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The praise which the Russian Ballet has almost universally received in England seems to offer one of the rare instances of our ability to appreciate a good thing when we see it. On that we may congratulate ourselves. But I am reminded that this appreciation is by no means universal, and that in Russia itself there is a section of opinion to whom the later developments of the Diaghilew ballet are frankly abhorrent.

Hitherto, we must remember, the ballet in Russia has been an exclusively aristocratic form of art. It has relied 101