Place and knowing not of the Groves of Dionysius and the Temples on the hillsides at Athens—can’t see it. Well. The gods have pity on you and may you be shown joy in the hereafter—God knows your chastity will keep you from it here.” * * * * * LE SPECTRE DE LA ROSE.—Fragmentary concession to those who “loved” _Les Sylphides_ and, botanically speaking, a “shoot” from that ballet and the (unpresented here) _Papillons_ of Schumann. Necessary, no doubt, to remind us of our ballet history and, like historical data, necessary but uninteresting. Bakst’s bedroom setting _does_ justify the presenting of this, however. * * * * * SOLEIL DE NUIT.—M. Leonide Massine—_Youth!_ If you were present at creation’s turmoil perhaps _les Bergers_ would always have been delightful and _les Paysannes_ always happy and colorful—and, of course, we would have had many more serious and glorious Bouffons! The _purity_ of this ballet—color, music (Rimsky-Korsakov), dancing and pantomime—is astounding, and beautiful! * * * * * CLEOPATRE.—_I_ have been to Egypt! All ages have known Cleopatra—her evil and magnificence; and none will forget that she had slaves. No age since hers can know of her allurements and the grandeur of her reign of the souls of two of her slaves as the Russians have shown them to ours! A temple in Egypt: of pillars once believed eternal, along the then sacred Nile. Amoun, one of her slaves, loving and loved by another, Ta-or, craves the caresses of the great Cleopatra! He succeeds: they are granted midst colorful revels, music made by Assyrians and dancing by dancers from Greece. The moment is too short ... he pays for it with his life. The revelers leave, and none in their indifference so cold as the Queen herself. In the thickness of a red evening, the hall deserted, one heart still beats. Ta-or grieves over her lost love—alone. I have been to Egypt ... learned the ways of women—and the world! * * * * *