NIJINSKY
du Printemps came, as we have said, with something of a surprise. Almost every quality of beauty or dramatic interest which we had grown to expect in a ballet was absent from this one, and the first impression of many was that the whole thing was little more than a piece of uncouth and impudent mockery.
Yet if only one can bring oneself to view this very uncouthness as part of a large design, not simply as its dominating feature, one will have come a long way towards appreciating the ballet in the spirit intended by its creator. For besides the uncouthness of Le Sacre du Printemps, how much there is in it of beauty and deep emotion! Religion, the thing that binds and has tortured and nerved mankind throughout the ages, is still with us to-day, and there is nothing alien from modern thought or interest in this present-
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