Of her performances at Covent Garden, all were marked by such rare technique and instructed grace that it is difficult to put any one before another; but certainly she never surpassed her achievement in _Le Spectre de la Rose_. Her dancing caught the very spirit of a maiden’s reverie, and nothing could have been more finely imagined than those transitions from languor into quick rushes of darting movement, which illustrate the abrupt and irrational episodes of a troubled dream. She was the very embodiment of faint desire. We felt, as it were, a breath of perfume, and were troubled in spite of ourselves. Moreover, the long partnership between the two performers seemed to have resulted in a very special and intimate harmony. For the most part they simply floated about the stage as though borne upon a common current of emotion. There was a marriage, not only between their bodily movements, but between their spirits, such as I have never noted in the union of any other dancers. In _Scheherazade_ Madame Karsavina proved herself to be the possessor of a dramatic sense which the other ballets had not sufficiently displayed. As the faithless Zobeide, she mimed with astonishing subtlety an inward conflict of warring emotions, fear mingling with desire, rapture giving place to despair. Her gestures were charged with the same passionate significance as those of Ida Rubinstein and Astafieva. [Illustration: ANNA PAVLOVA _Photograph: Dover Street Studios, Ltd._] Both her miming and her dancing were characterised by a certain natural softness of movement, the quality of languor rather than of passion, which was nevertheless consistent with the greatest firmness of outline. While in Paris, Madame Karsavina sketched a comparison of the French and Russian ballets, which indicates her own conception of the art: “Our school is the same. We derive equal inspiration from the great traditions of the dance, bequeathed by Auguste Vestris and Jean-Georges Noverre. Only the French ballet has rested in these traditions, without troubling to renew them. The academic style of the French dancers is the same as that of a century ago. After having carefully studied these traditions and profited by them, we have sought something more. We have wished to present faithful images of the life round about us. Our epoch is finer, depend upon it, than any other. Human emotions have been refined or transformed. The spectacles of former times no longer move us very deeply. I have been to see _Coppelia_ at the Opera. It is good, very good. But _Coppelia_ is quite démodé. Really it is possible to imagine choregraphic arrangements more modern, more closely in touch with life--this fine and various and over-brimming life of to-day.”