I turn to the Soffici. He finds the philosophy of Futurism in the clown, because the clown’s supreme wisdom is to run counter to common sense. “The universe has no meaning outside the fireworks of phenomena—say the tricks and acts and jokes of the clown. Your problems, your systems, are absurd, dear sirs; all’s one and nothing counts save the sport of the imagination. Let us away with our ergotism, with the lure of reason, let us abandon ourselves entirely to the frenzy of innovations that provoke wonder.” It is this emancipation, adds the Soffici, this artificial creation of a lyric reality independent of the _nexus_ of natural manifestations and appearances, this gay symbolism, that our æsthetic puts forward as the aim for the new artist. Well, we have seen how gay was the symbolism devised by the Marinetti. And how inadequate, how poor in invention. Dancing that has to be eked out by labelled screens and paper hoops and pyramids of stuffs! That is what we get from the new artist. The old artists had a different way; when they had to symbolize, they did it by _dancing_, without extraneous aid. When Karsavina symbolized golf, she required no “property” but a golf-ball. All the rest was the light fantastic toe. When Genée symbolized Cinderella’s kitchen drudgery, she just seized a broom and danced, divinely, with it. But that was before the Marinetti made his grand discovery that music is too nostalgic for dancing purposes and that the one thing needful is organized noise—as organized by Luigi Russolo.... No, it is no use trying; I remain an incorrigible Pastist. HROSWITHA Writing about Hroswitha’s _Callimachus_, as performed by the Art Theatre, I touched upon the unintentionally comic aspect of a tenth-century miracle play to a twentieth-century audience. Naturally this is not an aspect of the matter which recommends itself to a lady who is about to publish a translation of Hroswitha’s plays with a preface by a cardinal, and in a published letter she protests that the fun which the Art Theatre got out of _Callimachus_ was not justified by the text. Let me hasten to acquit the Art Theatre of the misdemeanour attributed to it by Miss Christopher St. John. There was nothing intentionally funny in its performance. The players acted their parts with all possible simplicity and sincerity. The smiling was all on our side of the footlights. But I said that the smile was “reverent,” because of the sacred nature of the subject-matter.