It is regrettable to have to end these introductory words upon a note of disparagement. But the more recent performances of the Russian Ballet, while confirming the hold already established upon the public, have also indicated the way in which that hold may presently be lost. That abounding vitality with which the Russians have invested their work arises out of a devotion to, and enthusiasm for, their art. They have a zest which cannot fail of result. But a belief in the possibilities of an art must be balanced by a recognition of its limitations, or the result is chaos. It is needless to anticipate here the comments which are later made upon some recent additions to the Russians’ repertoire. It is enough for the moment to remark a tendency in them to chafe at what presumably seem to enthusiastic spirits, confident in their own cleverness, unnecessary bonds and restrictions. But discipline is the very essence of Art. To abandon discipline is to run riot, achieving nothing and arriving nowhere. [Illustration] [Illustration] “PÉTROUCHKA.” BURLESQUE SCENES IN FOUR TABLEAUX BY IGOR STRAVINSKY AND ALEXANDRE BENOIS. MUSIC BY IGOR STRAVINSKY. SCENES AND DANCES BY MICHEL FOKINE. SCENERY AND COSTUMES DESIGNED BY ALEXANDRE BENOIS. The Puppet has always exercised upon the human mind a curious fascination. There is a lure in the antics of the animated doll so reminiscent of, yet so unlike, ourselves which most find irresistible. Punch and Judy with their attendant satellites furnish, of course, a classic case in point. The reason is that the puppet show discharges all the functions of the ordinary theatre, with this advantage--that it gives its spectators the privilege of feeling as the gods upon Olympus. With amused and tolerant eye they watch the petty strife of puny creatures who, but for the lack of high divinity, would be life-like effigies of themselves. It may be that “the proper study of mankind is man,” but the occupation is pleasurable only when it can be pursued with such detachment as, in the most complete form, the puppet show makes possible. The travesty of human passions which the mimic stage affords is near enough the truth to intrigue the fancy, while sufficiently remote from reality to leave equanimity undisturbed. No wonder all men show a kindly regard for the queer little figures that provide parodies of themselves which are shrewd, but not too apposite!