Mrs. Hurok and I finally succeeded in dissuading her from her avowed intention, and in convincing her that a great future for her lay in the United States. From the Ballet Russe de Monte Carlo she came to Ballet Theatre, where, under my management, she co-starred with Dolin. Her roles with that company as guest star which I arranged and paid for, together with almost one-half of her salary at other times, for Lucia Chase did not take kindly to Alicia Markova as a member of Ballet Theatre, and the American tour of the Markova-Dolin company, all of these I have dealt with at length. During one of the seasons of the London Festival Ballet, which was organized by Dolin for the two of them, the team came to a parting of the ways. Like so many associations of this kind, the break could have been the result of any one or more of a combination of causes. One who is sincerely interested in both of them, expresses the hope that it may be only a passing difference. Yet, pursuing a course I follow in the domestic lives of my personal friends, I apply it to the artistic lives of these two, and leave it to them to work out their joint and several destinies. There are limits beyond which even a loyal and fond manager may not go with impunity. One of the greatest _ballerinas_ of our own or any other time, I cannot say that Markova’s triumphs have not altered her. To be sure, although she still has a manner that is sometimes reserved, outwardly timid, I nevertheless happen to know that behind it all lurks a determined, stubborn, and sometimes downright blind willfulness, coupled with a good deal of unreasonability. It was not for nothing that she earned from Leonide Massine the sobriquet of “Chinese Torture”--as Massine used to put it, “like small drops of water constantly falling on the head.” As a dancer, Markova is in the straight and direct classical line, as Michel Fokine once observed to me, while watching her Giselle.