| | PAGE |
| Introduction by Anna Pavlowa | vii |
| CHAPTER |
| I. | The Psychology of Dancing | 1 |
| Æsthetic basis of the dance; national character expressed in dances; ‘survival value’ of dancing; primitive dance and sexual selection; professionalism in dancing—Music and the dance; religion and the dance; historic analysis of folk-dancing and ballet. |
| II. | Dancing in Ancient Egypt | 12 |
| Earliest Egyptian records of dancing; hieroglyphic evidence; the Astral dance; Egyptian court and temple rituals; festival of the Sacred Bull—Music of the Egyptian dances; Egyptian dance technique; points of similarity between Egyptian and modern dancing; Hawasis and Almeiis; the Graveyard Dance; modern imitations. |
| III. | Dancing in India | 24 |
| Lack of art sense among the Hindoos; dancing and the Brahmin religion; the Apsarazases, Bayaderes and Devadazis; Hindoo music and the dance; dancing in modern India; Fakir dances; philosophic symbolism of the Indian dance. |
| IV. | Dances of the Chinese, the Japanese and the American Indians | 30 |
| Influence of the Chinese moral teachings; general characteristics of Chinese dancing; court and social dances of ancient China; Yu-Vang’s ‘historical ballet’; modern Chinese dancing; dancing Mandarins; modern imitations; the Lantern Festival—Japan: the legend of Amaterasu; emotional variety of the Japanese dance; pantomime and mimicry; general characteristics and classification of Japanese dances—The American Indians: The Dream dance; the Ghost dance; the Snake dance. |
| V. | Dances of the Hebrews and Arabs | 43 |
| Biblical allusions; sacred dances; the Salome episode and its modern influence—The Arabs; Moorish florescence in the Middle Ages; characteristics of the Moorish dances; the dance in daily life; the harem, the Dance of Greeting; pictorial quality of the Arab dances. |
| VI. | Dancing in Ancient Greece | 52 |
| Homeric testimony; importance of the dance in Greek life; Xenophon’s description; Greek religion and the dance; Terpsichore—Dancing of youths, educational value; Greek dance music; Hyporchema and Saltation; Gymnopoedia; the Pyrrhic dance; the Dipoda and the Babasis; the Emmeleia; The Cordax; the Hormos—Greek theatres; comparison of periods; the Eleusinian mysteries; the Dionysian mysteries; the HeterÆ; technique. |
| VII. | Dancing in the Roman Empire | 72 |
| Æsthetic subservience to Greece; Pylades and Bathyllus; the Bellicrepa saltatio; the Ludiones; the Roman pantomime; the Lupercalia and Floralia; Bacchantic orgies; the Augustinian age; importations from Cadiz; famous dancers. |
| VIII. | Dancing in the Middle Ages | 78 |
| The mediÆval eclipse; ecclesiastical dancing in Spain; the strolling ballets of Spain and Italy; suppression of dancing by the church; dances of the mediÆval nobility; Renaissance court ballets; the English masques; famous masques of the seventeenth century. |
| IX. | The Grand Ballet of France | 86 |
| Louis XIV and the ballet; the Pavane and the Courante; reforms under Louis XV; Noverre and the ballet d’action; Auguste Vestris and others; famous ballets of the period—the Revolution and the Consulate; the French technique, the foundation of ‘choreographic grammar’; the ‘five positions’; the ballet steps—Famous danseuses; SallÉ, Camargo; Madeleine Guimard; Allard. |
| X. | The Folk-Dances of Europe | 104 |
| The rise of nationalism—The Spanish folk-dances: the Fandango; the Jota; the Bolero; the Seguidilla; other Spanish folk-dances; general characteristics; costumes—England: the Morris dance; the Country dance; the Sword dance; the Horn dance—Scotland: Scotch Reel, Hornpipe, etc.—Ireland: the Jig; British social dances—France: Rondo, BourrÉe and Farandole—Italy: the Tarantella, etc.—Hungary: the Czardas, Szolo and related dances; the Esthonians—Germany: the Fackeltanz, etc.—Finland; Scandinavia and Holland—The Lithuanians, Poles and Southern Slavs; the Roumanians and Armenians—The Russians: ballad dances; the Kasatchy and Kamarienskaya; conclusion. |
| XI. | The Celebrated Social Dances of the Past | 144 |
| The Pavane and the Courante; the Allemande and the Sarabande; the Minuet and the Gavotte; the Rigaudon and other dances—The Waltz. |
| XII. | The Classic Ballet of the Nineteenth Century | 151 |
| Aims and tendencies of the nineteenth century—Maria Taglioni—Fanny Elssler—Carlotta Grisi and Fanny Cerito; decadence of the classic ballet. |
| XIII. | The Ballet in Scandinavia | 161 |
| The Danish ballet and Boumoville’s reform; Lucile Grahn, Augusta Nielsen, etc.—Mrs. Elna JÖrgen-Jensen; Adeline GenÉe; the mission of the Danish ballet. |
| XIV. | The Russian
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