In questions pertaining to her dancing Pavlova has been broad and tolerant, and has listened quietly to every eulogistic or critical remark. She has not remained indifferent to the latest choreographic movements but has adapted herself to many suggestions, particularly to those of the movement of the naturalistic school of Isadora Duncan. In spite of the growing influence of the revolutionary new ballet of the Fokine-Diaghileff group, and while keeping in view the changing taste and requirements of the public, Pavlova should, we believe, guard against too great a compromise. She surpasses in her magic swiftness, delicacy, bird-like agility, floating grace and lyric pirouettes all her living rivals. One can see that she has tuned her body to the most delicate _pianissimi_ and the most powerful _forti_. But when she attempts to use her arms too conspicuously, or produce Greek poses, she is a disappointing failure. We must admit with an English critic that ‘in Pavlova’s dancing we are no longer aware of the conscious and painful obedience of the body to the dictates of a governing mind. It is as though the spirit itself had left its central citadel and, by some unwonted alchemy becoming dissolved in the blood and fibres of her being, had penetrated to the extremities of the limbs. Soul from body is no longer distinguishable, and which is servant to the other none can tell.’ Mordkin and Volinin stand by no means beyond the dynamic beauty of Pavlova. In their virilly graceful gestures and poses lies something heroic and strong, something beast-like in its beauty. Mordkin perhaps more than Volinin is endowed with a robust, massive and splendid physique, qualities which leave some of his less critical admirers blind to the deficiencies of his art. Both dancers have acquired most of their pliancy and manliness by a course of systematic and rigorous training which gives to their dance an unusual _abandon_ and loftiness. Their dancing has a tendency to give a semblance of repose to their quickest motions. They seem to avoid the conventional whirls and pivots with intention, and to prefer the lion-like leaps and _chassées_. Their reckless swing in _L’Autômne Bacchanale_ is just as much an expression of manly vigor as Pavlova’s _pirouette_ and _rond de jambe_ is one of feminine grace.