Beauty and Death

For long years we of the world gone wild have looked into the face of death and smiled. Through all our bitter tears we knew how beautiful it was to die for that which our souls called sufficient. Like all true beauty this thing of dying was so simple, so matter-of-fact. The boy clothed in his splendid youth stood before us and laughed in his own jolly way,—went and was gone. Suddenly the world was full of the fragrance of sacrifice. We left our digging and burden-bearing; we turned from our scraping and twisting of things and words; we paused from our hurrying hither and thither and walking up and down, and asked in half-whisper: this Death—is this Life? And is its beauty real or false? And of this heart-questioning I am writing.

For many years, we in this world gone wild have looked death in the face and smiled. Through all our bitter tears, we knew how beautiful it was to die for a cause our souls deemed worthy. Like all true beauty, dying was so simple, so matter-of-fact. The boy stood before us, radiant in his youth, and laughed in his own cheerful way. He went, and was gone. Suddenly the world was filled with the fragrance of sacrifice. We stopped digging and carrying burdens. We turned away from scraping and twisting things and words. We paused from rushing here and there and walking back and forth. In a half-whisper, we asked: Is this Death Life? Is its beauty real or false? I am writing about these questions of the heart.

My friend, who is pale and positive, said to me yesterday, as the tired sun was nodding:

Yesterday, as the tired sun was setting, my pale and confident friend said to me:

"You are too sensitive."

"You are too sensitive."

I admit, I am—sensitive. I am artificial. I cringe or am bumptious or immobile. I am intellectually dishonest, art-blind, and I lack humor.

I admit it. I am sensitive. I am artificial. I cringe, act arrogantly, or freeze. I am intellectually dishonest, blind to art, and lack a sense of humor.

"Why don't you stop all this?" she retorts triumphantly.

"Why don't you stop all this?" she replies triumphantly.

You will not let us.

You will not let us.

"There you go, again. You know that I—"

"There you go again. You know that I..."

Wait! I answer. Wait!

Wait! I answer. Wait!

I arise at seven. The milkman has neglected me. He pays little attention to colored districts. My white neighbor glares elaborately. I walk softly, lest I disturb him. The children jeer as I pass to work. The women in the street car withdraw their skirts or prefer to stand. The policeman is truculent. The elevator man hates to serve Negroes. My job is insecure because the white union wants it and does not want me. I try to lunch, but no place near will serve me. I go forty blocks to Marshall's, but the Committee of Fourteen closes Marshall's; they say white women frequent it.

I get up at seven. The milkman has skipped me. He pays little attention to colored neighborhoods. My white neighbor makes a show of glaring at me. I walk quietly so I won't disturb him. The children jeer as I pass on my way to work. The women on the streetcar pull their skirts away from me or choose to stand. The policeman is hostile. The elevator operator hates serving Negroes. My job is insecure because the white union wants the job and doesn't want me. I try to get lunch, but no place nearby will serve me. I go forty blocks to Marshall's, but the Committee of Fourteen closes Marshall's. They say white women go there.

"Do all eating places discriminate?"

"Do all restaurants discriminate?"

No, but how shall I know which do not—except—

No, but how will I know which ones don't, except...

I hurry home through crowds. They mutter or get angry. I go to a mass-meeting. They stare. I go to a church. "We don't admit niggers!"

I hurry home through the crowds. They mutter or get angry. I go to a public meeting. They stare. I go to a church. "We don't admit niggers!"

Or perhaps I leave the beaten track. I seek new work. "Our employees would not work with you; our customers would object."

Or perhaps I try a different path. I look for new work. "Our employees would not work with you. Our customers would object."

I ask to help in social uplift.

I ask to help improve society.

"Why—er—we will write you."

"Well, uh, we'll write to you."

I enter the free field of science. Every laboratory door is closed and no endowments are available.

I enter the free field of science. Every laboratory door is closed, and no funding is available.

I seek the universal mistress, Art; the studio door is locked.

I seek Art, the universal mistress, but the studio door is locked.

I write literature. "We cannot publish stories of colored folks of that type." It's the only type I know.

I write literature. "We cannot publish stories about colored folks like that." It's the only kind I know.

This is my life. It makes me idiotic. It gives me artificial problems. I hesitate, I rush, I waver. In fine,—I am sensitive!

This is my life. It makes me act like an idiot. It gives me artificial problems. I hesitate, I rush, I waver. In short, I am sensitive!

My pale friend looks at me with disbelief and curling tongue.

My pale friend looks at me in disbelief, tongue curling.

"Do you mean to sit there and tell me that this is what happens to you each day?"

"Are you really sitting there telling me this happens to you every day?"

Certainly not, I answer low.

Certainly not, I answer quietly.

"Then you only fear it will happen?"

"Then you only fear that it will happen?"

I fear!

I'm afraid!

"Well, haven't you the courage to rise above a—almost a craven fear?"

"Well, don't you have the courage to rise above a, almost a cowardly fear?"

Quite—quite craven is my fear, I admit; but the terrible thing is—these things do happen!

I admit my fear is utterly, utterly cowardly. But the terrible thing is, these things do happen!

"But you just said—"

"But you just said..."

They do happen. Not all each day,—surely not. But now and then—now seldom, now, sudden; now after a week, now in a chain of awful minutes; not everywhere, but anywhere—in Boston, in Atlanta. That's the hell of it. Imagine spending your life looking for insults or for hiding places from them—shrinking (instinctively and despite desperate bolsterings of courage) from blows that are not always but ever; not each day, but each week, each month, each year. Just, perhaps, as you have choked back the craven fear and cried, "I am and will be the master of my—"

They do happen. Not all of them happen every day, of course. But they happen now and then, sometimes rarely, sometimes suddenly. Sometimes they come after a week, sometimes in a chain of awful minutes. They do not happen everywhere, but they can happen anywhere, in Boston or Atlanta. That’s the hell of it. Imagine spending your life looking out for insults or places to hide from them. Imagine flinching from blows, instinctively and despite desperate efforts to muster courage. The blows do not come all the time, but they never stop. They come not every day, but every week, every month, every year. Perhaps they come just as you have held back your cowardly fear and cried, "I am and will be the master of my..."

"No more tickets downstairs; here's one to the smoking gallery."

"No more tickets for downstairs. Here's one for the smoking gallery."

You hesitate. You beat back your suspicions. After all, a cigarette with Charlie Chaplin—then a white man pushes by—

You hesitate. You push back your suspicions. After all, a cigarette with Charlie Chaplin... Then a white man pushes past...

"Three in the orchestra."

"Three in the orchestra."

"Yes, sir." And in he goes.

"Yes, sir." And he goes in.

Suddenly your heart chills. You turn yourself away toward the golden twinkle of the purple night and hesitate again. What's the use? Why not always yield—always take what's offered,—always bow to force, whether of cannon or dislike? Then the great fear surges in your soul, the real fear—the fear beside which other fears are vain imaginings; the fear lest right there and then you are losing your own soul; that you are losing your own soul and the soul of a people; that millions of unborn children, black and gold and mauve, are being there and then despoiled by you because you are a coward and dare not fight!

Suddenly, your heart grows cold. You turn away toward the golden twinkle of the purple night and hesitate again. What’s the use? Why not always give in, always take what’s offered, always bow to force, whether from cannons or dislike? Then a great fear surges in your soul. It is the real fear, beside which all other fears are only imagined. You fear that, right then and there, you are losing your own soul and the soul of a people. You fear that millions of unborn children, black and gold and mauve, are being robbed by you. And this is happening because you are a coward and dare not fight!

Suddenly that silly orchestra seat and the cavorting of a comedian with funny feet become matters of life, death, and immortality; you grasp the pillars of the universe and strain as you sway back to that befrilled ticket girl. You grip your soul for riot and murder. You choke and sputter, and she seeing that you are about to make a "fuss" obeys her orders and throws the tickets at you in contempt. Then you slink to your seat and crouch in the darkness before the film, with every tissue burning! The miserable wave of reaction engulfs you. To think of compelling puppies to take your hard-earned money; fattening hogs to hate you and yours; forcing your way among cheap and tawdry idiots—God! What a night of pleasure!

Suddenly, that silly orchestra seat and a comedian dancing around on funny feet become matters of life, death, and immortality. You grasp the pillars of the universe and strain as you turn back to the ticket girl in her frilly clothes. You brace your soul for riot and murder. You choke and sputter. The girl sees that you are about to make a "fuss." She follows her orders and throws the tickets at you with contempt. Then you slink to your seat and crouch in the dark before the film, every part of you burning! A miserable wave of reaction washes over you. To think of forcing puppies to take your hard-earned money. To think of fattening hogs so they can hate you and your people. To think of forcing your way in among cheap and tawdry idiots. God! What a night of pleasure!

Here, then, is beauty and ugliness, a wide vision of world-sacrifice, a fierce gleam of world-hate. Which is life and what is death and how shall we face so tantalizing a contradiction? Any explanation must necessarily be subtle and involved. No pert and easy word of encouragement, no merely dark despair, can lay hold of the roots of these things. And first and before all, we cannot forget that this world is beautiful. Grant all its ugliness and sin—the petty, horrible snarl of its putrid threads, which few have seen more near or more often than I—notwithstanding all this, the beauty of this world is not to be denied.

Here, then, are beauty and ugliness, a sweeping vision of sacrifice for the world, and a fierce gleam of hatred for the world. Which is life, and which is death? How can we face such a maddening contradiction? Any explanation must be subtle and complex. No glib, easy words of encouragement or simple dark despair can reach the roots of these things. First and foremost, we cannot forget that this world is beautiful. Admit all its ugliness and sin, the petty, horrible tangle of its rotting threads. Few have seen that tangle more closely or more often than I have. Despite all this, the beauty of this world cannot be denied.

Casting my eyes about I dare not let them rest on the beauty of Love and Friend, for even if my tongue were cunning enough to sing this, the revelation of reality here is too sacred and the fancy too untrue. Of one world-beauty alone may we at once be brutally frank and that is the glory of physical nature; this, though the last of beauties, is divine!

As I look around, I dare not dwell on the beauty of love and friendship. Even if I were skilled enough to sing of it, the reality is too sacred and the imagined picture too false. There is only one beauty in the world about which we may be brutally frank: the glory of physical nature. Though it is the last of beauties, it is divine!

And so, too, there are depths of human degradation which it is not fair for us to probe. With all their horrible prevalence, we cannot call them natural. But may we not compare the least of the world's beauty with the least of its ugliness—not murder, starvation, and rapine, with love and friendship and creation—but the glory of sea and sky and city, with the little hatefulnesses and thoughtfulnesses of race prejudice, that out of such juxtaposition we may, perhaps, deduce some rule of beauty and life—or death?

There are also depths of human degradation that it is not fair for us to investigate. However horribly widespread they are, we cannot call them natural. But could we compare the least of the world's beauty with the least of its ugliness? We would not compare murder, starvation, and rape with love, friendship, and creation. Instead, we would compare the glory of sea, sky, and city with the petty hateful acts and thoughts of racial prejudice. Perhaps, by placing them side by side, we might discover some rule of beauty and life, or death.

There mountains hurl themselves against the stars and at their feet lie black and leaden seas. Above float clouds—white, gray, and inken, while the clear, impalpable air springs and sparkles like new wine. Last night we floated on the calm bosom of the sea in the southernmost haven of Mount Desert. The water flamed and sparkled. The sun had gone, but above the crooked back of cumulus clouds, dark and pink with radiance, and on the other sky aloft to the eastward piled the gorgeous-curtained mists of evening. The radiance faded and a shadowy velvet veiled the mountains, a humid depth of gloom behind which lurked all the mysteries of life and death, while above, the clouds hung ashen and dull; lights twinkled and flashed along the shore, boats glided in the twilight, and the little puffing of motors droned away. Then was the hour to talk of life and the meaning of life, while above gleamed silently, suddenly, star on star.

There, mountains rise sharply against the stars, and black, leaden seas lie at their feet. White, gray, and ink-dark clouds float above. The clear, weightless air leaps and sparkles like new wine. Last night we floated on the calm sea in the southernmost harbor of Mount Desert. The water flamed and sparkled. The sun had set, but evening mists glowed like splendid curtains above the crooked ridge of cumulus clouds. The clouds were dark and pink with light, and the mists also rose high in the eastern sky. The glow faded, and a shadowy velvet veil covered the mountains. It was a damp, deep darkness, behind which all the mysteries of life and death lay hidden. Above, the clouds hung gray and dull. Lights twinkled and flashed along the shore, boats glided in the twilight, and the soft puffing of motors faded away. It was the hour to talk of life and its meaning. Above us, stars suddenly appeared, one after another, shining silently.

Bar Harbor lies beneath a mighty mountain, a great, bare, black mountain that sleeps above the town; but as you leave, it rises suddenly, threateningly, until far away on Frenchman's Bay it looms above the town in withering vastness, as if to call all that little world petty save itself. Beneath the cool, wide stare of that great mountain, men cannot live as giddily as in some lesser summer's playground. Before the unveiled face of nature, as it lies naked on the Maine coast, rises a certain human awe.

Bar Harbor lies beneath a mighty mountain, a great, bare, black mountain that sleeps above the town. But as you leave, the mountain rises suddenly and threateningly. Far out on Frenchman's Bay, it looms above the town with crushing vastness. It seems to call that whole little world petty, except for itself. Under the cool, wide stare of that great mountain, people cannot live as giddily as they do in lesser summer playgrounds. The naked, unveiled face of nature on the Maine coast inspires a certain human awe.

God molded his world largely and mightily off this marvelous coast and meant that in the tired days of life men should come and worship here and renew their spirit. This I have done and turning I go to work again. As we go, ever the mountains of Mount Desert rise and greet us on our going—somber, rock-ribbed and silent, looking unmoved on the moving world, yet conscious of their everlasting strength.

God shaped his world on a grand and mighty scale off this marvelous coast. He meant for people to come here in the weary days of life, to worship and renew their spirits. I have done this, and now I turn back to work. As we leave, the mountains of Mount Desert rise and greet us. They are somber, rock-ribbed, and silent. They look on the moving world without stirring, yet they are aware of their everlasting strength.

About us beats the sea—the sail-flecked, restless sea, humming its tune about our flying keel, unmindful of the voices of men. The land sinks to meadows, black pine forests, with here and there a blue and wistful mountain. Then there are islands—bold rocks above the sea, curled meadows; through and about them roll ships, weather-beaten and patched of sail, strong-hulled and smoking, light gray and shining. All the colors of the sea lie about us—gray and yellowing greens and doubtful blues, blacks not quite black, tinted silvers and golds and dreaming whites. Long tongues of dark and golden land lick far out into the tossing waters, and the white gulls sail and scream above them. It is a mighty coast—ground out and pounded, scarred, crushed, and carven in massive, frightful lineaments. Everywhere stand the pines—the little dark and steadfast pines that smile not, neither weep, but wait and wait. Near us lie isles of flesh and blood, white cottages, tiled and meadowed. Afar lie shadow-lands, high mist-hidden hills, mountains boldly limned, yet shading to the sky, faint and unreal.

The sea beats around us, restless and dotted with sails. It hums around our speeding keel, paying no attention to human voices. The land slopes down to meadows and black pine forests, with a blue, wistful mountain here and there. Then come islands, with bold rocks rising above the sea and curling meadows. Ships travel through and around them. Some are weather-beaten, with patched sails. Others have strong hulls and trail smoke, or are light gray and shining. All the colors of the sea surround us: gray and yellowish greens, uncertain blues, blacks that are not quite black, tinted silvers and golds, and dreaming whites. Long tongues of dark and golden land stretch far into the tossing waters. White gulls glide and scream above them. It is a mighty coast, ground down and battered, scarred, crushed, and carved into massive, frightening shapes. Everywhere stand the pines, small, dark, and steadfast. They neither smile nor weep, but wait and wait. Near us lie islands of flesh and blood, with white, tile-roofed cottages and meadows. Far away lie shadowy lands, high hills hidden in mist, and mountains sharply outlined. Yet the mountains fade into the sky, faint and unreal.

We skirt the pine-clad shores, chary of men, and know how bitterly winter kisses these lonely shores to fill yon row of beaked ice houses that creep up the hills. We are sailing due westward and the sun, yet two hours high, is blazoning a fiery glory on the sea that spreads and gleams like some broad, jeweled trail, to where the blue and distant shadow-land lifts its carven front aloft, leaving, as it gropes, shades of shadows beyond.

We sail along the pine-covered shores, wary of people. We know how bitterly winter kisses these lonely shores, filling the row of pointed ice houses that climb the hills. We are sailing due west. The sun, still two hours from setting, blazes in fiery glory across the sea. The light spreads and gleams like a broad, jeweled path to a distant blue shadowland. There, the shadowland raises its carved face, reaching upward, with shadows of shadows beyond it.

Why do not those who are scarred in the world's battle and hurt by its hardness travel to these places of beauty and drown themselves in the utter joy of life? I asked this once sitting in a Southern home. Outside the spring of a Georgia February was luring gold to the bushes and languor to the soft air. Around me sat color in human flesh—brown that crimsoned readily; dim soft-yellow that escaped description; cream-like duskiness that shadowed to rich tints of autumn leaves. And yet a suggested journey in the world brought no response.

Why don’t people scarred by the world’s battles and hurt by its hardness travel to these beautiful places? Why don’t they immerse themselves in the pure joy of life? I once asked this question while sitting in a Southern home. Outside, the spring of a Georgia February was drawing gold to the bushes and a lazy warmth to the soft air. Around me sat people of many colors: brown that flushed crimson easily, a muted, soft yellow beyond description, and creamy darkness shading into the rich colors of autumn leaves. Yet when I suggested traveling the world, no one responded.

"I should think you would like to travel," said the white one.

"I would think you'd like to travel," said the white one.

But no, the thought of a journey seemed to depress them.

But no, the thought of a trip seemed to make them unhappy.

Did you ever see a "Jim-Crow" waiting-room? There are always exceptions, as at Greensboro—but usually there is no heat in winter and no air in summer; with undisturbed loafers and train hands and broken, disreputable settees; to buy a ticket is torture; you stand and stand and wait and wait until every white person at the "other window" is waited on. Then the tired agent yells across, because all the tickets and money are over there—

Have you ever seen a "Jim-Crow" waiting room? There are always exceptions, as at Greensboro. But usually there is no heat in winter and no air in summer. Loafers and train workers hang around undisturbed, and the benches are broken and shabby. Buying a ticket is torture. You stand and stand and wait and wait until every white person at the "other window" has been served. Then the tired agent yells across, because all the tickets and money are over there.

"What d'ye want? What? Where?"

"What do you want? What? Where?"

The agent browbeats and contradicts you, hurries and confuses the ignorant, gives many persons the wrong change, compels some to purchase their tickets on the train at a higher price, and sends you and me out on the platform, burning with indignation and hatred!

The agent bullies and contradicts you. He rushes and confuses people who don't know better and gives many people the wrong change. He forces some to buy their tickets on the train at a higher price. And he sends you and me out onto the platform, burning with anger and hatred!

The "Jim-Crow" car is up next the baggage car and engine. It stops out beyond the covering in the rain or sun or dust. Usually there is no step to help you climb on and often the car is a smoker cut in two and you must pass through the white smokers or else they pass through your part, with swagger and noise and stares. Your compartment is a half or a quarter or an eighth of the oldest car in service on the road. Unless it happens to be a thorough express, the plush is caked with dirt, the floor is grimy, and the windows dirty. An impertinent white newsboy occupies two seats at the end of the car and importunes you to the point of rage to buy cheap candy, Coco-Cola, and worthless, if not vulgar, books. He yells and swaggers, while a continued stream of white men saunters back and forth from the smoker to buy and hear. The white train crew from the baggage car uses the "Jim-Crow" to lounge in and perform their toilet. The conductor appropriates two seats for himself and his papers and yells gruffly for your tickets before the train has scarcely started. It is best not to ask him for information even in the gentlest tones. His information is for white persons chiefly. It is difficult to get lunch or clean water. Lunch rooms either don't serve niggers or serve them at some dirty and ill-attended hole in the wall. As for toilet rooms,—don't! If you have to change cars, be wary of junctions which are usually without accommodation and filled with quarrelsome white persons who hate a "darky dressed up." You are apt to have the company of a sheriff and a couple of meek or sullen black prisoners on part of your way and dirty colored section hands will pour in toward night and drive you to the smallest corner.

The "Jim-Crow" car is next to the baggage car and engine. It stops beyond the station roof, exposed to rain, sun, or dust. Usually there is no step to help you climb aboard. Often the car is a smoking car divided in two. You must pass through the white smokers, or they pass through your section, swaggering, making noise, and staring. Your compartment is a half, a quarter, or an eighth of the oldest car the railroad still uses. Unless the train happens to be a nonstop express, the plush seats are caked with dirt. The floor is grimy, and the windows are dirty. A rude white newsboy takes up two seats at the end of the car. He pesters you until you are furious, trying to sell cheap candy, Coco-Cola, and worthless, sometimes vulgar books. He shouts and swaggers, while a steady stream of white men strolls back and forth from the smoking section to buy and listen. The white train crew from the baggage car uses the "Jim-Crow" to lounge and wash up. The conductor takes two seats for himself and his papers. Before the train has barely started, he gruffly shouts for your tickets. It is best not to ask him for information, even in the gentlest tones. His information is chiefly for white persons. It is difficult to get lunch or clean water. Lunchrooms either don't serve niggers or serve them at some dirty, poorly staffed hole in the wall. As for the toilets, don't! If you have to change trains, beware of junctions. They usually have no accommodations and are full of quarrelsome white persons who hate a "darky dressed up." For part of the trip, you are likely to share the car with a sheriff and a couple of meek or sullen black prisoners. Toward night, dirty colored track workers will pour in and crowd you into the smallest corner.

"No," said the little lady in the corner (she looked like an ivory cameo and her dress flowed on her like a caress), "we don't travel much."

"No," said the little lady in the corner. She looked like an ivory cameo, and her dress flowed over her like a caress. "We don't travel much."

Pessimism is cowardice. The man who cannot frankly acknowledge the "Jim-Crow" car as a fact and yet live and hope is simply afraid either of himself or of the world. There is not in the world a more disgraceful denial of human brotherhood than the "Jim-Crow" car of the southern United States; but, too, just as true, there is nothing more beautiful in the universe than sunset and moonlight on Montego Bay in far Jamaica. And both things are true and both belong to this our world, and neither can be denied.

Pessimism is cowardice. A man who cannot openly acknowledge the reality of the "Jim-Crow" car and still live and hope is simply afraid. He is afraid of either himself or the world. Nothing in the world is a more disgraceful denial of human brotherhood than the "Jim-Crow" car of the southern United States. But it is just as true that nothing in the universe is more beautiful than sunset and moonlight on Montego Bay in faraway Jamaica. Both are true, and both belong to our world. Neither can be denied.

The sun, prepared to cross that awful border which men call Night and Death, marshals his hosts. I seem to see the spears of mighty horsemen flash golden in the light; empurpled banners flame afar, and the low thunder of marching hosts thrills with the thunder of the sea. Athwart his own path, screening a face of fire, he throws cloud masses, masking his trained guns. And then the miracle is done. The host passes with roar too vast for human ear and the sun is set, leaving the frightened moon and blinded stars.

The sun prepares to cross that terrible border people call Night and Death. He gathers his armies. I seem to see the spears of mighty horsemen flash gold in the light. Purple banners blaze in the distance, and the low thunder of marching armies echoes the thunder of the sea. Across his path, he casts masses of clouds, screening his fiery face and hiding his aimed guns. And then the miracle happens. The army passes with a roar too vast for human ears. The sun has set, leaving the frightened moon and blinded stars.

In the dusk the green-gold palms turn their star-like faces and stretch their fan-like fingers, lifting themselves proudly, lest any lordly leaf should know the taint of earth.

At dusk, the green-gold palms turn their star-like faces and stretch out their fan-like fingers. They lift themselves proudly, as if no majestic leaf should be stained by the earth.

Out from the isle the serpent hill thrusts its great length around the bay, shouldering back the waters and the shadows. Ghost rains sweep down, smearing his rugged sides, yet on he writhes, undulant with pine and palm, gleaming until his low, sharp head and lambent tongue, grown gray and pale and silver in the dying day, kisses the molten gold of the golden sea.

From the island, the serpent-shaped hill stretches its great length around the bay, pushing back the water and shadows. Ghostly rains sweep down, streaking its rugged sides. Yet it winds on, rippling with pines and palms and gleaming in the light. Its low, sharp head and glowing tongue turn gray, pale, and silver as the day fades. They kiss the molten gold of the golden sea.

Then comes the moon. Like fireflies nesting in the hand of God gleams the city, dim-swathed by fairy palms. A long, thin thumb, mist-mighty, points shadowy to the Spanish Main, while through the fingers foam the Seven Seas. Above the calm and gold-green moon, beneath the wind-wet earth; and here, alone, my soul enchained, enchanted!

Then the moon comes out. The city gleams like fireflies resting in the hand of God, dimly wrapped in fairy palms. A long, thin thumb, made mighty by mist, points like a shadow toward the Spanish Main. Through the fingers, the Seven Seas foam. Above is the calm, gold-green moon. Below is the earth, wet with wind. And here I am, alone, my soul chained and enchanted!

From such heights of holiness men turn to master the world. All the pettiness of life drops away and it becomes a great battle before the Lord. His trumpet,—where does it sound and whither? I go. I saw Montego Bay at the beginning of the World War. The cry for service as high as heaven, as wide as human feeling, seemed filling the earth. What were petty slights, silly insults, paltry problems, beside this call to do and dare and die? We black folk offered our services to fight. What happened? Most Americans have forgotten the extraordinary series of events which worked the feelings of black America to fever heat.

From such heights of holiness, men turn to master the world. All the small concerns of life fall away, and life becomes a great battle before the Lord. Where does his trumpet sound, and where does it call me? I go. I saw Montego Bay at the beginning of the World War. A call to serve seemed to fill the earth. It was as high as heaven and as wide as human feeling. What did petty slights, silly insults, and trivial problems matter beside this call to act, dare, and die? We black folk offered to fight. What happened? Most Americans have forgotten the extraordinary series of events that stirred black America to a fever pitch.

First was the refusal to accept Negro volunteers for the army, except in the four black regiments already established. While the nation was combing the country for volunteers for the regular army, it would not let the American Negro furnish even his proportionate quota of regular soldiers. This led to some grim bantering among Negroes:

First came the refusal to accept Negro volunteers for the army, except in the four existing black regiments. The nation was searching the country for volunteers for the regular army. Yet it would not let the American Negro provide even his fair share of regular soldiers. This refusal led to some grim joking among Negroes:

"Why do you want to volunteer?" asked many. "Why should you fight for this country?"

"Why do you want to volunteer?" many asked. "Why should you fight for this country?"

Before we had chance to reply to this, there came the army draft bill and the proposal by Vardaman and his ilk to except Negroes. We protested to Washington in various ways, and while we were insisting that colored men should be drafted just as other citizens, the bill went through with two little "jokers."

Before we could reply to this, the army draft bill was introduced. Vardaman and his kind proposed excluding Negroes from the draft. We protested to Washington in various ways. While we insisted that colored men should be drafted just like other citizens, the bill passed with two little "jokers."

First, it provided that Negroes should be drafted, but trained in "separate" units; and, secondly, it somewhat ambiguously permitted men to be drafted for "labor."

First, it required Negroes to be drafted but trained in "separate" units. Second, it allowed men to be drafted for "labor", though its wording was somewhat ambiguous.

A wave of fear and unrest spread among Negroes and while we were looking at both these provisions askance, suddenly we received the draft registration blank. It directed persons "of African descent" to "tear off the corner!" Probably never before in the history of the United States has a portion of the citizens been so openly and crassly discriminated against by action of the general government. It was disheartening, and on top of it came the celebrated "German plots." It was alleged in various parts of the country with singular unanimity that Germans were working among the Negroes, and it was further intimated that this would make the Negroes too dangerous an element to trust with guns. To us, of course, it looked as though the discovery and the proposition came from the same thinly-veiled sources.

A wave of fear and unrest spread among Negroes. While we were viewing both provisions with suspicion, we suddenly received the draft registration form. It instructed persons "of African descent" to "tear off the corner!" Probably never before in United States history had the federal government discriminated so openly and crudely against some of its citizens. It was disheartening, and then came the celebrated "German plots." Across the country, people alleged with remarkable unanimity that Germans were working among Negroes. They also suggested that this would make Negroes too dangerous a group to trust with guns. To us, of course, it looked as though the discovery and the proposal came from the same thinly disguised sources.

Considering carefully this series of happenings the American Negro sensed an approaching crisis and faced a puzzling dilemma. Here was evidently preparing fertile ground for the spread of disloyalty and resentment among the black masses, as they were forced to choose apparently between forced labor or a "Jim-Crow" draft. Manifestly when a minority group is thus segregated and forced out of the nation, they can in reason do but one thing—take advantage of the disadvantage. In this case we demanded colored officers for the colored troops.

After carefully considering this series of events, the American Negro sensed an approaching crisis and faced a puzzling dilemma. These events were clearly creating fertile ground for disloyalty and resentment among the black masses. They were apparently being forced to choose between forced labor and a "Jim-Crow" draft. Clearly, when a minority group is segregated and forced out of the nation, its only reasonable choice is to turn that disadvantage to its advantage. In this case, we demanded colored officers for the colored troops.

General Wood was early approached and asked to admit suitable candidates to Plattsburg. He refused. We thereupon pressed the government for a "separate" camp for the training of Negro officers. Not only did the War Department hesitate at this request, but strong opposition arose among colored people themselves. They said we were going too far. "We will obey the law, but to ask for voluntary segregation is to insult ourselves." But strong, sober second thought came to our rescue. We said to our protesting brothers: "We face a condition, not a theory. There is not the slightest chance of our being admitted to white camps; therefore, it is either a case of a 'Jim-Crow' officers' training camp or no colored officers. Of the two things no colored officers would be the greater calamity."

Early on, we approached General Wood and asked him to admit suitable candidates to Plattsburg. He refused. We then pressed the government for a "separate" camp to train Negro officers. The War Department hesitated over our request. Strong opposition also arose among colored people themselves. They said we were going too far. "We will obey the law, but to ask for voluntary segregation is to insult ourselves." But careful second thoughts came to our rescue. We said to our protesting brothers: "We face a condition, not a theory. There is no chance at all that we will be admitted to white camps. So we must choose between a 'Jim-Crow' officers' training camp and no colored officers. Of the two, having no colored officers would be the greater calamity."

Thus we gradually made up our minds. But the War Department still hesitated. It was besieged, and when it presented its final argument, "We have no place for such a camp," the trustees of Howard University said: "Take our campus." Eventually twelve hundred colored cadets were assembled at Fort Des Moines for officers' training.

Gradually, we made up our minds. But the War Department still hesitated. It was under constant pressure. Finally, it argued, "We have no place for such a camp." The trustees of Howard University replied: "Take our campus." Eventually, twelve hundred colored cadets gathered at Fort Des Moines for officers' training.

The city of Des Moines promptly protested, but it finally changed its mind. Des Moines never before had seen such a class of colored men. They rapidly became popular with all classes and many encomiums were passed upon their conduct. Their commanding colonel pronounced their work first class and declared that they presented excellent material for officers.

The city of Des Moines protested at once, but it finally changed its mind. Des Moines had never seen such a group of colored men before. They quickly became popular with all classes, and many people praised their conduct. Their commanding colonel said their work was first class and that they would make excellent officers.

Meantime, with one accord, the thought of the colored people turned toward Colonel Young, their highest officer in the regular army. Charles Young is a heroic figure. He is the typical soldier,—silent, uncomplaining, brave, and efficient! From his days at West Point throughout his thirty years of service he has taken whatever task was assigned him and performed it efficiently; and there is no doubt but that the army has been almost merciless in the requirements which it has put upon this splendid officer. He came through all with flying colors. In Haiti, in Liberia, in western camps, in the Sequoia Forests of California, and finally with Pershing in Mexico,—in every case he triumphed. Just at the time we were looking to the United States government to call him to head the colored officers' training at Des Moines, he was retired from the army, because of "high blood pressure!" There is no disputing army surgeons and their judgment in this case may be justified, but coming at the time it did, nearly every Negro in the United States believed that the "high blood pressure" that retired Colonel Young was in the prejudiced heads of the Southern oligarchy who were determined that no American Negro should ever wear the stars of a General.

Meanwhile, the thoughts of colored people everywhere turned to Colonel Young, their highest-ranking officer in the regular army. Charles Young is a heroic figure. He is the typical soldier: silent, uncomplaining, brave, and efficient! From his days at West Point through thirty years of service, he has efficiently performed every task assigned to him. And there is no doubt that the army has placed almost merciless demands on this splendid officer. He came through it all with flying colors. He triumphed everywhere: in Haiti, Liberia, western camps, the Sequoia Forests of California, and finally with Pershing in Mexico. We were looking to the United States government to call him to lead the colored officers' training at Des Moines. Just then, he was retired from the army because of "high blood pressure!" One cannot dispute the army surgeons, and their judgment in this case may be justified. But the timing led nearly every Negro in the United States to believe something else. They believed the "high blood pressure" that retired Colonel Young was in the prejudiced heads of the Southern oligarchy. The oligarchy was determined that no American Negro should ever wear the stars of a General.

To say that Negroes of the United States were disheartened at the retirement of Colonel Young is to put it mildly,—but there was more trouble. The provision that Negroes must be trained separately looked simple and was simple in places where there were large Negro contingents, but in the North with solitary Negroes drafted here and there we had some extraordinary developments. Regiments appeared with one Negro where the Negro had to be separated like a pest and put into a house or even a village by himself while the commander frantically telegraphed to Washington. Small wonder that one poor fellow in Ohio solved the problem by cutting his throat. The whole process of drafting Negroes had to be held up until the government could find methods and places for assembling them.

To say that Negroes in the United States were disheartened by Colonel Young’s retirement is putting it mildly. But there was more trouble. The rule that Negroes had to be trained separately seemed simple. It was simple in places with large numbers of Negroes. But in the North, where Negroes were drafted one by one here and there, extraordinary things happened. Some regiments had just one Negro. He had to be separated like a pest and put alone in a house or even a village. Meanwhile, the commander frantically telegraphed Washington. Small wonder that one poor fellow in Ohio solved the problem by cutting his throat. The whole process of drafting Negroes had to be suspended until the government could find ways and places to assemble them.

Then came Houston. In a moment the nation forgot the whole record of one of the most celebrated regiments in the United States Army and its splendid service in the Indian Wars and in the Philippines. It was the first regiment mobilized in the Spanish-American War and it was the regiment that volunteered to a man to clean up the yellow fever camps when others hesitated. It was one of the regiments to which Pershing said in December:

Then came Houston. In a moment, the nation forgot the entire record of one of the most celebrated regiments in the United States Army. It forgot the regiment’s splendid service in the Indian Wars and the Philippines. The regiment was the first mobilized in the Spanish-American War. Every man in the regiment volunteered to clean up the yellow fever camps when others hesitated. It was one of the regiments Pershing spoke to in December:

"Men, I am authorized by Congress to tell you all that our people back in the States are mightily glad and proud at the way the soldiers have conducted themselves while in Mexico, and I, General Pershing, can say with pride that a finer body of men never stood under the flag of our nation than we find here tonight."

"Men, Congress has authorized me to tell you that our people back in the States are very glad and proud. They are proud of how the soldiers have conducted themselves in Mexico. And I, General Pershing, can say with pride that no finer group of men has ever served under our nation's flag than the men here tonight."

The nation, also, forgot the deep resentment mixed with the pale ghost of fear which Negro soldiers call up in the breasts of the white South. It is not so much that they fear that the Negro will strike if he gets a chance, but rather that they assume with curious unanimity that he has reason to strike, that any other persons in his circumstances or treated as he is would rebel. Instead of seeking to relieve the cause of such a possible feeling, most of them strain every effort to bottle up the black man's resentment. Is it inconceivable that now and then it bursts all bounds, as at Brownsville and Houston?

The nation also forgot the deep resentment, mixed with a faint trace of fear, that Negro soldiers stir in the white South. White Southerners do not so much fear that the Negro will strike if he gets a chance. Rather, they assume with curious unanimity that he has reason to strike. They assume that anyone else in his circumstances, or treated as he is, would rebel. Instead of trying to remove the cause of such possible resentment, most white Southerners do everything they can to bottle it up. Is it impossible to imagine that, now and then, this resentment breaks all bounds, as at Brownsville and Houston?

So in the midst of this mental turmoil came Houston and East St. Louis. At Houston black soldiers, goaded and insulted, suddenly went wild and "shot up" the town. At East St. Louis white strikers on war work killed and mobbed Negro workingmen, and as a result 19 colored soldiers were hanged and 51 imprisoned for life for killing 17 whites at Houston, while for killing 125 Negroes in East St. Louis, 20 white men were imprisoned, none for more than 15 years, and 10 colored men with them.

So, amid this mental turmoil, Houston and East St. Louis happened. In Houston, black soldiers, provoked and insulted, suddenly went wild and "shot up" the town. In East St. Louis, white strikers working on the war effort mobbed and killed Negro workers. As a result, 19 colored soldiers were hanged and 51 were imprisoned for life for killing 17 whites in Houston. But for killing 125 Negroes in East St. Louis, 20 white men were imprisoned, none for more than 15 years. Ten colored men were imprisoned with them.

Once upon a time I took a great journey in this land to three of the ends of our world and over seven thousand mighty miles. I saw the grim desert and the high ramparts of the Rocky Mountains. Three days I flew from the silver beauty of Seattle to the somber whirl of Kansas City. Three days I flew from the brute might of Chicago to the air of the Angels in California, scented with golden flowers, where the homes of men crouch low and loving on the good, broad earth, as though they were kissing her blossoms. Three days I flew through the empire of Texas, but all these shall be tales untold, for in all this journey I saw but one thing that lived and will live eternal in my soul,—the Grand Cañon.

Once, I took a great journey across this land, traveling to three ends of our world and over seven thousand mighty miles. I saw the harsh desert and the high walls of the Rocky Mountains. For three days I traveled from the silver beauty of Seattle to the somber bustle of Kansas City. For three days I traveled from the brute power of Chicago to the air of the Angels in California. There, the air was scented with golden flowers. The homes of men rested low and lovingly on the good, broad earth, as if kissing her blossoms. For three days I traveled through the empire of Texas. But all these stories will remain untold. For on that whole journey, I saw only one thing that lived and will live forever in my soul: the Grand Cañon.

It is a sudden void in the bosom of the earth, down to its entrails—a wound where the dull titanic knife has turned and twisted in the hole, leaving its edges livid, scarred, jagged, and pulsing over the white, and red, and purple of its mighty flesh, while down below—down, down below, in black and severed vein, boils the dull and sullen flood of the Colorado.

It is a sudden hollow in the earth’s breast, reaching down to its guts. It is a wound where a huge, dull knife has turned and twisted. The knife has left the edges livid, scarred, jagged, and pulsing over the white, red, and purple of the earth’s mighty flesh. Far, far below, in a black, severed vein, the dark and sullen waters of the Colorado boil.

It is awful. There can be nothing like it. It is the earth and sky gone stark and raving mad. The mountains up-twirled, disbodied and inverted, stand on their peaks and throw their bowels to the sky. Their earth is air; their ether blood-red rock engreened. You stand upon their roots and fall into their pinnacles, a mighty mile.

It is terrifying. There can be nothing like it. It is as if the earth and sky have gone completely mad. The mountains are twisted upward, torn apart, and turned upside down. They stand on their peaks and throw their insides toward the sky. Their earth is air. Their sky is blood-red rock covered in green. You stand on their roots and fall a full mile into their peaks.

Behold this mauve and purple mocking of time and space! See yonder peak! No human foot has trod it. Into that blue shadow only the eye of God has looked. Listen to the accents of that gorge which mutters: "Before Abraham was, I am." Is yonder wall a hedge of black or is it the rampart between heaven and hell? I see greens,—is it moss or giant pines? I see specks that may be boulders. Ever the winds sigh and drop into those sun-swept silences. Ever the gorge lies motionless, unmoved, until I fear. It is a grim thing, unholy, terrible! It is human—some mighty drama unseen, unheard, is playing there its tragedies or mocking comedy, and the laugh of endless years is shrieking onward from peak to peak, unheard, unechoed, and unknown.

Look at this mauve and purple mockery of time and space! See that peak! No human foot has stepped on it. Only the eye of God has looked into that blue shadow. Listen to the voice of the gorge as it mutters: "Before Abraham was, I am." Is that wall a hedge of black, or is it the barrier between heaven and hell? I see green. Is it moss or giant pines? I see specks that may be boulders. The winds sigh endlessly and sink into those sunlit silences. The gorge always lies still and unmoving, until I feel afraid. It is grim, unholy, terrible! It is human. Some mighty, unseen, unheard drama is playing out its tragedies or mocking comedy there. The laughter of endless years shrieks on from peak to peak, unheard, unechoed, and unknown.

One throws a rock into the abyss. It gives back no sound. It falls on silence—the voice of its thunders cannot reach so far. It is not—it cannot be a mere, inert, unfeeling, brute fact—its grandeur is too serene—its beauty too divine! It is not red, and blue, and green, but, ah! the shadows and the shades of all the world, glad colorings touched with a hesitant spiritual delicacy. What does it mean—what does it mean? Tell me, black and boiling water!

Someone throws a rock into the abyss. No sound comes back. It falls into silence. The sound of its thunder cannot reach this far. It is not, it cannot be, a mere lifeless, unfeeling, brute fact. Its grandeur is too serene, its beauty too divine! It is not red, blue, and green. Ah, it holds the shadows and shades of the whole world, joyful colors touched with a hesitant spiritual delicacy. What does it mean? What does it mean? Tell me, black and boiling water!

It is not real. It is but shadows. The shading of eternity. Last night yonder tesselated palace was gloom—dark, brooding thought and sin, while hither rose the mountains of the sun, golden, blazing, ensanguined. It was a dream. This blue and brilliant morning shows all those burning peaks alight, while here, shapeless, mistful, brood the shadowed towers.

It is not real. It is only shadows, the shading of eternity. Last night, that tiled palace over there was dark with brooding thought and sin. Meanwhile, the mountains of the sun rose here, golden, blazing, and blood-red. It was a dream. This bright blue morning shows all those burning peaks lit up, while here the shadowed towers loom, shapeless and misty.

I have been down into the entrails of earth—down, down by straight and staring cliffs—down by sounding waters and sun-strewn meadows; down by green pastures and still waters, by great, steep chasms—down by the gnarled and twisted fists of God to the deep, sad moan of the yellow river that did this thing of wonder,—a little winding river with death in its depth and a crown of glory in its flying hair.

I have gone down into the depths of the earth, down past sheer, staring cliffs. I went down past rushing waters and sunlit meadows, past green pastures and still waters, and past great, steep chasms. I went down past the gnarled and twisted fists of God to the deep, sad moan of the yellow river that created this wonder. It is a little winding river with death in its depths and a crown of glory in its flying hair.

I have seen what eye of man was never meant to see. I have profaned the sanctuary. I have looked upon the dread disrobing of the Night, and yet I live. Ere I hid my head she was standing in her cavern halls, glowing coldly westward—her feet were blackness: her robes, empurpled, flowed mistily from shoulder down in formless folds of folds; her head, pine-crowned, was set with jeweled stars. I turned away and dreamed—the cañon,—the awful, its depths called; its heights shuddered. Then suddenly I arose and looked. Her robes were falling. At dim-dawn they hung purplish-green and black. Slowly she stripped them from her gaunt and shapely limbs—her cold, gray garments shot with shadows stood revealed. Down dropped the black-blue robes, gray-pearled and slipped, leaving a filmy, silken, misty thing, and underneath I glimpsed her limbs of utter light.

I have seen what no human eye was ever meant to see. I have violated the sanctuary. I have watched Night undress in terror, and yet I live. Before I hid my head, she stood in her cavern halls, glowing coldly toward the west. Her feet were blackness. Her purple robes flowed mistily from her shoulders in shapeless layers of folds. Pine trees crowned her head, and stars jeweled it. I turned away and dreamed of the canyon, the awe-inspiring canyon. Its depths called. Its heights shuddered. Then suddenly I rose and looked. Her robes were falling. In the dim dawn, they hung purple-green and black. Slowly she stripped them from her lean, shapely limbs. Her cold, gray garments, streaked with shadows, were revealed. The black-blue robes, speckled like gray pearls, dropped and slipped away. They left a filmy, silken, misty garment, and beneath it I glimpsed her limbs of pure light.

My God! For what am I thankful this night? For nothing. For nothing but the most commonplace of commonplaces; a table of gentlewomen and gentlemen—soft-spoken, sweet-tempered, full of human sympathy, who made me, a stranger, one of them. Ours was a fellowship of common books, common knowledge, mighty aims. We could laugh and joke and think as friends—and the Thing—the hateful, murderous, dirty Thing which in American we call "Nigger-hatred" was not only not there—it could not even be understood. It was a curious monstrosity at which civilized folk laughed or looked puzzled. There was no elegant and elaborate condescension of—"We once had a colored servant"—"My father was an Abolitionist"—"I've always been interested in your people"—there was only the community of kindred souls, the delicate reverence for the Thought that led, the quick deference to the guest. You left in quiet regret, knowing that they were not discussing you behind your back with lies and license. God! It was simply human decency and I had to be thankful for it because I am an American Negro, and white America, with saving exceptions, is cruel to everything that has black blood—and this was Paris, in the years of salvation, 1919. Fellow blacks, we must join the democracy of Europe.

My God! What am I thankful for tonight? For nothing. For nothing but the most ordinary thing imaginable: a table of gentlewomen and gentlemen. They were soft-spoken, kind, and full of human sympathy. They welcomed me, a stranger, as one of them. We shared books, knowledge, and great aims. We could laugh, joke, and think together as friends. And the Thing, the hateful, murderous, dirty Thing we call "Nigger-hatred" in America, was not only absent. They could not even understand it. It was a strange monstrosity that civilized people laughed at or looked at in puzzlement. There was no elegant, elaborate condescension: "We once had a colored servant," "My father was an Abolitionist," "I've always been interested in your people." There was only the fellowship of kindred souls, the delicate respect for the Thought that guided us, and the ready courtesy shown to the guest. You left with quiet regret, knowing they were not talking about you behind your back with lies and reckless abandon. God! It was simply human decency. And I had to be thankful for it because I am an American Negro. White America, with saving exceptions, is cruel to everything that has black blood. And this was Paris, in the years of salvation, 1919. Fellow blacks, we must join the democracy of Europe.

Toul! Dim through the deepening dark of early afternoon, I saw its towers gloom dusky toward the murk of heaven. We wound in misty roads and dropped upon the city through the great throats of its walled bastions. There lay France—a strange, unknown, unfamiliar France. The city was dispossessed. Through its streets—its narrow, winding streets, old and low and dark, carven and quaint,—poured thousands upon thousands of strange feet of khaki-clad foreigners, and the echoes threw back awkward syllables that were never French. Here was France beaten to her knees yet fighting as never nation fought before, calling in her death agony across the seas till her help came and with all its strut and careless braggadocio saved the worthiest nation of the world from the wickedest fate ever plotted by Fools.

Toul! Through the deepening darkness of early afternoon, I saw its towers looming dimly against the murky sky. We wound along misty roads and descended into the city through the great openings in its fortified walls. There lay France, a strange, unknown, unfamiliar France. The city had been taken over. Its narrow, winding streets were old, low, and dark, with quaint carvings. Thousands upon thousands of khaki-clad foreigners poured through them. The echoes carried back awkward syllables that were never French. Here was France, beaten to her knees yet fighting as no nation had ever fought before. In her death agony, she called across the seas for help. It came and, with all its swagger and careless boasting, saved the worthiest nation in the world from the wickedest fate ever plotted by Fools.

Tim Brimm was playing by the town-pump. Tim Brimm and the bugles of Harlem blared in the little streets of Maron in far Lorraine. The tiny streets were seas of mud. Dank mist and rain sifted through the cold air above the blue Moselle. Soldiers—soldiers everywhere—black soldiers, boys of Washington, Alabama, Philadelphia, Mississippi. Wild and sweet and wooing leapt the strains upon the air. French children gazed in wonder—women left their washing. Up in the window stood a black Major, a Captain, a Teacher, and I—with tears behind our smiling eyes. Tim Brimm was playing by the town-pump.

Tim Brimm was playing by the town pump. His music and the bugles of Harlem blared through the little streets of Maron in distant Lorraine. The tiny streets were seas of mud. Damp mist and rain drifted through the cold air above the blue Moselle. Soldiers were everywhere. They were black soldiers, boys from Washington, Alabama, Philadelphia, Mississippi. The music leapt into the air, wild, sweet, and inviting. French children stared in wonder. Women left their washing. At a window stood a black Major, a Captain, a Teacher, and I. We smiled with tears in our eyes. Tim Brimm was playing by the town pump.

The audience was framed in smoke. It rose ghost-like out of memories—bitter memories of the officer near dead of pneumonia whose pain was lighted up by the nurses waiting to know whether he must be "Jim-Crowed" with privates or not. Memories of that great last morning when the thunders of hell called the Ninety-second to its last drive. Memories of bitter humiliations, determined triumphs, great victories, and bugle-calls that sounded from earth to heaven. Like memories framed in the breath of God, my audience peered in upon me—good, brown faces with great, kind, beautiful eyes—black soldiers of America rescuing beloved France—and the words came in praise and benediction there in the "Y," with its little stock of cigarettes and candies and its rusty wood stove.

The audience was framed in smoke. It rose like a ghost from memories. There were bitter memories of the officer nearly dead from pneumonia. His pain was made worse by nurses waiting to learn whether he must be "Jim-Crowed" with the privates. There were memories of that great last morning, when the thunder of hell called the Ninety-second to its final drive. There were memories of bitter humiliations, determined triumphs, great victories, and bugle calls sounding from earth to heaven. Like memories framed in the breath of God, my audience peered in at me. They were good, brown faces with large, kind, beautiful eyes. They were black soldiers of America rescuing beloved France. And there in the "Y", the words came in praise and blessing. The "Y" had its small stock of cigarettes and candy and its rusty wood stove.

"Alors," said Madame, "quatre sont morts"—four dead—four tall, strong sons dead for France—sons like the sweet and blue-eyed daughter who was hiding her brave smile in the dusk. It was a tiny stone house whose front window lipped the passing sidewalk where ever tramped the feet of black soldiers marching home. There was a cavernous wardrobe, a great fireplace invaded by a new and jaunty iron stove. Vast, thick piles of bedding rose in yonder corner. Without was the crowded kitchen and up a half-stair was our bedroom that gave upon a tiny court with arched stone staircase and one green tree. We were a touching family party held together by a great sorrow and a great joy. How we laughed over the salad that got brandy instead of vinegar—how we ate the golden pile of fried potatoes and how we pored over the post-card from the Lieutenant of the Senegalese—dear little vale of crushed and risen France, in the day when Negroes went "over the top" at Pont-à-Mousson.

"Alors," said Madame, "quatre sont morts." Four were dead, four tall, strong sons dead for France. They were like their sweet, blue-eyed sister, who was hiding her brave smile in the dusk. The house was a tiny stone building. Its front window bordered the sidewalk, where black soldiers constantly marched home. Inside stood a cavernous wardrobe and a great fireplace, now occupied by a jaunty new iron stove. Huge, thick piles of bedding rose in one corner. Outside the room was the crowded kitchen. Half a flight of stairs up was our bedroom, overlooking a tiny courtyard with an arched stone staircase and one green tree. We were a touching family gathering, held together by great sorrow and great joy. How we laughed over the salad that got brandy instead of vinegar! How we ate the golden pile of fried potatoes and studied the postcard from the Lieutenant of the Senegalese! It was a dear little valley of crushed and risen France, in the day when Negroes went "over the top" at Pont-à-Mousson.

Paris, Paris by purple façade of the opera, the crowd on the Boulevard des Italiens and the great swing of the Champs Elysées. But not the Paris the world knows. Paris with its soul cut to the core—feverish, crowded, nervous, hurried; full of uniforms and mourning bands, with cafés closed at 9:30—no sugar, scarce bread, and tears so interwined with joy that there is scant difference. Paris has been dreaming a nightmare, and though she awakes, the grim terror is upon her—it lies on the sand-closed art treasures of the Louvre. Only the flowers are there, always the flowers, the Roses of England and the Lilies of France.

Paris, Paris, with the purple front of the opera house, the crowds on the Boulevard des Italiens, and the grand sweep of the Champs Elysées. But not the Paris the world knows. This Paris has been wounded to its soul. It is feverish, crowded, nervous, and hurried. Uniforms and mourning bands are everywhere. Cafés close at 9:30. There is no sugar, little bread, and tears so mixed with joy that it is hard to tell them apart. Paris has been dreaming a nightmare, and though she is waking, the grim terror remains. It hangs over the Louvre’s art treasures, sealed away behind sand. Only the flowers are there, always the flowers, the Roses of England and the Lilies of France.

New York! Behind the Liberty that faces free France rise the white cliffs of Manhattan, tier on tier, with a curving pinnacle, towers square and twin, a giant inkwell daintily stoppered, an ancient pyramid enthroned; beneath, low ramparts wide and mighty; while above, faint-limned against the turbulent sky, looms the vast grace of that Cathedral of the Purchased and Purchasing Poor, topping the world and pointing higher.

New York! Behind the Statue of Liberty, which faces free France, the white cliffs of Manhattan rise tier upon tier. There is a curving pinnacle, square twin towers, a giant inkwell with a delicate stopper, and an ancient pyramid on a throne. Below them are low, wide, mighty ramparts. Above them, faintly outlined against the turbulent sky, looms the vast, graceful Cathedral of the Purchased and Purchasing Poor. It rises above the world and points still higher.

Yonder the gray cobwebs of the Brooklyn bridges leap the sea, and here creep the argosies from all earth's ends. We move to this swift home on dun and swelling waters and hear as we come the heartbeats of the new world.

There, the gray webs of the Brooklyn bridges stretch across the sea. Here, ships from all ends of the earth move slowly in. We travel toward this swift home over brown, swelling waters. As we approach, we hear the heartbeats of the new world.

New York and night from the Brooklyn Bridge: The bees and fireflies flit and twinkle in their vast hives; curved clouds like the breath of gods hover between the towers and the moon. One hears the hiss of lightnings, the deep thunder of human things, and a fevered breathing as of some attendant and invincible Powers. The glow of burning millions melts outward into dim and fairy outlines until afar the liquid music born of rushing crowds drips like a benediction on the sea.

New York at night, seen from the Brooklyn Bridge: Bees and fireflies dart and twinkle in their vast hives. Curved clouds, like the breath of gods, hover between the towers and the moon. You hear the hiss of lightning and the deep thunder of human activity. You hear feverish breathing, as if from powerful, invincible beings close by. The glow of millions of lights fades into dim, fairy-like shapes. Far away, the flowing music of rushing crowds drips onto the sea like a blessing.

New York and morning: the sun is kissing the timid dew in Central Park, and from the Fountain of Plenty one looks along that world street, Fifth Avenue, and walks toward town. The earth life and curves graciously down from the older mansions of princes to the newer shops of luxury. Egypt and Abyssinia, Paris and Damascus, London and India caress you by the way; churches stand aloof while the shops swell to emporiums. But all this is nothing. Everything is mankind. Humanity stands and flies and walks and rolls about—the poor, the priceless, the world-known and the forgotten; child and grandfather, king and leman—the pageant of the world goes by, set in a frame of stone and jewels, clothed in scarlet and rags. Princes Street and the Elysian Fields, the Strand and the Ringstrasse—these are the Ways of the World today.

New York in the morning. The sun kisses the shy dew in Central Park. From the Fountain of Plenty, you look along Fifth Avenue, that street of the world, and walk toward town. The ground rises and curves gently down from the older mansions of princes to the newer luxury shops. Egypt and Abyssinia, Paris and Damascus, London and India embrace you along the way. Churches stand apart as the shops grow into vast stores. But all this is nothing. Everything is humanity. People stand, fly, walk, and roll about. There are the poor and the priceless, the world-famous and the forgotten. Children and grandfathers, kings and lovers pass by. The pageant of the world moves past, framed in stone and jewels, dressed in scarlet and rags. Princes Street, the Elysian Fields, the Strand, and the Ringstrasse: these are the Ways of the World today.

New York and twilight, there where the Sixth Avenue "L" rises and leaps above the tenements into the free air at 110th Street. It circles like a bird with heaven and St. John's above and earth and the sweet green and gold of the Park beneath. Beyond lie all the blue mists and mysteries of distance; beneath, the city rushes and crawls. Behind echo all the roar and war and care and maze of the wide city set in its sullen darkening walls, flashing weird and crimson farewells. Out at the sides the stars twinkle.

New York at twilight, where the Sixth Avenue "L" rises above the tenements into the open air at 110th Street. It circles like a bird, with heaven and St. John's above and the earth and the Park's sweet green and gold below. Beyond are all the blue mists and mysteries of the distance. Below, the city rushes and crawls. Behind it echoes all the roar, war, worry, and confusion of the vast city. The city sits within its gloomy, darkening walls, flashing strange and crimson farewells. To either side, the stars twinkle.

Again New York and Night and Harlem. A dark city of fifty thousand rises like magic from the earth. Gone is the white world, the pale lips, the lank hair; gone is the West and North—the East and South is here triumphant. The street is crowd and leisure and laughter. Everywhere black eyes, black and brown, and frizzled hair curled and sleek, and skins that riot with luscious color and deep, burning blood. Humanity is packed dense in high piles of close-knit homes that lie in layers above gray shops of food and clothes and drink, with here and there a moving-picture show. Orators declaim on the corners, lovers lark in the streets, gamblers glide by the saloons, workers lounge wearily home. Children scream and run and frolic, and all is good and human and beautiful and ugly and evil, even as Life is elsewhere.

Again, New York and Night and Harlem. A dark city of fifty thousand rises from the earth like magic. Gone is the white world, with its pale lips and straight hair. Gone are the West and North. The East and South triumph here. The street is full of crowds, leisure, and laughter. Everywhere are black and brown eyes, tightly curled and smooth hair, and skin rich with color and deep, burning blood. People are packed into tall buildings, in close-knit homes layered above gray shops selling food, clothes, and drink. Here and there is a movie theater. Speakers give speeches on the corners. Lovers play in the streets, gamblers glide past the saloons, and workers trudge wearily home. Children scream, run, and play. All is good and human and beautiful and ugly and evil, just as Life is elsewhere.

And then—the Veil. It drops as drops the night on southern seas—vast, sudden, unanswering. There is Hate behind it, and Cruelty and Tears. As one peers through its intricate, unfathomable pattern of ancient, old, old design, one sees blood and guilt and misunderstanding. And yet it hangs there, this Veil, between Then and Now, between Pale and Colored and Black and White—between You and Me. Surely it is a thought-thing, tenuous, intangible; yet just as surely is it true and terrible and not in our little day may you and I lift it. We may feverishly unravel its edges and even climb slow with giant shears to where its ringed and gilded top nestles close to the throne of God. But as we work and climb we shall see through streaming eyes and hear with aching ears, lynching and murder, cheating and despising, degrading and lying, so flashed and fleshed through this vast hanging darkness that the Doer never sees the Deed and the Victim knows not the Victor and Each hates All in wild and bitter ignorance. Listen, O Isles, to these Voices from within the Veil, for they portray the most human hurt of the Twentieth Cycle of that poor Jesus who was called the Christ!

And then comes the Veil. It falls like night on southern seas, vast, sudden, and silent. Behind it are Hate, Cruelty, and Tears. When we look through its intricate, unfathomable pattern, whose design is ancient, old, old, we see blood, guilt, and misunderstanding. And yet the Veil hangs there between Then and Now, between Pale and Colored and Black and White, between You and Me. Surely the Veil is a thing of thought, thin and intangible. Yet just as surely, it is real and terrible, and you and I cannot lift it in our short lifetime. We may feverishly unravel its edges. We may even climb slowly with giant shears to its ringed and gilded top, where it rests close to the throne of God. But as we work and climb, our eyes will stream and our ears will ache. We will see and hear lynching and murder, cheating and despising, degrading and lying. These acts flash and take flesh throughout this vast hanging darkness. And so the Doer never sees the Deed, the Victim does not know the Victor, and Each hates All in wild and bitter ignorance. Listen, O Isles, to these Voices from within the Veil. They portray the most human hurt of the Twentieth Cycle of that poor Jesus who was called the Christ!

There is something in the nature of Beauty that demands an end. Ugliness may be indefinite. It may trail off into gray endlessness. But Beauty must be complete—whether it be a field of poppies or a great life,—it must end, and the End is part and triumph of the Beauty. I know there are those who envisage a beauty eternal. But I cannot. I can dream of great and never-ending processions of beautiful things and visions and acts. But each must be complete or it cannot for me exist.

There is something in the nature of Beauty that demands an end. Ugliness may have no clear limit. It may trail off into gray endlessness. But Beauty must be complete, whether it is a field of poppies or a great life. It must end, and the end is part of Beauty and its triumph. I know some people imagine a beauty that lasts forever. But I cannot. I can dream of great, never-ending processions of beautiful things, visions, and acts. But each must be complete, or it cannot exist for me.

On the other hand, Ugliness to me is eternal, not in the essence but in its incompleteness; but its eternity does not daunt me, for its eternal unfulfilment is a cause of joy. There is in it nothing new or unexpected; it is the old evil stretching out and ever seeking the end it cannot find; it may coil and writhe and recur in endless battle to days without end, but it is the same human ill and bitter hurt. But Beauty is fulfilment. It satisfies. It is always new and strange. It is the reasonable thing. Its end is Death—the sweet silence of perfection, the calm and balance of utter music. Therein is the triumph of Beauty.

On the other hand, I believe Ugliness is eternal, not in its essence but in its incompleteness. But its eternity does not frighten me, because its eternal failure to find fulfillment is a source of joy. There is nothing new or unexpected in Ugliness. It is the old evil, reaching out and forever seeking an end it cannot find. It may coil and writhe and return in endless battle for days without end. But it is the same human suffering and bitter pain. Beauty, on the other hand, is fulfillment. It satisfies. It is always new and strange. It is the reasonable thing. Its end is Death, the sweet silence of perfection, the calm and balance of music in its fullness. That is the triumph of Beauty.

So strong is the spell of beauty that there are those who, contradicting their own knowledge and experience, try to say that all is beauty. They are called optimists, and they lie. All is not beauty. Ugliness and hate and ill are here with all their contradiction and illogic; they will always be here—perhaps, God send, with lessened volume and force, but here and eternal, while beauty triumphs in its great completion—Death. We cannot conjure the end of all ugliness in eternal beauty, for beauty by its very being and definition has in each definition its ends and limits; but while beauty lies implicit and revealed in its end, ugliness writhes on in darkness forever. So the ugliness of continual birth fulfils itself and conquers gloriously only in the beautiful end, Death.

Beauty casts such a strong spell that some people claim everything is beautiful, despite their own knowledge and experience. They are called optimists, and they lie. Not everything is beautiful. Ugliness, hate, and evil are here, with all their contradictions and illogic. They will always be here. Perhaps, God willing, they will be less widespread and powerful, but they will be here forever, while beauty triumphs in its great completion, Death. We cannot imagine all ugliness ending in eternal beauty. For beauty, by its very nature and definition, has its ends and limits in each of its forms. But while beauty is both implicit and revealed in its end, ugliness writhes on in darkness forever. So the ugliness of continual birth fulfills itself and conquers gloriously only in the beautiful end, Death.

At last to us all comes happiness, there in the Court of Peace, where the dead lie so still and calm and good. If we were not dead we would lie and listen to the flowers grow. We would hear the birds sing and see how the rain rises and blushes and burns and pales and dies in beauty. We would see spring, summer, and the red riot of autumn, and then in winter, beneath the soft white snow, sleep and dream of dreams. But we know that being dead, our Happiness is a fine and finished thing and that ten, a hundred, and a thousand years, we shall lie at rest, unhurt in the Court of Peace.

At last, happiness comes to all of us in the Court of Peace. There the dead lie so still, calm, and good. If we were not dead, we would lie and listen to the flowers grow. We would hear the birds sing. We would see how the rain rises and blushes and burns and fades and dies in beauty. We would see spring, summer, and the wild red splendor of autumn. Then, in winter, we would sleep beneath the soft white snow and dream of dreams. But we know that, because we are dead, our happiness is complete and perfect. For ten, a hundred, and a thousand years, we will lie at rest, unharmed in the Court of Peace.