Slowly the heavy silken curtains drew to either side of the stage, revealing a sunlit glade.  In the background glimmered the still waters of a lake, while at the foot of a tree, in an attitude of tranquil repose, lay the Swan-Maiden—­Magda.  One white, naked arm was curved behind her head, pillowing it, the other lay lightly across her body, palm upward, with the rosy-tipped fingers curled inwards a little, like a sleeping child’s.  She looked infinitely young as she lay there, her slender, pliant limbs relaxed in untroubled slumber.

Lady Arabella, with Quarrington sitting next to her in the box, heard the quick intake of his breath as he leaned suddenly forward.

“Yes, it has quite a familiar look,” she observed.  “Reminds me of your ‘Repose of Titania.’”

His eyes flickered inquiringly over her face, but it was evident that hers had been merely a chance remark.  The old lady had obviously no idea as to who it was who had posed for the Titania of the picture.  That was one of the “slices of fact” which Magda had omitted to hand out when recounting her adventure in the fog to her godmother.  Quarrington leaned back in his chair satisfied.

“It’s not unlike,” he agreed carelessly.

Then the entrance of Vladimir Ravinski, the lovelorn youth of the legend, riveted his attention on the stage.

The dance which followed was exquisite.  The Russian was a beautiful youth, like a sun-god with his flying yellow locks and glorious symmetry of body, and the pas de deux between him and Magda was a thing to marvel at—­sweeping through the whole gamut of love’s emotion, from the first shy, delicate hesitancy of worshipping boy and girl to the rapturous abandon of mated lovers.

Then across the vibrant, pulsating scene fell the deadly shadow of the witch Ritmagar.  The stage darkened, the violins in the orchestra skirled eerily in chromatic showers of notes, and the hunched figure of Ritmagar approaching menaced the lovers.  A wild dance followed, the lovers now kneeling and beseeching the evil fairy to have pity on them, now rushing despairingly into each other’s arms, while the witch’s own dancing held all of threat and malevolence that superb artistry could infuse into it.

The tale unfolded itself with the inevitableness of preordained catastrophe.

Ritmagar declines to be appeased.  She raises her claw-like hand, pointing a crooked finger at the lovers, and with a clash of brazen sound and the dull thrumming of drums the whole scene dissolves into absolute darkness.  When the darkness lifts once more, the stage is empty save for a pure white swan which sails slowly down the lake and disappears. . . .  Followed a solo dance by Ravinski in which he gave full vent to the anguish of the bereft lover, while now and again the swan swam statelily by him.  At length the witch appeared once more and, yielding to his impassioned entreaties, declared that the Swan-Maiden might reassume her human form during the hour preceding sunset, and Magda—­the Swan-Maiden released from enchantment for the time being—­came running in on the stage.