delight, and appreciate his excessive grace and easy rapidity. He gives you chiefly the impression of a dragon-fly blown in the wind of a brisk morning over cool stretches of water. You would expect him to land on a lily-pad any moment and smooth his wings with his needle-like legs.
So it is the men and women of vaudeville transform themselves into lovely flower and animal forms, and the animals take on semblances of human sensibility in vaudeville. It is the superb arabesque of the beautiful human body that I care for most, and get the most from in these cameo-like bits of beauty and art. So brief they are, and like the wonders of sea gardens as you look through the glass bottoms of the little boats. So like the wonders of the microscopic, full of surprising novelties of colour and form. So like the kaleidoscope in the ever changing, ever shifting bits of colour reflecting each other, falling into new patterns with each twist of the toy. If you care for the iridescence of the moment you will trust vaudeville as you are not able to trust any other sort of a performance. You have no chance for the fatigue of problem. You are at rest as far as thinking is concerned. It is something for the eye first and last. It is something for the ear now and then, only very seldomly, however. For me, they are the saviours of the dullest art in existence, the art of the stage. Duse was quite right about it. The stage should be swept of actors. It is not a place for imitation and photography. It is a place for the laughter of the senses, for the laughter of the body. It is a place for the tumbling blocks of the brain to fall in heaps. I give first place to the acrobat and his associates because it is the art where the human mind is for once relieved of its stupidity. The acrobat is master of his body and he lets his brain go a-roving upon other matters, if he has one. He is expected to be silent. He would agree with William James, transposing "music prevents thinking" into "talk prevents silence." In so many instances, it prevents conversation. That is why I like tea chit-chat. Words are never meant to mean anything then. They are simply given legs and wings, and they jump and fly. They land where they can, and fall flat if they must. The audience that patronizes vaudeville would do well to be present at most first numbers, and remain for most or many of the closing ones. A number, I repeat, like the Four Danubes, should not be snubbed by any one.
I have seen recently, then, by way of summary, four fine bits of
