The primitive and myth-making imagination of the Russians shows a tendency to regard metaphors as real and to share these tendencies with the savage, that is to say with the savagery that is in them, dependent as they are on rudimentary emotions. Other races, too long civilized, have accustomed themselves to the soul, to mystery. Russia, with centuries of savagery behind it, still feels the earth about its roots, and the thirst in it of the primitive animal. It has lost none of its instincts, and it has just discovered the soul. So, in these enigmatical dancers, the men and the women, who emerge before us, across the flaming gulf of the footlights, who emerge as they never did in any ballet created by Wagner, one finds the irresponsibility, the gaiety, the sombreness, of creatures who exist on the stage for their own pleasure and for the pleasure of pleasing us, and in them something large and lyrical, as if the obscure forces of the earth half-awakened had begun to speak. And these live, perhaps, an exasperated life--the life of the spirit and of the senses--as no others do; a life to most people inconceivable; to me, who have traveled in Russia, conceivable. In what is abstract in Russian music there is human blood. It does not plead and implore like Wagner's. It is more somber, less carnal, more feverish, more unsatisfied in the desire of the flesh, more inhuman, than the ballet music in _Parsifal._ Even in that music, though shafts of light sometimes pierce the soul like a sword, there is none of the peace of Bach; it has the unsatisfied desire of a kind of flesh of the spirit. But in Tchaikovsky's music the violins run up and down the scales like acrobats; and he can deform the rhythms of nature with the caprices of half-civilized impulses. In your delight in finding any one so alive, you are inclined to welcome him without reserve, and to forget that a man of genius is not necessarily a great artist, and that, if he is not a great artist, he is not a quite satisfactory man of genius. When I heard his music in _The Enchanted Princess_ I was struck by the contrast of this ballet music with the overture to _Francesca da Rimini_ I had heard years before. The red wind of hell, in which the lovers are afloat, blows and subsides. There is a taste of sulphur in the mouth as it ends, after the screams and spasms. Scrawls of hell-fire rush across the violins into a sharpened agony; above all, not Dante's; always hell-fire, not the souls of unhappy lovers who have loved too well.