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Updated: June 15, 2025
The expression of frightened, almost uncomprehending, joy with which Isadora concludes the march is another stroke of her vivid imaginative genius. In her third number inspired by the Great War, the Marche Lorraine of Louis Ganne, in which is incorporated the celebrated Chanson Lorraine, Isadora with her pupils, symbolizes the gaiety of the martial spirit.
One of the griefs of an actor or a dancer is that he can never see himself. This oversight of nature Isadora has to some extent overcome. Those who like to see pretty dancing, pretty girls, pretty things in general will not find much pleasure in contemplating the art of Isadora. She is not pretty; her dancing is not pretty.
As it drew toward evening the water came down faster and faster. The governor had the only carriage in California, and this he was to send for the commodore, Mr. Stearns, Isadora, and myself; but the poor young officers had to walk, and their faces were long when they looked out at the rain and then down at their fine uniforms and shining boots.
Some time ago Isadora Duncan gave a private exhibition at the New Gallery of certain dances in a style intended to be a revival of old Greek dancing.
Preferable is the term that has been used concerning architecture: Schelling, in his "Philosophie der Kunst," calls it "frozen music," a term ridiculed by Madame de Staël. Peter Legh wrote a book on the topic, published in 1831, with the title "The Music of the Eye." The book is poor, pretentious stuff, but the title seems nicely applicable to the dancing of Isadora Duncan.
Isadora Shongut paused in the act of mounting the front steps and turned a blood-driven face toward his neighbor. His under jaw sagged and trembled, and his well-knit body seemed to have lost its power to stand erect, so that his clothes bagged. "Good evening, Mrs. Lissman." "You're home early to-night, Izzy?" "Y-yes."
The one complaint possible against Isadora Duncan is that she has rendered us immoderately dissatisfied with what had once moderately contented us; and the fear is that we shall promptly have a host of half-baked imitators, who will copy the mere accidentals of her system without understanding the essentials, and will fancy that the whole matter is one of clothes and music, and prance about bare-legged, meaninglessly.
It has been suggested that musical comedy is waning, and the period has been reached when the average piece of this class spells failure. There is, of course, nothing in the work of Isadora Duncan which limits it to one principal, and naught to prevent the combination of singing and dancing. Off-hand it seems rash to suggest that spoken dialogue could be harmonized with these.
Indeed on at least three occasions she has danced a Requiem at the Metropolitan Opera House.... If the new art at its best is not dancing, neither is it wholly allied to the art of pantomime. It would seem, indeed, that Isadora is attempting to express something of the spirit of sculpture, perhaps what Vachell Lindsay describes as "moving sculpture."
"Isadora would be safer with the old ones," Collins said. "Too safe," Isadora's husband objected. "Of course, with younger lions, the work and responsibility piles up on me. But we've got to make our living, and this turn's about busted." Harris Collins shook his head. "What d'ye mean? what's the idea?" the man demanded eagerly.
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