The _pas de deux_ is executed by Nijinsky and Karsavina. Nothing could be more graciously conceived than Mme Karsavina’s representation of the girl dancing in her dream. With half-closed eyes she rises slowly from her chair and sways across the room in a kind of swoon, following the gentle guidance of the flower-spirit. Then as her dream becomes more vivid she recovers a little strength and dances of her own motion, but always with a suggestion of unconsciousness, as though less to the music of the orchestra than to some dimly remembered melody of the brain. As in the manner of episodes in a dream, she darts into swift movements, which pass again into languor. For an instant the kiss awakens her, she looks round upon the familiar aspect of her room, then the tired head sinks again upon her breast. It is a very gentle rendering of the mood of recollection and happy, unperturbed trance. In this dream-ballet Nijinsky is a being of amazing agility and grace. He is as light upon the air as a rose petal. He contrives to bring into his dancing something of the gentleness of the moonlit night and the fragrance of the dawn. He shows himself as capable of delicate and almost womanly motion as he is of masculine vivacity and vigour. And when he floats out through the open window back to his rose-garden, he almost persuades one for the moment that he has discovered the secret of human flight. In _Les Sylphides_ the producers have been daring enough to forget to be modern. They have rehabilitated a form of ballet for which a few years ago one would have said there could be no resurrection. The piece has no action, no colour, no idea, almost no sentiment--it is choregraphy pure and simple, as abstract as mathematics. It is described vaguely as a romantic reverie. The romantic note is sounded by the dim backcloth of ruins and moonlight by M. Benois. The score of dancers wear the traditional costume, pure white, the skirt rather long, as Taglioni might have worn it. The piece, however, has no connection with the ballet of a similar name in which Taglioni made her great success. It is an adaptation of various compositions of Chopin, which have been orchestrated by Glazounov and other composers. The orchestral version is less faithful to the original than that of Schumann’s _Carnaval_, but the additions are all in the spirit of the whole. Nijinsky and Karsavina each danced a mazurka, and together in the Valse in C sharp minor they executed a _pas de deux_ that was a perfectly finished artistic achievement. For the finale there was the Valse brillante in E flat, in which the grouping of the dancers displayed the skill of M. Fokine at its highest.