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NIJINSKY
by the very convention of pantomime. And this is especially unfortunate when, as here, the whole meaning of the drama is bound up with the integrity of this differentiation.
But, after all, one is inclined to forget such shortcomings if only for the sake of that wonderful episode at the end, where slain Pétrouchka's spirit leans starkly over the wooden parapet of the booth, and sends the wretched showman gibbering off in horror, a tragic and unforgettable embodiment of the ghost of a doll.
London has lately witnessed several attempts, more or less successful, at rendering the Greek spirit on the stage. There have been, for instance, performances of Prof. Murray's translations of Euripides,
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