moving groups of actors in unison. As I watched these processions
climbing the steps in apparently careless and spontaneous fashion, and
yet producing so graceful a result, I remembered the mad leap of the
archers down the stage in _Prince Igor_, which is also apparently
careless and spontaneous and full of wild and irregular beauty, yet
never varies a hair-breadth from one performance to the next.

For a time the workers toiled in the shadow in their earthly world,
and dancing continued in the lighted paradise of the rulers above,
until presently, in sign that the monument was complete, a large
yellow disc was hoisted amid acclamation above the highest platform
between the columns. But at the same moment a banner was uplifted
amongst the people, and a small figure was seen gesticulating. Angry
fists were shaken and the banner and speaker disappeared, only to
reappear almost immediately in another part of the dense crowd. Again
hostility, until finally among the French workers away up on the
right, the first Communist manifesto found favour. Rallying around
their banner the _communards_ ran shouting down the steps, gathering
supporters as they came. Above, all is confusion, kings and queens
scuttling in unroyal fashion with flying velvet robes to safe citadels
right and left, while the army prepares to defend the main citadel of
capitalism with its golden disc of power. The _communards_ scale the
steps to the fortress which they finally capture, haul down the disc
and set their banner in its place. The merry music of the _Carmagnole_
is heard, and the victors are seen expressing their delight by dancing
first on one foot and then on the other, like marionettes. Below, the
masses dance with them in a frenzy of joy. But a pompous procession of
Prussian legions is seen approaching, and, amid shrieks and wails of
despair, the people are driven back, and their leaders set in a row
and shot. Thereafter came one of the most moving scenes in the drama.