in
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The Art of
Continued
nro but tin- needless aecoinpanlineiilH
of the essential privilege of the eir
j ens to present to us a succession
j of acrobats with their bodies In per
fect condition, to exhibit to us that
purely physical beauty which we nre
over In danger or overlooking or
even forgetting. These acrobats,
slim and handsome, as 1 1 tick Finn
found them, may display their daring
and their grace, standing on a cir
cling steed or swinging from a Hying
trapeze, revolving on a horizontal
bar or building themselves up Into
human pyramids on the bark of the
arena; but the way In which they may
, choose to exhibit their skill and to
1 show themselves Is unimportant,
i While the Greeks had far more op
, portunltles than are vouchsafed to us
moderns to behold the human body
exhibiting Its strength and Its skill
in graceful play, wo have the advan
tage that many of tho most effective
exercises are latterday Inventions. It
seems unlikely that the Athenians
and tho Spartans, even though they
were horsemen, had attained to tho
art of bareback riding; they may
have bestraddled a saddleless steed,
but they had not learned how to
stand on his back and to turn sum
mersets In tlmo with tho stride of
the horse. It Is, of course, possible
that they were familiar with this,
but no sculpture and no vase-painting,
no anecdote In tho works of tho
prose-writers and no lino of the lyr
ists, survives to authorize us to be
lieve it. And It Is pretty certain
also that they lacked the horizontal
bar, which affords limitless possi
bilities to tho adventurous acrobat of
our own times.
Tho trapeze has a name of Greek
origin and It was possibly known to
tho Greeks. Dut tho Greeks did not
foresee the full possibilities of tho
trapeze, since Its most startling utili
zation, tho feat known as tho Flying
Trapeze, was Invented by the French
acrobat Leotard, only a Httlo later
than tho middle of tho nineteenth
century. Tho Flying Trapeze Is tho
ultimate achievement of acrobatic
art, and It demands the utmost com
bination of skilful strength and of
easy grace. It was a feat that the
Greeks would havo appreciated and
enjoyed; since It demanded and dis
closed the perfection of physical
courago and of physical skill.
"HACKFUL mastery of tho trapezo
was tho most marked characteris
tic of Leotard; and it may bo doubted
, whethor any of those who havo fol
I lowed tho path ho traced through tho
j air and who havo vanquished dllhcul-
tles uoyonu thoso wulcn no con
quered, havo been able to outdo him
In tho essential of grace Tho over
coming ot difficulty Is one of tho ele
ments of tho pleasure which wo take
1 In any art; part of our enjoyment ot
a sonnet, for example, must bo
ascribed to tho apparent case with
which tho poet Is able to express his
thought amply and completely within
tho rigid limitations of his fourteen
lines with their prescribed arrange
ment of live or six rhymes. Hut
our delight is diminished If we are
made conscious of tho effort It has
cost tho artist to attain his aim.
Many of the later performers on the
Flying Trapeze let us seo that the
feats they nro attempting are so diffi
cult that they can not bo accom
plished without obvious effort.
It hnppens that tho present writer
Is able to bring his personal testi
mony to tho fact that this was tho
principle which always governed
Leotard himself. When tho French
gymnast paid his only visit to tho
I'nltcd States, more than forty years
I ago, he used to practice lu a gym
1 nnslum which tho writer also fro
i quented. lie spoko no English and
I tho writer had a Httlo school-boy
I Fronch, so that a certain intimacy
sprang up. Ono day Leotard asked
the writer to swing a trapezo for
The Acrobat
fiom Pane
him and he sprang off and caught It
with a single hnntl, and as tho hoc
ond trapezo returned he twisted and
grasped the llrst trapezo again with
one hand. This evoked an Immediate-
exclamation of astonishment and
admiration at tho startling conquest
of difficulty, and It was followed by
I ho natural question why so extraor
dinary a feat had never been ex
hibited in public.
"Don't you see the reason?" he
asked. "Watch me, while I do It
again."
He repeated the feat; and when it
was over ho smiled and asked, "Do
you seo now?"
The writer responded that he could
not help observing a certain awk
wardness In Leotard's movements, a
certain violence of effort, and u cer
tain lack of grace.
"That's just' It," Leotard replied.
"The leaps from trapeze to trapezo
with the aid of ono hand only must
be lopsided, since tho body is Inev
itably moro or less twisted. There
Is a sort of wrenching of the person
which can not be avoided, even if
it is ungraceful. That is why I have
never exhibited this feat in public,
difficult ns It Is. That Is why I never
shall exhibit it, for the quality I
seek above all things Is grace; which
Is possible only when I can use both
hands, so that I can make what I do
seem easy, no matter how difficult
it may be."
It was lu the same winter that
LOotard was in New York about
forty years ago that the Ilnnlon
Brothers paid ono of their welcome
visits to America. They were then
acrobats pure and simple, although
later when they called themselves
the Hanlon-Lees they had becomo
pantomlmlsts. As acrobats they held
fast to tho same principles which
governed LOotard in his perform
ances. They Insisted upon certainty
of execution; they never failed to
perform the feat thoy set out to ac
complish, and to perform It success
fully, tho first tlmo they tried It.
Tho present writer was told at tho
tlmo that there were two or three
surprising nnd alluring feats which
tho Hanlons had Invented themselves
and which thoy practiced laboriously
and faithfully all that winter, but
which they wisely refrained from
ever putting on their program be
cause they were never nblo to assure
themselves of a uniformly successful
result. They could do any ono of
these feats four times out of live, but
tho fifth tlmo thero would bo a mis
calculation of energy, nnd tho at
tempt would have to bo repeated.
LI ERE again tho modern acrobat,
who Is guided by a real feeling
for his art, is in accord with tho
principles which tho Greeks obeyed.
In Attic trngody, for example, there
nro no scenes of violence, no scullles
nnd no assassinations; nnd this Is
not because tho Greeks shrank from
scenes of blood, ns some critics have
vainly contended, but rather because
tho actors In their drama were raised
on thick boots and were topped by
toweling masks, which made It al
most Impossible for thorn to take
part in scenes of violence. In hand
to-hand struggles, in murders before
the eyes of tho spectators, without
danger of displacing tho mask and
thereby distracting tho attention of
tho audience from tho Immediate pur
poso of the dramatic poet. What
could not bo done gracefully the
Greeks refrained from attempting
Tho exhibition of difficulty for the
sako of difficulty, still moro tho fall
uro to accomplish a "stunt" for the
sako of calling attention to its dlffl
culty these things the Greeks ab
horred. They would surely have dis
approved of tho continuous toe-dancing
which evokes abundant applauso
nowadays from spectators Ignorant
of tho true principles of the art of
the dance.
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