The tendency of every art is from the simple to the complex and then again from the complex to the simple. The greatest dancer is the one who can express the most complex musical images in the simplest plastic forms. Dancing in the future will be nothing but a transformatory process of the time-emotions in the space-emotions. ‘Rhythm is in time what symmetry is in space--division into equal parts corresponding to each other,’ said Schopenhauer. Arthur Symons called dancing ‘thinking overheard.’ ‘It begins and ends before words have formed themselves, in a deeper consciousness than that of speech. * * * It can render birth and death, and it is always going over and over the eternal pantomime of love; it can be all the passions, all the languors; but it idealizes these mere acts, gracious or brutal, into more than a picture; for it is more than a beautiful reflection, it has in it life itself, as it shadows life; and it is farther from life than a picture. Humanity, youth, beauty, playing the part of itself, and consciously, in a travesty, more natural than nature, more artificial than art: but we lose ourselves in the boundless bewilderment of its contradictions.’ It follows that a neo-symbolism is the logical outcome of the future dance. Dancing will become an independent stage art and take the place of the obsolescent opera. But before it reaches that stage, composers will be compelled to realize the importance of the new choreography, and produce music that contains all the graphic designs, the plastic possibilities, the dynamic drama and, above all, that structure of sounds which gives ample possibility for symbolic plasticism and yet contains a message. The real future dance will be expressionistic and subjective. Instead of copying life it will suggest its deepest depths and highest heights by combining the plastic symbols with the musical ones. It will not try to imitate nature but transpose it, as a painting transposes a landscape. Our mind is growing tired of the prevailing naked realism and its photographic effects. The realistic drama is gradually losing its æsthetic appeal. The aristocratic opera seems to belong to past centuries. Opera has lost its grip on the modern mind. Our æsthetic conception has reached the point where our subjective mind requires not imitation but inspiration. Instead of traditional beauties we require dynamic ones. We enjoy a suggestion of an æsthetic sensation more than an accurate description of it. This proves that the symbolic sensations will sooner or later take the upper hand, and symbolic dancing will be the watchword of the coming age.