vantage, and on the stage, at least, there was something recherché about her. Yet, there was also something gross about her, too.
Accompanying her was a nervous-looking fellow whose washed-out face was particularly unattractive. It seemed as if the bone in his nose was going, due to the shrinkage of the blood-vessels. Once, just before the dance began, I saw him rub something on the back of his hand, raise it to his nose, and sniff. Then he took a sip of a liqueur.
The dance began, wild from the first step, and as it developed, Kennedy leaned over and whispered, "The danse des Apaches."
It was acrobatic. The man expressed brutish passion and jealousy; the woman, affection and fear. It seemed to tell a story—the struggle of love, the love of the woman against the brutal instincts of the thug, her lover. She was terrified as well as fascinated by him in his mad temper and tremendous superhuman strength. I wondered if the dance portrayed the fact.
The music was a popular air with many rapid changes, but through all there was a constant rhythm which accorded well with the abandon of the swaying dance. Indeed, I could think of nothing so much as of Bill Sykes and Nancy as I watched these two.
It was the fight of two frenzied young animals. He would approach stealthily, seize her, and whirl her about, lifting her to his shoulder. She was agile, docile, and fearful. He untied a scarf and passed it about her; she leaned against it, and they whirled giddily about. Suddenly, it seemed that he became jealous. She would run; he follow and catch her. She
