ing has the unbroken quality of music, the balance of
great painting, the meaning of fine literature, and the emotion inherent
in all these arts. There is something of transmutation in his
performances; he becomes an alembic, transforming movement into a finely
wrought and beautiful work of art. The dancing of Nijinsky is first an
imaginative triumph, and the spectator, perhaps, should not be
interested in further dissection of it, but a more intimate observer
must realize that behind this the effect produced depends on his supreme
command of his muscles. It is not alone the final informing and
magnetized imaginative quality that most other dancers lack; it is also
just this muscular co-ordination. Observe Gavrilow in the piece under
discussion, in which he gives a good imitation of Nijinsky's general
style, and you will see that he is unable to maintain this rhythmic
continuity.

Nijinsky's achievements become all the more remarkable when one
remembers that he is working with an imperfect physical medium. Away
from the scene he is an insignificant figure, short and ineffective in
appearance. Aside from the pert expression of his eyes, he is like a
dozen other young Russians. Put him unintroduced into a drawing-room
with Jacques Copeau, Orchidee, Doris Keane, Bill Haywood, Edna Kenton,
the Baroness de Meyer, Paulet Thevenaz, the Marchesa Casati, Marcel
Duchamp, Cathleen Nesbitt, H. G. Wells, Anna Pavlowa, Rudyard
Chenneviere, Vladimir Rebikow, Henrie Waste, and Isadora Duncan, and he
probably would pass entirely unnoticed. On the stage it may be observed
that the muscles of his legs are overdeveloped and his ankles are too
large; that is, if you are in the mood for picking flaws, which most of
us are not in the presence of Nijinsky in action. Here, however,
stricture halts confounded; his head is set on his shoulders in a manner
to give satisfaction to a great sculptor, and his torso, with its
slender waist line, is quite beautiful. On the stage, Nijinsky makes of
himself what he will. He can look tall or short, magnificent or ugly,
fascinating or repulsive. Like so many interpretative artists, he
remoulds himself for his public appearances. It is under the electric
light in front of the painted canvas that he becomes a personality, and
that personality is governed only by the scenario of the ballet he is
representing.

From the day of Nijinsky's arrival, the ensemble of the Ballet improved;
somewhat of the spontaneit