NIJINSKY
dalliance between a young man and two young girls. It is flirtation in the abstract, the essence of delightful adolescence, clothed in the garments of to-day, but equally true of yesterday, to-morrow, or the day after.
For all its exquisiteness, there is in Jeux, however, a certain experimental feeling which marks it still as the work of a period of transition. Now and then Nijinsky seems to relapse into a pose that is derived from an earlier convention, and once or twice we find a repetition of attitude which the action does not require. It is lucky for our present purpose that there is yet another production which shows Nijinsky's method in its fullest power, exercised without restraint or hesitancy and upon a theme exactly suited to its peculiar manner.
Le Sacre du Printemps raises so many
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