"On the lower slopes grew mulberries and oranges; above them, threaded with opulent colouring, plane-trees and sycamores, yellowing oaks, and the beautiful level boughs of dusky cedars, while from all sides came the sound of falling water, chiming and tinkling into little hollows, or thundering in cataracts, with a more imperious music, down precipitous and rocky glens. The sunlit fields of ripe wheat swayed in the wind like an undulating sea; the river gleamed like silver, and many coloured lilies grew beside the brimming water, filling the air with a delicate perfume. I looked about me in delight. It seemed a place sacred from the profaning feet of man. At the same time, I had a curious sense of being watched; and presently a young man rose out of the wild wheat before me, and stood watching me, with an expression of curiosity qualified with distrust."
A languid interest was apparent in the faces of his audience.
"It was Adam," answered Bagoas, smiling. "I have attempted, O King, to give you some notion of the thoughts which preoccupied me at my meeting with him. My outlook upon things is historical, and therefore necessarily pessimistic. Adam broke in upon my thoughts as a prophecy, a promise. He was in his first manhood, almost still a boy, and represented, in consequence, an earlier stage of evolution. He seemed in fact half child, and half animal. He had the stature of a man; he was well built, muscular, giving one the impression of an immense but graceful strength, of easy movements. His features were handsome, but unlike those usual in our country; the nose was a little rapacious, the mouth cruel, but his eyes were full of dreams. It was the face of one who looks towards distant horizons, having the immense calm of the desert, and full of a sleeping energy. Youth softened it, and lent it a delicate charm; but in age it will be terrible. And suddenly I heard a sullen voice saying: 'This is my garden.'
"I have noticed in all nomadic peoples, and in small scattered communities, that however terse the language, and however limited the vocabulary, the words are capable of innumerable shades of meaning. Gesture and modulation lend force and precision to what is said. Perhaps this is why the art of the theatre is always, at its best, the art of a naïve and unsophisticated people. Life in town tends to the production of a type, and individuality is suppressed; but life in the country, where the conventions are few and simple, tends to the formation of character. The theatric art, among town-dwellers, loses its broad simplicity and that directness of purpose which show man in immediate collision with facts, and is frittered away in mean motives and intangible temperaments, substituting for the play of circumstances the play of ideas. It is for the same reason that great empires always perish at the heart first; because dwellers in towns become uniform, and being surrounded by artificial circumstances are seldom brought into direct conflict with facts, but learn to cheat themselves with fine phrases and immaterial ideas."