ANNA PAVLOVA.
Nothing can well be written about the Russian Ballet without some mention of Pavlova. For though that great dancer has not been associated with the troupe to whose performances the foregoing pages have been devoted, it is largely to her art that London owes the revived interest in ballet which paved the way for these later spectacles.
Much has been written in adulation of Pavlova. Comparisons and metaphors have been well-nigh exhausted in enthusiastic attempts to convey a full appreciation of her dancing, and the result has sometimes been ridiculous. This is almost inevitable, however, for if Pavlova’s praises are to be sung at all, it must be in a word or else redundantly. Art so nearly perfect as hers permits of no analysis, and stultifies all efforts at exposition.
So it happens that with Pavlova one can but state a bare opinion, and leave her art to speak for itself. Mere description is impossible, since her method is subjective rather than objective. London has had no opportunity of seeing her take part in a concerted ballet, at least of that dramatic type in which the art of the performers is subservient to the action in which they are involved; and the individual dances in which she is chiefly seen are to be regarded not so much as occasions for impersonation as opportunities and means of self-expression. As already has been said of Nijinsky, the art of Pavlova is something more than merely imitative; it is creative, her genius acting upon, shaping, and impressing with the stamp of her own individuality the material selected.