Beauty of yet another order there was in an exhibition which was called a dance, perhaps because there was no other word for it, but which demanded no skill with the feet and which necessitated rather strength in the arms. This was the luminous dance of Miss Loie Fuller, when she swirled voluminous and prolonged draperies in lights that came from above and from below, and from both sides--lights that changed by exquisite gradations from one tint to another, the figure of the dancer spinning around, now slowly and now swiftly, while her arms weaved fantastic circles in the air, revealing unexpected combinations of color, controlled by perfect taste. This may not have been dancing, by any strict definition of the word, but it was decorative, artistic, imaginative, and inexpressibly beautiful. It supplied a glimpse of unsuspected delight; and probably Terpsichore would not disdain to claim it for her own, however vigorously she might repel the suggestion that she had any responsibility for the violence of the toe-dances, for the vulgarity of the pony ballet, or for the ungainly caperings which pretend to recapture the free movements of the Greeks. (1910-1915) XI THE PRINCIPLES OF PANTOMIME THE PRINCIPLES OF PANTOMIME I In his suggestive study of ancient and modern drama, M. Émile Faguet dwells on the fact that the drama is the only one of the arts which can employ to advantage the aid of all the other arts. The muses of tragedy and comedy can borrow narrative from the muse of epic poetry and song from the muse of lyric poetry. They can avail themselves of oratory, music, and dancing. They can profit by the assistance of the architect, the sculptor, and the painter. They can draw on the co-operation of all the other arts without ceasing to be themselves and without losing any of their essential qualities. This was seen clearly by Wagner, who insisted that his music-dramas were really the art-work of the future, in that they were the result of a combination of all the arts. Quite possibly the Greeks had the same idea, since Athenian tragedy has many points of similarity to Wagner's music-drama; it had epic passages and a lyric chorus set to music; it called for stately dancing against an architectural background. But altho the muses of the drama may invoke the help of their seven sisters, they need not make this appeal unless they choose. They can give their performances on a bare platform, or in the open air, and thus get along without painting and architecture. They can disdain the support of song and dance and music. They can concentrate all their effort upon themselves and provide a play which is a play and nothing else. And this is what Ibsen has done in his somber social-dramas. 'Ghosts,' for example, is independent of anything extraneous to the drama. It is a play, only a play, and nothing more than a play.