by Lucy Moore
213 ‘I can still taste’: ibid., p. 221.
213 ‘Vatsa, you are being lazy … am mad’: Ostwald, Vaslav Nijinsky: A Leap into Madness, p. 266.
214 ‘I can’t take it’: Parker, Nijinsky, p. 10.
214 ‘but he did not know me’: Keynes, Lydia Lopokova, p. 141.
214 ‘almost suburban … never still’: Dolin, Autobiography, p. 33.
214 ‘I had the impression … not sure’: Gathorne-Hardy (ed.), Ottoline: the Early Memoirs of Lady Ottoline Morrell, p. 228.
214 ‘Nijinsky is not mad’: Aschengreen, Jean Cocteau and the Dance, p. 229 note.
215 ‘captive in his own mind’: Stravinsky and Craft, Memories and Commentaries, p. 35.
215 ‘was to some degree’: Roy Porter, Sunday Times article, January 1991.
215 ‘biologically based … to develop’: Nijinsky, Nijinsky’s Diary, p. xv.
216 Baedeker: Drummond (ed.), Speaking of Diaghilev, p. 62.
216 ‘spiritual father’: Lifar, Diaghilev, p. 356.
216 ‘our two souls’: Lifar, Ma Vie, p. 44.
216 ‘I was enraptured’: Lifar, Diaghilev, p. 302.
216 ‘everything and everyone’: Lifar, Ma Vie, p. 49.
217 ‘Loves me? … adorable!’: Lifar, Diaghilev, p. 345 (see also Lifar, Ma Vie, pp. 61–2).
217 ‘all the tragedy’: C. W. Beaumont, Vaslav Nijinsky (London, 1932), p. 24.
217 ‘he again turned his head’: Karsavina, Theatre Street, p. 243.
218 ‘With his big eyes’: Scheijen, Diaghilev, p. 431.
218 ‘Who is that? … Can he jump?’: Karsavina, Theatre Street, p. 244.
218 ‘Then I saw’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 79.
218 ‘she could have done more’: Sokolova, Dancing for Diaghilev, p. 47.
218 ‘Je ne veux pas!’: Lifar, Diaghilev, p. 348.
218 ‘modest, self-effacing’: Stravinsky and Craft, Memories and Commentaries, p. 45.
218 ‘The longer the earth turns’: Lifar, Diaghilev, p. 237.
219 ‘like two mad dogs’: Sert, Two or Three Muses, p. 163.
219 ‘now, suddenly, it seems as if’: Scheijen, Diaghilev, p. 442.
219 ‘Many things united us’: Scheijen, Diaghilev, p. 443; see also Stravinsky and Craft, Memories and Commentaries, p. 47.
220 ‘the burden of taking care’: Tamara Nijinsky, Nijinsky and Romola, p. 246.
220 ‘tries to act’: Margaret Severn in Gottlieb (ed.), Reading Dance, p. 692.
221 ‘the only man in this world’: Ostwald, Vaslav Nijinsky: A Leap into Madness, p. 285.
222 ‘Long talk later’: L. Kirstein, By With To & From. A Lincoln Kirstein Reader (New York, 1991), p. 150.
222 ‘By then his masterpiece’: See Richard Tarushkin’s article in the New York Times, 14 September 2012, ‘Shocker Cools into a “Rite” of Passage’.
222 ‘sometimes one can snatch’: Kirstein, Nijinsky Dancing, p. 35.
222 ‘My wife is an untwinkling star’: Nijinsky), Nijinsky’s Diary, p. 153.
223 ‘punishment at school … his dependency’: The Times, 2 January 1982.
223 ‘this exceptional, gentle’: Ostwald, Vaslav Nijinsky: A Leap into Madness, p. 127.
223 ‘complained about everything’: a doctor at Bellevue quoted in ibid., p. 306.
224 ‘incapable of showing’: Tamara Nijinsky, Nijinsky and Romola, p. 209.
224 ‘Silently, he gazed …his heart’: ibid., p. 266.
224 ‘How good! … the air’: Lifar, Diaghilev, p. 376.
225 ‘simply relished being in his presence’: Tamara Nijinsky, Nijinsky and Romola, p. 279.
226 ‘I fell in love’: Buckle, Nijinsky, p. 435.
227 ‘sensation mongering … very cruel’: News Review, 11 October 1945.
227 ‘Sometimes he would kiss my cheek’: Buckle, Nijinsky, p. 436.
227 ‘a plump and well-contented’: A. L. Haskell, Balletomane at Large: an autobiography (London, 1972), p. 86.
228 ‘like a docile child’: Sunday Chronicle, 9 April 1950.
228 ‘Like gypsies’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 565.
228 ‘in his glory’: Buckle, Nijinsky, p. 442.
228 ‘saintly … our hearts’: Tamara Nijinsky, Nijinsky and Romola, p. 373.
10 THE CHOSEN ONE
233 ‘refused to accept’: Tamara Nijinsky, Nijinsky and Romola, p. 236.
233 ‘And who could blame her?’: Buckle, Nijinsky (1980 edition), p. xxxi.
233 ‘both her strength’: Tamara Nijinsky, Nijinsky and Romola, p. 33.
234 ‘truly awful … talentless’: Roy Porter article in Sunday Times, January 1991.
234 ‘You know, they got it’: Drummond (ed.), Speaking of Diaghilev, p. 32.
235 ‘Very strange. There was a Russian’: ibid., p. 60.
235 ‘generosity was boundless’: L. Garafola and N. V. N. Baer (eds), The Ballets Russes and its World, p. 261.
236 ‘sustain it …for anyone’: Drummond (ed.), Speaking of Diaghilev, p. 114.
236 ‘was the permeating genius’: Draper, Music at Midnight, p. 141.
237 ‘Any outstanding work’: Dolin, Autobiography, p. 32.
237 ‘much more limited’: Lifar, Diaghilev, p. 201.
238 ‘I know that Diaghilev’: Nijinsky, Nijinsky’s Diary, p. 206.
238 ‘Diaghilev did not like me’: ibid., p. 103.
238 ‘It was we, the painters’: Lifar, Diaghilev, p. 141.
238 ‘We were all of us’: Haskell, Balletomania, p. 95.
238 ‘convenient for many reasons’: Kirstein, Dance: A Short History of Classic Theatrical Dancing, p. 283.
238 ‘went into his dreams’: Haskell, Balletomania, p. 67.
239 ‘in reality … clever man’: Romola Nijinsky, Nijinsky; and The last years of Nijinsky, pp. 25–6.
239 ‘all the more misleading’: Haskell, Balletomania, p. 65.
239 ‘artist should show himself’: Beaumont, The Diaghilev Ballet in London, p. 40.
239 The poet Wayne Koestenbaum quoted in Kopelson, The Queer Afterlife of Vaslav Nijinsky, p. 214.
240 ‘a sign … extremely modest’: quoted in Hanna Jarvinen in K. Kallioniemi et al. (ed.), History of Stardom Reconsidered (Turku, 2007).
241 ‘although he was showman enough’: Stravinsky and Craft, Memories and Commentaries, p. 41.
241 ‘there is nothing uglier’: Haskell, Balletomania, p. 70.
241 ‘the risk, and’: Drummond (ed.), Speaking of Diaghilev, p. 61.
241 ‘this most homosexual’: Buckle, Nijinsky, p. 96.
242 ‘To make Sergey Pavlovich happy’: Romola Nijinsky, Nijinsky; and The last years of Nijinsky, p. 109.
242 ‘predominantly homosexual’: Buckle, Nijinsky (1980 edn), p. xxxii.
242 ‘Never, never, have I seen’: Romola Nijinsky, Nijinsky; and The last years of Nijinsky, p. 295.
243 ‘in the normal man–woman’: Buckle, Nijinsky, p. 144.
243 ‘of a race apart’: Beaumont, Nijinsky, p. 25.
243 ‘made the relation’: Arlene Croce quoted in J. L. Hanna, Dance, Sex and Gender: Signs of Identity, Dominance, Defiance and Despair (Chicago, IL, 1988), p. 185.
243 ‘Freud’s chart of man’s’: L. Kirstein, Movement and Metaphor: Four Centuries of Ballet (London, 1970), p. 199.
243 ‘If the trilogy of Faune’: A. Croce in Hanna, Dance, Sex and Gender, p. 185.
244 ‘very much akin to sex’: Kavanagh, Rudolf Nureyev: The Life, p. 190.
244 ‘creative imagination’: Stravinsky and Craft, Memories and Commentaries, p. 37.
244 ‘sylphide étrange’: Astruc, Le Pavillon des fantômes, p. 138.
244 ‘potty. His soul’: J. Mackrell, Bloomsbury Ballerina: Lydia Lopokova, Imperial Dancer and Mrs Maynard Keynes (London, 2008), p. 424.
245 ‘the hidden injuries of class’: Richard Sennett and Jonathan Cobb, The Hidden Injuries of Class (New York, 1972).
245 ‘mi
nd broke because’: Kavanagh, Rudolf Nureyev: The Life, p. 413.
246 ‘Balanchine always said’: E. Denby, Dance Writings (London, 1986), p. 492.
246 ‘At the moment’: street dancer José Esteban Muñoz quoted in Stoneley, A Queer History of the Ballet, p. 20.
246 ‘a dancer can leave nothing’: Mackrell, Bloomsbury Ballerina, p. xix.
246 ‘know how the great Taglioni’: Haskell, Balletomania, p. 4.
247 ‘spiritual activity in physical form’: Gottlieb (ed.), Reading Dance, p. 338 (from Susan Sontag, French Vogue, December 1986).
247 ‘his technique’: Spectator, 14 April 1950.
247 ‘incorporeal lightness’: Drummond (ed.), Speaking of Diaghilev, p. 93; see also Karsavina in the Dancing Times, 1950.
247 ‘Never has any other dancer’: Bourman, The Tragedy of Nijinsky, p. 8.
247 ‘the nature of the Dance’: Nijinska, Early Memoirs, p. 517.
247 ‘the highest form’: Massine, My Life in Ballet, pp. 86–7.
247 ‘two Nijinskys’: Tamara Nijinsky, Nijinsky and Romola, p. 379.
247 ‘Where the essential Nijinsky existed’: Romola Nijinsky, Nijinsky; and The last years of Nijinsky, p. 114.
247 ‘wrapped up … take place’: Tamara Nijinsky, Nijinsky and Romola, p. 77.
248 ‘Nijinsky alone … merriment below’: Draper, Music at Midnight, p. 187.
248 ‘You could never believe’: Cocteau, Journals, p. 53.
248 ‘Too familiar’: Cocteau, The Cock and the Harlequin, p. 46.
249 ‘I do not like’: Nijinsky, Nijinsky’s Diary, p. 128.
249 ‘What kind of beauty’: Buckle, Nijinsky, p. 298.
249 ‘I could not agree’: Nijinsky, Nijinsky’s Diary, p. 103.
249 ‘I want to prove’: ibid., p. 42.
249 ‘Now that … one else’: N. Wright, Rattigan’s Nijinsky (London, 2011), p. 42.
250 ‘Absolutely everything he invented’: Drummond (ed.), Speaking of Diaghilev, p. 114.
250 ‘I would not hesitate’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 60.
250 Ninette de Valois: Parker, Nijinsky, p. 10.
250 ‘Had Niijinsky tried’: Karsavina, Theatre Street, p. 151.
251 Come, come now: a very loose paraphrase of Haskell, Balletmania, p. 47.
251 ‘Ah! What poet’: Francis de Moimandre’s Introduction to G. Barbier, Designs on the Dances of Vaslav Nijinsky (London, 1913).
251 ‘the greatest of stage artists’: C. Van Vechten, Music After the Great War (New York, 1915), p. 77.
251 ‘his dancing has the unbroken quality’: Magriel, Nijinsky, Pavlova, Duncan: Three Lives in Dance, p. 7.
252 ‘I have never seen’: ibid., p. 65.
252 ‘tiny, almost unnoticeable movements’: L. M. Newman (ed.), The Correspondence of Edward Gordon Craig and Count Harry Kessler (London, 1995), p. 78.
252 ‘Looking at him’: Denby in Magriel, Nijinsky, Pavlova, Duncan: Three Lives in Dance, p. 20.
252 ‘It was not only … melting tenderness’: Beaumont, ‘Garland for Nijinsky’ in Ballet Annual 1950, pp. 189–90.
253 ‘He looks as if the body’: Magriel, Nijinsky, Pavlova, Duncan: Three Lives in Dance, p. 21.
253 ‘I do not see anything … on stage’: ibid., pp. 20–21.
253 ‘probably … some photographs’: Nijinsky, Nijinsky’s Diary, p. xliv.
254 ‘can be interpreted’: A. Croce, New Yorker review of Buckle’s Diaghilev, 12 May 1980.
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