一九二六年夏天,伊莎多拉·邓肯像坟墓里出来的一个鬼魂,又开始在尼斯跳舞了。二十年前,她的艺术,在她那煊赫一时的声名激发下,几乎掀起了一次美国德道风尚所允许的美学复兴,要挣脱外省闭塞落后的限制是一件尤其艰难的事情。她的身体所具有的雅典式的丰采曾经把希腊带到堪萨斯和卡拉马祖,但到欧洲战后的年月,她已近乎半老徐娘。她的精神仍像一棵月桂树一样青翠,然而她的肉体憔悴了,也许是各种桂冠的重压所造成的。她是 In the summer of 1926, Isa Dora Duncan, like a ghost coming out of the tomb, began dancing again in Nice. Twenty years ago, her art, inspired by her fickleness, almost set off an aesthetic revival allowed by the virtues of the United States. It was especially difficult to get rid of the restrictions of backwardness and obstruction in other provinces. The elegant, athenian nature of her body had brought Greece to Kansas and Kalamazoo, but by the time of the post-war Europe she was nearly half-old. Her spirit is still as green as a laurel, but her body is gaunt, perhaps caused by the weight of the laurels. She is