An entirely different dance is the _Kasatchy_, danced by a man and a woman at the same time. This is more a man’s than a woman’s dance. He selects his partner and proceeds to execute a series of seductive motions around her, while she demurely hangs her head, refusing for a while to be seduced by his allurements. At length she thaws and begins to sway in harmony with his manly but graceful movement. Now they bend and bow together, and swerve from side to side, the while performing a multitude of gestures depicting timidity and embarrassment, till finally from shy, half-tearful expression of love and flirting glances they proceed with gay eyes expressive of the most burning devotion. Now the dance waxes fierce and fast, in and out they circle, turn and twist, ever now and then reverting to that crouching posture, so commonly seen in the Russian folk-dances. Finally they meet in close embrace and whirl with incredible rapidity round and round, till thoroughly out of breath and dizzy from their effort, they sink exhausted on a friendly bench. The _Kamarienskaya_ is a bride’s dance, in which the girl symbolizes all the imaginary bliss and happiness of her future married life. In the first part, which consists of a soft _legato_, she dances dreamily but dramatically, using conspicuously every muscle of her body and her arms to express the imagined love motions that she will perform in meeting her beloved. Thus the pantomime continues on to the blissful moment of meeting, which she performs like a whirlwind, until, unexpectedly stopping, she ends the dance with a slightly disappointed, humorous expression. Since our space is limited, the writer must refrain from more detailed and further description of the previously mentioned types of the Russian folk-dances. He need only repeat that they surpass by far the folk-dances of all the rest of the world, in that they are so much more racial, so rich in plastic lines, and so perfect in their artistic appeal; it seems as if a remarkable genius had presided over their invention and execution. They are masterfully original from the beginning and continually furnish new ideals of choreographic beauty. They draw their inspiration from some rich fountain unknown to the Occidentals. They are too fresh, vigorous and alive to be perverse.