In the _Marche Slav_ of Tschaikovsky Isadora symbolizes her conception of the Russian moujik rising from slavery to freedom. With her hands bound behind her back, groping, stumbling, head-bowed, knees bent, she struggles forward, clad only in a short red garment that barely covers her thighs. With furtive glances of extreme despair she peers above and ahead. When the strains of _God Save the Czar_ are first heard in the orchestra she falls to her knees and you see the peasant shuddering under the blows of the knout. The picture is a tragic one, cumulative in its horrific details. Finally comes the moment of release and here Isadora makes one of her great effects. She does not spread her arms apart with a wide gesture. She brings them forward slowly and we observe with horror that they have practically forgotten how to move at all! They are crushed, these hands, crushed and bleeding after their long serfdom; they are not hands at all but claws, broken, twisted piteous claws! The expression of frightened, almost uncomprehending, joy with which Isadora concludes the march is another stroke of her vivid imaginative genius. In her third number inspired by the Great War, the _Marche Lorraine_ of Louis Ganne, in which is incorporated the celebrated _Chanson Lorraine_, Isadora with her pupils, symbolizes the gaiety of the martial spirit. It is the spirit of the cavalry riding gaily with banners waving in the wind; the infantry marching to an inspired tune. There is nothing of the horror of war or revolution in this picture ... only the brilliancy and dash of war ... the power and the glory!