The dance is life, animal life, having its own way passionately. Part of that natural madness which men were once wise enough to include in religion, it began with the worship of the disturbing deities, the gods of ecstasy, for whom wantonness and wine, and all things in which energy passes into evident excess, were sacred. From the first it has mimed the instincts; but we lose ourselves in the boundless bewilderments of its contradictions. As the dancers dance, under the changing lights, so human, so remote, so desirable, so evasive, coming and going to the sound of a thin heady music which marks the rhythm of their movements like a kind of clinging drapery, they seem to sum up in themselves the appeal of everything in the world that is passing and colored and to be enjoyed. Realizing all humanity to be but a mask of shadows, and this solid world an impromptu stage as temporary as they, it is with a pathetic desire of some last illusion, which shall deceive even ourselves, that we are consumed with this hunger to create, to make something for ourselves, if at least the same shadowy reality as that about us. The art of the ballet awaits us, with its shadowy and real life, its power of letting humanity drift into a rhythm so much of its own, and with ornament so much more generous than its wont. And, as all this is symbolical, a series of living symbols, it can but reach the brain through the eyes, in the visual and imaginative way, so that the ballet concentrates in itself a great deal of the modern ideal in matters of artistic impression. I am avid of impressions and sensations; and in the Russian Ballet at the Coliseum, certainly, there is a new impression of something not easily to be seen elsewhere. I need not repeat that, in art, rhythm means everything. And there can be a kind of rhythm even in scenery, such as one sees on the stage. Convention, even here, as in all plastic art, is founded on natural truth very closely studied. The rose is first learned, in every wrinkle of its petals, petal by petal, before that reality is elaborately departed from, in order that a new, abstract beauty may be formed out of these outlines, all but those outlines being left out. So, in these Russian Ballets, so many of which are founded on ancient legends, those who dance and mime and gesticulate have at once all that is humanity and more than is in humanity. And their place there permits them, without disturbing our critical sense of the probability of things, to seem to assume a superhuman passion; for, in the Art of the Ballet, reality must fade into illusion, and then illusion must return into a kind of unreal reality.