ss 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.
Several dark-clad women appeared carrying a black pall supported on
sticks, which they set in front of the bodies of the leaders so that
it stood out, an irregular pointed black shape against the white
columns behind. But for this melancholy monument the stage was now
empty. Thick clouds of black smoke arose from braziers on either side
and obscured the steps and the platform. Through the smoke came the
distant sound of Chopin's _Marche Funebre_, and as the air became
clearer white figures could be dimly seen moving around the black pall
in a solemn dance of mourning. Behind them the columns shone ghostly
and unreal against the glimmering mauve rays of an uncertain and
watery dawn.

The second part of the pageant opened in July 1914. Once again the
rulers were feasting and the workers at toil, but the scene was
enlivened by the presence of the leaders of the Second International,
a group of decrepit professorial old men, who waddled in in solemn
procession carrying tomes full of international learning. They sat in
a row between the rulers and the people, deep in study, spectacles on
nose. The call to war was the signal for a dramatic appeal from the
workers to these leaders, who refused to accept the Red Flag, but
weakly received patriotic flags from their respective governments.
Jaures, elevated to be the symbol of protest, towered above the
people, crying in a loud voice, but fell back immediately as the
assassin's shot rang out. Then the people divided into their national
groups and the war began. It was at this point that "God Save the
King" was played as the English soldiers marched out, in a comic
manner which made one think of it as "_Gawd_ save the King." Other
national anthems were burlesqued in a similar fashion, but none quite
so successfully. A ridiculous effigy of the Tsar with a knout in his
hand now occupied the symbolic position and dominated the scene. The
incidents of the