One of the most stirring things that has come to this office lately is a small journal with the word “Dionysion” on its cover. It is the first volume of a magazine for the furtherance of Isadora Duncan’s work in America, and the committee that has helped make this rather amazing thing possible includes such names as John W. Alexander, Percy MacKaye, Theodore Dreiser, Will Levington Comfort, Max Eastman, Robert Henri, Edith Wynne Mathison, Julia Culp, Witter Bynner, John Drew, Walter Damrosch, and many others. On the first page is Whitman, then Nietzsche on Dionysian Art, and then Robert Henri with a little article on the new education in which he says: “I was tremendously impressed one day in Isadora Duncan’s studio, by the look in the faces of the children. As they passed by me in the dance I saw great dignity, balance, ease. I was impressed, too, throughout the entire time by the fact that they seemed absolutely secure in their happiness. They appeared to know unconsciously that they would receive a full measure of praise and that in no case would there be blame or punishment. In each little upturned face was a rare look of freedom—the look of people on a higher plane of self-consciousness, an aloofness from the common thought. I saw in their expression the impress of the measures of great music.” And he goes on that “to inspire courage in children, to stimulate them with the work of those who have the courage to create, to make of them frank facers of the emotional problems of life, to start them on the way toward a great constructive life, we must take care not to impose our wisdom and our ignorance on them, but to give them the benefit of the best we have through a frank response to their natural interrogation.” Isadora Duncan’s idea is that “the expression of the modern school of ballet wherein each action is an end, and no movement, pose, or rhythm is successive or can be made to evolve succeeding action, is an expression of degeneration, of living death. All the movements of our modern ballet school are sterile movements because they are unnatural; their purpose is to create the delusion that the law of gravitation does not exist for them.” I know a man from Russia who came to this country knowing only two words of English: “Isadora Duncan.” He had seen Miss Duncan dance once in St. Petersburg and from that moment he looked forward to America as the country of “highest intelligences in the freest bodies.” We may sometime become worthy of this remarkable woman. _Dionysion_ ought to help.... _Isaac Loeb Peretz_