The intoxication of Nijinsky’s solo is succeeded more sedately by new groupings and posings of the _corps de ballet_, which serve as foil to the graceful movements of Ludmila Schollar. In the valse which follows Karsavina and Nijinsky are seen, if not in a display of such virtuosity as their previous dances have occasioned, in a partnership of conjoint motion most exquisitely attuned to the inspiring and directing strains. The passage includes a brief _pas seul_ by Karsavina, some charming poses, and a concluding duet which is, perhaps, the supreme perfection of the many perfect things the suite of dances has presented. The end must needs be hastened after such a climax, and the valse brillante performed by the entire troupe of dancers ends the spectacle fittingly upon a lively note. Karsavina, Nijinska, Schollar--all the principals in turn are thrown into relief against the rhythmically moving background of the white-robed Sylphides, among whom, embodiment of a poet’s dream, leaping, swaying, rocking with a vigour no less than a grace of body to the music’s impelling lilt, “papillone le jeune Nijinsky.” [Illustration] SCHEHERAZADE. CHOREOGRAPHIC DRAMA BY LÉON BAKST AND MICHEL FOKINE. MUSIC BY RIMSKY-KORSAKOV. SCENES AND DANCES BY MICHEL FOKINE. SCENERY AND COSTUMES DESIGNED BY LÉON BAKST. Sensuousness is the note of “Scheherazade” throughout--a sensuousness that is next-of-kin to sensuality. It is an unbridled affair altogether, and for this very reason the ballet is among the most _completely_ successful performances which the Russians have given. It contains nothing that strains the limitations of their art, its essential motive is simple, even crude, and the condition necessary to its vitality--that all concerned should let themselves go--has been faithfully observed. Human passions, if sufficiently elementary, being identical in all men, there is a sympathy between the methods by which the various authors of this ballet have treated its twin themes of lust and cruelty which produces an harmonious whole. The music of Rimsky-Korsakov, though not composed for the special purpose, has essential qualities which made easy, and amply justified, the task of adaptation. As an artistic exposition of violence “Scheherazade” is perhaps unique. The ballet is of the same _genre_ as “Thamar,” with which it has many points of similarity. The latter, however, has the advantage of an elusive charm derived from its legendary basis. One might expect that an excerpt from “The Arabian Nights” would also possess this magic, but “Scheherazade” lacks the indefinable something which “Thamar” has. The distinction, arising out of a difference of treatment, is slight, though real--a mere matter of emphasis, of heaviness of touch. “Scheherazade” is the sheer, brute realism of fact, “Thamar” rather the vivid embodiment of fancy.