I pointed to the second etching focused on the truth, Will She Rise Again? The full breasted woman has not risen yet, but she is surrounded with a radiant light.

      "I see the second etching to represent the second level of our self-discovery as human beings," I said to Sylvia. "The light represents the moral impetus that surrounds a dawning sense of the truth, which society likes to call 'moral motivation.' However, this dawning moral sense gets us only marginally further, because it unfolds exclusively in the jungle of conflicting opinions about what morality is, expressed in countless religions and political ideologies. The creatures of the night have not been banished in this scene. They have merely been pushed back into the background, eager to reassert themselves at any possible chance. At this level of conflicting opinions, nothing really gets resolved and the truth remains dead. On this platform we have wasted three decades, Sylvia. We have wasted them by not responding to our most desperate need, that of preparing the world for the coming Ice Age. It appears that moral motivation is woefully insufficient to assure the survival of civilization. It is synonymous with being scientifically asleep. Thus the truth cannot rise in this scene. It might suffice for the perpetuation of the human race to keep ten percent of mankind alive, but that is a travesty. In the moral domain people are functionally disabled by their petty smallness. And so to intend to let nine-tenth of humanity die in the coming Ice Age, saying what do I care, is a travesty by intent that unfolds into an unspeakable tragedy."

      I pointed to the third etching, This is the truth. "Goya showed us the full-breasted truth at last standing erect in the brilliance of a Sun. The etching represents the outcome of our self-discovery as human beings on the third level, the level of the sublime. Here the creatures of the night are seen no more. The truth now stands erect in the sunshine of scientific awareness. We see a farming scene, a scene of great abundance. Here the higher impetus unfolds for human action. The Truth and the man are in dialog with each other. Human action thus becomes powered by the impetus of universal principles, the principles of the universe and of our humanity. The discovery of these principles empowers us to act not according to emotions, but according to discovered realities. The result is a rich scene."

      I pointed out that the etching shows a basket filled with the fruits of human processes. "We may call this the spiritual scientific domain, a progressive domain where we discover in scientific progression the depth of our universal humanity as human beings. The German poet Friedrich Schiller called this the sublime domain, perhaps for this reason, and perhaps it is for this reason that the Truth now stands erect in the series, alive, full-breasted, in the light of the rising Sun. At the leading edge of our discovering Truth we find the empowering principle to be the Principle of Universal Love, Sylvia, the same love that Goya presents in the woman's face towards the 'farmer of the world.' All of that comes to light when we discover our humanity on the level of the sublime. The man is shown in the etching with an instrument in his hand that is used for tilling the soil, for changing the world, and he is empowered by the truth and by the love that flows from it. That is how we must approach the Ice Age. The woman in the etching is universal Truth. She is also universal Love. The two are one. But it is the sun above the scene, which represents the 4th level. The sun is our humanity reflected by its principles that we discern in scientific progression."

      Sylvia returned to Saturn paining, the horrid scene of the god Saturn devouring one of his sons, the scene of depopulation and the denial of the truth that is necessary for any depopulation to become possible. "Saturn is the Inquisition, and the Inquisition is us," I said. "That puts the impetus on society itself, to raise itself above its present beastly self-perception where the fascism of greed rules, even above its moral self-perception where we are tied into knots on a platform on which the truth remains a dead thing and the Principle of Universal Love is recognized as treason."

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Stories about  Love from novels by Rolf A. F. Witzsche