VIDEBIMUS
How many shameful moments in humanity's history were accompanied by this exclamation, "We shall see!" How many already molded, wonderful opportunities were cruelly and mercilessly broken by the opportunism of this "We shall see." In most diversified languages, in every manner, in all intonations this deadly saying was pronounced. If margash or manana are said instead, these expressions also will denote the very same opportunistic expectation.
Many rulers of countries, pontiffs, and leaders did not find it difficult to speak this word aloud. And they probably never considered that in tins manner they pronounced a verdict upon themselves.
Who, then, trying to evade, will say, "We shall see"? Only he who does not know the way and wishes to cover himself by extraneous conditions. Moreover, everyone who so evades does not altogether know what he wants. It is impossible to build something solid on an unforeseen confluence of extraneous circumstances. It would be more just and honest to say simply, "Let us delay this matter." But he who says, "We shall see," wishes to catch something extraneous and make use of it.
He who receives such a pharisaic answer as, "We shall see," can justly say, "You're a fisherman!" or "You're a masquerader!" He will be quite right in using such appellations, because his companion probably wanted to gain time so as to either cover up something or fish out something irrelevant.
Isabella d'Este sent to Cesare Borgia a gift — one hundred masks. This significant gift revealed all her sharp resourcefulness, and remained in history as a just description of Cesare Borgia. Likewise, in one of the Eastern narratives it is related that a certain ruler sent a fish as a gift to his treacherous neighbor with the accompanying words, "Caught for you." Thus was shown knowledge of cunningly conceived plans.
"We shall see, we shall see," says he who wishes to delay some decision.
"All right, all right," remarks he who wishes to change the conversation. There is nothing whatsoever "right" in this desire to hide, to avoid, only for the purpose of delay. People even invented a self-consolation, "What is delayed is not lost." But, usually, what is delayed is already lost. And how much of the useful, timely, and necessary was delayed for the sake of absolutely unfitting considerations.
In order not to delay and thus spoil something, one must also have a heart's spark. We had occasion to hear of a wise ruler, who when learning of something undelayable and useful, confessed that he experienced a sort of tremor passing over his spine; his hair stood on end, as it were; of course, this was not because of a feeling of terror, but from a tremor of true feeling. It meant that the hearty itself was knocking and reminding that not even a moment should be lost.
The daily routine most of all disposes toward delay and neglect. So many small routine-like circumstances arise, that each new creative process appears to be abstract and ephemeral. How, then, to conquer the burden of circumstances? The sparks and flame of the heart will indicate the true path.
Byzantine emperors carried a special emblem, an amulet with a bag containing earth sewed in it. It was called the akakia [goodness] and symbolized the personal acceptance of the earthly burden. Apparently there was an echo of something most ancient in this custom which also reverberated peculiarly in the myth about Antaeus, and in other legends of different nations. But should the earthly burden be oppressive, or does being charged with it comprise an affirmation of a foundation? The emblem, in its meaning, could not be just a symbol of a burden. It could only be a sign of affirmation. Likewise, anyone who knows duty and responsibility and his path will not plunge into the evasive debris of "We shall see." He knows his path and therefore is not in need of any conditional terms. He will say, "I see" or "I do not see," but never will he humble himself by avowing his blindness and hoping that circumstances created by others will help him out.
In history whole political systems are known based upon "We shall await" and "We shall see." But these epochs were never marked by a renaissance. In the course of such policies a chance for existence could succeed for a while, but each powerful structure demands a responsive affirmation.
If a ruler is in possession of some reliable facts for some reason as yet unknown to his companion, he will say, "I shall wait." There is no need for him to scout and look around. He will simply need a certain period of time for the maturity of the seeds already sown.
All this is relatively the same. Somebody will say, "What difference is there between "I shall wait" or "We shall see"?" But there is a vast difference. In the first instance there is a responsible affirmation, and in the second — a conventional avoidance. One can respect unknown causes that make one wait; but the classical, "We shall see" will always fill you with doubt as to the quality of the intentions of your companion.
Your companion, in the latter case, says, as it were, "If you are successful, I will be with you." Such a union is not worth much.
What kind of architect would he be who would say at the start of the construction, "We shall see what will be the outcome". Such a building would inspire little trust. Some will say, "Will it not be just a quibble to make an issue out of a casual expression, insisting on its unfailing meaning?" Yet words exist for the purpose of expressing a definite concept.
And so, not "Videbimus," but "Vide."
Tzagan Kure
May 16, 1935
SERENDIPITY
Dr. Cannon, a professor of physiology at Harvard University, recently gave a lecture in Peking about the meaning of success in scientific discoveries. After citing many examples of diversified scientific practice the professor came to the conclusion that "success follows only those who accept it."
An excellent formula, completely correct and applicable in all walks of life. Truly, in addition to conscientious, far-sighted work it is necessary to show the ability to perceive the symptoms of the germ of success. Many a time the occasion arose to write that success must be caught, realizing that it is an "easily frightened bird." Many a time ancient proverbs have been quoted. "Risk not, gain not." Different peoples, each in their own language, interpret them in their own way, yet in the same direction. An endless number of fairy tales and legends tell about unlucky simpletons who, because of their dullness, lost the Firebird.
Precisely, lost the Firebird out of their own hands. It had already been found. Wise warnings cautioned, "Take the Firehird, but do not take the golden cage." However, the stupid one stretched out his hand for the golden cage and thus let escape the precious gift contained in the Firebird. The fool was warned, "When you pluck the Fireblossom, do not look back." But just at that moment something seemed to appear to him, the gaper naturally turned around, and all that had been found by him was lost. Verily, success must be seized — taken firmly, without retreat and in full striving. In this complete striving is expressed that faith which already borders upon great true knowledge.
In all these stories, which were warnings, there are always brought out many circumstances that aided the discovery of luck. Beginning with grey wolves or unknown benevolent beggars and passers-by many circumstances become helpers in success.
One should also pay great attention to this inspired assistance. Not only should one discover such prepared assistants, but in the social structure it is also necessary to create conditions that act quickly. Precisely, such conditions should be created.
The inception of success is not only a personal affair, it is a success of the state. Each private beneficent success is also the success of the government, which means the government itself must be consciously solicitous that such successes be attained. The attainment of all the best proceeds through all the highest. It means that the state, as such, should give to its citizens all of the best, all of the true culture.
As usual, we do not speak about quantity, but about quality. What of it if the newspapers come out containing many scores of pages, which because of their quality could be shortened successfully into half the amount! What of it, if all sorts of questionable restaurants and cabarets grow like mushrooms and choke up people's thinking? Not without cause did some Easterner confuse the difference between a cafe chantant and a shaitan.
Yesterday, in the middle of the desert, we listened to a radio. Listened for over two hours. We changed all possible radio waves, and visited the most diversified countries. And what did we hear? True, somewhere, it seems in America, a fragment from "Lohengrin" flashed out, but the rest was so much restaurant and fox trot music that once again we were horrified by what was filling space. After all, all of these sounds, manifested and not manifested, influence human consciousness.
It is sufficiently known that space is filled, but apparently it is not yet sufficiently assimilated that the filling of space is the greatest responsibility of humanity. The essence of quality is that very diversified building material, out of which is built the success of civilization and with it eventually that of culture. A man civilized by a fox trot will be lost on the paths leading to culture. For him these blessed pathways will already appear unattainable.
"This is not for us." "Aspirations are destined for us, but not their attainment." This is the kind of pessimism into which not even a bad consciousness can fall, but the one weighed down by the baseness of daily life can. He who utters these negative, pessimistic words will thus renounce constructiveness. No matter how many times one may show to such a man the means of salutary successes, he will shrug them off as something unattainable, and will go to drown his sorrow in the nearest bar.
In this "drowning" of sorrow is evidenced a very cowardly pessimism. You see, the two-legged one has an urgent need to forcibly "drown" something. He thinks that he is drowning his sorrow, whereas he drowns his achievement or lets it go up in smoke. If at present space itself thunders with the horror of vulgarity, is it not the duty of every government to replace vulgarity with actions of high quality?
Many a time we had occasion to say that the people are being slandered unjustly, in insisting that they demand vulgarity and meanness. Both of these are thrust upon them from an early age. But give beautiful harmony, beautiful singing, beautiful words, and the people will be drawn open-heartedly to them.
Dark forces are everywhere. Everywhere they conduct their destructive work, and they dream of depriving the nations of those achievements which are already destined. Of course, that which is destined can be considerably delayed, but nevertheless it will reveal itself. Each such delay is an abominable crime against mankind. Each one who wishes to drive someone into the darkness and deprive him of light is but a co-worker of darkness. But nations, as such, are by no means co-workers of darkness. No matter by what means the servants of darkness induce them to commit abominations and vulgarity, sooner or later they sober up. Whole masses arise and rebel against all kinds of "drownings, fumes, and poisonings." Blessings to that government, which understands that one cannot keep the people on a low level, giving them products of low quality. Then space itself will not roar and howl, but will merge into the Beautiful.
Whether successes be in scientific discoveries, whether they be in ennobling creativeness, finally, whether they be in simple daily life, which also is in need of good fortune, is immaterial — success must be perceived everywhere and accepted.
Sufficient is told in fairy tales about gapers and simpletons who let their luck slip. The age of building a new culture should be the age of successful people, who, each one in his way, will find his treasure-trove, his destined success.
"Success follows those who accept it."
Tzagan Kure
May 30, 1935
COMPARISON
Dr. Hasselman, a newcomer from Manila, justly complained to us about the tightening of means for scientific research. Quite correctly the doctor remarked that grants still continue to come for certain customary research, but each new problem either meets with rejection or icy silence. Whereas constant need arises in research, and precisely in new, not in conventional realms. Quite new observations arise, and, likewise, new diseases. At that, new scourges of humanity become so interwoven, as it were, that special observations are needed to take them apart and find new methods for combating them. Besides, it is also observed with justice to what an extent certain ailments become fashionable and draw attention to themselves which should have been applied to other signs of distress.
We personally know and feel how true are these observations of a practical physician. We personally know that means for every modest research flow exceedingly slowly. As we noticed many a time, it is even difficult to obtain means for research to combat such a scourge of humanity as cancer.
It would seem that the patients themselves and also their nearest of kin should be interested if a new possibility for research opens. It would seem so. But in reality even measures that merit special attention remain in their conventional framework. Since institutions already exist that are fighting cancer, it is thought that no other studies should take place. Even when there are known examples of curing cancer in some Special localities, even when this is testified to by physicians, conventional opinion puts obstacles in the way of new searches.
It will be said that now is a time of such crisis that one should not think about anything new. But even if someone pretends to be satisfied with such an explanation, will it not appear strange to him that tremendous, truly incalculable sums are ready, not for healing purposes, but for death-bearing ones.
The magazine "The Nation" gives, under the title "Dance of Death," a curious analysis of data regarding this year. It is disclosed that the military needs of this year in London call for 124,250,000 pounds, or 10,539,000 pounds more than last year.
In Japan the military budget for this year is the largest in the history of the empire. The army will receive 490,000,000 yen, and the navy 530,000,000 yen. And also the Secretary of the Navy, Admiral Osumi, warns the population of future sacrifices, "even if we have to eat rice only."
Moscow increases the army almost twice, and the military expenditures of this year will amount to six and half billion rubles.
In Washington $318,699,000 are allotted for military needs. These expenditures are" recognized as the biggest since the war. In Paris they are forced to designate enormous outlays for new fortifications and building of giant warships. In Berlin a new army of half a million men is being formed which demands correspondingly huge expenditures.
Let us recall that also hi other countries extraordinary expenditures correspondingly arise for the erection of fortifications, new military bases, and increases in armament. Thus the figures speak for themselves. Truly, if need for fratricide is being developed so speedily, why think about new ways of preserving human life?
At the same time, somewhere, armies are being already moved, and on some borders armed actions are ready to break out. And no one knows if it will be some "private episode" or a match for destructive world conflagration. If the world thinking hypnotizes itself by concentrating only on the need of deadly killings, then all other measures, curative and constructive, may appear untimely.
Some will regard it as altogether unfitting to condemn peaceful measures. But what kind of peace is it when the mouths of cannons are ready to spew out death, and all kinds of poisons are prepared, probably sufficient to stop altogether all human life on Earth. Recently a question arose. What is the purpose of marathons of speed if they do not contain within themselves a peaceful, constructive element?
Yet the figures quoted above sufficiently prove that speed will probably be used aside from peaceful tasks. Because of spiritual confusion are not the new kinds of sicknesses going to multiply? And what will happen if, for construction of a cannon, funds of any kind will be available, but a benevolent, cultural structure will be rejected, supposedly owing to lack of funds?
These comparisons and confrontations are not in need of lengthy explanations. One thing is clear, independent creative cultural activity should be increased in every way. The leaders of culture neither impede nor destroy; they build and create incessantly. For this tirelessness mutual understanding and real cooperation are needed. The harder the times, the more necessary are mutual trust and fine cooperation.
All comparative figures will only show how urgently is needed a return to the foundations of constructive culture. If there exists decisiveness of the spirit and self-abnegation, such strongholds will be created that no poisons, no cannons will destroy them.
In the name of construction let us send a mutual greeting.
Tzagan Kure
May 23, 1935
GATES INTO THE FUTURE
The quality of durability is always very significant for the epoch. In the final analysis probably no one wishes to purposefully understand quality. It is lowered because of the surrounding imperfection. This lowering begins quite imperceptibly. At limes it takes place under a pretext of seeming improvements. Striking the eye, among many other deviations from stability, is the problem of lack of durability in art materials which causes creative achievements to be short-lived.
One does not have to be an artist or an expert chemist in order to observe when going through art galleries the sad changes in colors of the paintings of past and present centuries. Terrible impressions are made by the ugly oilcloth-like, cracked canvases. As if chains were put on the painting in circular and longitudinal cracks. This is not the noble "crackle" of the old Dutch masters. This is not the golden patina of ancient lacquers, but a sort of sad black veil which covers the human creation forever.
On other paintings we see new outlines becoming visible. Galloping horses prove to have eight legs. There were cases when a dark figure on a light background appeared to be light on a black-brown background. Where thick layers of paint were laid on, they fell away in whole layers, producing irreparable damage. All in all, when comparing painting of different centuries, anyone can see that the painting of the last century leaves an unusually heavy and dark imprint due to the decomposed oil colors.
Much thought has been given to these unfortunate oil colors. Inviting ads have come out constantly about new, especially lasting oil colors, but in reality they proved to be just as defective. Artists, becoming desperate because of this imperfect material, naturally began looking for better results and again turned to tempera, to the egg colors, and to combinations of glue and powder colors.
Although all these methods caused much inconvenience and demanded expenditure of time for preparation, nevertheless there was found in them that freshness of colors which forever has distinguished the luminous primitives. Naturally, in the final analysis everything is subject to change. It is only a question of time. And yet it is better to realize that paintings can become visions instead of black boots. We even see excellently preserved pastels of the eighteenth century. We see many excellently preserved frescoes. It means that the main defect of oil colors lies either in the oils or in the undiscriminating combination of an absolutely unnecessary quantity of unnatural tones. It is known that some artists did use a vast quantity of all kinds of colors. They put them on almost without mixing, yet in close proximity, and thus a reaction took place due to uncombinable substances. It is also known that for speedier drying the artists used all possible fixatives, and the preliminary drawing was covered by a most harmful combination of fixatives.
Lately, denatured alcohol has often been used as a fixative, or alcohol of quite a poor quality, and shellac of low quality. If one puts together all these harmful conditions, even a nonspecialist would understand how harmful all these indiscriminately used materials must be.
Therefore the recently felt desire of artists to simplify materials as much as possible and to work with only tested combinations becomes quite natural. In this direction one is excellently helped by the study of Italian and Flemish primitives which have reached us in the best condition. They also help to understand the process of technique, especially in those paintings which reached us in an unfinished state. There are quite a few such unfinished paintings, which by the will of fate remained in the process of work, and one can notice especially clearly on them exactly how the work was done. On such paintings, for example, as those by Van Eyck, one can observe how unerringly the color was laid on, how very precise contours gradually were traced and the painting was brought to an astonishing perfection in clarity of thought and firmness of hand.
It is not noticeable in these paintings that the search for tonal qualities took place right there, on that very same, carefully prepared hoard. Creativeness was revealed in simplicity and clarity. The artist knew definitely what he wanted to give and how he wanted to express it. Of course, this very clarity of creative process did not involve the artist in unnecessary, complicated mixtures of color. After all, the sonority and harmony of tones does not issue because the vegetable and mineral substances were blended in an "unnatural" way, but because of that blending which was so correctly defined by the French in their daily life as valeur.
In his autobiography Stravinsky recalls the just words of Rimski-Korsakov that there are composers without the piano and composers at the piano. The very same should be said about painters. Some want to solve tonal problems in searching upon the finished canvas. And others solve these problems inwardly, clearly, with power of imagination, and sing their colorful song when already in possession of mastery.
Old Italian and Flemish masters, in creating their unforgettable artistic images, solved them from within, with the power of imagination, and then sang out their colorful song, clearly, precisely, and simply. In this combination was contained true mastery.
At present we see that many young artists are impelled to these clear and precise, incarnate visions. In these strivings they will unquestionably avoid that tomb-like black impress which hangs persistently over many paintings of the past century.
Clarity of creativeness and a developed imagination will allow the artist to be restricted to most simple materials. In these comparatively simple materials were painted the greatest works of art.
I had an opportunity to observe with what simple means the good icon painters even today attain excellent results. True, certain ancient qualities of materials nevertheless escaped them. Thus, for instance, the quality of drying oil used to cover the painted surface had tremendous significance. Every good icon painter, besides the contemporary prepared drying oil, had also in his possession a treasured vessel containing a certain amount of the ancient drying oil. The master collected it from the ancient ruined icons, being aware that nothing would give that penetrating golden luster as does this age-old drying oil.
It would seem that the formula of drying oil was more or less known and even mentioned in ancient instructions. And yet anyone could see at once the obvious difference between the most modern materials and these — the ancient. Some think that time itself influenced the blending of materials, but others surmise that the old masters had their secrets with which they parted quite unwillingly. The latter supposition is not without reason, especially since many instructions in icon-painting were written in their own incomprehensible way, which was strictly safeguarded in the family.
From Italian chronicles we learn that oil and other materials were preserved in monasteries in earthen pots for scores of years before they were permitted to be used.
I had occasion to express perplexity as to why at present paintings are so lightly subjected to investigation by newly discovered rays, not realizing what would be the results years after these experiments. Since we speak about the preservation of the monuments of culture, then the utmost attention should be shown also in all technical respects.
I read recently about a certain art teacher, who in examining the paintings of his students exclaimed, "Indeed, lasting colors are not needed." Such pessimistic exclamations must not be uttered at all. During all times there were masters and pupils, there were all stages of growth in work. But the master, from the very beginning of studies, repeatedly spoke to his pupils about the essential quality of the materials. The master established a system of art education in everything. The pupils became, as it were, his children, and often lived together with him, affirming the general principles of life. Creativeness and life are so inseparable! He who understands the order of things in life, who enters into the rhythm of consonances, will also bring the very same foundations into his work. In the name of harmonious foundations of life he will not want to do things negligently. In the bravado of ignorance he will not presumptuously assume that which he does not know. The master shaped men out of his pupils.
People who understand duties and responsibilities know what that quality is that is manifested in imagination and in technique. The realization of quality will also bring with it a good quality of technique.
It is quite understandable that in art literature as well as in general literature the question of quality of materials is very important. If the writer knew that the ink used to print his creativeness must disappear after a few moments, it would not be an encouraging factor. Likewise, in all other fields, if people think about the future, they must naturally think about all those qualities of which in the future they will not have to be ashamed. Good quality of thought, good quality of imagination, good quality in execution — all these are the very same good quality, or gates into .the future.
Tzagan Kure
June 1, 1935
THE GREAT IMAGES
When great images reach us from remote antiquity, it is somehow very simple to accept them. Even if they are clothed in myths and legends they are very convincing. Behind a curtain of time all is possible. Writers and painters of all centuries will dedicate their best inspirations to these distant images. Whole generations will be guided by these inspiring distant heroes and heroines. No one is jealous of them, no one is interested in the manner of these achievements — there remain only the memorable milestones of human ascent.
Entirely different are images from the recent past, to say nothing of the present. Take the description of great people recently passed away. So many unnecessary, non-characteristic traits are emphasized which only show that the exact nature of their lives has not yet been weighed or evaluated. The most doubtful, entirely unproved details are brought up, and the conclusions, even though they are not necessarily negative, are at best belittling.
Of course, with passing ages the scales will be balanced. The judgment of the people eventually will remove much of the dust that fills the eyes of the contemporary observers. The justice of ages does not have to belittle. Even within the span of a century we see that many things attain their own balance. The printed sheets on which great characters were disparaged and treated with contempt have not yet disintegrated. Not only in the memory of our grandfathers — and we now witness the same — did people laugh cruelly and unjustly at certain individuals who in less than a hundred years became the pride of their country and even of the whole world.
We shall not name the many writers, poets, scientists, social workers, and leaders whose names and whose very images have been changed in people's minds within a very short period of time. Everybody knows of many such cases. Although our contemporaries severely condemn yesterday's ignorant critics, they themselves often repeat the same mistakes. It has often been pointed out that the dictionaries and encyclopedias should alter their evaluations with every new edition. We can recall a number of great people who at first were described in dictionaries and encyclopedias as charlatans and agitators, but later received most honorable mention. Such metamorphoses can be noted even within one generation. In the history of human thought is this not remarkable?
It is difficult to say what causes this, although the obvious fad remains. Is it wickedness, envy, ignorance, or perhaps some kind of inexcusable stupidity and laziness? Someone is even responsible for the most peculiar proverb, "Abuse does not cling to the collar." Probably this strange saying is attributable to some bully who wanted to justify his peculiarities.
Sometimes people reach such absurdity that a mere attempt to express a friendly opinion, even a reasonable one, is considered as something untimely and unacceptable. While at the same time any criticism that is scandalous and perverted will be listened to calmly and even with inner approval.
Meanwhile, so many beautiful, truly great images have been coming to teach humanity; and not in some remote ages, but right here, very near. It seems that these images, being so concrete and real, should have inspired even more people. But this happens quite rarely.
We find these unforgettable, inspiring images shining not only in officialdom and those who rule but also concealed in ordinary life. Only a few can realize their deep significance for humanity. In this also, somehow and sometime, the scales of justice will be balanced. However, it is strange that people benefit so little by what already has been generously given them, which could be widely applied.
Beautiful, heroic images of men and women pass before us; they are true creators of culture, and it would seem most desirable to know about them now instead of the unnecessary and unexplainable holding back of these images in archives and records for the imagination of people of some future day.
Before us passes a remarkable feminine image. From early childhood the little girl likes to retire secretly with a large heavy book. With an effort she secretly carries away from the adults the treasure to admire the pictures, and later on she learns to read it all by herself. From her father's bookcases, at an unusually early age, she takes philosophical treatises, and in spite of the noisy, distracting surroundings, a deep and complete world outlook is molded as if it were a familiar realm discovered a long time ago. Veracity and justice, the constant search for truth, and the love for creative work change the entire life around the young, strong spirit. The whole house, the whole family, everything is constructed on the same beneficent principles.
All difficulties and dangers are borne under this same invincible leadership. Accumulated knowledge and aspiration toward perfection bring indomitable solutions of problems, which lead all the others on one luminous path. Ignorance, darkness, and malice are painfully sensed. Wherever it is possible a physical and spiritual healing takes place. From early morning till night, life becomes full of true labor, and all for the benefit of humanity. A large correspondence is built up, books are written, extensive essays are translated; and all this is done in a remarkable tirelessness of spirit. Even the most difficult circumstances are conquered by true faith, which becomes straight-knowledge. And yet, astonishing accumulations were necessary for such knowledge! Such an unwearying life of labor, with daily deeds performed in benevolence and true constructivity should be the ideal for all youth. When all the difficulties, and the inspiring work which flowed amidst them is known, it is particularly valuable for youth to learn about these achievements. Often one may think that certain things are insurmountable, that evil cannot be conquered by good. This is the kind of delusion, which at times is reached by the confused human mind. At such times the true examples of the heroic life are particularly important. We may rejoice that we have before us these beautiful examples, so encouraging to all beginners in constructive work. All this must be known. It is necessary to replace doubt, negation, and retreat — to proceed inspiredly in the encouraging work.
Some may consider themselves driven away and forgotten, not suspecting that here, not far from them, over all obstacles and all the impediments of darkness, the unspilled chalice was carried. If one would realize this, how much new vigor, and with it new possibilities, would come! How much dark despair at night would be replaced by thoughts about creativity and constructive work, which is possible in all stages of life.
Is it absolutely necessary to be burned at the stake like Joan of Arc? Will the scaffolds still be necessary when we realize the true value of moving, guiding words, and exemplary labor? Sooner or later humanity will have to give up everything that holds it back, impedes, and hardens. The one who is able to find a maximum of good signs will complete a most noble marathon. A true marathon does not require standing on one leg, but precisely discovering the maximum of good constructive signs. In these signs will be found the real peace for which all churches pray ceaselessly.
In order to achieve this true peace it is necessary to exercise much care, solicitude, and magnanimity. Is it possible to talk about magnanimity as something abstract and inapplicable? Is it possible that there are such brutal hearts as could oppose every constructive benevolence? It is impossible. In every living heart there must be some wholly human benevolent approach. With such a good approach the great images will be distinguishable and their works will be justly evaluated.
Tzagan Kure
July 2, 1935