rhythm. Even in the purely graceful ballets like Les Sylphides or Le Pavilion d'Armide, he shows us a mind at work creating gracefulness rather than a mere body being graceful. It is difficult enough to analyse, but one feels that all this splendid and apparently inspired resourcefulness must be bound up, somehow, with Nijinsky's own personal attitude towards life itself.
A man, of course, may be an excellent dancer, and at the same time only very moderate in his interest in or understanding of life as a whole. Such a negative attitude, however, will show itself at once in the quality of art resulting. That quality may be coldly beautiful, or hotly sensuous, or merely pretty. But its intellectual appeal will be nil. Nijinsky's dancing, on the contrary, is a thing as much of head and soul as of
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