One by one the monsters are subdued, despite a feeble effort at evasion, by the power of their intended victim’s divine protector. The goddess then, descending from her throne, shows by her dancing postures, while the god plays upon his pipe, that the female form is not less capable than the male of angular beauty of form. The girl, now reassured, gazes entranced upon her deliverers, receiving with humble gratitude the blessing bestowed upon her by the goddess, as the latter presently resumes her throne. [Illustration] Scarcely has the god also reseated himself, when the priests and worshippers re-enter the shrine, expectant of finding executed the prisoner’s hideous doom. Stupefied by the dazzling vision which greets them, all fall prostrate in humble obeisance, the girl alone, assured of the divine favour, daring to remain standing. The goddess signifies the protection which she extends, and as the young man for whom the girl’s love has dared so much is brought in, she bids the two embrace without fear. With love and life restored to her, the girl finds outlet for her brimming happiness in a joyous dance, and gladly the reunited pair exchange their vows before the goddess’ throne. Her mission ended, the goddess sinks slowly from view into the depths of the lotus pool. But the Blue God, ere she vanishes, steps into the midst of the awe-stricken throng. A fragment of the orange cliff rolls noiselessly aside and reveals a broad flight of golden steps reaching into the blue infinity of the heavens. With slow, deliberate steps the god ascends the mystic flight. Momentarily he pauses, and thus is seen, as the curtain descends, above the bowed forms of the prostrate multitude, playing upon his pipe. [Illustration] [Illustration] [Illustration] PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE. CHOREOGRAPHIC TABLEAU BY NIJINSKY. MUSIC BY CLAUDE DEBUSSY. SCENERY AND COSTUMES DESIGNED BY LÉON BAKST. In the preparation of his part in “Le Dieu Bleu,” Nijinsky sought inspiration, it was remarked, from ancient Hindu art. One fancies him, with appetite whetted by this excursion, eager to explore another field of antiquity, and turning naturally to early Greek, Roman and Etruscan art. His interest already engaged by the strangeness (to modern eyes) of the Hindu forms, his perceptions having already fastened on their angular conventions as food for the dancer’s creative or recreative art, one supposes him readily attracted by the equal peculiarity of such archaic forms as are revealed on Greek and Roman pottery. The transition is easy to understand, for a superficial resemblance is apparent, however great the essential dissimilarity.