i;8 DIVERSIONS OF A NATURALIST 



dancers admit their indebtedness for this new departure. 

 When undertaken by untrained dancers and amateurs 

 (even by the innovator herself) the attempt to interpret 

 lyrical subjects showed some ingenuity in conception, 

 but failed to command general appreciation, as the 

 efforts of a painter or an actor, who has not acquired 

 command of the material of his art, also fail. But when 

 Anna Pavlova brought her lifelong training as a dancer and 

 her poetic imagination to the interpretation of master- 

 pieces of music inspired by such subjects as " Night/' 

 "The Dying Rose," "The Wounded Swan," and the 

 moonlight mystery of " Les Sylphides," a new and most 

 poignant form of emotional expression became apparent. 

 A single figure moving over the stage with expressive 

 steps and gestures of the arms, with lips and eyes guided 

 and controlled by consummate art, blended itself with and 

 interpreted to the spectator the poetic thought of a great 

 musical composer and a great writer. This new develop- 

 ment of the dancer's art may remain with us. But it 

 requires the presence of one who combines the rare gifts 

 possessed by Madame Pavlova perfect technique and 

 poetic sympathy. 



Many people derive a definite part of the pleasure 

 given to them by an orchestral concert from the con- 

 templation of the movements of the instrumentalists and 

 the directive interpreting gestures of a great " conductor." 

 Others would prefer the orchestra and its leader to be 

 unseen ; they find special delight in hearing great music 

 surge and float from no visible source through the dimly- 

 lit aisles of a vast cathedral. They do not desire their 

 eyes to be called in aid of music unless the appeal to 

 vision is complete and worthy of the theme. It is, I 

 think, undeniable that Dr. Richter and my friend Sir 

 Henry Wood, whose expressive backs and persuasive 



