dancing? The Russians have done much to show us that it is something more than sauterie, although they can sauter, or leap, with the best. As an actress I salute dancers with the reverence of a man for his ancestors. The dancer is certainly the parent of my own art, but he has other children. All arts, of which the special attribute is movement, descend from the dancer. The Greek word "chorus" means dance, and the Greek choruses were originally dances. It can be proved that dancing movements formed the first metres of true poetry. Why do we speak of "feet" if not because the feet of the body used to mark the rhythm of inspired utterance?

Religious Dancing

IT seems strange that the Dance should have almost everywhere degenerated into something base and trivial, while its children, Music and Poetry, in spite of lapses, should have preserved their dignity and beauty. It seems even more strange when we remember that dancing had a religious origin. Among the Jews, as among other peoples, dancing was constantly associated with the ceremonies of faith.

Original

In Christian churches the choir was originally designed as a place in which the chanting of hymns and canticles might be conveniently accompanied by rhythmic movements. On feast days the honor of leading the dance was reserved for the bishop. This is why he was known in those days by the name, of praesul, the is, he who dances first. A bishop as premier danseur! We can hardly believe it now, yet why should we not, seeing that the movements of priest and server at mass have the nature of a solemn dance? And there are places in France and Spain where liturgical dances still exist. The most notable is the dance executed before the altar at Seville in Holy Week. I am afraid that the one that used to take place in the choir of Saint Leonard's at Limoges, where, at the end of each psalm, the people sang instead of the Gloria Patri, "San Marceau, pray for us and we will dance for you," is now extinct.

The Russian Revival

ALL who regard dancing seriously, and there is nothing which should be regarded more seriously than an art that is to give pleasure, must be glad that they have lived in a century which has witnessed a very fine and sincere endeavor to restore the dance to some of its primal nobility. There is much in the results of this endeavor to criticize, there are a few things to deplore, but in any refusal to recognize the magnitude of what has been accomplished, there is probably some pique that it has been the nation which Europe still views as barbarously ingenuous in matters of art which has reformed the ballet on such refined and spiritual lines.

I dislike the word "reformed," however. Reformations are generally tiresome. Transformations are far better! Saint Francis transformed, Luther reformed; and the Russians are with Saint Francis rather than with Luther! To appreciate the change which has come over the Russian Ballet we ought to know a little about its constitution. It is and has always been subsidized by the state. The Russian government supports schools of ballet, where from the age of eight children are given a long and arduous training in the science of dancing, and from which they are drafted into the imperial ballets at St. Petersburg, Moscow and Warsaw. A dancer's first appearance is generally made at the age of sixteen, and at thirty-six his or her career is over. The dancers are then retired on a pension amounting to about one hundred and fifty pounds a year. It is not my intention to give details of this training. They are written in many books by experts. But I should like to say at this point that one of the leading characteristics of the Russian system is the attention given to male dancing.

Male Dancers

HAD the male dancers ever been excluded from the Imperial ballet its fate would have been very different. The men are trained on the "ballon" system, not on that which is known as the "parterre," and it is "ballon" dancing which is one of the most beautiful features of the Russian ballet. After we have watched interminable exercises ingeniously performed "sur les pointes," with what relief have we seen Nijinsky, perhaps the greatest "ballon" dancer who has ever existed, bound on to the stage, rise high in the air, descend slowly and with such art that when he touches the ground he can use it again for a still higher flight.

Original

The presence of men in the ballet has an effect beyond the pleasure afforded by the virile agility of their steps.

Original

It does away with the necessity for those feminine travesties of men, known in our pantomimes as "principal boys," who introduce an element into ballet which at its best makes a disturbing demand on our capacity for illusion, and at its worst is a little degrading. What has made the Male Dancers word "ballet" a sort of synonym for vice if it is not the idea that it provides an opportunity for women to attract admirers—not so much on account of their dancing as for the sake of their physical charm? I think that a mixed ballet has the effect of concentrating attention on the art of the dance rather than on the seductiveness of the dancers. And the free and noble plastic of the male dancers in the Russian ballet has influenced the plastic of the women, making it far less sexual and far more beautiful.

Sur les Pointes

I FRANKLY confess that I have a dislike to ordinary dancing on the toes. It may be because in my youth it had degenerated into something so stilted, distorted and unrhythmical that it conflicted with all my ideas of beauty. And when the Russians give some of their older ballets, such as "Giselle," which bears the mark of Italian influence—it was, I think, arranged by an Italian maître de ballet —I feel that all the improvements that the Russians have made in this so-called "classical" dancing cannot uproot my prejudice, although they can, and do, modify it. The Russian ballerinas accomplish the feat of being fluent on their toes. They do not hammer out steps—it is a false notion of rhythm that there is a hammer-stroke on every strong beat—but take a collection of steps, as a singer takes a collection of notes, and calmly and gracefully phrase them, in the manner of a bird beating the air with its wings, rather than that of a blacksmith hammering on his anvil. Still I doubt whether the Russians would have conquered Europe had they come to us merely as revivers of classical dancing before it became mechanical and ugly. They owe this revival to a great extent