In the dance, and there ought to be a word better adapted to the thing, the human body should, despite conventional limitations, express all the sensations or emotions that it experiences. The human body is ready to express, and it would express if it were at liberty to do so, all sensations just as the body of an animal. Ignoring conventions, following only my own instinct, I am able to translate the sensations we have all felt without suspecting that they could be expressed. We all know that in the powerful emotions of joy, sorrow, horror, or despair, the body expresses the emotion it has received from the mind. The mind serves as a medium and causes these sensations to be caught up by the body. In fact, the body responds to these sensations to such an extent sometimes that, especially when the shock is violent, life is suspended or even leaves the body altogether. But natural and violent movements are possible only in the midst of grand or terrible circumstances. They are only occasional motions. To impress an idea I endeavour, by my motions, to cause its birth in the spectator’s mind, to awaken his imagination, that it may be prepared to receive the image. Thus we are able, I do not say to understand, but to feel within ourselves as an impulse an indefinable and wavering force, which urges and dominates us. Well, I can express this force which is indefinable but certain in its impact. I have motion. That means that all the elements of nature may be expressed. Let us take a “_tranche de vie_.” That expresses surprise, deception, contentment, uncertainty, resignation, hope, distress, joy, fatigue, feebleness, and, finally, death. Are not all these sensations, each one in turn, humanity’s lot? And why can not these things be expressed by the dance, guided intelligently, as well as by life itself? Because each life expresses one by one all these emotions. One can express even the religious sensations. Can we not again express the sensations that music arouses in us, either a nocturne of Chopin’s or a sonata of Beethoven’s, a slow movement by Mendelssohn, one of Schumann’s lieder, or even the cadence of lines of poetry? As a matter of fact, motion has been the starting point of all effort at self-expression, and it is faithful to nature. In experiencing one sensation we cannot express another by motions, even when we can do so in words. Since motion and not language is truthful, we have accordingly perverted our powers of comprehension. That is what I have wanted to say and I apologise for having said it at such length, but I felt that it was necessary. VII A JOURNEY TO RUSSIA--A BROKEN CONTRACT Soon after I had made my first appearance at the Folies-Bergère a Russian manager, in accordance with an arrangement with my Parisian manager, M. Marchand, asked to engage me, and I signed with him for St. Petersburg. My engagement was for the following spring.