Summer afternoon in the year 31,920 A.D. A sunlit glade at the southernfoot of a thickly wooded hill. On the west side of it, the steps and columned porch of a dainty little classic temple. Between it and the hill, a rising path to the wooded heights begins with rough steps of stones in the moss. On the opposite side, a grove. In the middle of the glade, an altar in the form of a low marble table as long as a man, set parallel to the temple steps and pointing to the hill. Curved marble benches radiate from it into the foreground; but they are not joined to it: there is plenty of space to pass between the altar and the benches.A dance of youths and maidens is in progress. The music is provided by a few fluteplayers seated carelessly on the steps of the temple. There are no children; and none of the dancers seems younger than eighteen. Some of the youths have beards. Their dress, like the architecture of the theatre and the design of the altar and curved seats, resembles Grecian of the fourth century B.C., freely handled. They move with perfect balance and remarkable grace, racing through a figure like a farandole. They neither romp nor hug in our manner.At the first full close they clap their hands to stop the musicians, who recommence with a saraband, during which a strange figure appears on the path beyond the temple. He is deep in thought, with his eyes closed and his feet feeling automatically for the rough irregular steps as he slowly descends them. Except for a sort of linen kilt consisting mainly of a girdle carrying a sporran and a few minor pockets, he is naked. In physical hardihood and uprightness he seems to be in the prime of life; and his eyes and mouth shew no signs of age; but his face, though fully and firmly fleshed, bears a network of lines, varying from furrows to hairbreadth reticulations, as if Time had worked over every inch of it incessantly through whole geologic periods. His head is finely domed and utterly bald. Except for his eyelashes he is quite hairless. He is unconscious of his surroundings, and walks right into one of the dancing couples, separating them. He wakes up and stares about him. The couple stop indignantly. The rest stop. The music stops. The youth whom he has jostled accosts him without malice, but without anything that we should call manners.

THE YOUTH. Now, then, ancient sleepwalker, why don't you keep your eyes open and mind where you are going?

THE ANCIENT [mild, bland, and indulgent] I did not know there was a nursery here, or I should not have turned my face in this direction. Such accidents cannot always be avoided. Go on with your play: I will turn back.

THE YOUTH. Why not stay with us and enjoy life for once in a way? We will teach you to dance.

THE ANCIENT. No, thank you. I danced when I was a child like you. Dancing is a very crude attempt to get into the rhythm of life. It would be painful to me to go back from that rhythm to your babyish gambols: in fact I could not do it if I tried. But at your age it is pleasant: and I am sorry I disturbed you.

THE YOUTH. Come! own up: arnt you very unhappy? It's dreadful to see you ancients going about by yourselves, never noticing anything, never dancing, never laughing, never singing, never getting anything out of life. None of us are going to be like that when we grow up. It's a dog's life.

THE ANCIENT. Not at all. You repeat that old phrase without knowing that there was once a creature on earth called a dog. Those who are interested in extinct forms of life will tell you that it loved the sound of its own voice and bounded about when it was happy, just as you are doing here. It is you, my children, who are living the dog's life.

THE YOUTH. The dog must have been a good sensible creature: it set you a very wise example. You should let yourself go occasionally and have a good time.

THE ANCIENT. My children: be content to let us ancients go our ways and enjoy ourselves in our own fashion. [He turns to go]

THE MAIDEN. But wait a moment. Why will you not tell us how you enjoy yourself? You must have secret pleasures that you hide from us, and that you never get tired of. I get tired of all our dances and all our tunes. I get tired of all my partners.

THE YOUTH [suspiciously] Do you? I shall bear that in mind.

They all look at one another as if there were some sinister significance in what she has said.

THE MAIDEN. We all do: what is the use of pretending we don't? It is natural.

SEVERAL YOUNG PEOPLE. No, no. We don't. It is not natural.

THE ANCIENT. You are older than he is, I see. You are growing up.

THE MAIDEN. How do you know? I do not look so much older, do I?

THE ANCIENT. Oh, I was not looking at you. Your looks do not interest me.

THE MAIDEN. Thank you.

They all laugh.

THE YOUTH. You old fish! I believe you don't know the difference between a man and a woman.

THE ANCIENT. It has long ceased to interest me in the way it interests you. And when anything no longer interests us we no longer know it.

THE MAIDEN. You havnt told me how I shew my age. That is what I want to know. As a matter of fact I am older than this boy here: older than he thinks. How did you find that out?

THE ANCIENT. Easily enough. You are ceasing to pretend that these childish games—this dancing and singing and mating—do not become tiresome and unsatisfying after a while. And you no longer care to pretend that you are younger

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