he does in a dance whose frenzied pathos supplies, oddly enough, the most purely human touch in the entire Russian repertoire. It is Nijinsky's chance, and he makes the most of it, For the rest of the mimic drama is largely independent of his genius. Which reminds one of the fact that although nobody can dominate a scene like Nijinsky, he is capable at the same time of the most exquisite self-restraint. Thus his Pétrouchka is never out of the picture by the least breadth of a hair; and if there were any need to accord individual honours they would fall perhaps as reasonably to Karsavina, for her lovely horn-dance is one of the most memorable things in this ballet.
Pétrouchka however, from beginning to end, is full of a beauty as surprising as it is diverse. We have a matchless scene of pure pantomimic acting. The
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