Another strong effect: Death, in person, walks about the stage in every act. So far as I could make out, he was supposably not visible to any excepting two persons--the one he came for and Appelles. He used various costumes: but there was always more black about them than any other tint; and so they were always sombre. Also they were always deeply impressive and, indeed, awe-inspiring. The face was not subjected to changes, but remained the same first and last--a ghastly white. To me he was always welcome, he seemed so real--the actual Death, not a play-acting artificiality. He was of a solemn and stately carriage; and he had a deep voice, and used it with a noble dignity. Wherever there was a turmoil of merry-making or fighting or feasting or chaffing or quarreling, or a gilded pageant, or other manifestation of our trivial and fleeting life, into it drifted that black figure with the corpse- face, and looked its fateful look and passed on; leaving its victim shuddering and smitten. And always its coming made the fussy human pack seem infinitely pitiful and shabby, and hardly worth the attention of either saving or damning.

In the beginning of the first act the young girl Zoe appears by some great rocks in the desert, and sits down exhausted, to rest. Presently arrive a pauper couple stricken with age and infirmities; and they begin to mumble and pray to the Spirit of Life, who is said to inhabit that spot. The Spirit of Life appears; also Death--uninvited. They are (supposably) invisible. Death, tall, black-robed, corpse-faced, stands motionless and waits. The aged couple pray to the Spirit of Life for a means to prop up their existence and continue it. Their prayer fails. The Spirit of Life prophesies Zoe's martyrdom; it will take place before night. Soon Appelles arrives, young and vigorous and full of enthusiasm: he has led a host against the Persians and won the battle; he is the pet of fortune, rich, honoured, believed, 'Master of Palmyra'. He has heard that whoever stretches himself out on one of those rocks there and asks for a deathless life can have his wish. He laughs at the tradition, but wants to make the trial anyway. The invisible Spirit of Life warns him! 'Life without end can be regret without end.' But he persists: let him keep his youth, his strength, and his mental faculties unimpaired, and he will take all the risks. He has his desire.