid1 violent trappings of sthetic barbarism4 ,nothing is subdued2 it is the very occasion1 as the spectator thrills to feel1 for passions to be loosed1 unbridled and untamed4 ,something of the same inspiration seems to have prompted ,balakirev's music1 which not only hurries the swift drama to its impending climax1 but seems charged with a sensuous violence of its own that enhances1 to a point of fascination almost dreadful1 the orgy of passionate intoxication on the stage4 ,thamar is an exciting experience4 ,in the first few bars of the short prelude which precedes the rising of the curtain the note of mystery1 of eerie phantasy1 is struck4 ,the listener is transported from reality to the region of legendary lore4 ,to such strains would one choose to read of witchcraft and of magic spells2 at least1 the music has that degree of kinship with those voices of the elements which raise the hair with unfelt breath1 and send a shiver through the stoutest heart4 ,the curtains1 lifting silently1 disclose that striking tableau just referred to--a coup d'il in a very special sense4 ,upon a divan at the back1 sinuous1 a panther in repose1 lies ,thamar4 ,at one side1 flooding the head of the couch with evening light1 a huge casement gives outlook1 over the river's turbulent flood1 upon the wild snow-covered slopes that surround the mountain fastness of the ,queen4 ,in groups about the chamber are scattered ,thamar's women1 some close in attendance upon their mistress1 others reclining on low cushions1 a few watching intently the distant prospect through the open window4 ,guarding the door1 tall henchmen4 ,a steadfast immobility has transfixed all4 ,so1 statuesque1 stood the guards and retinue of the ,sleeping ,beauty4 ,this much the spectator is permitted1 at the lifting of the curtain1 to apprehend4 ,the stillness is noted1 lasting for just that brief but appreciable moment which invests it with significance1 and makes dominant that note of phantasy1 of unreality1 which the opening strains of music sounded4 ,the illusion achieved1 the spell of stillness is broken4 ,a woman1 one of those whose watchful gaze has been directed through the window1 stirs4 ,it is the merest gesture1 but a gesture eager1 alert3 and on the instant1 though none other yet moves1 the scene becomes instinct with life4 ,the woman looks again at the distant scene2 then turns to another with a whispered word4 ,at the movement heads are turned1 figures that seemed indolent lose their sloth4 ,something is toward2 the whispers are pregnant with meaning4 ,thamar alone1 recumbent on her couch1 gives no sign of life4 ,one might suppose she slumbered1 but for the cat-like swiftness with which1 at a word from one of her attendants1 she turns towards the window4 ,half raising herself1 as a stalking leopard lifts shoulders and neck to watch its distant prey1 she takes a wisp of gauze from her pillow and slowly waves it above her head4 ,a stranger1 errant among the lonely mountain sides1 has espied the castle1 and approaches4 ,even now he stands below the walls gazing at the fateful casement4 ,twice and again the seductive signal is repeated4 ,its purpose then appears to be achieved1 for the scarf is dropped and ,thamar1 springing from the couch1 turns to her expectant court4 ,orders are issued1 but of these there scarce seems need1 with such accustomed readiness do the ,queen's minions set about their tasks4 ,without ado the guards stationed at the doors prepare to sally forth1 wrapping themselves in voluminous black cloaks4 ,a subtle touch1 those cloaks4 ,they suggest the bleak1 inhospitable wilderness without1 emphasising the warmth and luxury of the brilliant scene within--an emphasis which is enhanced by the decorative value1 considering the scene pictorially1 of the black irregular masses which the shrouded high-capped figures present against the general riot of colour4 ,when presently the stranger is led in1 likewise cloaked and muffled1 that contrast is again insisted upon4 ,the stranger1 it is instantly apparent1 is travel-weary3 one divines the curiosity and wonder with which he finds himself led into an atmosphere of ease and luxury which his tired senses1 despite the bandage over his eyes1 must gratefully apprehend4 ,meanwhile1 the ,queen has been preparing for the advent of her guest4 ,as the escort departs to bring him in1 the women busy themselves with ,thamar's person4 ,deftly and swiftly she is robed1 and ere the door opens to admit the doomed stranger1 she is ready and awaiting her prey4 ,wonderful mime that she is1 ,i doubt whether ,karsavina in any rle excels her impersonation of the feline ,thamar4 ,her every movement1 under its sinuous grace1 has that suggestion of stealth which fascinates while it affrights4 ,from the moment that the guileless stranger is brought before her--for there is that in her attitude1 as she awaits his coming1 which proclaims him not guest1 but victim--till the fierce climax1 she never relaxes the tension under which his apprehension of her close-pent1 volcanic energy places the spectator4 ,it is as though one watched a panther sporting with some innocent creature that mistakes the play for mere kittenish frolic3 as beautiful1 as horrid1 and as certain in its ,illustration ending is ,thamar's way with her victim4 ,the final pounce one awaits as inevitable3 the interval is filled with the exquisite agony of suspense4 ,embodiment of action in arrest is ,queen ,thamar as1 for a brief moment1 she regards the figure of the unsuspecting stranger4 ,then1 loosing suddenly her restraint1 she springs upon him1 and reaching up a slender arm with eager fingers tears the bandage from his face4 ,fiercely she scans him3 he is fair to see4 ,so1 too1 is ,thamar1 and if in that swift interchange of searching looks the wild blood courses more hotly through the siren's veins1 be sure that passion scarce a whit less fiery kindles in the youth1 so strangely and suddenly confronted by the glowing1 sinister beauty of the ,queen4 ,at a sign from ,thamar attendants come forward to relieve the stranger of his travelling gear4 ,disengaging herself from his grasp1 the ,queen retires to a table at the side1 on which stands a wine cup and flagon4 ,from the background she watches avidly while her women are busy4 ,the stranger's cloak and high-crowned hat are removed1 and he stands revealed--handsome1 well-favoured1 a very proper figure of a man4 ,he gazes about him rapt in admiration and delight1 but ere he can espy again the figure of the arch enchantress1 a group of dancing girls advances and encircles him4 ,the graceful measures which they tread distract his attention as he stands1 pleased and diverted1 in their midst4 ,the bevy of girls gives way to a more potent allurement4 ,thamar herself1 darting forward1 now begins a dance of fascination before the stranger's eager eyes4 ,with her first lithe movements she asserts her mastery over his enraptured senses4 ,as the moth round the flame of the candle1 he hovers on the outskirts of her mazy dance1 the reviving blood within him gaining warmth as he feasts his quickening senses on her beauty and grace4 ,illustration ,as ,thamar continues to dance1 so increasingly wavers the young man's hold upon himself4 ,she saps his power of restraint to the very verge2 then on a sudden interrupts the dance1 and runs to the table4 ,ere the stranger can collect himself she is before him1 offering with regal courtesy a brimming wine cup4 ,he hesitates to drink1 but held by the fascination of her eye he suffers her to lead him1 unresisting1 to the couch4 ,as they gain the steps of the divan a troupe of dancers enters4 ,musicians1 with quaint stringed instruments1 are already seated along the walls1 and forthwith1 a joyous revel is begun4 ,the lilt of the music1 the throbbing rhythm of the dance1 complete the spell which ,thamar's beauty has begun4 ,with eyes intent only upon the face of his enchantress1 the stranger puts the potion to his lips4 ,as he sets the wine cup down1 ,thamar eludes the embrace he proffers and glides away4 ,the youth pursues her through the whirling ranks of dancers1 but at a sign from ,thamar the women take him by the hand and lead him from the chamber4 ,reluctant to go1 he yet submits to be escorted thus1 since the purpose is but to attire him more fitly for the night-long revel4 ,left alone amidst her court1 ,thamar draws inspiration for her approaching deeds of lust and violence from the savage frenzy of her followers4 ,her henchmen crowd around her1 goading her willing spirit with the vigour of their dance4 ,rapidly the frenzy of that dance increases2 the armed men draw their daggers1 hurling them points downward to the floor in the midst of their whirling evolutions4 ,thamar1 aloof1 looks on with heaving breasts4 ,as she watches her excitement grows1 till at length with an imperious gesture she bids her attendants bring the stranger in once more4 ,the women fly at her behest1 and ,thamar1 with sudden resolution1 masters her outward evidences of passion1 and gains the divan just as the stranger1 in rich gala attire1 is ushered in4 ,the dance of armed men has ceased1 and the entering youth is greeted by a bevy of girls1 each with a tabor in her hand1 who dance before him1 and presently lead him to the royal couch4 ,the youth advances gladly2 but ,thamar1 stealthily immobile1 affects to ignore him4 ,spurred thus to ingratiate himself1 the stranger essays a dance before the object of his passion4 ,he is tall1 he is shapely1 he is active2 his leaps and nimble movements display to advantage his virile elegance and grace4 ,thamar1 watching him intently1 is swept past all restraint and casts dissimulation aside4 ,swiftly she darts upon him1 and joins him in the dance4 ,the swaying measure which they foot in concert sets their pulses throbbing to the point beyond endurance4 ,as the music swells in volume1 the women are caught by the intoxication of the moment1 and as the armed men in their turn join the dance1 the stranger finds himself supporting the form of ,thamar in their midst4 ,the moment of ecstasy1 of abandon1 is reached4 ,a pregnant pause--then ,thamar has flung herself upon the stranger1 fastened her lips upon his1 and fleeing from the chamber1 drawn him in pursuit4 ,the disappearance of the two protagonists is the signal for resumption of the revels4 ,violently and yet more violently throbs the music1 wilder and yet wilder rages the furious dance4 ,the casement which earlier admitted the sunset rays has long been closed1 and one may believe the night to be far spent ere the revels have reached this pitch of bacchic frenzy4 ,the orgy is at its height when the stranger1 alone1 re-enters the chamber4 ,his breath is laboured1 his gait unsteady1 as he staggers under the heady influence of overmastering passion4 ,at sight of him the dancers pause1 eyeing him askance1 curious but aloof4 ,the wretched youth1 at grips with his passion1 pays no heed to them1 but even as he yields and turns again towards the door1 the object of his thirsting desire confronts him4 ,the ,queen takes him by the hand and fawns upon him1 savagely seductive4 ,the youth is wax beneath her fierce caress1 and though the watching eyes of all the court are upon him1 he can but gaze1 spell-bound1 upon his ,circe4 ,illustration ,thamar1 not less than her victim1 is in the clutch of over-whelming passion4 ,the hour is at hand1 and as the fateful moment approaches1 she thrills with fearful expectancy4 ,bemused1 the luckless stranger sees not the dagger which ,thamar with stealthy motion of the hand withdraws from her girdle2 neither does he note the yawning abyss1 revealed through a panel in the wall a watchful guard has rolled noiselessly aside1 towards which his unheeding steps are being surely and relentlessly guided4 ,there comes at last the climax4 ,even as the infatuated youth leans towards her1 with a tigerish spring the ,queen stabs him to the heart4 ,he is already on the brink of the open precipice2 and as he reels backward under the blow1 a push from the minion at his elbow sends him hurling to the rushing torrent far below4 ,thamar with outstretched neck watches1 in gloating ecstasy1 the consummation of her fell design4 ,the panel in the wall slides back again4 ,the guards resume their posts of duty4 ,the courtiers1 grouped about the chamber1 relapse into immobility4 ,the appointed doom is achieved4 ,what was to be1 is4 ,once more the sense of fantastic unreality asserts itself in the spectator's mind4 ,mere ghouls1 dread phantoms in human form1 this dazzling throng of courtiers--not creatures of warm flesh and blood as in the midst of their simulated revelry he had almost deemed them4 ,thamar alone exhibits emotion4 ,it is not remorse1 however1 which sets her shivering as with an ague1 and turns her knees to water4 ,reaction must follow action1 and the hideous spectre that treads so close upon the heels of indulgence has her in its grip4 ,the hour has passed1 the supreme moment has gone2 and ,thamar1 like every true artist1 is plunged in depths that are measurable only by the heights she has erstwhile scaled4 ,the court1 regarding her attentive but impassive1 is dismissed with a gesture1 and the great chamber is cleared of all save ,thamar and her women1 by whom she is now unrobed4 ,as the festal garments drop from her1 the ,queen's exhaustion1 physical and mental1 seems to verge upon collapse4 ,slowly she gains the head of her couch1 as the arras is drawn from before the window4 ,night has fled and the purple rays of the dawn pour into the room4 ,the ,queen steps into the midst of this luminous flood1 drinking deep of the morning glory4 ,her senses revive1 she imbibes new vigour1 the black shadows are lifted from her4 ,as presently she lays herself upon the couch1 her women sink to rest upon their cushions4 ,thus from supreme climax the action of the ballet subsides gradually to statuesque immobility once more4 ,stillness broods over the quiet figures of ,thamar and her women4 ,realisation comes suddenly to the spectator that the scene is now identical with that which the lifting curtain first disclosed4 ,and at that moment of quick apprehension--a woman stirs6 ,in a flash of inspiration the spectator's eye1 outrunning the action on the stage1 foresees the inevitable happening4 ,is not the whole ghastly round yet fresh and vivid in his mind8 ,the woman looks again1 whispers to another4 ,a third bends to the ,queen's ear1 and as the curtain slowly descends the treacherous scarf is being once more lightly tossed into the air4 ,illustration ,,le ,,carnaval4 ,,pantomime-,,ballet ,,by ,,michel ,,fokine4 ,,music ,,by ,,robert ,,schumann1 ,,orchestrated ,,by ,,rimsky-,,korsakov1 ,,liadov1 ,,glazounov ,,and ,,tcherepnin4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 8,le ,carnaval10 which has been built upon ,schumann's well-known music1 is a ballet of the type which defies pedestrian description4 ,if one may term 8incident0 so trifling an affair as1 let us say1 a butterfly's flirtation with a flower1 then 8,le ,carnaval0 is full of incident4 ,but it has no story1 no dramatic development of a plot1 to give a theme for narrative4 ,the very characters bear relation to each other only as the person of a carnival4 ,the characters1 indeed1 are scarcely to be regarded as actual men and women4 ,harlequin1 ,columbine1 ,pierrot and the rest who flit across the scene1 are no mere impersonations of those traditional figures of fancy by gay revellers at a bal masqu1 but themselves--living embodiments of different phases of irresponsible humanity4 ,the spectator is conscious of an atmosphere of unreality1 a sense almost of illusion4 ,on the wings of fancy he is transported far from the realm of adamantine fact1 and in a region of pure sentiment sees materialised the whole idea of ,carnival4 ,it is to the appearance of unreality1 perhaps1 that the ballet owes its peculiar appeal and charm4 ,elsewhere some explanation has been attempted of the fascination which the puppet exercises on the human mind1 and similar comments apply in the present case4 ,for though the figures of 8,le ,carnaval0 are not1 as in 8,ptrouchka10 poor dolls aping humanity1 in essence they are puppets just as much--embodiments in miniature of various human traits at which we can afford to laugh without offended vanity4 ,watching 8,le ,carnaval10 indeed1 we are verily in puppet-dom2 so completely is a severance from matter-of-fact reality achieved4 ,illustration ,this note of fantasy is maintained in chief by the exceeding deftness of the performers1 and the sensitive lightness of their touch4 ,but not a little is owed to the bold simplicity of ,bakst's dcor4 ,there is no scenery2 merely an immense green curtain for background1 and for furniture a couple of odd little striped sofas4 ,the bareness of the stage1 the great height of the curtain behind1 have the effect of dwarfing the figures of the dancers2 the elimination of all superfluous detail produces a needed concentration of attention on their movements4 ,there being no dramatic action to unfold1 sentiment rather than passion--and that of the most artificial kind--being the matter for portrayal1 gesture and the dance are here submitted to the severest test as means of expression4 ,artificiality demands1 in representation1 the most deft and polished art--of course1 of a strictly conventional and academic kind4 ,that formal perfection the ,russians achieve in 8,le ,carnaval0--a perfection so absolute that formality is forgotten1 eclipsed in its own apotheosis4 ,so nicely do the performers exploit1 while never transgressing1 the conventions by which the ballet is conditioned1 that for once artifice seems natural1 and sentiment as real as passion4 ,illustration ,the costumes devised by ,bakst are of the ,victorian period--crinolines and peg-top trousers1 of which the quaint prim style1 so far removed from modern tendencies1 exactly suits the dainty little puppets that flit magically across the stage4 ,pierrot1 of course1 appears as ever in voluminous white clothes1 but ,columbine and ,harlequin1 though instantly to be recognised1 are dressed a little differently from the mode which the harlequinade1 as it used commonly to be presented in this country1 has stereotyped4 ,but then1 neither ,columbine nor ,harlequin in 8,le ,carnaval0 are the stilted1 meaningless creatures to which the base usage of the ,english so-called 8pantomime0 has degraded them4 ,their true characters are restored3 they intrigue the eye as airy figments of irresponsible fancy--she the embodiment of freakish sentiment1 he of freakish humour4 ,columbine is no longer a well-favoured wench attired in a scanty tu-tu1 pirouetting with moderate skill upon her toes1 but the incarnation of feminine mutability and charm3 bespangled ,harlequin has lost the silly wand with1 which he was wont to slap about him indiscriminately1 and has become ,arlecchino1 the spirit of unbridled mirth and mischief4 ,the dance 7in which general term one includes the supplementary art of pantomime7 alone perhaps can express these conceptions of modern mythology1 and the embodiment1 the reality1 which ,karsavina and ,nijinsky give to them is possible only through their perfection in that art4 ,than ,nijinsky's performance in 8,le ,carnaval10 no more complete exposition can be imagined of all that the dancer's art comprises4 ,three times have separate couples--fantastic1 irresponsible figures--flitted lightly across the stage in arch retreat and gay pursuit1 when the curtains at the back are parted and ,pierrot's white face protrudes4 ,dismally he glances left and right4 ,no one is near1 and with every motion of his dejected figure eloquent of suffering1 he advances from his hiding-place4 ,a few paces taken1 he pauses1 the victim not only of misery1 but of indecision4 ,poor ,illustration ,pierrot1 8temperament 8 personified1 in everything it is all or nothing with him4 ,just now he finds himself deceived--and his abandonment to grief reaches the utmost limits of despair4 ,he has no longer zest for anything in the world--and his vacillation is equally intense4 ,why should he go forward--or backward--to left or right8 ,why stand up--why sit down8 ,why do anything1 be anything8 ,so he stands there1 the picture of indetermination1 his baggy clothes hanging anyhow about him1 his very limbs so loosely jointed that they seem to be without definite control4 ,illustration ,sprightly and agile1 extremity of contrast to nerveless1 flabby ,pierrot1 there enters ,harlequin4 ,mischief1 all spry and self-contained1 is ignorant of pity1 and ,folly becomes an instant butt for mockery and ridicule4 ,poor witless ,pierrot1 defenceless against the shafts of raillery1 takes a few wild steps in blundering flight4 ,but even that impulse fails him and he collapses in an inert heap upon the floor4 ,and as he lies there1 a huddled heap of misery1 there passes before his dismal gaze all the mirth and gaiety in which he cannot pluck up heart1 for all his longing1 to join4 ,he sees the sentimental pairs go by in elegant procession1 each swain intent upon his mistress1 and never a look1 demure or bold1 from bright eyes in his direction3 he is witness of the pleasant melancholy of lovelorn youth1 seeking and in ecstasy finding the object of its tender passion4 ,he is present unobserved at a declaration of love1 and it is this which spurs him at length to a spasmodic effort4 ,for as the amorous pair1 the declaration made and enchantingly accepted1 trip gaily from the scene1 ,pierrot1 with sudden zeal for emulation1 dashes madly after them4 ,it is but a fitful flash of energy1 however1 and hardly has another sentimental passage ended betwixt a gallant and his fair1 when ,pierrot1 disconsolate1 returns4 ,but even as he slouches mournfully in1 he encounters ,papillon1 whose fluttering butterfly grace fills him with instant rapture4 ,gloom is banished on the instant3 the fickle ,pierrot is in a transport of delight4 ,clumsily he pursues her1 hat in hand1 seeking like a loutish boy to capture her4 ,but her fluttering steps elude him2 she leads him here and there in a dizzy maze and is gone1 out of reach1 at the very moment when the foolish oaf flings his hat down and thinks to have imprisoned her4 ,with grotesque excess of cunning he lifts the hat's brim1 an eager paw ready to pounce upon the pretty captive4 ,but nothing is there6 ,the idiotic leer fades from his face1 his whole figure sags as the momentary zest dies out1 and plunged once more in the depths of despondency1 he drifts aimlessly away4 ,illustration ,the gay and sentimental revelry goes on4 ,columbine appears1 with ,harlequin dancing attendance4 ,hardly have they come upon the scene when they encounter ,pantalon--an odd little figure of fun with yellow coat1 green gloves1 and a preposterous stripe down the length of his trouser4 ,concealing her roguish escort behind her petticoat1 ,columbine makes an easy victim of the senile ,pantalon1 only to hold him up to ridicule when he plunges into fervent protestations4 ,heartlessly she mocks her unfortunate dupe as1 whirled off his feet by the agile ,harlequin1 he is made to beat an ignominious retreat4 ,illustration ,there follows not only an enchanting pas de deux by ,columbine and ,harlequin1 but some delicious pantomime between the two4 ,harlequin makes as if to lay his heart at ,columbine's feet 7he verily seems to pluck it from his bosom and place it before her73 she receives the tribute with becoming favour1 and retiring to one of the sofas in the background1 continues the flirtation4 ,whilst the pair are still seated1 there trip on to the stage some score of couples1 and amongst them ,pierrot1 once more animated1 and again seeking vainly to capture ,papillon4 ,his new attempt is no more successful than his first1 and in the dance to which all abandon themselves he alone is partnerless4 ,illustration ,in some degree inspired out of his melancholy1 however1 ,pierrot capers awkwardly amongst the rest1 till ,harlequin and ,columbine spy a chance for further mischief4 ,they join him in the dance1 one on either side1 and seizing an opportunity when ,pantalon1 as undeterred by his first rebuff as a moth whose wings are only singed1 is hovering near1 they throw the two into collision1 deftly envelop them with ,pierrot's long sleeves1 and secure the grotesque partnership with a hasty knot4 ,as the curtain descends the two victims of their gay malice are seen stumbling in each other's clutch amidst the mockery of the dancing throng4 ,illustration ,,cl,,op,,tre4 ,,choreographic ,,drama ,,in ,,one ,,act ,,by ,,michel ,,fokine4 ,,music ,,by ,,arensky1 ,,taneiev1 ,,rimsky-,,korsakov1 ,,glinka ,,and ,,glazounov4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,it is the supreme merit of 8,cloptre0 that it is of an even and sustained excellence throughout4 ,all concerned in its production and performance have surpassed themselves1 but since each has risen equally to the occasion there are no outstanding features to distract the balance of the whole4 ,the result is merely the elevation of the latter to a very high artistic level4 ,it will be agreed that few subjects more suggestive and inspiring could be found than ,cleopatra4 ,for colour1 movement and dramatic intensity the legend of the ,egyptian queen affords opportunities which have in no wise been allowed to slip4 ,lon ,bakst has done nothing more largely fine than the spacious temple in the desert by the ,nile1 the deep tawny grandeur of which1 broad and simple1 provides a proper setting for the splendid1 gem-like brilliance of ,cleopatra's train4 ,here is enacted1 against a background of choric dances that have more than a conventional significance1 one of those fierce passionate episodes which the ,russians so vividly present4 ,beyond the tall columns which enclose the sacred precinct we see the desert sand and the waters of the ,nile4 ,hither1 as the dusk of an ,eastern night is enveloping the scene1 comes ,ta-hor1 a young princess1 in quest of her lover ,amon1 to whom she has been promised by the high priest of the temple4 ,she is first at the tryst1 but in a moment ,amon comes leaping to meet her4 ,the bow he carries in his hand seems symbolic of his manly youth and virile strength4 ,the lusty vigour of his agile bounds1 the impetuous onrush of his approach to his beloved1 are eloquent of his careless abandon to the joy of life and love4 ,illustration ,but their tender intercourse is broken by the entry of the high priest1 who announces to them the approach of ,cleopatra and her train4 ,the great queen is come to accomplish a vow made to the deity of the temple1 and already is at hand4 ,soon the head of the royal procession appears1 and to the music of lutes and pipes there files into the precinct a glittering retinue4 ,attended by slaves and guarded by soldiers1 a large object1 having the appearance of a painted sarcophagus1 is borne in shoulder high1 and set down with ceremony and care upon the temple pavement4 ,the doors of this strange litter are thrown open1 revealing within what seems to be a mummy tightly swathed in voluminous ,illustration wraps4 ,delicately and reverently the muffled figure is lifted forth1 and stood endwise upon a pair of raised sandals1 or pattens1 which have been placed in readiness4 ,the outline of a human figure is faintly perceived under the gauzy wrappings1 which slave girls now begin gently to unwind4 ,twelve veils in all1 each of rare colour and design1 are thus removed1 and as their filmy texture is wafted aside1 the contours of a female figure become more plainly discernible4 ,illustration ,at last a single blue veil only interposes its thin curtain4 ,the hidden figure1 statuesque till now1 with a sweeping motion of the hand waves aside the gauzy cloud1 and ,cleopatra stands revealed in all her dire beauty1 her queenly dignity and splendour4 ,imperiously she stretches forth a hand4 ,her negro slave1 watchful at her side as any dog1 darts forward and stoops to receive the pressure of her palm upon his head4 ,thus supported she moves slowly to the divan1 which assiduous hands have placed in readiness at one side4 ,as she declines upon the cushions1 the great fans held above the couch begin rhythmically to oscillate4 ,slaves and attendants group themselves about her1 eager to anticipate her lightest command4 ,amon1 unnoticed in the background1 has been observant of all that has passed4 ,less so ,ta-hor1 to whose quick feminine intuition the coming of ,cleopatra has been a presage of evil4 ,during all that has passed1 her eyes have been fastened upon her lover in anxious solicitude2 she has noted with a pang of terror the sudden passion with which the dazzling revelation of the awful queen smote him4 ,vainly she tries to hold him as he now strides forward1 and approaches the royal couch4 ,the angry snarl of her negro slave1 who bares his teeth like any cur at the bold intruder1 gives warning to the queen of the stranger's presence4 ,but she makes no sign of cognisance1 and ere ,amon can utter a word1 or indeed collect his thoughts out of the stupor into which they have swooned1 ,ta-hor has seized him and is whispering passionately1 insistently in his ear4 ,for an instant the young man is recalled to himself1 and suffers his betrothed to lead him away4 ,with eyes that nought escapes1 for all that they seem to stare fixedly into space1 the sinister queen observes the lovers1 and the yielding of ,amon to ,ta-hor's urgent pleading4 ,but she gives no sign except to bid the ceremonial rites begin4 ,ta-hor herself must needs lead the dance which now takes place4 ,perforce she leaves her lover1 and with what heart she can muster enters upon her task4 ,motionless1 prone upon her couch1 the glittering queen reposes1 and from a distance the fated ,amon feasts his eyes upon her beauty4 ,an irresistible lure attracts him2 ere he knows what he is doing he is pressing eagerly through the maze of dancers towards his doom4 ,his movement is quickly seen by ,ta-hor4 ,again she intervenes1 and once more1 though this time with reluctance1 ,amon allows himself to be withdrawn4 ,but for all ,ta-hor's devotion his destiny is plain4 ,illustration ,the rites proceed1 and ,ta-hor1 with aching heart1 must resume her place amongst the dancers4 ,amon1 feeding the fires of passion in the shadowy background1 is forgotten as the dance goes on its way4 ,suddenly1 on a strident note1 an arrow quivers in the ground beside the queen's divan4 ,the dancers cease abruptly1 soldiers dart forward1 consternation and amazement seize the whole court4 ,cleopatra alone remains unmoved4 ,not a muscle of her body twitches1 not a flicker of emotion is discernible in her face4 ,she is inscrutable as fate1 and as patient4 ,in a moment the guards re-enter1 bringing with them ,amon1 the tell-tale bow in his hand4 ,he shows no fear1 but rather eagerness1 as they hale him before the queen1 on whom he fixes his fascinated gaze4 ,already the arrow has been plucked out of the ground1 and a message1 writ on papyrus1 found attached to it4 ,as ,cleopatra rises to confront the prisoner1 her slave girl reads out the ardent profession of love4 ,unabashed1 ,amon awaits his answer or his doom4 ,illustration ,with secret smile the queen surveys this latest victim of her fatal charms4 ,but here ,ta-hor1 agonised witness of her lover's self-destruction1 flings herself passionately between them4 ,cleopatra1 unmoved even to disdain1 turns aside while ,ta-hor strives to regain her hold upon ,amon4 ,this time her pleading is in vain4 ,the die is cast2 ,amon1 no longer master of his own will1 has eyes and ears only for the siren to whom his whole being is surrendered4 ,though ,ta-hor clings about his feet1 he but tramples her underfoot and presses for sentence from his more than queen4 ,from under the low brow1 the basilisk eyes of ,cleopatra fasten on their prey4 ,narrowly she scans her would-be lover1 who meets her gaze frankly and undismayed4 ,he is young1 he is brave1 he is fair to see4 ,an eternal night of love1 says the queen1 shall be his1 if he choose to take it4 ,this night he shall share her couch2 at dawn he must drink oblivion from a poisoned cup4 ,amon hears unflinchingly1 unflinchingly accepts4 ,slaves busy themselves with preparation of the royal couch4 ,ta-hor1 in a last frenzy of despair1 casts herself upon ,amon4 ,love gives her strength1 and by the sheer fury of her onslaught she bears her lover away from the dreadful presence of the queen4 ,but ,amon recovers himself1 and with equal fury resists the efforts of ,ta-hor to drag him from the temple4 ,against his male strength the utmost force of her weak arms is unavailing2 he bursts from their clutch and dashes eagerly forward to where his implacable enchantress awaits him4 ,ta-hor1 the last resource of her devotion spent1 creeps forth1 broken-hearted1 to the desert4 ,within the temple music and dance provide voluptuous accompaniment to ,amon's dedication--nay1 immolation--of himself4 ,the whirling forms of the dancers half conceal him as he yields to the seductive embraces of the queen4 ,released for the while from their attendance on her person1 slave boy and slave girl of ,cleopatra celebrate the amorous triumph of their mistress in a dance of wild abandon1 which gives place to a bacchanale into which a band of ,greek dancers1 with attendant satyrs1 fling themselves in an orgy of frenzied movement4 ,the riot of dance and music has risen to a climax1 when the tall figure of the high priest approaches ,cleopatra's couch4 ,in his hand he bears a cup1 and his gaze is upturned to the stars now ,illustration paling before the coming dawn4 ,the appointed hour is nigh4 ,the queen rises1 and as her lover1 hanging on her every motion1 gains his feet1 he is confronted by this gaunt minister of fate1 death in his outstretched hands4 ,memory with sudden shock sobers ,amon's intoxicated senses4 ,he recalls his doom4 ,for a single moment he hesitates1 seeking a ray of hope in ,cleopatra's face4 ,but the queen is adamant1 a figure turned to stone4 ,resolutely the young man receives the cup from the high priest's hand1 but never taking his eyes from his mistress' face4 ,resolutely he puts it to his lips1 and with his gaze still fixed upon the queen1 drains it to the lees4 ,illustration ,a spasm contorts the victim's body4 ,he reels1 staggers1 and clutching horribly at the empty air1 falls writhing at the queen's feet4 ,the poison is swift1 potent2 and though the agony seems long-drawn-out and dreadful1 ,illustration in a few moments only a lifeless corpse remains of what had been so full of vigorous1 ardent life4 ,silently the train of musicians1 dancers and the rest look on at this dire climax to the night's fierce drama4 ,motionless above the prostrate body stands ,cleopatra1 with arms upraised and outward bent palms4 ,her countenance1 inscrutable as ever1 betrays no sign of the ecstasy in which her strange being now exults2 more eloquent is the tension to which her supple limbs are strung4 ,some moments thus she remains1 then with a gesture summons her slaves1 and leaning her weight upon them departs from the temple4 ,silently her retinue follows1 none heeding the body of ,amon save the high priest1 who casts a black cloth over it as he passes4 ,empty save for the dark object lying on the pavement1 the sacred precinct glimmers in the growing light of dawn4 ,a small figure appears at the back1 enters1 and looks eagerly around4 ,it is ,ta-hor come to seek traces of her lost betrothed4 ,with hurried steps she advances1 looking fearfully from side to side4 ,the dark object arrests her eye2 she runs forward and stoops above it4 ,she seizes a corner of the cloth1 but fears1 for an agonising moment of suspense1 to lift it4 ,at last she drags it aside1 and finds herself peering into the glazed eyes of her beloved4 ,she casts herself down1 chafing the limp hands1 kissing the still warm lips4 ,but her tender ministrations are in vain4 ,the awful truth flashes blindingly upon her1 and she falls1 stricken1 across the inert body4 ,illustration ,,les ,,sylphides4 ,,romantic ,,reverie ,,by ,,michel ,,fokine4 ,,music ,,by ,,chopin1 ,,orchestrated ,,by ,,glazounov1 ,,liadov1 ,,taneiev1 ,,sokolov ,,and ,,stravinsky4 ,,scenery ,,and ,,costumes ,,designed ,,by ,,alexandre ,,benois4 ,in some respects the most beautiful1 8,les ,sylphides0 is certainly the most difficult of the ballets to describe4 ,it defies description1 in fact4 ,to quote the simple words of the ,russians themselves3 8,amidst a scene of ruins1 a series of classical dances takes place with no purpose but their musical and choreographic interest40 ,the statement is bald1 but accurate4 ,the writer might have expressed himself a little less drily1 however2 and it may be added here that the choreographic interest of these beautiful dances is of a quality which more than compensates the absence of the dramatic4 ,for once the trite definition of dancing as the poetry of motion acquires a real significance4 ,the music to which these episodes have been set is ,chopin's1 and the result is worthy of the inspiration4 ,the stage setting in which 8,les ,sylphides0 is most familiar is simple enough--a sylvan grove1 moonlit1 revealing dimly a few fragments of pillars1 walls1 as it might be1 of some ruined temple4 ,the dancers wear the formal garb of the ballet1 which may seem not quite in place in so romantic an environment4 ,but the whole affair is frankly artificial2 the conventions of the moment accepted1 the scene has a charm and fascination of its own which perhaps only a ,degas could render4 ,the later scenery which the ,russians have employed1 though similar in general character1 lacks the element of mystery which enhanced the value of the earlier setting as a background to the dances4 ,in all the troupe of dancers ,nijinsky is the only man1 and he is seen at first1 an appropriate if somewhat effeminate figure with flowing locks and 8sthetic0 attire1 the centre of a bevy of female figures4 ,the nocturne with which the sequence of musical passages begins is made the excuse for poses1 and for the arrangement in harmonious groupings of the whole corps de ballet4 ,it is the preface1 as it were1 a trifle stilted and formal1 to an anthology of lyric verses4 ,illustration ,illustration ,the poetry begins with the valse executed by ,karsavina1 a glorious expression of abandonment to joy2 no intricacy of mincing steps feebly pattering in the music's wake1 but a generous enlargement to the rhythmic influence abroad4 ,more delicate and dainty1 a thing of dactyls and trochees1 one might say1 is the following mazurka by ,nijinska1 flitting with the lightness of gossamer in and out the scattered groups of white-clad maidens4 ,a mazurka also is the pas seul upon which ,nijinsky in his turn launches himself4 ,launch is an appropriate word1 for there is something suggestive of abandonment to a tumult of waters in the movements of the dancer's limbs4 ,he seems to cast himself loose upon the music's tide1 which bears him buoyantly1 tossed now here1 now there1 until its ebb4 ,he is the sport and plaything of the flood of melody2 dancing not to it1 but with it or by it--almost1 indeed1 on it4 ,illustration ,the intoxication of ,nijinsky's solo is succeeded more sedately by new groupings and posings of the corps de ballet1 which serve as foil to the graceful movements of ,ludmila ,schollar4 ,in the valse which follows ,karsavina and ,nijinsky are seen1 if not in a display of such virtuosity as their previous dances have occasioned1 in a partnership of conjoint motion most exquisitely attuned to the inspiring and directing strains4 ,the passage includes a brief pas seul by ,karsavina1 some charming poses1 and a concluding duet which is1 perhaps1 the supreme perfection of the many perfect things the suite of dances has presented4 ,the end must needs be hastened after such a climax1 and the valse brillante performed by the entire troupe of dancers ends the spectacle fittingly upon a lively note4 ,karsavina1 ,nijinska1 ,schollar--all the principals in turn are thrown into relief against the rhythmically moving background of the white-robed ,sylphides1 among whom1 embodiment of a poet's dream1 leaping1 swaying1 rocking with a vigour no less than a grace of body to the music's impelling lilt1 8papillone le jeune ,nijinsky40 ,illustration ,,scheherazade4 ,,choreographic ,,drama ,,by ,l,,on ,,bakst ,,and ,,michel ,,fokine4 ,,music ,,by ,,rimsky-,,korsakov4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,sensuousness is the note of 8,scheherazade0 throughout--a sensuousness that is next-of-kin to sensuality4 ,it is an unbridled affair altogether1 and for this very reason the ballet is among the most completely successful performances which the ,russians have given4 ,it contains nothing that strains the limitations of their art1 its essential motive is simple1 even crude1 and the condition necessary to its vitality--that all concerned should let themselves go--has been faithfully observed4 ,human passions1 if sufficiently elementary1 being identical in all men1 there is a sympathy between the methods by which the various authors of this ballet have treated its twin themes of lust and cruelty which produces an harmonious whole4 ,the music of ,rimsky-,korsakov1 though not composed for the special purpose1 has essential qualities which made easy1 and amply justified1 the task of adaptation4 ,as an artistic exposition of violence 8,scheherazade0 is perhaps unique4 ,the ballet is of the same genre as 8,thamar10 with which it has many points of similarity4 ,the latter1 however1 has the advantage of an elusive charm derived from its legendary basis4 ,one might expect that an excerpt from 8,the ,arabian ,nights0 would also possess this magic1 but 8,scheherazade0 lacks the indefinable something which 8,thamar0 has4 ,the distinction1 arising out of a difference of treatment1 is slight1 though real--a mere matter of emphasis1 of heaviness of touch4 8,scheherazade0 is the sheer1 brute realism of fact1 8,thamar0 rather the vivid embodiment of fancy4 ,scheherazade1 it will be recalled1 was the teller of the famous tales which for a thousand and one nights beguiled the moody ,sultan ,schariar4 ,the action of the ballet which bears her name is derived from the incident which according to tradition led up to the ,sultan's savage determination to slay every morning a wife newly-wed overnight1--a practice only ended by the story-telling art of one of the intended victims4 ,scheherazade herself does not1 therefore1 figure in the ballet4 ,the title of ,rimsky-,korsakov's symphonic suite has been borrowed4 ,reclining upon a divan in the sybaritic apartments of his women1 we see the ,sultan ,schariar taking his ease4 ,his wife ,zobide is beside him1 soliciting attention with caresses which he scarcely deigns to heed4 ,the other women1 of lesser estate than the ,sultana1 are grouped around1 sedulous in the flattery of watchful eagerness to forestall their lord's least wish4 ,at the monarch's other elbow sits ,schah-,zeman1 his brother1 recipient in only lesser degree of similar ministrations4 ,but the ,sultan ,schariar is in gloomy mood2 his brow is clouded1 and the blandishments of ,zobide elicit no response4 ,distraction must be sought4 ,obedient to a summons1 the chief eunuch presents himself1 profuse of service1 officious of advice4 ,fussily he hastens to execute the commands which he receives1 and in response to his signals three odalisques make graceful entry4 ,they dance before the court1 now moving swiftly in a lively measure1 now posing lithe bodies and entwining arms as only long training in the arts of seduction could teach4 ,illustration ,illustration ,the women of the harem look on jealously1 fearing a skill that threatens rivalry with their own4 ,but the ,sultan takes little notice of the dancing figures before him1 and ,zobide1 watchfully intent upon his face1 notes with vague premonitory fears his gloom deepening into sullenness4 ,from clouds so heavy lightning may presently flash4 ,ever and anon the ,sultan mutters a secret word into his brother's ear4 ,they whisper like conspirators4 ,the dancing girls are presently dismissed1 and ,schariar rises to pace the floor in moody thought1 while the women eye him anxiously askance4 ,schah-,zeman1 too1 not without some knowledge of the thoughts which occupy his brother's mind1 keeps watchful eye upon him1 and is quick to answer the gesture which soon summons him4 ,increasing uneasiness runs through the harem1 as the royal brothers confer apart1 which rises to a climax as the chief eunuch is sent off upon an errand whose purport is not overheard4 ,but the tension is relieved when the ,sultan1 with an effort to lighten his brow1 turns to ,zobide1 and announces his intention of setting forth upon a hunting expedition4 ,such a plan inevitably implies an absence from the palace1 and at the intimation sidelong glances of meaning are covertly exchanged amongst the women4 ,but incipient smiles of anticipatory pleasure are suppressed1 and under a mask of disappointment and regret1 the harem makes as though to turn its master from his purpose4 ,is he not their sun8 ,must the light of his presence be so soon removed1 and joy and happiness thereby eclipsed8 ,zobide alone refrains from this cajolery4 ,flinging herself upon the piled-up cushions1 she broods darkly upon this whim her husband so suddenly proposes to indulge4 ,half hopeful that petulance may succeed where blandishments have failed1 she ignores the glances which the ,sultan casts towards her4 ,plainly he is loth to go1 but the poison which his brother has instilled works actively within him1 and he makes no sign of condescension to her4 ,armed retainers enter1 attendants bring habiliments of the chase4 ,with these the ,sultan is invested by the deft fingers of the women1 who make what use they can of such opportunity as this service offers to exercise their fascinations4 ,schah-,zeman is attended by the eunuchs1 who buckle his armour upon him and hand him the long hunting spear4 ,thus equipped1 the ,sultan's brother makes towards the door4 ,schariar follows him1 but pauses to bestow a last curious glance at ,zobide4 ,the latter makes no sign1 and the ,sultan1 brushing aside the last fawning attentions of the women1 strides moodily forth4 ,as he passes out of the chamber1 ,zobide1 repenting of her petulance and simulated coldness1 since they seem to have failed in their object1 springs quickly from her cushions and hurries after him in a belated effort at detention4 ,among the other women1 however1 no further sign of regret1 real or simulated1 is to be seen4 ,on all sides faces are wreathed in smiles4 ,excitement seethes in the harem4 ,the violence of suppression which the presence of their lord demands1 on pain of dire and instant punishment1 is the measure of the almost childish glee with which1 that menace momentarily out of mind1 the women fly to the illicit pleasures their appetite for intrigue1 unduly nurtured1 has devised4 ,on the tiptoe of expectation they scamper one to another1 but ever returning to the three doors which stand in the background1 hiding one knows not what4 ,before these mysterious portals the women cluster in chattering groups1 while two of their number are sent upon some urgent errand4 ,anon the latter return dragging with them1 in hysterical mirth1 the clumsy1 grotesque person of the chief eunuch4 ,in the bunch of metal which jingles at the latter's side are the keys which alone will open ,illustration ,illustration the doors so eagerly besieged1 and the women1 swarming round him like busy flies1 begin at once to pester him1 with arch and fawning supplications1 to turn them in the locks4 ,but the old janitor refuses4 ,he pretends amazement--is horrified at the bare idea1 and will none of it4 ,the women press coaxingly upon him1 lavishing endearments4 ,but of what avail the whole battery of female charms against such as he8 ,with knowing leer upon his unctuous1 smooth face1 he wags his head and still says them nay4 ,but though he fancies himself immune from women's wiles1 he has reckoned without the full measure of feminine cunning4 ,he has his vulnerable point2 whatever else he lacks he has at least male vanity4 ,is he not chief of the eunuchs8 are not the keys he loves to jingle a visible symbol of the power which he wields8 ,look you1 he is a person of no small authority and importance4 ,with quiet change of tactics the women shift their attack to a different angle4 ,in place of supplication they heap compliments upon him4 ,they slaver him with blandishments1 flattering him to the utmost of his bent4 ,the fatuous old fool swallows their fulsome praises with avidity1 his flabby cheeks puffed out with complacency and self-conceit4 ,but then the women change their tune4 ,mockingly one hints that his vaunted power is but a sham2 others are quick to press the suggestion home4 ,plainly it can be no real authority which he is feared to exercise4 ,they challenge him with jeers to prove his power2 they dare him to use the keys of which he is so proud4 ,the poor fool is not proof against this insidious assault4 ,lacking real respect1 he clings fondly to its shadow2 rather than sacrifice that his vanity will endure any risk4 ,his fat face1 but now wreathed in gratified smiles1 grows glum and peevish as praise gives place to irony4 ,he hesitates1 and is lost4 ,the women press their advantage1 and their victim yields4 ,determined at all costs to demonstrate his power1 he thrusts a key into the first door and petulantly turns it4 ,the door swings open1 and from the corridor behind emerges a band of negroes1 supple swarthy minions clad in copper-ornamented robes4 ,with stealthy tread they glide among the waiting women1 and quickly each finds a consort1 eager for her favourite's embraces4 ,futile the eunuch's protestations that now he has done enough to vindicate his authority2 impatiently the women who remain demand that having done so much he shall complete his work4 ,already repentant of the rash betrayal of his master's trust1 the wretched janitor would stay his hand1 but the mischief is done1 and bowing to the logic of his own folly1 he unlocks the second door4 ,forth troops a second band of negroes1 decked in ornaments of silver1 to be received with not less complaisance than the others4 ,no longer assailed by the insistent beseechings of his charges1 the janitor fearfully surveys the scene4 ,everywhere1 dispersed throughout the chamber1 amorous couples meet his eye4 ,with sudden terror in the realisation of the frightful risk he has incurred1 he turns to go4 ,at least let him make sure that watch is set for his master's return4 ,but as he turns he is confronted by the imperious figure of ,zobide1 who has been leaning1 observant1 during all that has passed1 beside the third door--the door as yet unopened4 ,avidly she demands the unlocking of this last1 with fierce insistent finger pointing her order4 ,here is a pretty dilemma for the luckless janitor1 a searching test of his vaunted power and authority4 ,his servile instinct quails before the regal mien of ,zobide1 her gesture of command and blazing eyes that brook neither prevarication nor delay4 ,like the slave that he truly is1 he turns to do her behest2 but even as he fumbles for the key the enormity of that to which he is accessory ,illustration strikes him with horror4 ,the others--that is bad enough1 and like to be paid for dearly if discovery--he trembles at the thought--should ensue4 ,but the ,sultana1 his master's wedded wife4444 ,panic seizes him1 and with a frantic effort to assert the authority he has boasted1 he refuses4 ,the fires of passion smouldering in the breast of ,zobide leap forth on the instant4 ,a woman scorned or a woman denied--her fury is a thing few men1 and least of all an emasculate poltroon1 can face4 ,a frightful paroxysm shakes the panting queen4 ,like a tigress baulked of her prey1 she turns upon the grovelling creature who dares to thwart her thus1 hardly restrained from flinging herself upon him4 ,to a contest of wills so unequal one ending only is possible4 ,the wretched eunuch cringes before this awful apparition of his royal mistress1 all other terrors swamped by the urgency of present fear4 ,the long crescendo of the music rises to a blaring climax as he flings wide the remaining door4 ,palpitating with the vehemence of her expectant desires1 ,zobide stands before the open portal1 clutching her breasts1 with eyes glued to the dim recesses beyond4 ,there is a pause1 which adds a new delicious torture to her thirsty cravings2 then with agile bound1 light-footed1 there comes leaping towards her a young negro4 ,round his naked chest he wears a broad1 gem-studded band of gold1 that enhances the smooth and supple beauty of his dusky arms and neck4 ,great pearls are pendant from his ears1 a golden turban is twisted round his head4 ,his flowing pantaloons cover1 but do not hide1 despite voluminous folds1 his perfect symmetry and grace4 ,zobide feasts her gloating eyes upon her favourite1 holding herself back1 as children with a box of sweets reserve the most coveted tit-bit to the last4 ,but when he turns towards her she can contain herself no longer4 ,she springs upon him1 and clutching his head in both her hands1 peers fiercely into his face4 ,the slave1 with lascivious grin1 submits unresistingly2 though he is the queen's paramour1 he is not the less her slave1 her chattel4 ,it is she who is the lover1 and the slave knows his place4 ,the episode has no savour of romance4 ,full length upon the divan ,zobide flings herself1 the dusky favourite usurping the place of her rightful lord4 ,the hour for revelry has come1 for reckless abandon to the impulse of the moment4 ,enters a retinue of youths and girls bearing fruits and other dainties upon gorgeous salvers4 ,they pair among themselves1 they dance1 they bring a riotous infection into the atmosphere of languorous dalliance4 ,the negroes and their fond mistresses are moved to join them1 the silver and the copper ornaments gleaming amidst the whirl of multi-coloured draperies1 as the fever of the dance increases4 ,springing from the couch1 ,zobide's favourite precipitates himself into the moving throng4 ,before his wild lan the utmost efforts of the others pale2 with one accord they pause to watch with ecstasy the frenzied leaping of the peerless dancer4 ,from her cushions ,zobide1 too1 is watching1 the fierceness of her momentary restraint giving place of a sudden to an equal fierceness of abandon as she darts upon the object of her desires1 and submits herself with him to the music's intoxicating rhythm4 ,at length exhausted1 they decline once more upon the silken cushions4 ,the slave1 emboldened1 ventures now upon solicitations4 ,but he is wary in the liberties he takes1 fearful lest he go too far ere he has rightly gauged the mood of his imperious mistress4 ,cunning tells him there is peril in presumption4 ,one may interrupt the narrative here1 perhaps1 to comment on the subtlety of ,nijinsky's impersonation of the negro favourite4 ,this is not a rle in which his distinction as a dancer is revealed to its fullest1 but in no other ballet is his genius as a mime more strikingly exhibited4 ,one expects from ,nijinsky originality in all ,illustration that he attempts1 and his conception of ,zobide's favourite does not disappoint4 ,the part is not one which1 upon a first consideration1 would seem to demand a very subtle art1 but the emphasis1 already alluded to1 which the actor lays upon the minion's servile character is only to be conveyed by very delicate shades of suggestion4 ,the essential servility is most convincingly realised1 and if ,nijinsky's conception of the part contains 7in some eyes7 elements of offence1 it is at least a logical outcome of the premises from which the ballet starts1 and in performance brilliant beyond praise4 ,in ,nijinsky's hands the negro is1 indeed1 lasciviousness personified4 ,his ingratiating leer1 the furtive roll of his eyes1 his whole insinuating aspect as he plies his shameful ministrations1 impress a vivid picture on the mind4 ,his ready1 even eager1 submission to the domination of his mistress1 his base delight in her favour1 wears a horrid air2 one feels that in his different way the creature is as little of a man as the poor beardless janitor4 ,he is lust reft of its virtue1 and repels1 like lechery1 even while he attracts4 ,but the music's fevered pulse allows no long quiescence4 ,again the lithe figure1 starting abruptly from ,zobide's side1 leaps madly into the dance--a point of focus to which all speedily converge1 the centre of a giddy whirlpool into which the amorous pairs1 swept from dalliance to their feet as by a surging wave1 are irresistibly drawn4 ,intoxication grows to bacchic frenzy1 as the urging music swells to an impending climax4 ,the eye would reel before the blurr of brilliant moving figures but for that clue to the shifty mazy dance which the central figures of the libidinous ,sultana and her paramour provide4 ,suddenly into the chamber stalks the ,sultan4 ,the dancers stop in mid-career4 ,for a moment they stand fascinated by the apparition of this grim figure of vengeance4 ,the ,sultan1 too1 speechless and paralysed with rage1 seems rooted to the spot4 ,then panic seizes the culprits2 helter-skelter they flee in abject terror4 ,illustration ,schah-,zeman1 cynically smiling to see enacted once again the scene which so lately desecrated his own household1 is at his brother's elbow4 ,armed men with naked scimitars have invaded the chamber1 and with them are others whose dress proclaims them eunuchs of the palace1 underlings of the hapless janitor who is now to reap his folly4 ,women1 slaves1 young men1 are striving pitifully1 in the last extremity of terror1 to hide themselves behind curtains1 in alcoves--anywhere that seems to offer any possibility of concealment4 ,zobide1 alone of them all1 scorns flight4 ,she crouches apart1 with heaving bosom1 awaiting the anger of her lord4 ,her villainous paramour1 like the slave that he is1 has fled for safety4 ,with lowering glance the ,sultan sweeps the scene1 and signs furiously to the guards4 ,at once the work of execution begins4 ,instant slaughter is the doom of all4 ,the eunuchs seize their traitorous chief1 and flinging his craven body to the floor1 throttle him where he lies4 ,to and fro dash the guards1 dragging from vain hiding-places1 beneath uplifted weapons1 their helpless victims4 ,the floor is strewn with corpses1 and in very act of stumbling over such dreadful obstacles1 some poor fugitives are caught by ruthless pursuers and put to the avenging sword4 ,silent1 abashed before her husband's stern gaze1 ,zobide cowers amidst all the carnage4 ,a violent tremor shakes her as the cowardly partner of her guilt1 vainly seeking to escape his doom1 is stabbed in mid-flight and expires convulsively at her feet2 but without attempt at exculpation she continues to await her doom4 ,at length the bloody business is finished2 or almost finished1 for ,zobide remains4 ,her the eunuchs and the guards dare not touch without a further sign4 ,stealthily they advance to where she stands2 scimitars are lifted1 daggers poised4 ,it needs only the ,sultan's signal for the fatal blow to be struck4 ,but ,schariar is torn by a conflict of emotions4 ,love for the cherished wife of his bosom urges pardon2 jealousy1 wounded pride1 the outrage on his kingly dignity cry vengeance6 ,to the dull minds of his attendants but one issue is possible--were it not for his restraining gesture the keen blades would fall at once4 ,then ,zobide1 snatching at a last hope1 abases herself before her husband4 ,she pleads1 she implores1 she summons all her wits1 her arts1 to help her in her dire necessity4 ,schariar is moved1 and as he gazes at the fair form of the woman he has loved so ardently the sternness of his look relaxes4 ,he wavers4 ,but ,zobide has to reckon with an enemy more dangerous1 more implacable than her husband's wounded pride4 ,schah-,zeman1 self-appointed guardian of his brother's dignity and honour1 observes the scene with undisguised hostility4 ,to him1 as to the eunuchs1 there appears but one conclusion fit and proper4 ,by no consent of his shall there be any other4 ,scanning his brother narrowly1 he sees the advantage which ,zobide is momentarily gaining4 ,disgustedly he confronts his brother1 and1 as ,schariar turns his head1 with contemptuous foot rolls the dead negro's carcase on its back4 ,the dusky face leers grinningly upward4 ,livid with rage1 the ,sultan casts his faithless consort from him1 and motions impetuously to the armed men4 ,a dozen hands are stretched to seize the victim1 but before the threatening blades can fall1 ,zobide swiftly turns upon her executioners4 ,imperiously she waves them back1 and snatching a dagger from the nearest hand1 plunges it into her side4 ,the thrust is truly aimed1 and sinking to the floor before her husband1 with a last vain effort to clutch the hem of his robe1 she expires at his feet4 ,averting his eyes1 the stricken ,schariar staggers from the fatal spot4 ,in silence1 his foot upon the golden corselet of the slave1 ,schah-,zeman lets him go4 ,illustration3 ,le ,spectre de la ,rose ,,le ,,spectre ,,de ,,la ,,rose4 ,,from ,a ,,poem ,,by ,,th,,ophile ,,gautier1 ,,adapted ,,by ,j4 ,l4 ,,vaudoyer4 ,,music ,,by ,,weber1 ,,orchestrated ,,by ,,berlioz4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,nothing is more eloquent of the ,russians' art than the distinction they are able to give to a theme which1 less sensitively treated1 would be merely commonplace1 if not banal4 ,in no ballet is this refining instinct more delicately employed than in 8,le ,spectre de la ,rose10 which ,nijinsky and ,karsavina dance to the familiar strains of 8,l' ,invitation la ,valse40 ,it might not be just to call ,weber's music commonplace2 but sentimental it certainly is1 and with such a 8plot0 7if an incident so slight can thus be termed7 as the ,russians1 inspired by a dainty poem of ,thophile ,gautier1 have devised for the music's accompaniment1 the faintest excess would have turned it sugary--and sickly4 ,in the nice restraint which they display1 the two artists vie with each other--,karsavina as a picture of youth and innocence1 of unsophisticated sentiment3 ,nijinsky as a phantom1 conveying the suggestion of being verily the mere figment of a dream1 without recourse to that note of the bizarre by which one of less subtle perceptions might seek to insinuate a spectral character4 ,to the restraint of the dancers is added that of ,lon ,bakst1 whose setting for this sentimental idyll has that simplicity which the situation requires4 ,it is a quaint1 almost queer1 little bedroom which is disclosed after the opening bars have been played by the orchestra--an apartment daintily decked1 and arranged with a kind of prim formality as engaging as the crinoline and flounces of ,victorian girlhood3 a completely unsophisticated chamber1 in short4 ,long windows1 open to the summer night1 show a garden beyond1 flooded with romantic moonshine1 and at one of these stands a young girl1 loth to break the reverie in which her thoughts are held4 ,her backward glance drinks in the beauty of the night1 her pulses more than faintly stirred by the glamour of the dance so lately ended1 her whole self thrilling to a potent magic but half understood4 ,reluctantly she turns her head from the moonlit garden and passes from the window4 ,she lifts her hands abstractedly to remove the wrap from her shoulders1 and in so doing touches the rose that droops upon her bosom4 ,her fingers close upon it3 she plucks it from her dress1 presses it to her lips1 and though its first fresh fragrance has gone1 lingers tenderly over the faint aroma which remains4 ,the crimson rose gives form and colour1 deep colour1 to the vague sentimental imaginings of the young girl's mind4 ,she clasps it tightly as she crosses the room1 keeping her gaze upon it as she presently sinks into a chair4 ,it is the heart and focus of her thoughts4 ,but lassitude overcomes her1 her eyelids droop1 and the rose1 slipping through her loosened fingers1 falls from her lap to the floor4 ,,allegro ,,vivace4--,a spectral form leaps swiftly into the pale moonbeams1 and alights at the threshold of the open window4 ,the visitant thus lightly appearing1 like a leaf before the fitful eddy of a ,illustration summer's evening breeze1 is seen to have the semblance of a comely youth1 but strangely garbed in rose leaves of crimson-purple hue4 ,it is1 indeed1 the spectre of the fallen rose1 the embodiment of the young girl's sentimental impulses and imaginings4 ,an image more material would be too gross for maiden meditations so innocent and youthful3 it needs must be fantastically that the gentle sleeper's dream takes shape before our eyes4 ,it would be as vain to describe the movements of the phantom visitant1 as to seek to convey the sound of language without regard for the meaning it expresses4 ,movements may have an intrinsic grace and beauty1 as words that utter no meaning may possess a splendour of sound4 ,but the dance is to movement what language is to words3 it implies selection and co-ordination for the purpose of expressing something--in this case the very essence of the sentimental emotions which the vibrant music of the strings evokes4 ,never was the ecstasy of the valse so irresistibly expressed4 ,leaping1 swaying1 its whole being abandoned to the intoxicating rhythm1 the dancing phantom seems to draw the very power which animates it from the music's throbbing pulse4 ,deep in her romantic dream the young girl slumbers passive in her chair1 till presently the spectral visitant pauses by her side4 ,it leans towards her1 while its hands make gentle passes that subdue her utterly to the magic rhythm4 ,obedient to the spell she rises to her feet and1 yielding herself to the tender guidance proffered1 she joins her phantom partner in the dance4 ,it is a scene of exquisite beauty1 this vision of a young girl's innocent dream of love and joy4 ,abandoning herself to the allurement of the moment1 she dances long and joyously until1 at length exhausted1 she sinks once more upon her cushions1 with her fantastic ideal--climax of ecstasy--prostrate at her feet4 ,she has but to stretch forth her hand4 ,illustration ,illustration ,illustration ,but the throbbing rhythm has died away3 the dream is nearing an end4 ,swiftly the phantom rises1 and makes as if to go4 ,tenderly it stoops over the fair face of the sleeper1 and imprints a single kiss upon her brow4 ,the music draws to a close1 the appointed hour inexorably approaches4 ,longingly the phantom lingers1 till a fear assails one1 lest it tarry too long4 ,but at the last moment it turns1 and with a swift run1 a magic leap through the open window1 vanishes--is gone at the very instant when the music ends4 ,there is a brief pause4 ,the sleeper stirs and wakes4 ,she starts from the chair and casts a startled look towards the window through which her spectral visitant has fled4 ,but no form1 however shadowy1 intercepts the moonbeams which lie athwart the garden4 ,dazed1 she turns her eyes towards the floor4 ,there lies the crumpled rose which dropped from her grasp as she fell asleep4 ,at sight of it she recollects her thoughts3 full memory of her dream so lately passed comes flooding into her mind4 ,she picks the rose from the floor1 and as she presses it to her lips1 turns wonderingly to the open window and the still garden beyond4 ,illustration3 ,,narcisse ,,narcisse4 ,,mythological ,,drama ,,by ,l,,on ,,bakst4 ,,music ,,by ,n4 ,,tcherepnin4 ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,without reference to 8,hlne de ,sparte0 and 8,daphnis et ,chle10 two ballets in their repertoire which the ,russians seem chary of presenting in ,london1 it would be unfair to say that the ,greek view of life baffles them4 ,but their performance of 8,narcisse10 despite its many beauties1 suggests no very confident or happy exploration into classic mythology4 ,one fancies their temperament is too restless1 too sensuous1 to appreciate the cool1 almost austere1 repose of ,greek ideas4 8,nothing in excess0 is hardly a motto to appeal to the creators of 8,scheherazade10 8,cloptre0 and 8,l',oiseau de ,feu40 ,as a result their treatment is too florid1 and at times clumsy4 ,it is not so much that they do not know when to stop1 as that they fail to strike the right note in starting4 ,the scene is a sylvan glade containing a shrine of the goddess ,pomona4 ,there is a spring beside the shrine which feeds a glassy pool and gives that cool humidity to the air which ,lon ,bakst has well suggested by the luxuriance of the green vegetation all around4 ,the glade is shrouded in mysterious twilight when the curtain rises1 and the queer forms of sylvan imps are dimly seen1 frolicking to the woodland music of a flute4 ,the orchestral accompaniment is charming1 but it is unfortunate that the growing light should presently destroy illusion1 and reveal what had seemed true elfin sprites as dancers clad in cloth overalls and wearing grotesque masks4 ,one resents the needless clumsiness4 ,but there is a sound of approaching revelry and mirth4 ,the woodland creatures hasten to their lairs1 and a band of ,botian peasants gaily troops on to the scene4 ,two and two1 in merry pairs1 young men and maidens enter4 ,all are in holiday attire1 come to do honour to the deities of woods and fields4 ,they make procession round about the mossy dell1 they dance1 and offer supplications to the gods4 ,these duties over1 they disperse4 ,some fling themselves upon the ground to rest1 others gather round the pool1 and laughingly splash the water about4 ,the joyous spirit of holiday animates them all4 ,there come others presently to the grove--a number of bacchantes who are celebrating the goddess of the shrine4 ,for these the peasants form respectful audience while the due rites and ceremonies are observed4 ,libations are poured1 dances are performed4 ,first the leader of the bacchantes executes a solemn dance1 which concludes with a prostration before the shrine4 ,her companions then join her1 the bacchic frenzy begins to work1 and a dance of wild energy ensues1 which is not concluded until a climax of intoxication is reached and the dancers1 from ecstasy or exhaustion1 collapse4 ,while the bacchantes still lie prone a sound of distant singing is heard4 ,the voices draw nearer1 the listeners in the dell turn their heads expectantly4 ,in another moment there enters running1 gracefully eluding the efforts to stay him of two pursuing nymphs1 a young shepherd4 ,it is ,narcissus--,narcissus the fair and cold3 ,narcissus of whose beauty all are enamoured1 but whom no dart of the blind god has yet pierced4 ,illustration ,careless of his charms1 and of the tender woes which he inflicts1 ,narcissus is in merry mood4 ,he dances joyously while not only the two pursuing nymphs1 but every maiden present1 hangs in adoration on his every movement4 ,narcissus has no eyes for them1 no thought of anything but delight in his own fair limbs and the joy of movement4 ,he is a young man exulting in his grace and strength1 with not a sentiment to dull the keen edge of sheer enjoyment of the act of living4 ,but even while ,narcissus is thus dancing in self-centred abstraction1 a female form1 raven-haired and wrapped in a purple robe1 is seen advancing slowly across the bridge which spans the background4 ,it is ,echo1 mournful and lonely4 ,elusively she approaches1 appearing now here1 now there1 before at length advancing into the midst of the youths and maidens4 ,she prostrates herself imploringly before ,narcissus4 ,she too is enamoured of the lovely youth4 ,narcissus pauses in his dance1 and looks inquiringly at the pleading figure at his feet4 ,for once his attention is distracted from himself4 ,he stoops and raises the drooping ,echo1 gazing into her face4 ,she returns look for look4 ,the interest of ,narcissus is aroused3 he continues to forget himself1 as ,echo stimulates his curiosity4 ,he takes pleasure in her1 perhaps because in the ardent gaze which she fixes upon him he finds himself reflected4 ,but the watching nymphs are quickly roused to jealousy4 ,though ,echo seeks to hold him1 they tear ,narcissus from his new-found pleasure4 ,derisively they declare that ,echo's love is but a mockery4 ,incapable of expressing any feeling of her own1 she can but repeat the last words and gestures of those who choose to challenge her4 ,narcissus listens1 astonished at so strange a tale4 ,the nymphs1 with jealous malice1 urge him to test the truth of what they say4 ,nothing loth1 ,narcissus advances towards the sorrowful ,echo4 ,he dances a few gay steps1 and pauses4 ,falteringly poor ,echo repeats the last of them4 ,again ,narcissus dances3 again1 on the instant that he pauses1 the luckless nymph is constrained to imitate his final movements4 ,narcissus tries her with gestures--and unfailingly he sees1 each time he pauses1 his last motions repeated before his eyes4 ,it is true1 then--this odd circumstance which the other nymphs related6 ,much amused1 ,narcissus breaks into a gleeful dance1 and with all the heartless merriment of a wanton boy1 indulges the whim of the moment4 ,as he foots it round the hapless ,echo he puts her1 with unthinking cruelty1 to every test ,illustration that his nimble wit can devise4 ,in mute agony ,echo responds to his pranks4 ,does he interrupt the dance to pause before her on tip-toes8 ,she too1 must raise herself into that attitude4 ,does he wave his arms around his head8 ,she must copy the very gesture4 ,so the cruel play goes on until at length ,narcissus1 wearying of the jest1 merrily dances away in quest of some new sport4 ,with him trip the eager nymphs4 ,the peasant youths and maidens follow1 and ,echo is left to indulge her despair in solitude4 ,unhappy ,echo6 ,better to be dumb than condemned in this fashion to play the empty mime1 a sport for idle moments4 ,in gloomy abandonment to grief the hapless nymph unbraids her hair4 ,the long black tresses fall about her shoulders1 and thus1 distraught in spirit1 disordered in her looks1 she flings herself in abasement before the shrine of the goddess4 ,the mockery of her companions still rings in her ears1 and in the first fury of a woman slighted she calls upon the deity to avenge her wounded pride4 ,from the depths of her tortured soul she prays that ,narcissus may learn something of the agony to which she is doomed1 by giving his love where it can never be returned4 ,the sacred grove darkens1 the lightning flashes1 and ,echo1 the bitterness with which her heart is overburdened thus discharged1 goes mournfully forth4 ,the light returns1 the cool recesses of the leafy glade invite retirement from the heat of afternoon4 ,narcissus1 weary of his sportive play1 returns alone to rest his tired limbs4 ,he is thirsty1 and the shining surface of the pool is grateful to his eye4 ,he approaches1 stretches his limbs in lassitude upon the sloping bank1 and stoops to drink4 ,but his lips do not touch the water4 ,he remains poised above the glassy surface1 staring intently downwards4 ,out of the limpid depth he sees regarding him a fair and radiant face4 ,narcissus had never thought that such beauty existed on earth4 ,he cannot remove his eyes1 he is entranced4 ,he raises his head--the beautiful image retreats4 ,he stoops--and it comes nearer4 ,he stoops lower--he would kiss the vision4 ,but at the very moment when his lips meet those others1 a ripple breaks across the still surface of the pool1 the image is distorted1 almost vanishes4 ,the prayer of ,echo has been answered4 ,the doom of ,narcissus has been pronounced1 and he loves where his love can never be returned4 ,he scrambles to his knees1 he stands erect4 ,out of the again placid mirror of the pool his own image smiles upward at him4 ,he makes passionate protestations of love3 his image answers him gesture for gesture4 ,he seeks to fascinate by his grace and beauty3 grace and beauty not less than his fascinate him in turn4 ,yet the vision1 to his dismay1 remains remote4 ,it will not come to him1 and though when he seeks to approach1 it draws near in welcome1 the moment of union brings catastrophe4 ,while the infatuated youth is thus occupied1 ,echo returns4 ,her mood of bitterness has passed1 and at sight of the object of her passion all her love wells up anew4 ,pleading once more1 she runs towards him with outstretched hands4 ,but ,narcissus pays her no heed4 ,he has eyes only for the watery depths below him1 and ,echo's distracted appeal falls unregarded on deaf ears4 ,willingly would ,echo now recall her prayer to the goddess4 ,but wishes are in vain1 and vain her efforts to distract ,narcissus from his fate4 ,once she succeeds in drawing him1 reluctant1 from the margin of the pool1 but the youth seems scarce aware of her existence4 ,too evidently preoccupied to listen to her pleadings1 he is back at the water's edge1 rapturously gazing1 as soon as her hold upon him is released4 ,inexorably it is borne in on ,echo that fate is too strong for her4 ,sorrowfully she turns and goes4 ,illustration ,alone in the gathering gloom1 ,narcissus continues in rapt adoration of his own fair image4 ,as presently appears1 he is rooted1 literally1 to the spot4 ,for as he stands there gazing he slowly sinks downward into the mossy soil1 and in his place there rises a tall narcissus flower1 whose pale petals glimmer luminously in the dusky twilight4 ,from nooks and crannies the sylvan sprites creep silently forth1 to pry with timid1 curious eyes upon this strange apparition4 ,upon this ghostly scene1 and the forlorn figure of ,echo1 passing sadly across the leafy bridge1 the curtain gently descends4 ,one regrets to end this account of what is in many ways a charming ballet upon an adverse note4 ,but a protest must be entered against the ,brobdingnagian flower1 so evidently a thing of paint and paste-board1 which is thrust up from the trap-door cavity by which ,narcissus makes his escape4 ,the whole business is so monstrously crude and childish that one can scarcely credit its occurrence4 ,in conception the conclusion of the ballet is admirable1 but if trap-doors and cardboard flowers 7popping up from the soil in full bloom and fresh with the property master's paint7 are the only means by which such an ending can be accomplished1 it seems amazing that such ordinarily nice taste as the ,russians display should tolerate these enormities4 ,there is a sense of proportion lacking here1 as at the opening of the ballet when a clumsy heaviness of hand1 seeking to make the most of the elfin creatures of the wood1 effectually reduces them to nothing4 ,the poignant final passage between ,echo and ,narcissus1 eloquently expressed by ,karsavina and ,nijinsky1 is spoilt by this grotesque termination4 ,happily these blunders are as rare as they are inexplicable4 ,only perhaps in 8,le ,dieu ,bleu10 with its similar resort to the artifice of the trap-door1 its matter-of-fact demons1 and impossible flight of aerial steps1 is there a parallel to these which mar the beauties of 8,narcisse40 ,too close an attention to the cult of the body is perhaps the cause of this material1 ultra-realistic touch4 8,narcisse0 would be best appreciated if one could ignore its blemishes and enjoy its many excellences individually4 ,the dresses of bacchantes1 nymphs and peasants embody some of ,bakst's most splendid designs1 but these are seen to better advantage in the artist's original drawings than on the figures of the wearers in the ballet4 7,this is the case1 of course1 with all ,bakst's decorations--not excepting scenery1 which necessarily loses much in execution from the original scheme--but is especially applicable to those of 8,narcisse407 ,the music of ,tcherepnin has a charm and distinction which would lose nothing by an isolated hearing1 while the joyous dancing of ,nijinsky is independent of the environment in which it takes place4 ,possessed of many charming features1 8,narcisse0 yet lacks a something to make it1 as a whole1 convincing4 ,the deficiency1 one must suppose1 is a lack of real sympathy with their subject on the part of the performers4 ,illustration ,illustration ,l',,oiseau ,,de ,,feu4 ,,ballet ,,in ,,two ,,tableaux ,,by ,,michel ,,fokine4 ,,music ,,by ,,igor ,,stravinsky4 ,,scenery ,,and ,,costumes ,,designed ,,by ,,golovine4 ,an element of unreality is of advantage in the theme of a ballet4 ,it not only excuses1 but demands1 the fantastic1 for which the means of expression at disposal--pantomimic action1 illustrative or suggestive music1 for example--provide a suitable vehicle4 ,it eases matters all round1 and converts what are obstacles to the convincing treatment of a strictly realistic theme into positive aids4 ,it may be noted that this element of unreality1 in varying qualities and degrees1 is present in nearly all the themes which the ,russians have chosen for presentation1 and is most pronounced in those ballets which achieve the greatest artistic effect4 ,indeed1 these dancers and mimes may be observed to introduce a suggestion of the fantastic1 subconsciously if not deliberately1 even where such is not necessarily required1 seeming thereby to recognise tacitly the useful modification of the restrictions of their art which a remoteness from literal fact effects4 8,le ,carnaval0 would not be the exquisite thing it is but for the impersonal1 fantastic character with which the gay1 flitting figures of the bal masqu are so delicately endowed4 ,even when historical tradition is drawn upon1 as in 8,cloptre10 the episode is treated with an imaginative licence which removes it very nearly into the region of fancy4 ,the plot of 8,l',oiseau de ,feu0 is based upon a folk tale4 ,at least1 if precisely such a story is not to be found in any known folklore1 it is obvious whence its inventor has derived inspiration4 ,to watch a performance of this ballet is to see one of ,grimm's ,tales come to life before one's eyes--an experience as agreeably thrilling in these later 7but let us hope not entirely sophisticated7 years1 as was formerly a perusal of pages in that immortal book4 ,in some respects1 perhaps1 it is an experience more thrilling1 for the story of the ,fire ,bird has the advantage of being unfolded to the accompaniment of ,stravinsky's music--an enhancement of its dramatic value which it would be difficult to over-rate4 ,stravinsky's orchestral methods1 it may be remarked in passing1 have a special interest of their own1 but it is enough here to comment on the descriptive quality of his music for this ballet1 which is great4 ,the fantastic note is sounded at the very outset by the overture4 ,strange mutterings and uncouth1 unexpected harmonies attune the hearer to an atmosphere of mystery and enchantment2 he is ripe1 when at length the curtain rises1 for adventure in the gloomy forest whose midnight depths are disclosed4 ,for the moment the eye takes in but little detail of the darkened stage4 ,gradually an open space within the forest depths is perceived1 at the back of which stand high gates1 giving upon a flight of stone steps4 ,whither the steps lead1 what lies beyond1 is hidden by the gloomy shadows4 ,no friendly lamp surmounts the gates to light and welcome the belated traveller4 ,if not the disused portals of some derelict demesne swallowed up by the encroaching forest1 they must surely guard the secret lair of sorcerer or ogre4 ,dimly the wall in which the gates are set can be descried1 but nothing else is visible save a low tree upon which a pale moonbeam falls slantingly4 ,nought is stirring in the forest1 but the midnight stillness is pregnant with mystery4 ,magic influences are abroad1 there is a sense of something untoward about to happen4 ,suddenly a queer little motif1 already heard in the overture1 assails the ear2 the music glows 7if the image be allowed7 like an ember fanned2 and shedding a golden effulgence all around1 the ,fire ,bird floats downward through the trees4 ,the radiant object vanishes almost as soon as it is seen2 but hardly has it gone when a stir among the trees attracts attention1 and a young man is seen looking over a low wall that adjoins the mysterious gates4 ,he peers eagerly in the direction taken by the ,fire ,bird1 then vaults the wall and dashes impetuously in pursuit4 ,such wondrous quarry was never seen before by mortal hunter1 and lured by its splendour ,ivan ,tsarevitch has ventured far from beaten tracks1 heedless in his infatuated quest of the danger into which his careless steps have strayed4 ,but as he dashes across the clearing he is arrested by a faint gleam of something in the moonlight4 ,wonder fills him as he sees that the tree1 which alone of all surrounding objects is illumined1 bears golden fruit4 ,he is about to satisfy his curiosity by a closer inspection1 when again there is warning of the ,fire ,bird's approach4 ,quickly ,ivan takes refuge beneath the clustered branches of the tree1 and from this place of concealment spies upon the glittering apparition of the ,bird of ,fire4 ,unwitting of his near proximity the latter disports itself gleefully in the open clearing4 ,twice it approaches the tree1 as if to seize the golden fruit1 and each time ,ivan1 for all his daring1 is powerless to make the longed-for capture4 ,the brilliant light which emanates from the radiant creature dazzles and perplexes him4 ,but once more the ,fire ,bird nears the tree1 and this time ,ivan1 with a sudden impulse1 springs forward and boldly seizes the coveted quarry4 ,there follows a passage between captive and captor1 which can scarcely be described as a dance1 yet is something more than the mere acting of a scene4 ,desperately and repeatedly the ,fire ,bird strives to escape from the strong arms which imprison it2 again and again the ,prince1 though hard put to it to retain the elusive creature in his grasp1 frustrates these fluttering efforts4 ,though dancing1 in the sense of rhythmic movement1 is not the precise descriptive term for these expressive postures and motions1 one needs it to convey the poetic sense of beauty which ,karsavina here reveals4 ,it is no easy thing to suggest the panic fears1 the tremulous attempts at flight of a captured wild bird2 yet by look1 by pose1 above all by gesture and the motion of quivering1 restless arms and hands1 the dancer subtly achieves that difficult effect4 ,frantically the ,fire ,bird struggles to escape2 determinedly1 at each new effort1 the strong arms renew their hold4 ,then the creature has resort to guile1 luring its captor to look full upon its dazzling countenance4 ,the ruse is nearly successful2 half-blinded by his captive's beauty the ,prince's grip relaxes1 but he doggedly keeps his advantage and release is still denied4 ,a ransom only will suffice4 ,with sudden gesture the ,fire ,bird plucks a gleaming feather from its body and holds it forth--a talisman against evil1 and pledge of its owner's aid in hour of need4 ,the ,prince1 abashed1 accepts it1 and as he places it for ,illustration safety in his girdle1 the ,fire ,bird1 rejoicing with agile dance in its regained freedom1 vanishes into the recesses of the forest4 ,as it flits away a momentary compunction pricks the young man4 ,that such a wondrous quarry should elude him irks his hunter's pride1 and he snatches up his cross bow with intent to shoot4 ,but even as he draws the string he calls to mind the compact made1 and remembers that he is bound in honour to abstain from new aggression4 ,with petulant gesture he lowers the weapon from his shoulder1 and turns to go4 ,the darkness which has shrouded the forest depths is fading now4 ,through the no longer impenetrable gloom a sloping bank is seen1 to which the steps behind the closed gates give access4 ,athwart this bank is now discernible a castle tower1 and through the archway of this1 even as the ,prince1 with astonished gaze1 is wondering whither he should turn his steps1 a young girl suddenly appears4 ,she pauses silently for a moment1 then slowly advances along the bank4 ,other maidens emerge behind her from the tower4 ,flesh and blood1 and very fair to look upon1 they seem1 but in their long white gowns1 so suddenly and strangely appearing1 they have an almost spectral aspect1 and the young man1 caution prompting1 hastily seeks a hiding-place from which he can watch unobserved4 ,one by one the maidens1 in number twelve1 gather upon the bank4 ,the gates fly open at their approach1 and with girlish glee they trip forth into the forest clearing4 ,a moment later1 hurrying to join her companions1 yet another damsel appears1 whose mien and richer attire seem to indicate a lofty rank4 ,she hastens to the magic tree and gently shakes its bough4 ,down falls a shower of gleaming fruit1 to the delight of the expectant maidens1 who nimbly pursue1 helter-skelter1 the golden apples as they roll4 ,illustration ,sportively they dance and toss the apples to and fro1 innocently enjoying their hour of liberty1 and unaware that any stranger's eye observes them4 ,but ,ivan1 in his place of concealment1 finds his curiosity irresistible4 ,bursting impetuously forth1 he appears before the frolicsome1 now startled1 group4 ,in dismay1 the maidens drop their playthings and flee in apprehension before the bold intrusion4 ,ivan doffs his cap1 and with a courtly salutation seeks to allay their fears4 ,observing an apple that has rolled to his feet1 he picks it up1 and with outstretched hand proffers it gently to the leader of the timid band4 ,she takes it shyly1 obviously not insensible to the grace and handsome bearing of the stranger2 but upon ,ivan seeking to improve this advantage by a nearer approach1 all fly from him in fresh alarm4 ,again he does them reverence1 endeavouring by his attitudes to reassure them1 and presently has the gratification of seeing their confidence return4 ,the prince-errant discovers now his whereabouts1 and the strange peril of his situation4 ,he is before the castle1 it seems1 of ,kostchei ,live-for-,ever1 an ogre of monstrous villainy1 who loves to practise sorcery on such benighted travellers as may chance to ask his hospitality4 ,some he bewitches and keeps immured within his dreadful asylum3 others he petrifies--as the stone figures looming in the background bear grimly silent testimony4 ,his fair companions1 ,ivan learns further1 are a luckless princess and her attendants1 who have fallen under the ogre's spell1 and though escaping malformation at his evil hands1 remain prisoners pent within his domain4 ,a brief hour of release nightly is all their respite--and already the moment is at hand when they must retire into the enchanted castle4 ,already between the gallant prince and the lovely ,tsarevna tender looks have been exchanged1 and there follows a charming love passage between the two4 ,the chivalrous constraint of the ardent youth1 the shy modesty of the not less ardent maiden1 and the climax of mutual surrender are romantically portrayed in expressive pantomime4 ,illustration ,but the ecstasy to which the lovers1 all intervening barriers broken down1 at last commit themselves is quickly interrupted4 ,warning sounds are heard1 and though for these the enraptured pair have at first no ears1 the attendants of the ,princess are driven by fear to call attention to them4 ,hurriedly the maidens pass through the magic gates1 the beautiful ,tsarevna lingering for a last embrace4 ,with difficulty she tears herself from her lover's imploring arms1 and slips through the already moving gates1 only in the nick of time4 ,impetuously ,ivan darts forward1 but the gates clang to in his face4 ,within1 at the threshold of the dark tower1 which is to swallow her up1 he has a glimpse of the ,princess' last fluttering signal of farewell4 ,illustration ,it is light now4 ,all around is plainly visible the fantastic foliage of the enchanted forest4 ,the stone images of hapless predecessors1 who perchance once found themselves in similar plight1 are close at hand4 ,prudence dictates an instant flight from the horrid spot4 ,but the young man is frantic4 ,warnings are forgotten1 caution is ignored4 ,with bold determination he seizes the iron gates1 and shakes them violently4 ,they yield to his wrench and fly suddenly open4 ,on the instant there is a loud clanging of bells1 discordant music peals through the air1 and forth from the gloomy tower there rushes a terrifying crowd of extraordinary persons--terrifying alike for the suddenness of their appearance1 the swift fierceness of their irruption1 and the strangeness of their aspect4 ,a horde of savage ,indians1 leaping wildly down the sloping bank1 has pounced upon the wretched ,ivan and borne him to the ground1 even while he recoils before the staggering result of his temerity4 ,close upon their heels follow ,turks and ,chinamen1 clowns and dancers--an odd medley of grotesque figures garbed in a glittering array of fantastic dresses4 ,some bear arms--lances1 swords1 shields and poniards2 others are studded with flashing gems2 all comport themselves in some freakish manner1 which inspires horror even while it moves to mirth4 ,here is a comic pair who advance with a kind of jog-trot dance2 there waddle a number of wretched creatures with bent1 distorted legs4 ,no monarch of bedlam was ever surrounded by so wild1 incredible a court4 ,the effect of this sudden development is startling2 in the space of a few brief moments the gloomy forest clearing1 now brilliantly illumined1 is filled with this astonishing rout4 ,on the steps behind the gates1 too1 and upon the sloping bank to which they lead1 the fantastic assembly is massed4 ,at one side1 guarded by his strange captors1 and overwhelmed by the unexpected turn of events1 the rash ,prince regards the scene in stupefied amazement4 ,the riot of senseless movement which the crowd of figures has maintained continuously from the moment of entry ceases suddenly1 and those lining the bank above the clearing suddenly prostrate themselves4 ,in a moment all are grovelling flat1 with faces turned abjectly to the ground4 ,their lord and master1 ,kostchei ,live-for-,ever1 approaches--an unclean1 hairy monster1 with claw-like avaricious fingers1 embodiment of malice and all evil4 ,queer hunchbacks1 in motley garb and bearing wands of office1 attend him4 ,illustration ,the ogre's restless eye lights upon ,ivan1 and the latter is dragged forward to confront him4 ,seeing no trace of pity in that evil countenance1 the dismayed ,prince makes an effort to fly4 ,but the ,indians and the bent-legged deformities fling themselves upon him and he is overcome before he can escape4 ,a ray of hope sustains him as at this moment he sees the beautiful ,tsarevna and her maidens hurrying to the scene4 ,imploringly the girls intercede on behalf of ,ivan1 but the ogre thrusts them aside1 determined to add one more to his tale of victims4 ,he advances to where the ,prince stands beside the group of melancholy stone images4 ,vindictively the ogre makes passes in the air4 ,the ,prince1 bracing himself to meet the attack1 endeavours to resist the magic influence1 and for the moment is successful4 ,but he reels under the strain of effort1 and when a second pass is made it is clear that he is within an ace of succumbing4 ,at his final gasp1 however1 ,ivan bethinks him of the feather bestowed upon him by the ,fire ,bird4 ,he pulls it from his girdle and brandishes it in his enemy's face4 ,the ogre staggers back before the flashing token1 his discomfiture increasing at the apparition1 in the same moment1 of the ,fire ,bird1 against whom he knows his black arts to be of no avail4 ,baffled1 he totters to his hunchback retinue1 while the ,fire ,bird usurps his power of domination4 ,with rhythmic gesture it stirs the supine crowd to movement2 and the movement it presently excites to a dance1 the dance to a frenzy4 ,now here1 now there1 flitting to and fro the dazzling creature goads to fiercer efforts4 ,faster with every moment the pace increases1 till the whole mad throng is swept into a wild whirl1 which oscillates obedient to the ,fire ,bird's waving arms4 ,all at length collapse exhausted upon the ground1 and yielding further to the ,fire ,bird's mystic influence are presently sunk in slumber4 ,last to succumb is the thwarted ogre1 but even he is forced to give way to the drowsiness which assails him4 ,standing amongst the prostrate figures the ,fire ,bird points to the sleeping figure of ,tsarevna1 and with signs directs the wondering ,ivan to remove her to a post of safety4 ,the young man obeys1 and gently props the inert body of the ,princess against the trunk of a convenient tree4 ,then1 further following the directions of his protector1 he steps into a hollow tree and fetches from it a casket4 ,as he emerges with this in his hand the sleepers stir uneasily1 and as he places it on the ground and lifts the lid their torpor swiftly leaves them4 ,excitedly they raise themselves1 while the ogre1 starting from slumber1 dashes forward in an agony of fear4 ,illustration ,from the casket ,ivan draws forth a monstrous egg1 which he holds aloft4 ,the ogre's terror is dire--for the egg contains his soul1 and he is ,kostchei ,live-for-,ever only so long as the egg remains unbroken4 ,the strange object exercises an almost equal fascination upon the victims of the ogre's malice4 ,every eye is fixed upon it4 ,ivan makes as if to drop it1 and a shudder runs through all2 when sportively he throws it lightly from hand to hand1 there is pitiful consternation4 ,the ogre is in the last extremity of fright4 ,desperately he endeavours to seize the precious thing1 but ,ivan is too quick1 and raising the egg above his head he dashes it to the ground4 ,as it breaks in two ,kostchei ,live-for-,ever falls dead at his feet4 ,there is a loud crash1 and black darkness4 ,when presently the light returns1 ,ivan finds himself still in the forest clearing4 ,but the ,fire ,bird has vanished2 vanished1 too1 the ogre and his strange court4 ,wonderingly he gazes round4 ,close at hand1 on the spot where previously was the group of stone effigies1 a band of young men1 handsomely attired1 is waiting to greet him3 opposite there is a bevy of maidens in whom he recognises the enchanted damsels of his late adventure4 ,gladly his eye lights1 too1 upon the beautiful ,tsarevna1 still wrapped in sleep in the place of safety to which he committed her4 ,the strange scene which lingers so vividly in his mind was not1 then1 a mere dream4 ,but who are these gracious persons now advancing to pay him courtesies8 ,gratefully the young men explain that they are victims of the ogre's sorcery now released by that monster's overthrow--no other indeed than the stones come to life4 ,the maidens give him the joyous tidings that in similar wise the spell which held them is also broken4 ,even while these explanations are going forward1 two servants descend from the castle and fling wide the gates4 ,forth there comes a gallant company of men and women1 no longer full of grotesque antics or clownishly bedizened1 but clothed with dignity and in their proper minds4 ,these1 too1 pay courtesies to their deliverer1 who presently perceives that the ,princess1 awakened from her trance1 has risen to her feet4 ,he approaches and salutes her2 then before the assembled company1 she consenting1 embraces her4 ,pages and attendants bring from the castle a flashing crown and sceptre1 and as the ,prince is being invested with these1 the ,fire ,bird1 its mission accomplished1 soars upward in dazzling flight4 ,the joyous climax is reached1 and upon the proud figure of ,ivan ,tsarevitch1 surrounded by a loyal court1 the beautiful ,tsarevna's hand in his1 the curtain falls to triumphant strains of music4 ,there is not the least doubt that they lived happily ever afterwards4 ,illustration ,,le ,,pavillon ,d',,armide4 ,,pantomime-,,ballet ,,by ,,alexandre ,,benois4 ,,music ,,by ,,nicolas ,,tcherepnin4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,,alexandre ,,benois4 ,one reason for the remarkable conquest which the ,russian ,ballet has made of ,london is that for the first time the present generation--at all events the stay-at-home portion of it--has been given an opportunity of learning what a ballet really is4 ,for the last few decades1 at least1 the native ballet 7if one can call it native7 has been a poor1 debased thing1 clinging to the faded traditions of ,taglioni's day3 sadly in need of a revival1 but seeking new vigour from mistaken sources4 ,for a long time the ballet in ,london lingered moribund1 feebly striving to escape death by a gradual metamorphosis into a 8revue40 ,frequent were the assertions of the wiseacres that neither ballet nor revue were things which could exist in the peculiar atmosphere of ,london1 the real fact being that what was offered under either title was neither one thing nor the other1 but a stupidly attempted compromise between the two4 ,the advent of the ,russians changed all that4 ,the ballet proper was received with instant acclamation1 the revue sprang into popular favour 7even to the extent of being imported intact from ,paris71 and the bastard entertainment which had previously been fostered under the name of ballet was killed stone dead4 ,yet this sudden change ought not to cause so very much surprise4 ,that ,london can claim for practically its own1 over a long period1 a dancer so accomplished1 an artist so genuine1 as ,adeline ,gene1 is surely not without significance4 ,if the latter was given poor opportunities for the exercise of her art1 that was assuredly no fault of hers4 ,were impresarios as shrewd before an event as they invariably are after1 they might have taken a hint from the never-failing support given to ,gene in 8,copplia0--almost the only ballet worthy of the name which had been put upon the ,london stage for many years before the ,russians arrived4 ,it is fair to add1 however1 that even had the latent demand been recognised 7as possibly was the case7 the supply would have been a difficult thing to negotiate4 ,the resources of the ,london matre de ballet are limited4 ,these reflections are prompted by a comparison of the best which ,london1 a little while ago1 could offer with 8,le ,pavillon d',armide10 which approaches in its principal scene most nearly1 of all the ballets in the ,russian repertoire1 to the formal1 somewhat stiff and conventional pattern which was the vogue at the period when ,taglioni1 ,duvernay1 ,carlotta ,grisi1 and ,fanny ,ellsler held the stage1 and to the faint traditions of which the so-called ballet in ,london1 of late years1 faintly clung4 ,although 8,le ,pavillon d',armide10 with its succession of individual dances1 suffers by comparison with some of the more closely knit1 more consistently dramatic ballets1 it is yet immeasurably above the level to which ,london had become accustomed4 ,the ,pavilion of ,armida is an adjunct to the castle of a wicked magician--an elderly ,marquis in outward seeming--whose hospitality is sought by an unsuspecting young man4 ,the ,vicomte de ,beaugency 7the period of the ballet is that of ,louis ,,xiv47 is on his way in a postchaise to visit his future bride1 but is overtaken by a heavy storm and prevented1 through stress of weather1 from continuing his journey4 ,he finds himself in the grounds of a wayside mansion1 at which he begs for shelter4 ,he is courteously received by its owner1 the sinister ,marquis1 who places at his disposal for the night the ,pavilion of ,armida4 ,this apartment takes its name from an ancestress of the host1 as the latter explains to his guest4 ,a feature of its decorations is the ,gobelin tapestry1 whereon the lovely ,armida is depicted1 surrounded by her court1 and on this the young man gazes long1 his curiosity and interest aroused4 ,his host presently departs with polite wishes for a restful night1 and the ,vicomte composes himself to sleep4 ,it is the witching hour of midnight4 ,hardly has the young man closed his eyes when the figure of ,cupid1 on the clock which marks the hour1 begins to fight with ,saturn4 ,the latter1 vanquished1 disappears--the signal for the ,hours to troop forth and make a mischievous escape4 ,time1 therefore1 is in suspense and nought can challenge ,cupid's sway4 ,the great tapestry comes to life1 the figures move and breathe1 and the ,vicomte1 starting from his slumber--or is he still only in a dream8--finds himself in the midst of the fair ,armida's glittering court4 ,all about him are fair women and brave men1 splendidly attired4 ,but despite the pomp and magnificence of the scene1 its lovely mistress is distraught4 ,gallant knights attend her1 but one who should be of the number is missing4 ,armida weeps1 seemingly disconsolate1 for the absent ,rinaldo4 ,the ,vicomte1 feasting his eyes upon her beauty1 is smitten by her fatal enchantment4 ,forgetting all save the glamour of the moment1 he presses forward and devotedly offers himself as candidate for the vacant place4 ,armida smiles upon him1 grants the favour he desires1 and leads him by the hand1 a willing victim1 to the dais whereon her aged sire is enthroned4 ,it is this scene--the animated court of ,armida--which is sometimes performed as an isolated excerpt4 ,armida is seen at first reclining on the dais1 from which she descends to give expression to her mood of ennui4 ,the appearance of the ,vicomte puts her boredom to instant flight--at prospect of another victim she is quickly alert to exercise her age-old fascinations4 ,the old seigneur1 her pretended father1 who is in reality none other than the wicked ,marquis1 joins the company1 and the hapless ,vicomte is led to a place upon the dais beside his enchantress4 ,there enters a master of the ceremonies1 with attendant heralds1 and a fanfare of trumpets announces the beginning of the revels4 ,these revels provide an opportunity for a series of dances which exhibit the resources of the ,ballet in this purely formal aspect of their art4 ,at the outset of the scene1 before the entry of the master of ceremonies1 there is a long pas seul in which ,karsavina displays something of that almost ceremonial grace which was the delight of amateurs of the dance of long generations ago4 ,there comes1 too1 upon the scene ,nijinsky1 as ,armida's favourite slave--a rle intended to afford him opportunities for dancing rather than miming--while as confidants of ,armida the leading ladies of the company appear4 ,the composer of 8,le ,pavillon d',armide0 is ,nicolas ,tcherepnin1 who has been much associated with the ,ballet1 and from whom1 therefore1 peculiarly appropriate music for the dance is to be expected4 ,charming in itself1 it lacks nothing requisite to show the dancers at their best4 ,it would be wearisome to enumerate the several dances which this central scene of the ballet introduces4 ,the more memorable are perhaps the valse noble1 performed by the entire court1 the nimble drollery of the seven jesters1 and of course the wonderful efforts of ,nijinsky1 a superb exposition of the famous 8ballon0 style of dancing4 ,not the least delightful number is the valse duet between ,nijinsky and ,karsavina towards the ending of the scene4 ,as the revels proceed1 ,armida leaves the dais to mingle in the throng of courtiers4 ,the enraptured ,vicomte follows at her elbow1 and eagerly submits to be invested with the golden scarf which the fair one casts about him4 ,wearing this fateful badge1 he suffers himself again to be led to the dais1 this time to receive the blessing of the aged seigneur on the ardently sought betrothal4 ,nuptial garments are brought in by slaves1 and as ,armida herself knots the scarf upon his breast the young man swoons in ecstasy4 ,the brilliant picture fades4 ,silently the ,hours steal back1 and ,cupid yields his sway to ,saturn4 ,the ,vicomte de ,beaugency awakes4 ,gone the glittering court of ,armida1 and in its place only the dull tapestry that hangs before his eyes4 ,it is daylight--and with the memory of the night still burning hotly in his brain1 the young man starts to his feet4 ,a dream--could it have been a dream8 ,he turns impetuously1 expectantly1 to the tapestry1 but all is still4 ,it was a dream6 ,and yet1 and yet---- ,as he strives to steady his reeling thoughts1 his fingers touch some object at his breast4 ,he glances down--it is ,armida's golden scarf6 ,and even as he fingers the fateful knot1 there enters the ,marquis1 urbane but sinister1 come to inquire how his guest has passed the night4 ,the ,vicomte turns distractedly towards his host1 and with a flash of intuition penetrates his disguise4 ,an awful light breaks on him--he sways1 staggers1 and drops dead at the magician's feet4 ,and as he falls he clutches vainly at the golden knot which has sealed him yet one more of the witch ,armida's victims4 ,illustration ,,polovtsian ,,dances ,,from 8,,prince ,,igor40 ,,music ,,by ,a4 ,,borodin4 ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,n4 ,,roehrich4 ,the ,polovtsian ,dances which recur so frequently in the ,russian repertoire belong properly to an excerpt from the second act of ,borodin's opera 8,prince ,igor40 ,but the passage at full length requires the services of singers1 and for this reason it is the usual custom to present the dances detached4 ,the long orchestral prelude sounds the necessary warlike and aggressive note1 preparatory of the barbaric ,tartar camp which is presently disclosed4 ,the huts of the nomad tribe are seen grouped about an open space1 round which men1 women1 boys and girls are lolling at their ease4 ,the smoke of fires ascends into the evening air2 a dusky haze envelops the distant steppe4 ,this is the encampment of the ,khan ,kontchak1 to whom1 as prisoners of war1 after an encounter with the ,slavs1 have fallen ,prince ,igor and his son ,vladimir4 ,in the operatic excerpt which should precede the dances1 a daughter of the ,khan1 the lovely ,kontchakovna1 is seen reclining amidst her companions1 who beguile her with music4 ,she herself sings her love for the captive ,vladimir1 whose presence she sighs for4 ,the night watch is heard upon its rounds1 and the love-sick maid's companions retire4 ,but ,kontchakovna1 tarrying1 hears the voice of ,vladimir1 who emerges from his quarters and pours forth a declaration of his passion for her4 ,the lovers fly to each other's arms1 but are interrupted by the advent of the ,khan1 who has come to visit his prisoners4 ,illustration ,prince ,igor is shown much deference by his captor1 who presently suggests that he should purchase liberty at the price of an undertaking never again to take up arms against the ,polovtzi4 ,the ,prince1 scorning the offer1 maintains an indignant silence1 from which he refuses to be drawn4 ,in the hope of distracting him the ,khan summons the tribe and orders a dance to be begun4 ,it is at this point that the curtain rises1 on occasions when only the dances are presented4 ,the stage picture disclosed is effective in the extreme4 ,the camp is crowded with figures1 and the gorgeous colours of the ,tartar dresses glow brilliantly in the warm ,illustration light4 ,when singers are available the chorus is massed round the arena cleared for the dancers1 and the added numbers greatly enhance the general effect4 ,a long-drawn chant is the signal for the beginning of the dance1 in which a troupe of slave girls1 splendidly attired1 first perform4 ,they presently seat themselves1 and are joined by a group of warriors4 ,to these more are added1 and at the head of the band their captain places himself4 ,a tall1 stalwart figure1 the captain shakes his bow aloft and leads his men in the dance with all the furious bravura with which1 one fancies1 he would lead them into battle4 ,there is first an amorous passage--a simulated courtship 7or at least abduction67 when the braves steal softly up behind the expectant damsels1 seize them1 and lift them shoulder high in their arms4 ,then the ,tartar girls mingle with the warriors1 and as the dance proceeds it grows more fierce and animated1 spurred on by the exultant war song defiantly chanted by the chorus of onlookers4 ,the appetite for vehemence increases1 and a knot of young men dash impetuously forward1 slapping their thighs resoundingly as they hurl themselves about with all the skill and daring of a practised acrobat4 ,after them the bowmen dart once more into the fray--for fray by this time it has almost become4 ,their captain leaps and bounds before them1 tossing his bow high into the air1 catching it as it falls in mid-career1 making as if to loose an arrow from the twanging string4 ,the chanted chorus swells in a triumphant crescendo4 ,the warriors1 in strenuous emulation of their leader1 goad themselves to still fiercer transports1 until with a succession of mad rushes1 rank upon rank of prancing legs and brandished arms1 this wild barbaric display is brought to its terminating climax4 ,illustration ,illustration ,illustration ,the detailed movements of this tribal dance are of no great moment4 ,what is of interest is the robust expression which they give to the virile impulses of an untamed race1 not yet sapped by civilisation of its vigour4 ,the movements1 violent in themselves1 are executed with a vehemence and energy significant in its savage spontaneity4 ,one has a sense of latent joy in violence1 of every shape and form1 for violence' own sake4 ,without the songs which should accompany them1 the dances suffer some detraction4 ,they represent the furthest extreme from formality to which the dance can go1 and the tremendous exuberance which inspires them seems to demand an extra outlet4 ,as one watches the violent gymnastics of ,adolf ,bolm1 of ,fedorowa and the rest1 it seems astounding 7and inappropriate7 that they should indulge such boisterous vigour in silence4 ,in fact1 one wonders how they keep themselves from shouting6 ,not even ,borodin's fiercely martial music supplies the deficiency4 ,if ever there was an occasion when dance and song should be one1 this is it4 ,illustration ,,le ,,dieu ,,bleu4 ,,hindu ,,legend ,,in ,,one ,,act ,,by ,,jean ,,cocteau ,,and ,,de ,,madrazo4 ,,music ,,by ,,reynaldo ,,hahn4 ,,scenes ,,and ,,dances ,,by ,,michel ,,fokine4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,it has been previously remarked1 in comment on 8,narcisse10 that for all their sense of fitness1 the ,russians sometimes exhibit a curious inability to recognise the limitations of the stage1 and in considering 8,le ,dieu ,bleu10 the charge must be repeated4 ,they are at fault usually when they have to present the supernatural4 ,the criticism applies not so much to their impersonations of supernatural characters--the sense of unreality is finely suggested by ,nijinsky as the phantom rose1 for example1 while nothing could be better than the bizarre characterisation of the half-human puppets in 8,petrouchka0--as to their representation of the supernatural circumstances by which such characters must generally be attended4 ,it may seem ungenerous1 perhaps1 to carp at what are1 after all1 mere matters of detail1 but lapses from an harmonious ensemble become glaring when judged by the high artistic standard which disciplines the greater number of the ballets4 ,one is tempted to think that here and there the ,russians have essayed a task1 not perhaps exceeding their powers of conception and intention1 but beyond the capacity of their medium of expression4 8,le ,dieu ,bleu0 is a fair example of such an attempted flight4 ,it does not fail1 but neither does it entirely succeed2 and an explanation of the compromise may be found in the synopsis of the ballet printed in the programme4 ,there is no need to quote this interesting passage of description2 for the present purpose it is enough to remark that the first thing arising in the reader's mind is a puzzled query3 ,how are they going to do it8 ,the answer is simply that they do not6 ,the mingling of fabulous or mythical with the real or human is a dilemma upon the horns of which many a stage producer has found himself impaled1 and the ,russians do not escape the inevitable fate4 ,their realistic method of treatment consorts ill with the supernatural element in the action of the ballet2 and if this is to be expected1 and is deemed negligible for the sake of the individual beauties of the performance1 it is nevertheless regrettable that1 however faintly1 a jarring note should be struck4 ,there are features in this ballet which one could spare not less gladly than the miraculous flower in 8,narcisse40 ,certainly 8,le ,dieu ,bleu0 has many beauties4 ,it shows us1 in a multiplicity of radiant dresses massed against a background of daring colour and design1 a rich vein in the decorative art of ,lon ,bakst4 ,it shows us ,karsavina in a part that gives full play to the fierce and passionate quality in her miming4 ,but chiefly it is an excuse for the preciosity of ,nijinsky4 ,there is something more than the mere accomplished dancer in that remarkable personality4 ,others there may be 7though one doubts it7 as graceful1 as agile1 as versed in all the nuances of the dancer's art2 but over and above his technical perfections ,nijinsky possesses a selective intelligence4 ,his is not a merely imitative instinct2 he draws inspiration from sources of his own seeking1 and that to which he gives bodily expression is the product of his own original genius working under the afflatus4 ,illustration ,in 8,le ,dieu ,bleu10 of which the scene is laid in mythical ,india1 ,nijinsky has gone for inspiration to ,hindu art1 with the manifest intention of exhibiting by his impersonation of the title rle1 of embodying in himself1 the essential principles which underlie the conventions of that ancient phase of artistic expression4 ,the imaginative thought1 the sympathetic understanding1 which he has brought to his purpose must be judged by the result1 of which the subtlety of conception and the precision of execution are beyond comment4 ,illustration ,the action of the ballet takes place in a rock-girt shrine--a mosaic-patterned platform shut in by high cliffs of tawny orange hue1 from excrescences of which1 in lazy festoons1 hang monstrous serpents4 ,in the middle1 at the back1 is a pool in which the sacred lotus is supposed to float2 a giant tortoise1 with gaudily painted carapace1 leans over its rim in act of drinking4 ,massive gates to the left bar the entrance to the shrine which a deep fissure in the cliffs makes possible3 a cleft through which the deep blue of the ,indian sky is visible4 ,round the sacred precinct is seated1 immobile and patient1 a throng of worshippers4 ,there are shortly to be enacted over a young neophyte the rites of initiation into the priesthood1 and with the opening bars of the music there enters a long procession of priests1 attendants and others who are to take part in the ceremony4 ,there are men bearing sacrificial fruits aloft in baskets1 others bringing jugs and bowls and salvers for the lustral water1 which is presently poured out by the high priest before the lotus pool4 ,then enters a bevy of girls whose sequence of postures1 performed with deliberate care1 constitute a ceremony of obeisance to the tutelary spirit of the place4 ,the high priest in turn performs a rite of adoration1 his tall figure the centre of a group of strangely posing girls4 ,to these groups are added yet others--girls who lead forward kids for the sacrifice1 more priests1 and a great number of worshippers who crowd in through the opened gates and stand watchful upon the fringe of the glowing1 many-coloured assemblage that is grouped about the lotus pool and awaits the high priest's bidding4 ,the sacrificial fire is lit1 the neophyte is conducted to his place4 ,while the initiation rites proceed a dance is performed by three girls carrying on their arms peacocks1 whose gorgeous trains of eyed feathers sweep gracefully from the shoulders of the swiftly moving bearers to the ground4 ,they are followed by another group of girls1 whose dancing and posturing ends with a general prostration of bodies as the neophyte1 now robed in the garments of his new vocation1 is paraded before the circle of approving onlookers4 ,as he thus submits himself to public scrutiny1 the novice offers to all and sundry a bowl1 to the contents of which those help themselves who list4 ,the young man walks with abstracted gaze1 composing his mind to receive that ecstasy which befits the high solemnity of the occasion4 ,all1 save one1 regard him with silent indifference4 ,that one is a girl1 whose suppressed excitement betrays her to a warning movement as the neophyte approaches4 ,as he reaches the spot where she is seated she leans quickly forward and looks him eagerly in the face4 ,entreaty is expressed in every line of her figure4 ,the young man meets that passionate look1 and halts abashed4 ,memories which he thought to have put behind him for ever surge rebelliously into his mind4 ,he hesitates2 but with an effort masters his emotion1 and hastily returns to his appointed place before the high priest4 ,the incident1 occupying but a moment1 has passed unnoticed by those around1 and as the girl sinks back in an agony of frustrated hope1 a number of half-demented devotees resume the rites with a wild dance of frenzied lamentation4 ,as this orgy of self-intoxication swells to a climax1 the sacrificial kids are made ready for slaughter4 ,the final moment of dedication is at hand4 ,once more the neophyte1 led this time by the high priest in person1 is paraded before the seated watchers3 once more he is obliged to pass the girl who embodies all that life has held for him in the past1 before ambition and the lust of sacerdotal power turned him from love and joy4 ,she alone might have the key1 perchance1 to unlock the door he has so resolutely shut4 ,she has the key1 and with a courage born of desperate abandon to love and passion she dares to use it4 ,she breaks from her place1 and fiercely casts herself at her whilom lover's feet4 ,she grovels in abasement1 she implores--then1 snatching a hope from the indecision which she sees written on his face1 she cajoles4 ,the priests1 angry and scandalised at this sacrilegious irruption1 seize her and carry her off4 ,but she eludes them1 and ere the ,illustration neophyte has time to steel himself1 she is again before him dancing with an allurement1 a provocative abandon meant for him alone1 which shakes his resolution to its depths4 ,a second time the priests seize her2 a second time with desperate cunning she evades their grasp and returns to her passionate attack4 ,the young man is torn with fierce emotions2 an unequal battle rages in him1 love and life contending with his pride and sense of duty4 ,and as he gazes on the beseeching figure before him1 ambition1 lust of power1 and all his new resolves slip unregarded from him4 ,everything that life holds seems centred in the swaying figure of the girl before him1 fount of all the hot-blooded memories which now sweep unresisted over him4 ,with sudden determination he tears the priestly vestments from his shoulders1 and with glad capitulation yields himself to the triumphant embrace of his mistress4 ,together they dash for freedom4 ,but their passage is barred1 priests and fakirs wrench them apart1 and the young man is carried off into durance4 ,the crowd disperses silently1 and the agonised girl finds herself confronted by the high priest and two of his attendants4 ,a third brings manacles and these are fastened upon the prisoner's wrists4 ,then1 in obedience to the high priest's directions1 the door of a cavern in the side of one rocky cliff is unlocked1 and the janitors depart4 ,the girl is left alone1 and in the dreadful silence which ensues she collapses in terror before the lotus pool4 ,the shrine is bathed in moonlight1 when at length the prostrate girl rouses herself from the torpor of despair4 ,her wits returning1 she seeks a way of escape4 ,she tries the gates1 but they are fastened close and withstand her frenzied shaking4 ,vainly she looks for other outlet3 the high walls are insurmountable4 ,but suddenly she espies the low doorway in the rock4 ,she hesitates for a moment3 it scarce looks to open on an avenue of escape4 ,but at least it offers a chance1 and on a quick impulse she rolls the obstacle aside4 ,illustration ,a black cavernous hole is revealed1 into which the girl peers anxiously4 ,for the moment nothing can be descried in the murky gloom1 but even as she summons courage to venture within1 a hideous affrighting apparition looms out of the darkness before her face4 ,she shrinks back1 startled3 fear giving place to sheer nightmare horror as a foul and bestial monster crawls slowly forth from the noisome den4 ,the creature is followed by others1 which with dreadful deliberateness emerge from the lair their unsuspecting victim has thus incautiously opened4 ,there are some that drag their black and scaly lengths laboriously1 like obese lizards1 along the pavement of the shrine1 others with gross heads and grinning masks that present a dreadful travesty of human beings in their red1 ungainly forms1 in the horrid leaps and bounds of squat and ugly legs by which they move4 ,the girl has fled in panic to the gates across the fissure in the rocks4 ,she clings to them in an agony of fright4 ,but leaping clumsily in pursuit1 the crimson monsters seize her in their filthy paws1 and bear her bodily away4 ,she slips from their grasp and darts across the shrine1 only to find herself surrounded by her captors' crawling allies4 ,the latter do not offer to seize her1 but they eye her with a devilish intentness1 and at every step she takes display a paralysing nimbleness1 for all the seeming inertness of their flabby bodies1 in intercepting her movements and keeping her surrounded by their watchful visages4 ,in a last paroxysm of fright the girl falls prostrate before the lotus pool4 ,the monsters range themselves around1 motionless1 but vigilant and intent4 ,but as their victim1 bethinking herself of prayer1 pours forth a passionate entreaty to the deities of the place1 they stir uneasily and presently retire1 writhing1 a distance of some paces4 ,a brilliant blue light irradiates the pool1 the lotus flower that floats within it opens1 and slowly there rise into view the god and goddess1 tutelary spirits of the shrine4 ,the goddess is enthroned2 the god1 with reedy pipe in hand1 sits with legs and upraised arms bent angularly--a painted ,hindu sculpture come to life4 ,stepping from the lotus1 the ,blue ,god raises and supports the amazed and awe-struck girl4 ,then1 as confidence returns1 he gently seats her beside the pool1 and before the uneasy monsters begins a solemn dance4 ,dance it must be called1 though it is rather a series of postures--postures which1 executed in the flesh1 vivify for the onlooker all that he has ever seen in ,hindu art purporting to represent the human figure4 ,it becomes apparent that there is a beauty in the harmonious adjustment of angles not previously realised1 or even1 perhaps1 suspected4 ,illustration ,one by one the monsters are subdued1 despite a feeble effort at evasion1 by the power of their intended victim's divine protector4 ,the goddess then1 descending from her throne1 shows by her dancing postures1 while the god plays upon his pipe1 that the female form is not less capable than the male of angular beauty of form4 ,the girl1 now reassured1 gazes entranced upon her deliverers1 receiving with humble gratitude the blessing bestowed upon her by the goddess1 as the latter presently resumes her throne4 ,illustration ,scarcely has the god also reseated himself1 when the priests and worshippers re-enter the shrine1 expectant of finding executed the prisoner's hideous doom4 ,stupefied by the dazzling vision which greets them1 all fall prostrate in humble obeisance1 the girl alone1 assured of the divine favour1 daring to remain standing4 ,the goddess signifies the protection which she extends1 and as the young man for whom the girl's love has dared so much is brought in1 she bids the two embrace without fear4 ,with love and life restored to her1 the girl finds outlet for her brimming happiness in a joyous dance1 and gladly the reunited pair exchange their vows before the goddess' throne4 ,her mission ended1 the goddess sinks slowly from view into the depths of the lotus pool4 ,but the ,blue ,god1 ere she vanishes1 steps into the midst of the awe-stricken throng4 ,a fragment of the orange cliff rolls noiselessly aside and reveals a broad flight of golden steps reaching into the blue infinity of the heavens4 ,with slow1 deliberate steps the god ascends the mystic flight4 ,momentarily he pauses1 and thus is seen1 as the curtain descends1 above the bowed forms of the prostrate multitude1 playing upon his pipe4 ,illustration ,illustration ,illustration ,,pr,,lude ,l',,apr,s-,,midi ,d',,un ,,faune4 ,,choreographic ,,tableau ,,by ,,nijinsky4 ,,music ,,by ,,claude ,,debussy4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,in the preparation of his part in 8,le ,dieu ,bleu10 ,nijinsky sought inspiration1 it was remarked1 from ancient ,hindu art4 ,one fancies him1 with appetite whetted by this excursion1 eager to explore another field of antiquity1 and turning naturally to early ,greek1 ,roman and ,etruscan art4 ,his interest already engaged by the strangeness 7to modern eyes7 of the ,hindu forms1 his perceptions having already fastened on their angular conventions as food for the dancer's creative or recreative art1 one supposes him readily attracted by the equal peculiarity of such archaic forms as are revealed on ,greek and ,roman pottery4 ,the transition is easy to understand1 for a superficial resemblance is apparent1 however great the essential dissimilarity4 ,what prompted the student to ponder specially the figure of the faun or satyr it is quite impossible to guess4 ,that he should do so1 however1 is scarcely surprising2 for interpretation by the dance it is difficult to think of any conception of classical mythology more likely to appeal to an artist of ,nijinsky's temperament and talents4 ,type of what is animal in man1 epitome of all his unsophisticated lusts and appetites1 here is surely an ideal theme for the dancer's art4 ,possibly ,debussy's music first suggested the faun2 if not1 the appropriate orchestral accompaniment--for ,debussy would seem to be a composer with whose methods ,nijinsky finds himself in close sympathy--was ready to hand2 providing not only accompaniment but scenario and plot4 ,but this was not enough4 ,in those antique urns and vases1 with their oddly but vividly expressive figures1 there was a potent fascination for the dancer1 impelling him to translate into living movement their arrested grace4 ,when that impulse hardened into a definite attempt1 the result was 8,l',aprs-,midi d'un ,faune10 as presented on the stage1 with the assistance of ,nelidowa 7his partner1 as the ,goddess1 in 8,le ,dieu ,bleu07 and other ladies of the ,russian troupe1 and the services of ,lon ,bakst as decorator--a performance which may be briefly described as an endeavour to bring to life an antique bas relief or ceramic painting4 ,thus far1 it is hardly necessary to confess1 is pure surmise2 let it be added that it is quite probably erroneous6 ,but some such processes of thought1 one imagines1 must have attended the evolution of this curious 8ballet40 ,it would be a mistake to take it too seriously1 and discuss solemnly its daring transgression of all accepted canons4 ,too obviously it is a wholly individual affair--a freakish whim1 if you like--on the part of its creator1 though not the less interesting on that account4 ,illustration ,in pursuance of the main idea1 the movements of the dancers--or perhaps one should say the impersonators1 for of dancing1 in the ordinary meaning of the word1 there is none--take place all in one plane1 their figures are seen in profile1 and when they move they do so with sidelong action1 so as to preserve the semblance of flatness4 ,except for the mound upon which the faun is discovered and to which he returns at the close of the episode1 the scene consists merely of a backcloth designed by ,bakst--a riot of colour which however effective in itself as a piece of pure decoration1 is scarcely suited to the peculiar exigencies of the moment4 ,more successful is the outward characterisation of the faun1 for which the same designer is responsible4 ,the creature's lithe young body is mottled with large blotches1 dark red in colour1 that alternate in bizarre contrast with the fairness of the rest of his skin4 ,a knitted1 wrinkled brow1 beneath small horns that are curled round the top of his head1 suggests a dubious quality of mind--the perplexity of a brain that hovers indeterminately betwixt mere instinct and a reasoning intelligence4 ,the suggestion of character thus subtly conveyed is wonderfully sustained by ,nijinsky4 ,by look1 by poise and carriage of his body1 rather than by gesture 7of which there is practically nought7 he induces a perception of the vague stirrings of a brutish mind1 groping vainly for a realisation of emotions dimly felt4 ,when the curtain rises the faun is discovered recumbent upon the top of a low eminence4 ,the latter merely projects sufficiently in front of the backcloth to form a ledge1 and does not detract from the flatness of the scene4 ,one sees the creature sharply in profile1 with head thrown back1 playing idly on a long pipe4 ,a bunch of grapes lies beside him1 and between this and his woodland music he divides his attention4 ,when he turns from one to the other his movements are quickly executed1 so that a sharp profile is almost continuously presented to the spectator4 ,while the faun is thus engaged1 there appears upon the scene below him three nymphs1 advancing slowly with sideways gait1 knees slightly bent1 heads turned in profile1 open palms upraised to shoulders4 ,to them enters a fourth running swiftly1 but in the same sidelong manner1 and preserving the same stilted attitude as she moves4 ,another party of three is added1 and the whole group of seven stand rigidly posed below1 and a short distance from1 the faun's elevated retreat4 ,they are garbed in flowing draperies1 with hair dressed close and tightly bound with fillets1 and as they stand stiffly1 angularly posed1 in an immobile row1 they seem like figures detached from an antique bas relief and propped before the footlights4 ,the keen animal senses of the faun detect some strange presence near at hand1 and peering from his coign of vantage he perceives the nymphs4 ,such beings are beyond his ken1 but the sight of them awakens a vague interest4 ,he yields to a subtle attraction1 and descending from his perch approaches the intruders4 ,illustration ,the pantomime1 if such it can be called1 between the nymphs and faun is quite impossible to describe4 ,such gesture as is sparingly used is strictly conventionalised1 and the faces of the performers remain blankly expressionless4 ,nothing is allowed to detract from the stiff formality of their aspect4 ,for all that1 the pantomime is curiously expressive4 ,in his uncouth way1 prompted by impulses only dimly comprehended1 the faun seeks to woo the nymphs4 ,they are startled and flee1 but return almost as soon as they are gone1 only to dart off again in sudden alarm4 ,curiosity alternates with shyness and fear4 ,only once are the quaint1 indeed laughable1 angular movements varied1 when the faun1 with quite electrifying effect1 makes a single bound into the air4 ,eventually discretion overcomes the valorous curiosity of the nymphs4 ,the last1 and most attracted1 flees away4 ,the faun is left disconsolate and puzzled1 his slow turbid brain striving to grasp the meaning and nature of the radiant creatures that so lately stirred his appetites4 ,nothing remains of them save a gauzy scarf1 dropped in her flight by the last1 at which he stares long and stupidly4 ,at length he picks it up1 and holding it wonderingly in his hands1 slowly regains his rocky perch4 ,a mysterious influence emanates from the scarf1 and yielding himself to it1 the faun sinks into voluptuous dreams4 8,l',aprs-,midi d'un ,faune0 has earned a great popular success1 but it is chiefly a success of curiosity4 ,it is novel1 it is quaint1 it is amusing2 but whether it is properly artistic depends upon the interpretation put upon that word4 ,the whole thing is brilliantly clever1 a tour de force on the part of ,nijinsky1 and considered as such one has nothing for it but praise4 ,but as an attempt to vivify plastic art it fails1 for it deliberately adopts conventions and restrictions which are proper to the latter1 but were never intended to govern the moving human form4 ,merely to endow with movement a creation of plastic art seems a futile and superfluous purpose1 even if possible of achievement2 really to vivify is the province of the dancer's art1 which in this 8ballet0 is crippled by false limitations4 ,it has been said that ,nijinsky1 by this recourse to primitive forms1 sought to strip off modern conventions and obtain a more forceful mode of expression4 ,but in that case it is not enough merely to copy2 he should have adopted the principle1 but the treatment founded upon it ought to have been his own4 ,as it is1 the true interest of the piece lies in the characterisation of the faun1 and one regrets all the more the unnecessary restrictions with which ,nijinsky has hampered himself1 when reflecting what his genius as a dancer1 given proper scope1 might make of such a rle4 ,if he would but play one of ,pan's goat-footed progeny legitimately 8in the round10 one might anticipate a creation to supplement1 and rank alongside1 his wonderful harlequin in 8,le ,carnaval40 ,illustration ,illustration ,,jeux4 ,,dance-,,poem ,,by ,,nijinsky4 ,,music ,,by ,,claude ,,debussy4 ,,choreography ,,by ,,nijinsky4 ,,scenery ,,and ,,costumes ,,designed ,,by ,l,,on ,,bakst4 ,nijinsky's curious production called 8,jeux0 comes next in order after 8,le ,dieu ,bleu0 and 8,l',aprs-,midi d'un ,faune40 ,in the first of the two latter the dancer was concerned only with his individual rle2 his conception of that was1 no doubt1 his own1 but his part in the ballet as a whole was subject to the directing influence of ,michel ,fokine4 ,in 8,l',aprs-,midi d'un ,faune0 he was emancipated from control1 and the entire performance was of his devising4 ,having explored the past1 it was natural that he should turn his attention to the present1 and in 8,jeux0 we have an avowed attempt to treat the modern aspect of 7civilised7 life in terms of the ballet4 ,the result is curious1 to say the least1 and not very convincing4 ,a lot of ridiculous nonsense has been written about 8,jeux40 ,it was first performed in ,paris1 and on the strength of descriptions received thence1 it was labelled1 long before its production in ,london1 a 8lawn tennis ballet40 ,as a fact1 lawn tennis has nothing to do with it--nor any other particular sport or game for that matter4 ,it is true that ,nijinsky carries a racquet of some kind in his hand1 on his first entry1 but it is speedily laid aside and is nothing but the merest stage 8property40 ,as for the lost ball which is the casus belli1 so to speak1 it bears as much resemblance to a tennis ball as does a pumpkin to an apple4 ,if 8,playtime0 be accepted as the interpretation of 8,jeux0 7a translation which the ,russians themselves have adopted71 the ballet resolves itself into a representation of the juvenile frolics of three children4 ,certainly ,nijinsky in his flannel shirt and trousers1 ,karsavina and ,ludmila ,schollar in their short white frocks1 bare legs and little socks1 look a trifle more adult than the costumes seem to warrant1 but that is a circumstance which cannot very well be helped4 ,lon ,bakst has done his best to dwarf them by his spacious garden1 with its high gates and big flower plots1 but inevitably the performers appear somewhat robust for their parts4 ,the ballet can only be called such for want of another term4 ,there is no dancing proper2 except for a few leaps and runs1 the performers confine their movements to a series of postures1 and a queer1 stilted kind of pantomime4 ,it has been stated that ,nijinsky by this 8choreography0 intends to express the essential characteristics of the movements of modern athletes and players of games1 but the entire absence of athletic virility or spontaneous grace and vigour effectively negatives the idea4 ,or at least1 if this was the idea1 it has signally failed of execution4 ,the 8plot0 of the piece is the slightest possible4 ,into this not very realistic garden1 empty when the curtain rises1 a large ball suddenly drops4 ,a moment later the three children enter in pursuit1 and in playful mood begin to look for it4 ,presently1 forgetting the object of their search1 they indulge in juvenile flirtation4 ,each of the girls in turn receives the boyish attentions of their companion1 and all three are fast forgetting their ,illustration surroundings when a second ball1 dropping unexpectedly amongst them1 recalls them to their senses and sends them scampering away4 ,this is not much on which to found a ballet4 ,all that it gives scope for is the presentation of one little scene of no great purport1 but the methods adopted to portray the idle moments of a group of children render merely eccentric what might be an engaging spectacle4 ,the intention seems to be1 if there is any definite intention at all1 to reduce to their essential elements the characteristic movements of childhood4 ,the gestures and poses of ,nijinsky the present writer confesses to finding meaningless--at all events in no way suggestive of unsophisticated childhood4 ,but with those of ,karsavina and ,ludmila ,schollar there is a difference4 ,there are occasions now and then--notably when the two girls 8make it up0 after a tiff prompted by jealousy over the favour of their boy companion--when there is a something about their poise of body which evokes quite startlingly1 for all its stilted stiffness1 a memory of childish movements sometime noted4 ,there is nothing1 it will be understood from what has already been said of the performers' methods1 of the unconscious grace of an eager1 impulsive child4 ,but imagine a rapid photographic 8snapshot0 of such an incident as the one just mentioned between two little girls--the instantaneous plate would show1 in its arrest of movement1 just such angularity and awkwardness1 and also just such a poise1 as ,karsavina and ,schollar display4 ,no doubt this is all very clever and ingenious1 but it seems likewise to be a little futile4 ,even if essays of this sort come within the legitimate province of ballet1 there is very little pleasure1 and not a great deal of interest1 to be obtained from so highly sophisticated a performance4 ,i do not know whether the music of ,debussy was written for the especial purpose of the ballet1 or whether ,nijinsky1 as in 8,l',aprs-,midi d'un ,faune10 devised the ballet to an existing composition2 in any case the music seems as little appropriate to the theme as the methods of the performers4 ,debussy indeed is hardly a composer from whom one expects dance music1 and his selection in connection with these attempted developments of the art of the ballet seems significant4 ,illustration ,the legitimacy--or1 to put it more definitely1 the feasibility--of these new attempts is open to challenge4 ,the methods adopted by the 8dancers0 in 8,l',aprs-,midi d'un ,faune0 have already been described4 ,in 8,jeux0 the principle seems to be to resolve movement into a succession of arrested poses1 and make an arbitrary selection of the latter for presentment4 ,this is as if one were asked to admire some of the individual pictures which in series make up the film of a kinematograph4 ,granted that it is interesting and amusing to be shown how the film is constituted1 it is nevertheless the animated whole which we really want to see4 ,illustration ,but an analogy can only be drawn between the kinematograph and the dancer if the latter's art is regarded as standing in the same relation to the painter's or sculptor's as the kinematograph to the ordinary camera4 ,this indeed seems to be the idea upon which ,nijinsky has founded 8,l',aprs-,midi d'un ,faune0 and 8,jeux40 ,it was submitted in the immediately preceding pages that 8,l',aprs-,midi d'un ,faune0 was based upon a fundamental misconception of the dancer's art1 and the same criticism is prompted by 8,jeux40 ,even if the premises be granted that to give movement to poses plastiques is a sufficient end1 the dancer's art1 like any other1 should conceal art2 should build up1 not take to pieces4 ,the human figure may be reducible to geometrical forms1 but the cubist painter would be better employed in proceeding from that principle1 instead of to it4 8,jeux10 in brief1 in intention1 if not altogether in execution1 is as clever as a parlour trick1 and with a public which applauds cleverness above all things1 it would be as popular as 8,l',aprs-,midi d'un ,faune10 if it were but equally obvious4 ,but the cleverness is that of a monkey1 and as misapplied4 ,illustration ,,le ,,sacre ,,du ,,printemps4 ,,pictures ,,of ,,pagan ,,russia ,,by ,,igor ,,stravinsky ,,and ,,nicolas ,,roerich4 ,,music ,,by ,,igor ,,stravinsky4 ,,choreography ,,by ,,nijinsky4 ,,scenery ,,and ,,costumes ,,designed ,,by ,,nicolas ,,roerich4 ,when three such remarkable talents as those of ,,mm4 ,stravinsky1 ,roerich and ,nijinsky form an alliance1 something unusual may be confidently expected as the result4 ,the most eager anticipations can hardly have been disappointed1 on that score1 by 8,le ,sacre du ,printemps10 of which the music is by the first named1 the dcor by the second1 and the choreography by the third4 ,one imagines the three collaborators--one had almost said conspirators--assembling in council4 ,perhaps they find themselves1 in their several ways1 prompted by a common impulse3 perhaps they merely itch to apply their cleverness to something new4 ,whichever way it is1 a happy notion strikes them4 8,let's be primitive60 ,they talk it over1 make plans and agree4 ,they will be primitive--starkly primitive4 ,stravinsky proceeds1 with his practised sleight of hand in the manipulation of an orchestra1 to invent music which shall defy all accepted canons1 and thus presumably be eloquent of a time when 8music10 in any conventional sense1 was not2 ,roerich picks all the primary colours out of his paint-box and sets to work to devise a mise-en-scne so crude that it must represent the furthest possible degree of unsophistication2 while ,nijinsky1 fresh from his meditations on a primitive phase of art1 hails with enthusiasm this new opportunity to apply the principles of expression by gesture and movement which he believes himself to have divined4 ,the result is a sort of 8post-impressionism0 on the stage4 ,expression1 it has been said1 not beauty1 is the aim of the modern school of painters who1 for convenience' sake1 have been dubbed 8post-impressionists02 and this being also the avowed purpose of ,nijinsky and his colleagues1 the ballet might not unreasonably be expected to show some kinship with the products of that recent art 8movement40 ,certainly it is ugly--at the least1 unpleasing to the normal modern eye3 whether1 by compensation1 it is expressive1 is obviously one of those matters of individual taste about which dispute is idle4 8,le ,sacre du ,printemps0 consists of two tableaux1 which are ostensibly representative of pagan ,russia1 but might equally serve as pictures of primitive civilisation anywhere--or nowhere6 ,the theme is suitably simple4 ,the season of spring is at hand1 and mankind is occupied with worship of the two great forces apprehended by the primitive mind--the ,earth and the ,sun4 ,the first act shows the ,adoration of the ,earth4 ,the joy of humankind in the advent of spring finds expression in the dance1 and in the performance of due rites1 in the ceremony of uniting the ,sire of all the ,sages to the newly fecund earth4 ,what actually happens is that sundry groups of persons1 attired in picturesque but by no means prehistoric garb1 are discovered prostrating themselves in various peculiar poses amidst an expansive landscape which is very green1 but not much else4 ,one group1 under the instruction of 8an old woman of #cjj years10 begins a ceremonial dance1 which is to say that the younger members stamp their feet and jerk their bodies about in an odd1 rhythmic fashion1 while the triple centenarian hops spasmodically amongst them4 ,other groups in turn spring up from their postures of obeisance and do the same1 with variations4 ,a number of young girls enter1 and join the young men in the performance of the rites ordained4 ,one is to understand that the strange antics which ensue are the primitive types of those folk dances and games which peasant children perform to this day in ,russia3 but it is doubtful whether even to a spectator familiar with modern rustic life in the remotest parts of that country1 the connection would be apparent between the traditional games of feast days and the eccentric contortions of the performers on the stage4 ,a feature of the games1 the only one definitely recognisable 7because the only one specified in the printed synopsis of the ballet7 is a simulated abduction of some of the girls by a number of the young men1 which is premonitory of the sacrifice to ,iarilo1 god of light--i4e41 the ,sun--depicted in the second act4 ,illustration ,after the games have been in progress for some time there enters a procession of elders of this primitive tribe1 escorting an old man with a long beard--the ,sire of all the ,sages1 high priest and venerable interpreter of the omens4 ,his entry is a signal for everyone present to be seized with a violent tremor1 which sets each figure quivering like an agitated table jelly4 ,with due form and ceremony the ancient one pronounces a blessing on the ,earth's unfailing fruitfulness1 accomplishing this act by spreadeagling himself1 with the aid of assiduous helpers1 face-downwards in the middle of the stage4 ,if only the happy thought had occurred to ,m4 ,nijinsky to have the beard of the venerable one pulled forward the latter would have presented a very interesting travesty of a starfish4 ,the tremor which has so persistently agitated the tribe now ceases4 ,all eyes are upturned towards the ,sun1 whose envious wrath1 it is feared1 may be excited by these attentions to the ,earth1 and to the renewed thudding of stamping feet the curtain comes down4 ,the second tableau shows the ,sacrifice1 by which the ,sun's jealousy is to be appeased4 ,the scene is a lonely plateau1 on which the 8,sacred ,stones0 are set4 ,there are also three grim-looking poles1 on which are hung what seem to be votive offerings of hides and horns4 ,it is night1 and past the witching hour4 ,the sun has vanished and ere he rise again the rite of propitiation must be performed4 ,the young girls are discovered going through the mazy evolutions of a ceremonial dance1 the object of which is the choice by hazard of the destined victim4 7,such is the origin1 the authors would presumably have us believe1 of the 8he0 of the traditional games of childhood all the world over47 ,precisely how the lot falls is not very apparent1 but presently one girl starts forward from the rest and seems1 from the curious motionless attitude which she assumes1 to fall into a cataleptic trance4 ,her companions gather round1 and do her honour in a dance described1 for no clear reason1 as 8heroic40 ,they presently depart1 leaving her to her fate4 ,while the ,chosen ,victim still stands transfixed in a posture of extreme ugliness and 7one imagines7 excessive discomfort1 the ,illustration elders of the tribe make their appearance1 come to evoke the spirits of their ancestors and perform the final rites of this mystic bridal dedication to the ,sun4 ,they achieve this by partially covering themselves with black bearskins1 the limp forelegs of which1 waggling at their elbows1 give them the appearance of immense grotesque penguins as they strut solemnly round the object of their scrutiny4 ,after this lengthy peripatetic inspection is concluded1 they seat themselves in groups1 and the ,chosen ,victim suddenly breaks into a dance--if dance can be called a series of agonised movements not less ugly and contorted than the immobile posture in which she has been for so long rigidly stationed4 ,it is quite impossible to describe this 8dance10 which it is an uncomfortable experience to watch--not for any offence that it contains1 but for a feeling of sympathy with the unfortunate dancer who has to indulge such misplaced agility4 ,suffice it to explain that it 8expresses0 the last ecstasy of the ,victim--a transition from exaltation to frenzy1 from frenzy to exhaustion4 ,at the moment of expiry1 the watching elders leap to their feet1 and seizing the ,victim in their hands1 hold her rigid corpse at arms' length above their heads4 ,it is thus1 we are told1 that sacrifice is made to ,iarilo1 the flaming1 the superb4 ,the ribald will be inclined to retort that it is to be hoped ,iarilo likes it4 ,in fairness1 it must be added that this account of the eccentric happenings on the stage is quite inadequate to convey any proper impression of these two tableaux--which are1 in fact1 quite indescribable by words4 ,it would be a mistake to suppose that this extraordinary performance is as wearisome as its unintelligible character might lead one to infer4 ,according to all ordinary standards the whole business is completely mad--the music is mad1 the dancers are mad4 ,yet it does not bore1 and the interest which it excites must be something more than that of mere curiosity to endure through two whole acts4 ,one suspects this to be merely a tribute to the unquestionable cleverness of the ballet1 though the generous spectator may like to suppose a more solid reason4 ,when the present writer witnessed the first production of 8,le ,sacre du ,printemps0 in ,paris1 the printed synopsis of its action presented to the audience was of the briefest kind4 ,the spectators were left to unravel its meaning for themselves--and they signally failed to rise to the occasion4 ,briefly1 they hissed it4 ,they would not listen to ,stravinsky's music3 the choreography of ,nijinsky moved them to unkind laughter4 ,on the later production of the ballet in ,london1 the management wisely distributed an amplified synopsis1 detailing the incidents 7so far as the ballet can be said to have any71 and took the further precaution of prefacing the performance by a short lecture1 in which a distinguished critic1 of sympathetic leanings1 endeavoured to expound the principles upon which the authors of the ballet had proceeded in its creation4 ,thanks to this forethought1 the ballet received in ,london the attentive hearing which was denied to it in ,paris4 ,it even received applause1 though how far this was due to the amiability of ,london theatre-goers--less impulsive and more tolerant than the ,parisian public--it would be rash to guess4 ,undoubtedly the ballet1 as presented in ,london1 was more easily followed than when seen in ,paris4 ,in part1 perhaps1 the certain degree of familiarity helped2 in part1 the stronger lighting of the stage during the second act of the ,london performance was of assistance4 ,but1 chiefly1 the greater intelligibility arose out of the explanations1 verbal and printed1 with which the spectator was forearmed4 ,antics which had been meaningless became invested with the shadow1 if not the substance of plausibility2 it became apparent what they were intended to mean1 even if the meaning still seemed to fail of true expression4 ,but should such detailed explanations of purpose be necessary8 ,granting the abandonment of all ordinary1 accepted conventions1 ought a work of art1 conceived upon whatsoever unfamiliar principles1 to fail to grip the imagination8 ,it may be noted that in the introductory lecture1 the ,japanese colour-print was cited as an example of a form of art scoffed at1 when first seen in this country1 because its conventions were unfamiliar and not understood4 ,but one fancies that upon any mind not utterly philistine1 no matter how unable to understand its peculiar conventions1 the work of a ,japanese master made a very definite impression4 ,the ,occidental mind had a sense of the ,oriental achievement1 even if it failed to comprehend precisely what had been achieved4 ,if attempt is not to be confused with accomplishment1 one fears that only a partisan enthusiast could have a similar regard for 8,le ,sacre du ,printemps40 ,it is difficult to discover unity of purpose4 ,to mention a minor1 but glaring inconsistency1 the costumes designed by ,roerich 7though one is grateful for the vividly decorative groups which they produce7 are scarcely consonant with his 8primitive0 scenery1 and certainly not characteristic of ultra-primitive humanity4 ,a people that had acquired such arts as the possession of this clothing postulates can scarcely be reckoned typical of 8the ,muscovy of dimmest antiquity10 and it is at least doubtful whether at their comparatively advanced stage of civilisation 7accepting as historically accurate ,nijinsky's theory of primitive modes of expression7 gesture and movement would be marked by such uncouth and awkward characteristics4 ,the fact would seem to be that the authors of this ballet have chosen to be a law unto themselves4 ,no doubt it is possible under ,illustration such conditions to devise many curious things1 momentarily engaging--the workshops of ,bedlam are full of them--but they can hardly hope to give the satisfaction1 or enjoy the permanence1 of art4 ,a work of art is governed1 at bottom1 by the laws of ,nature3 it must have its roots somewhere in reality1 and grow upward and outward4 ,one fails to detect out of what 8,le ,sacre du ,printemps0 arises1 or whither it leads4 ,its tendency1 if it has any at all1 is retrograde1 and there is something almost pathetic in the spectacle of such highly-cultivated men as ,,mm4 ,stravinsky1 ,roerich1 and ,nijinsky applying their brilliant talents to this inversion4 ,it is surely a little ludicrous that the utmost resources of a modern orchestra1 comprising over a hundred complex instruments1 should be taxed by what is reported to be some of the most difficult music ever scored1 in order to 8express0 the impulses and emotions of man in his most primitive state4 ,a fitting parallel to ,stravinsky's efforts is provided by those of ,nijinsky1 laboriously instructing a highly-accomplished corps de ballet in mimicry of the awkward poses exhibited in sculpture of pre-classical days1 when the sculptor was not so much expressive as struggling for expression4 ,it may be true that under modern accepted conventions in art1 expression has been stifled by undue attention to form1 but this is hardly the way to demonstrate it4 ,curtailment is not the same thing as simplification4 8,le ,sacre du ,printemps0 certainly exacts a good deal from the ordinary spectator4 ,the latter finds himself at sea from the very beginning1 and quickly realises that if there is any solid meaning at all to be arrived at1 he can only reach it by jettisoning all previous standards and conventions4 ,even when he has succeeded1 by the aid of a detailed synopsis1 an introductory lecture1 and a strongly developed faculty of assimilation1 in acquainting himself with the authors' premises1 it is a matter of opinion whether ,,mm4 ,stravinsky1 ,roerich1 and ,nijinsky give him much in return for what he has abandoned4 ,if this astonishing ballet is to be taken seriously1 one may compliment its authors on a very gallant attempt to embody a view of art which is arresting1 if not convincing4 ,if1 on the other hand1 it is merely a jeu d'esprit1 they are to be congratulated on one of the most elaborate and cleverly sustained hoaxes ever perpetrated4 ,there is possibly a third solution1 that the authors have been imposed upon and mesmerised by their own sheer cleverness1 and all too nimble dexterity of mind4 ,in that case there must be laughter among the ,muses4 ,illustration ,,la ,,trag,,die ,,de ,,salome4 ,,from ,a ,,poem ,,by ,,robert ,,humieres4 ,,music ,,by ,,florent ,,schmitt4 ,,dances ,,by ,,boris ,,romanov4 ,,scenery ,,and ,,costumes ,,designed ,,by ,,serge ,,soudeikine4 ,salome furnishes the theme of yet another ballet in the ,russians' later style4 ,though ,nijinsky has no connection with it the influence of his example is evident throughout4 8,la ,tragdie de ,salome0 takes a place very fittingly in the same gallery as 8,l',aprs-,midi d'un ,faune10 8,jeux10 and 8,le ,sacre du ,printemps40 ,that is to say1 it has no story to unfold by means of music and the dance4 ,salome is not so much the theme1 as a mere central figure of a stage picture to which motion is imparted4 ,nijinsky in 8,le ,sacre du ,printemps0 went to ,gauguin and the post-impressionists for inspiration4 ,boris ,romanov and ,serge ,soudeikine1 who are responsible respectively for the choreography and the dcor of 8,la ,tragdie de ,salome0 have singled out ,aubrey ,beardsley for attention4 8,pure ,beardsley0 was the popular phrase with which the ballet was summed up on its first production4 ,it is1 of course1 nothing of the sort--at least1 if the phrase is to be strictly interpreted4 ,if it were pure ,beardsley the ballet would be a good deal better than it is4 ,one has some difficulty in imagining ,aubrey ,beardsley staging a ballet1 and probably1 if such a thing had happened1 the result would have been very different from that which the ,russians have imagined4 ,but even supposing that ,beardsley had produced on the stage something resembling what is shown us1 it is perfectly certain there would have been a distinction which the present performance lacks4 ,to put it shortly1 8,la ,tragdie de ,salome0 is nothing but an aping of ,beardsley1 a reproduction 7or shall one say1 a travesty87 of certain superficial aspects of that artist's designs1 entirely uninspired by any sympathy with1 or apparently even understanding of1 the peculiar genius of which they were expressions4 ,it is unfortunate1 perhaps1 that the assimilative ,russians1 when they play the sedulous ape1 do so with such polished ease and aplomb4 ,their cleverness amuses1 even if it fails to impress4 ,in sheer theatrical effect this ballet of ,salome is quite dazzling4 ,its bizarre decoration1 and the eccentricity of the action1 capture the eye1 as the music captures the ear1 by sheer audacity of assault4 ,it is only when a conclusion is reached that the whole appears to have been a profitless1 if dazzling diversion4 ,soudeikine's act-drop is beyond my comprehension4 ,so also is the scene upon which it rises--a platform enclosed by giant foliage of formal design4 ,much exuberance is suggested1 but exuberance of what is not so clear4 ,in the middle of the stage is a tall column1 upon the top of which an object1 presumably the ,baptist's head1 is dimly seen4 ,behind stands a curious pyramidal staircase4 ,eight negro slaves are discovered grouped about the column and its grim burden4 ,their woolly pates are white1 white ostrich plumes are girt about their middles1 and round their ankles are clasped what look suspiciously like white spats4 ,the limelight streaming on their naked bodies imparts a greenish tinge to the brown flesh1 and gives them quite as nasty an appearance as one supposes their designers intended4 ,to strident music which one feels sure must be expressive of hectic passion and horror1 the green and white negroes posture ,illustration and run about the stage4 ,their antics are engaging1 and expressive of just whatever the spectator chooses to think4 ,they are joined presently by four executioners who would do credit to any professional dreamer of nightmares4 ,like the negroes1 these also have spats on their bare legs4 ,they wear very little else1 but carry large swords which obviously are meant for dark and bloody deeds4 ,they are tall and lank1 frightfully grim1 and thoroughly sinister4 ,and the business-like manner in which1 having divested themselves of the awful weapons of their office1 and completely eclipsed the efforts of the negroes in the game of ,here-we-go-round-the-,baptist's-head1 they assume attitudes of terror-striking unexpectedness1 indicates a praiseworthy determination to uphold the ghastliest traditions of their high calling4 ,the music now1 with relentless importunacy1 insists upon an impending climax4 ,negroes and executioners fall beautifully into place1 a portion of the blackcloth drops swiftly1 and ,salome is seen standing on the top of the staircase-pedestal before a dim background of blue and mysterious starlit depth4 ,she is shrouded in the voluminous folds of an immense cloak1 and at first sight might be taken1 as a witty observer remarked1 for ,mrs4 ,grundy come to put a stop to the proceedings4 ,having got this climax over1 the music is now breathing more easily1 and ,salome slowly comes down the staircase4 ,it is seen that the robe with which she is covered has an immense train--black with glittering embroidery of gold4 ,as she descends the steps the train drags magnificently behind her4 ,one suffers an uncomfortable anxiety lest it should topple down before its time and sweep its hapless wearer off her feet4 ,but ,,mm4 ,soudeikine and ,romanov have seen to this1 and it is not until ,salome has reached the stage1 and is already advancing across it1 that the enormous garment1 with proper effect1 comes flashingly tumbling after4 ,illustration ,salome with her grotesque retinue circles in solemn procession round the central column1 and the train makes the most of its opportunities4 ,then the negroes leap forward1 fastenings are loosened1 and as the robe falls into her attendants' outstretched arms1 ,salome steps forward for the dance4 ,regard ,beardsley's drawings as fashion plates1 and the reader will arrive at a very fair idea of ,karsavina's appearance as ,salome4 ,her costume is exiguous--even allowing for the lace-edged undergarment which appears round one thigh but not round the other4 ,her legs and arms are bare1 but with a blood red heart and other devices stencilled on them4 ,a high head-dress surmounts the tiny ,illustration face of one of ,beardsley's women1 with blue smudges for eyes and wee vermilion lips4 ,of ,karsavina's dance1 in the character of ,salome1 it is quite impossible to write with any detail4 ,it is devised in the same pseudo-macabre spirit as the rest of the ballet1 and is more remarkable as a feat of acrobatic agility and physical endurance than as an artistic performance4 ,one is told that the dance is 8at first frantic and insane2 then more proud and sorrowful1 more remote and ecstatic4 ,it is the expression and avowal of her sensual torment and of her atonement through the very misery of her unassuageable desire40 ,well1 maybe it is all that3 perhaps something more1 perhaps a very great deal less4 ,for myself1 ,i should have been interested to learn at what point the insanity died down and pride and sorrow took its place4 ,of ecstasy ,i could find no real suggestion1 though the counterfeit was plausible2 and the only remoteness was when the dance unexpectedly ended and the curtain came down4 8,la ,tragdie de ,salome0 might serve1 in company of those other productions with which it was classed at the outset of these notes1 as an answer to the question1 ,when is a ballet not a ballet8 ,in all these latter performances which the ,russians have staged1 they appear not only to misconceive the functions of ballet1 but to overlook its limitations4 ,this is the more remarkable since in the earlier productions those limitations were plainly recognised1 and the restraint which every art exacts scrupulously observed4 ,there is now a lack of perspective1 which one suspects to be the result of the dancer turned ballet-master4 ,a journalist may write brilliantly1 yet be quite incapable of editing a paper4 ,the sooner the controlling influence of ,michel ,fokine is restored to the ,russian ,ballet the better4 ,otherwise there seems imminent danger that so much fertility will merely run to seed4 ,illustration ,,le ,,lac ,,des ,,cygnes4 ,,pantomime ,,ballet ,,by ,m4 ,,tchaikovsky4 ,,music ,,by ,p4 ,,tchaikovsky4 ,,dances ,,and ,,scenes ,,by ,m4 ,,petipa4 ,,scenery ,,and ,,costumes ,,by ,c4 ,,korovin ,,and ,a4 ,,golovin4 ,the outstanding feature of 8,le ,lac des ,cygnes0 is undoubtedly the music of ,tchaikovsky1 which is worthy of something better4 ,for this is a ballet which falls within the same category as 8,le ,pavillon d',armide10 a survival of the formality of an earlier day4 ,it has a story1 and a good one2 it is not1 indeed1 without dramatic passages2 but mainly the ballet is a mere background for a number of isolated dances having little bearing on the real action4 ,the 8fairy tale0 which forms its subject has been treated much as the classic tragedies1 one imagines1 were treated by ,noverre towards the end of the eighteenth century4 ,the dances are imposed upon it1 rather than made the means of unfolding it4 ,as a result 8,le ,lac des ,cygnes10 regarded in its entirety1 falls short of the level achieved in such a ballet as 8,l',oiseau de ,feu10 though in the matter of subject it has many points of familiarity with the latter4 ,it lacks proportion3 the drama is nugatory1 and the spectator retains in memory rather a succession of dances1 graceful1 lively1 and astonishing1 than an impression of a coherent and progressive whole4 ,this is the more to be regretted since the music1 when occasion serves1 is splendidly dramatic4 ,the occasions are only few1 however1 the real purpose of the story being to provide1 as in 8,le ,pavillon d',armide10 a court scene which can be made the appropriate setting of a series of dances4 ,certainly the poses of ,karsavina and the ladies of the corps de ballet in their guise as swans of the enchanted lake1 in the opening scene1 and the astounding performance of ,nijinsky in the court episode1 go far to compensate the loss of unity1 but such dramatic moments as do occur make the mostly protracted action seem very nearly tedious4 ,incidentally the ballet presents ,nijinsky in the kind of rle more definitely associated with ,adolf ,bolm1 and it is interesting to note the emphasis which it lays upon the essential difference between the two artists4 ,bolm is an actor who can dance when occasion demands2 ,nijinsky1 a dancer who seems almost ill at ease when constrained to limit his movements to the actor's pedestrian paces4 ,one would prefer to see the part of the ,prince taken by ,bolm1 and an excuse found 7as in 8,le ,pavillon d',armide07 for ,nijinsky's appearance1 in his true function as dancer1 in the court scene4 ,the lake to which the title of the ballet refers is an enchanted mere1 beside which a number of swans dance nightly by the light of the moon1 in the semblance of young girls4 ,the birds are the victims of the evil sorcery of a wicked genie of the place1 from whose clutches they are powerless to escape4 ,the opening scene discloses the wooded margin of the lake1 the shining surface of which stretches before the eye to a dim further shore4 ,the swans are seen upon the water1 and while the orchestral prelude is in progress1 they pass slowly across the gap in the trees1 through which the shimmering lake is visible4 ,at their head1 more stately than her fellows1 and distinguished by the tiny crown upon her head1 swims the ,queen ,swan4 ,the birds vanish4 ,the ripples of their passage subside4 ,moonlight floods the still lake and its wooded bank4 ,there enters a young man1 armed for the chase1 whose dress and mien proclaim him noble4 ,retainers follow him4 ,they cast searching glances around1 and scan the placid surface of the lake4 ,but whatever it is they seek eludes their vigilance4 ,a second young man joins them--the ,prince of the realm--who has been benighted in the course of a hunting expedition4 ,he1 too1 looks eagerly about him1 but is no more successful in his quest than the companion who preceded him4 ,they take counsel together1 and in the very midst of their conference are startled by a distant apparition4 ,they peer anxiously into the heart of the wood which fringes the lake's edge1 and obedient to the ,prince's order1 all retire stealthily into hiding4 ,the ,prince himself1 cross-bow in hand1 follows his men4 ,a moment later there enters a young maiden4 ,she is fair to look upon1 with a beauty that has a fatal quality of fascination4 ,she is indeed the ,queen ,swan1 wearing her temporary human guise1 and only to be associated with her true form by the fillet of swan's-down in her dark hair1 and the snowy plumage with which her dress is adorned4 ,this is the mysterious apparition which the ,prince and his men have seen1 lost1 and now again discovered4 ,lightly the fair creature flits across the glade1 and as she nears the spot where he lies concealed1 the ,prince starts forth and confronts her4 ,the ,queen ,swan would fly1 but is held back4 ,the ,prince1 already a willing victim to his captive's beauty1 would fain have the mystery of her appearance explained4 ,who is she8 ,what does she here1 and at this hour8 ,reluctant at first to confess her true nature1 the ,queen ,swan yields to the passionate emotion which she1 too1 feels stirring within her1 and relates a part1 at least1 of her strange history4 ,she tells of the machinations of the evil genie by whose enchantment she and all her companions are bound1 of their alternation between human guise and that of birds4 ,the prince listens in horror1 jumping too readily to the conclusion that his captive is a maiden doomed to periodic metamorphosis into the semblance of a swan1 rather than a bird permitted now and again to assume a human shape4 ,at mention of the ogre by whose spells this strange tyranny is maintained1 he fingers his weapons menacingly1 eager for an opportunity to attempt deliverance4 ,such a chance presents itself with startling suddenness4 ,in the midst of her narration the ,queen ,swan clutches her captor's arm1 and points upward into the trees4 ,peering down upon them1 from a branch overhead1 is some strange object1 only half visible amidst the foliage4 ,the ,prince seizes his cross-bow and makes as if to shoot4 ,but ere he can be sure of his aim1 the apparition moves stealthily1 and is gone4 ,the young man lowers his weapon and turns to expostulate with his captive4 ,again the colloquy is interrupted1 this time by the invasion of a grim1 gaunt monster1 which silently regards them from a mound upon which it has suddenly emerged4 ,again the ,prince seizes his bow and strives to launch a bolt at the intruder4 ,but he is powerless to release the trigger4 ,the genie's magic paralyses him4 ,the monster recedes unharmed into the woody depths1 and the ,prince1 perturbed by this discovery of unseen influences encompassing him1 impetuously urges his captive from the scene4 ,hardly has the ,queen ,swan fled when her companions enter--a score of maidens in similar attire1 scarcely less fair than their leader4 ,as is their nightly practice1 they dance in the moonlit glade1 but have scarce begun when the ,prince's friend1 followed by the huntsmen and attendants1 break in upon these mystic revels4 ,the swan-maidens1 frightened1 fly to one another for mutual protection1 while the intruders1 scarce knowing what to make of such unexpected objects of the chase1 finger their weapons hesitatingly4 ,some1 indeed1 are fitting bolts to the cross-bows1 but the hasty return of the ,prince1 who bids them stay their hands1 prevents the wanton slaughter4 ,even as he gives his orders1 two more swan-maidens join their frightened sisters1 and with them comes the ,queen ,swan herself1 who has sped the ,prince from her side to avert the threatened disaster1 and now comes herself to lead the petition for mercy which the hapless maidens pleadingly urge4 ,the ,prince needs little persuasion to grant the boon1 and the swan-maidens resume their dancing before the enraptured eyes of the ,prince and his friend4 ,in the midst of her companions the ,queen ,swan1 unchallenged in the supremacy of her charms1 completes the fascination she has already exercised upon the too susceptible ,prince4 ,with infatuated gaze he hangs upon her every movement1 drinking in her beauty1 the grace of her dancing1 the elegance of her form4 ,every moment that she pauses1 while her companions continue the movement of the dance1 he woos her passionately1 urging his suit with an eagerness that increases as the reluctance which she strives to maintain appears to give way4 ,the throbbing valse rhythm of the music hurries the young man's hectic passion to a climax4 ,inspired by the ardour which the ,prince's impetuous wooing kindles in her1 the ,queen of the ,swan-maidens surpasses herself in a dance which turns passion into ecstasy4 ,she abandons herself to her lover's arms4 ,but at this fateful moment the dreaded hour has struck4 ,the swan-maidens are seized with nervous apprehension4 ,they beckon their ,queen1 and as they see her recalled to her surroundings1 hurry timidly away4 ,the huntsmen watch them go1 too much surprised by this sudden flight to attempt to intercept it4 ,not so the ,prince4 ,as the ,queen ,swan strives to release herself from his embrace1 he seeks to detain her4 ,reluctant to go1 yet fearful to stay1 she persists in the effort to disengage herself4 ,ardently the ,prince implores her to remain1 but just as he would enforce the entreaty by strength she slips from his grasp and gains the bank that leads into the wood4 ,her lover would dash forward and restrain her1 but she motions him back1 waves a tender farewell1 and is gone from his sight4 ,mystified1 the ,prince and his men peer wonderingly across the enchanted mere4 ,and as they look there glides across their vision a number of snow-white swans1 swimming in stately procession toward the further shore4 ,in advance of the rest moves one1 which bears upon its head1 so delicately poised on the slender sinuous neck1 a golden crown4 ,upon the agonised ,prince and his astounded retinue1 watching in silence this strange portent1 the curtain swiftly falls4 99 99 99 99 99 ,one sees next an apartment in the royal palace1 where festivities are in progress1 to celebrate the coming nuptials of the ,prince with the heiress of a neighbouring realm4 ,to the gay music of a festal march1 the royal guests are marshalled to their appointed places by a master of ceremonies2 there are stately greetings1 and a formal interchange of courtesies4 ,the ,prince enters presently1 accompanied by the ,queen-mother1 whom he escorts to the seat of honour4 ,his betrothed has then to be greeted and similarly handed to her place4 ,these ceremonies the ,prince duly observes1 but with a formality of manner which indicates that his attention is perfunctory4 ,he seems moody and abstracted1 and when presently he seats himself beside the ,queen-mother1 the dances which begin fail to arouse in him more than a listless interest4 ,the first of these dances--a valse performed by eight couples--is scarcely ended when there is a stir at one of the entrances to the hall4 ,from the press of courtiers the master of ceremonies emerges1 ushering forward a tall man of sinister aspect1 richly but strangely attired1 who leads by the hand a fair lady4 ,the ,prince rises to welcome the strangers4 ,courtesies having been exchanged1 the ,prince raises his eyes--and finds himself looking into the face of the ,swan-maiden to whom he lost his heart so lately4 ,he cannot restrain a movement of surprise--the sudden embodiment of his very thoughts seems beyond credence4 ,but the recognition1 as he perceives1 is mutual2 the fair stranger1 as she suffers her forbidding escort to draw her aside1 displays not less agitation than he4 ,deep in perplexity the ,prince resumes his seat4 ,the master of ceremonies signs for the festivities to proceed1 but neither a dashing czardas1 nor the brilliant mazurka which follows1 can distract the ,prince from the anxious meditation into which he is plunged4 ,only when the beautiful stranger is again led forward does he shake off his abstraction4 ,eagerly he offers attendance upon her while she performs a pas seul before the court4 ,standing unobtrusively at one side1 the evil genie 7for the ,queen ,swan's escort is1 of course1 none other7 watches from beneath his disguise the consummation of his wicked plan4 ,with every attention that opportunity allows him to offer to the stranger1 the ,prince's newly-fanned passion burns more ardently4 ,and as with him1 so with the luckless ,swan-maiden4 ,the dance but serves to melt the last icicle of her discretion1 and when the ,prince1 remembering suddenly their situation1 conscious of the gaze of all the court1 would leave her and regain the composure he has lost1 she holds and allures him with a beseeching look and gesture that is beyond resistance4 ,only when the dance is ended1 and the ,swan-maiden1 herself awakening momentarily from her all but trance1 retires hastily from the apartment1 does the ,prince resume command of himself4 ,the eyes of the courtiers are turned upon him expectantly1 for the ,prince himself is an accomplished dancer1 and the moment has arrived when he should entertain the company with his skill4 ,fired by the ardour suppressed within him1 he launches himself into a pas seul which astounds by its vigorous grace1 measured agility1 and brilliant daring of execution4 ,at the very climax of his performance the beautiful stranger re-enters4 ,obedient to the ,prince's entreaty she dances once again2 then joins him in the crowning intoxication of a pas de deux4 ,as the infatuated pair thus yield to each other's embrace an uneasy stir runs through the watching ring of courtiers4 ,the ,queen-mother is perturbed1 the ,prince's betrothed is wrath to be thus publicly slighted4 ,the climax is reached when the lovers1 oblivious of all1 abandon themselves to an impassioned kiss4 ,the ,prince's mother starts indignantly from her seat1 and plucks him by the sleeve2 at the same moment the ,swan-maiden's grim escort strides forward and snatches her from her lover's embrace4 ,in vain the ,queen-mother urges her son to recollect the duty he owes to his estate1 in vain his betrothed demands reparation for the affront she has suffered4 ,the ,prince has no thought save for the object of his passion1 and is convulsed by overpowering emotion4 ,not less is the agony of the fair stranger1 who struggles helplessly in the genie's evil clutch4 ,consternation seizes the courtiers1 which is increased as the lights are suddenly dimmed4 ,in the confusion that ensues1 the genie throws the now fainting figure of the ,swan-maiden upon his shoulder1 and carries her off4 ,the ,prince1 seeing his beloved thus torn away1 is nearly bereft of reason1 but recovering himself with violent effort dashes madly through the press in hot pursuit4 99 99 99 99 99 ,the scene changes to the dim night-enshrouded margin of the lake4 ,with furious haste the genie enters1 dragging relentlessly behind him the drooping figure of the ,swan-maiden4 ,piteously she sinks upon the bank1 as the wicked tyrant urges her onward4 ,she turns a last entreating look backward1 and at that very moment the flying figure of the ,prince appears4 ,he falls upon his knees before her and seeks to hold her with his hands4 ,but the genie redoubles his force3 the hapless ,swan-maiden is wrenched from her lover's grasp1 and borne out of sight4 ,the despairing ,prince bows his head in mute and helpless agony4 ,and while he yet kneels there1 a white swan glides serenely across the surface of the lake4 ,the prince sees it1 and a dreadful thought clutches his heart4 ,as the swan nears him he looks again--and lo1 about its head1 so delicately poised on the slender sinuous neck1 is a golden crown6 ,the young man staggers and falls dead4 ,smoothly the ,queen ,swan urges her placid way across the shining surface of the lake4 ,illustration ,,anna ,,pavlova4 ,nothing can well be written about the ,russian ,ballet without some mention of ,pavlova4 ,for though that great dancer has not been associated with the troupe to whose performances the foregoing pages have been devoted1 it is largely to her art that ,london owes the revived interest in ballet which paved the way for these later spectacles4 ,much has been written in adulation of ,pavlova4 ,comparisons and metaphors have been well-nigh exhausted in enthusiastic attempts to convey a full appreciation of her dancing1 and the result has sometimes been ridiculous4 ,this is almost inevitable1 however1 for if ,pavlova's praises are to be sung at all1 it must be in a word or else redundantly4 ,art so nearly perfect as hers permits of no analysis1 and stultifies all efforts at exposition4 ,so it happens that with ,pavlova one can but state a bare opinion1 and leave her art to speak for itself4 ,mere description is impossible1 since her method is subjective rather than objective4 ,london has had no opportunity of seeing her take part in a concerted ballet1 at least of that dramatic type in which the art of the performers is subservient to the action in which they are involved2 and the individual dances in which she is chiefly seen are to be regarded not so much as occasions for impersonation as opportunities and means of self-expression4 ,as already has been said of ,nijinsky1 the art of ,pavlova is something more than merely imitative2 it is creative1 her genius acting upon1 shaping1 and impressing with the stamp of her own individuality the material selected4 ,there is a close analogy between her method and that of the composer of music4 ,saint-,sans1 for example1 in 8,le ,cygne10 and ,pavlova in the dance which she has devised for the accompaniment of that composition1 have both taken the curved and undulating grace of the swan for motif4 ,adorning1 amplifying1 and elaborating this initial theme1 the dancer has achieved a result which in its complex beauty1 yet fundamental simplicity1 is an exact parallel with the composer's4 ,doubtless a matre de ballet might have phrases at command which would convey1 to the initiate at least1 the bare sequence of poses and movements1 as one musician could recount to another the main features of a composition4 ,in neither case1 however1 would the hearer glean more than the merest rudiments2 with the dance as with music1 direct contact alone is of avail4 ,even a literary artist would encounter limitations as severe as those which beset the painter1 who can show 7witness ,john ,lavery's 8,le ,mort du ,cygne07 but a single moment of a single phase in a thing of prolonged and continuous beauty4 ,in such a performance as this1 ,pavlova touches great heights4 ,she is less happy when she indulges in some of those 8interpretations0 of music which of late years have become so fashionable4 ,how1 indeed1 can the dancer's art be expected to interpret music which was never written for the dance8 ,it is as idle as the similar attempt so often made by the painter4 ,one work of art may provide inspiration for another1 but we cannot consider them simultaneously since they will not be in the same plane4 ,to watch the dance1 or rather series of poses1 by which ,pavlova 8interprets10 let us say1 ,rubinstein's 8,la ,nuit10 is to delight the eye with an exhibition of rare grace4 ,but only a very assimilative and accommodating mind will imagine that the composer's intention has been made any clearer to him thereby--and probably it will ,illustration imagine quite erroneously4 ,the critical mind receives no convincing impression of unity4 ,in the case of 8,le ,cygne10 ,pavlova is not interpreting ,saint ,sans4 ,musician and dancer have taken the same theme for treatment in their different ways1 and the welding of their separate efforts is the legitimate art of the ballet4 ,it may be said1 perhaps1 that this is the manner in which the so-called interpretations1 to which objection has been made1 have been evolved4 ,but this is to ignore the distinction between so definite a theme as the graceful movements of a swan1 known and accepted by all men1 and such an abstraction as ,night1 of which the conception must be arbitrary1 and for that reason probably different from the one upon which the musician1 nominally interpreted1 has proceeded4 ,pavlova is at her best 7inevitably7 when limited to the true functions of her art4 ,as with ,nijinsky1 the dance is her proper medium of expression1 though perhaps not so wholly4 ,in some of her performances she displays a facile power of extrinsic gesture suggestive of qualities as mime which whet the desire to see her in dramatic ballet4 ,the distribution of her favours betwixt ,pierrot and ,harlequin1 her jealous partners when she dances1 as ,columbine1 in ,drigo's 8,pas de ,trois10 is inspired by coquetry as frivolous and mirthful as the airy gaiety which her nimble feet express4 ,in 8,l',automne ,bacchanale0 there is a passion and a fervour which owe something to the actress' art as well as to the dancer's4 ,it may seem idle to attempt a discrimination between two things so nearly identical1 but seeing the view so commonly held in this country of dancing--that it consists merely of the rhythmic movement of the limbs according to certain arbitrary rules1 the greatest of dancers being no more than the exponent of a perfect technique--it is perhaps worth while to lay stress upon the part which temperament must play4 ,possibly 8,l',automne ,bacchanale0 is not the best illustration to cite of the dancer's conscious art2 no one of the least susceptibility1 it may be supposed1 certainly not ,pavlova1 could fail to respond to ,glazounov's tempestuous music4 ,who has been spectator of that brilliant episode that did not feel his pulses quicken1 and thrilling through his veins an echo1 however faint1 of the pan of youth and love and joy8 ,pavlova at all events1 if not her compatriots1 has been able to recapture something of the old ,greek ardour4 ,but ,pavlova's sheer grace can never fail of appreciation4 ,it would be an egregious philistine who could find her1 even in most conventional and academic vein1 other than a delight to the eye4 ,her superb mastery of technique1 if nothing else1 must command his admiration4 ,but it is her distinction that she delights not merely the eye1 but the intelligence2 behind all that she does is the artist's instinct of selection and co-ordination4 ,other dancers one has seen who moved prettily1 took graceful poses1 displayed a nice appreciation of rhythm--yet showed themselves no more than elegant dabblers1 failing to achieve the unity which proceeds alone from a true artistic impulse4 ,pavlova does nothing meaningless4 ,her least step is full of intention1 and an intention made convincingly apparent4 ,it may be the lightest1 airiest conceit--a butterfly's capricious hovering1 for example1 so daintily suggested in 8,les ,papillons10 or the roguish mirth she reads into the well-known pizzicato passage of the 8,sylvia0 ballet music--but her art can make where a touch less sensitive would mar4 ,but in such a case as this it is idle to attempt description1 and comparisons are equally futile4 ,one must be content with a single word of highest praise1 and say that ,pavlova1 like every true artist1 is unique4