of the Republic, which the new German State enacted, may be taken as one example of this truth.

One has good grounds to be suspicious in regard to any new idea, or any doctrine or philosophy, any political or economical movement, which tries to deny everything that the past has produced or to present it as inferior and worthless. Any renovation which is really beneficial to human progress will always have to begin its constructive work at the level where the last stones of the structure have been laid. It need not blush to utilize those truths which have already been established; for all human culture, as well as man himself, is only the result of one long line of development, where each generation has contributed but one stone to the building of the whole structure. The meaning and purpose of revolutions cannot be to tear down the whole building but to take away what has not been well fitted into it or is unsuitable, and to rebuild the free space thus caused, after which the main construction of the building will be carried on.

Thus alone will it be possible to talk of human progress; for otherwise the world would never be free of chaos, since each generation would feel entitled to reject the past and to destroy all the work of the past, as the necessary preliminary to any new work of its own.

The saddest feature of the condition in which our whole civilization found itself before the War was the fact that it was not only barren of any creative force to produce its own works of art and civilization but that it hated, defiled and tried to efface the memory of the superior works produced in the past. About the end of the last century people were less interested in producing new significant works of their own--particularly in the fields of dramatic art and literature--than in defaming the best works of the past and in presenting them as inferior and antiquated. As if this period of disgraceful decadence had the slightest capacity to produce anything of superior quality! The efforts made to conceal the past from the eyes of the present afforded clear evidence of the fact that these apostles of the future acted from an evil intent. These symptoms should have made it clear to all that it was not a question of new, though wrong, cultural ideas but of a process which was undermining the very foundations of civilization. It threw the artistic feeling which had hitherto been quite sane into utter confusion, thus spiritually preparing the way for political Bolshevism. If the creative spirit of the Periclean age be manifested in the Parthenon, then the Bolshevist era is manifested through its cubist grimace.

In this connection attention must be drawn once again to the want of courage displayed by one section of our people, namely, by those who, in virtue of their education and position, ought to have felt themselves obliged to take up a firm stand against this outrage on our culture. But they refrained from offering serious resistance and surrendered to what they considered the inevitable. This abdication of theirs was due, however, to sheer funk lest the apostles of Bolshevist art might raise a rumpus; for those apostles always violently attacked everyone who was not ready to recognize them as the choice spirits of artistic creation, and they tried to strangle all opposition by saying that it was the product of philistine and backwater minds. People trembled in fear lest they might be accused by these yahoos and swindlers of lacking artistic appreciation, as if it would have been a disgrace not to be able to understand and appreciate the effusions of those mental degenerates or arrant rogues. Those cultural disciples, however, had a very simple way of presenting their own effusions as works of the highest quality. They offered incomprehensible and manifestly crazy productions to their amazed contemporaries as what they called 'an inner experience'. Thus they forestalled all adverse criticism at very little cost indeed. Of course nobody ever doubted that there could have been inner experiences like that, but some doubt ought to have arisen as to whether or not there was any justification for exposing these hallucinations of psychopaths or criminals to the sane portion of human society. The works produced by a Moritz von Schwind or a Böcklin were also externalizations of an inner experience, but these were the experiences of divinely gifted artists and not of buffoons.