THE NEW PHASE
ment of its early manifestation. For the sake of such a theme one can surely spare a little of that gracefulness which in other Russian ballets is lavished so generously.
As for the theme itself, we may admit that it is a strange and novel one, and that by making use of it Nijinsky seems to be claiming that a fresh range of subject should be opened up, or rather reopened, for the dance. But this implies, not a destruction of what has been valued in the past and will go on being valuable, but a gradual evolution towards a new expressiveness and a new technique. Strange things are bound to happen. Yet if reason and courage are behind them, why should we be afraid? Prettiness is very well in its way, but life is greater, and truth greater still. And in this truth—this reality which is the gleam that for
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