the old régime. The theory, however, was that art and politics belonged to two separate realms; but great honour would of course be the portion of those artists who would be inspired by the revolution.
Three years' experience, however, have proved the falsity of this doctrine and led to a divorce between art and popular feeling which a sensitive observer cannot fail to remark. It is glaringly apparent in the hitherto most vital of all Russian arts, the theatre. The artists have continued to perform the old classics in tragedy or comedy, and the old-style operette. The theatre programmes have remained the same for the last two years, and, but for the higher standard of artistic performance, might belong to the theatres of Paris or London. As one sits in the theatre, one is so acutely conscious of the discrepancy between the daily life of the audience and that depicted in the play that the latter seems utterly dead and meaningless. To some of the more fiery Communists it appears that a mistake has been made. They complain that _bourgeois_ art is being preserved long after its time, they accuse the artists of showing contempt for their public, of being as untouched by the revolutionary mood as an elderly _bourgeoise_ bewailing the loss of her personal comfort; they would like to see only the revolutionary mood embodied in art, and to achieve
