the appreciation of an artistic personality, and you give us irrelevant views on the art of the ballet as a whole!"
The fact is, of course, that it would be absurd to attempt the appreciation of an art like Nijinsky's by any method that excluded some treatment, at least, of the medium in which that art displays itself. This is true, certainly, of the art of every dancer, but in the present case especially so; if only because Nijinsky has chosen to throw in his lot with that movement in the modern theatre which is antagonistic to anything like an undue emphasis on the talent of the individual.
That the whole is greater than the part is a hard precept for mime or dancer who happens to be blessed with personality. The temptation to dominate is strong. But he who will accept and act upon this principle is sure of his reward; for so
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