To comply with the requirements of the above-described theory of musical dancing, the writer has composed a scenario, ‘The Legend of Life,’ to which Reinhold Glière is composing the music. In this ballet, or more correctly _plastomime_, which is arranged in three scenes, there is only one single dancer throughout the whole performance, and she is the symbolic image, the visualized imagination of a young monk, who is sitting in the evening before the festival of ordainment in his gloomy cell and thinking of the girl he used to love outside. Here he begins to hear the worldly music that is interrupted by the chimes and the choir of the church. The girl of whom he is thinking appears before him and dances romantic episodes--dances, so to speak, his vivid reminiscences. The monk is the realistic figure, the dancing girl the symbolic image of the music. It is a whole drama, which takes place in the monk’s mind. The drama is in music, and is his love, his romantic emotion, which is often interrupted by ecclesiastic surroundings. The second scene is the dream of the monk at night in a beautiful garden. The vision of the dancing girl. The third scene depicts him watching his own ordination in the church and the people arriving solemnly through the courtyard to witness the ceremony. Among them he sees his beloved. This scene is laid in the monastery’s courtyard. The charm of the dancing girl here becomes so overwhelming to the monk that he throws off his robe and rushes to her. Here she vanishes like a phantom and the plastomime ends. This, briefly, is an attempt at the sort of literary basis upon which the author considers dance music can be constructed in concordance with the new symbolic ideals. The above-described scenario is merely one of the innumerable dance themes that modern composers could employ in their future dance music. It is to be hoped that composers will grasp the idea and enrich musical literature with works that adapt themselves to the requirements of a new choreography. EPILOGUE FUTURE ASPECTS OF THE ART OF DANCE As in the physical so in the spiritual world there prevails a kind of circulation of energies and life; growth, maturity and decline. Individuals seem nothing but the beginnings where the universes end, and _vice versa_. As a man mirrors the world in his soul, so a protoplasm mirrors the man. An invisible hand pushes a worm along the same road of evolution as it does an imperious Cæsar. One and the same feeling heart seems to beat in the breast of man that beats in the action of the constellations. Yet the hand of evolution that tends to adjust the equilibrium between the individual and the cosmic will gives by every new turn a new touch of perfection to the subjective and the objective parties. This tendency manifests itself in the history of individuals and races, and also in the history of art. The greatest genius of to-day is surpassed by another to-morrow.