They were dirty, their clothes were torn, and the girl was so exhausted that she fell when she was still twenty feet from the front door.

The silence oppressed him, made him bend low over the horse's neck as if to hide from a wind that had begun to blow far away and was twisting slowly through the darkness in its slow search.

Cabot turned back to the men and he was drunk with the thing they would do, wild to break from the cloying warmth of the saloon into the cold of the ebbing night.

The Gap looming before him -- the place where had confronted Jack English on that day so many years ago -- was his exit from all that had meaning to him.

He was too old -- when he passed up and through the corridor of pines that lined the trail he could see ahead, he was passing from life.

He might tell her how sorry a spectacle she was making of herself, pretending to be blind to the way Julia Fortune had taken Dean's affections from her.

A bullet tore the earth from beneath his foot when he was a stride or two from safety.

It was pitiful to see the thin ranks of warriors, old and young, wheeling and twisting their ponies frantically from side to side only to be tumbled bleeding from their saddles by the relentless slam, slam of the cruelly efficient Hawkinses.

She was carrying a quirt, and she started to raise it, then let it fall again and dangle from her wrist.

It was obvious that he wished himself different from the sort of person he thought he was.

Now, here was something of obvious importance to me, yet when I reached for the tickets he snatched them away from my hand.

It was, I felt, possible that they were men who, having received no tickets for that day, had remained in the hall, to sleep perhaps, in the corners farthest removed from the counter with its overhead light.

Though only a relatively short walk separated it from my own part of town, its character was wholly foreign to me.

The river was only a few blocks away but an unbroken line of piers prevented me from seeing it.

It was to him that Barton had sent Carl Dill on Dill's release from the prison.

Hague, like all who worked near the pits, was partly deafened from the constant assault against his eardrums.

But she was caught in it, and she faced the terrible possibility that, if it were a dream, it was one from which she might never awaken.

He had to depend on himself, since he was invariably miles and hours away from others.

An inquest was held, and after a good deal of testimony about the anonymous notes, the county coroner estimated that the shooting had been done from a distance of 300 yards.

What a man this Petipa was!!

In 1904 at the age of just fourteen Nijinsky was selected by the great choreographer Marius Petipa to dance a principal role in what proved to be the choreographer's last ballet, La Romance d ' un Bouton de rose et d ' un Papillon.

The material Petipa chose was an adaptation of E. T. A.

Although the libretto was by Marius Petipa, who exactly choreographed the first production has been debated.

Petipa began work on the choreography in August 1892 ; however, illness removed him from its completion and his assistant of seven years, Lev Ivanov, was brought in.

In 1870, the novel was adapted for a ballet titled Trilby by the great choreographer Marius Petipa, balletmaster of the Tsar's Imperial Ballet of St. Petersburg, Russia.

For a number of years, Marius Petipa was the ballet master of the Imperial Russian Ballet.

One of the most famous names in ballet history, Petipa was the choreographer of some of the best known classical ballets including:

One famous Grand Pas was created by Marius Petipa in 1881 for his revival of Joseph Mazilier's ballet Paquita.

A rather elaborate Grand Pas is taken from the 1862 Petipa / Pugni ballet The Pharaoh's Daughter, which was revived in 2000 after decades of being absent from the stage.

The ballet was first presented at the Paris Opéra's Salle Le Peletier on 28 June 1841 with Carlotta Grisi as Giselle, Lucien Petipa as Albrecht, and Jean Coralli as Hilarion.

The version passed down to the present day was staged by Marius Petipa for the Imperial Ballet ( today the Kirov / Mariinsky Ballet ).

The Corps de Ballet was reintroduced and came under the supervision of the dancer and choreographer Jean-Antoine Petipa, father of the famous Marius Petipa.

NOTE-this Pas de deux was originally created by Petipa for the ballerina Amalia Ferraris as an addition to his revival of the ballet Le Diable amoureux ( or Satanella, as the ballet was known in Russia ), where it acquired the title The Fascination Pas de deux.

NOTE-this Pas de deux was fashioned by Pyotr Gusev in 1955 from music from two of Petipa and Drigo's ballets-The Talisman ( 1889 ).

Her last performance was in the Minkus / Petipa ballet La Camargo on January 28, 1901 after which she retired to live in her villa at Lake Como.

* Cinderella from Petipa / Ivanov / Cecchetti ( music by Fitingof-Shell, 1893 ), Legnani was the first to establish 32 fouettés en tournant.

The libretto was a collaboration between Jules-Henri Vernoy de Saint-Georges and Petipa, partly after Théophile Gautier's Le Roman de la Momie.

Karsavina suspected that Petipa was behind the " political intrigue " that resulted in her father's being forced into early retirement.

Victor Marius Alphonse Petipa ( 11 March 1818 — ) was a French ballet dancer, teacher and choreographer.

Petipa created over fifty ballets, some of which have survived in versions either faithful to, inspired by, or reconstructed from the original — The Pharaoh's Daughter ( 1862 ); Don Quixote ( 1869 ); La Bayadère ( 1877 ); Le Talisman ( 1889 ); The Sleeping Beauty ( 1890 ); The Nutcracker ( which was most likely choreographed by Lev Ivanov, perhaps with Petipa's counsel and instruction ) ( 1892 ); Le Réveil de Flore ( 1894 ); Le Halte de Cavalerie ( 1896 ); Raymonda ( 1898 ); Les Saisons ( 1900 ), and Les Millions d ’ Arlequin ( a. k. a. Harlequinade ) ( 1900 ).

Marius Petipa was born Victor Marius Alphonse Petipa in Marseilles, France on 11 March 1818.