"One is the story of a man who fell among thieves and was robbed and left half dead by the wayside. When a priest came that way, he saw him, but walked by on the other side of the road; likewise a Levite. Then came a Samaritan. He bound up the man's wounds and took him to an inn and took care of him, and provided for his full recovery."

      "This means we have to ask ourselves what kind of world we want to live in," Tatsuhiko suggested. "I see three different worlds portrayed. The injured man is today's society. Greed based economics have eroded almost every aspect that is human. We've become like animals in our pursuits. And that has consequences. When one becomes robbed of one's humanity, when one reaches the bottom of barrel, there is nothing left but violence. One becomes fascist in nature. The whole world is on that path. That is why we have nuclear bombs, wars, looting and genocide, depopulation and terror, and more and more of that stuff. That's the current state of society, isn't it?"

      "Mary provided an answer for this in the for of a metaphoric image," I interrupted Tatsuhiko. "In her first river, in which she located the science of marriage, we find an astounding image located at the moral domain, if that is related to the the traditional marriage institution on the moral level. The image that Mary has commissioned to have painted is that of a young woman in a coffin. Evidently, she represents the current humanity of man. But the scene is that of a resurrection. The woman is raised to life by someone who incorporates a higher perception of man, Christ Jesus perhaps."

      Tatsuhiko agreed. "In many aspects, society's humanity is dead, and there is nothing in the moral domain that can help. I have seen so much of that in India. The priest walks by, because he is morally bankrupt. The philosopher and the political elite, likewise. And in America, the whole self-proclaimed moral utopians are all just as bankrupt and walk by like the priest. Only the Samaritan, someone who wasn't considered to be a part of the moral domain of the society of that time, goes and rescues that man and in so doing creates a whole new world; a distinctive human world; a world of compassion, love, care, generosity, and so forth. That's the only kind of world that any of us would consider worth living in."

      "That's a world worth creating, and building, and scientifically developing our humanity for," I interrupted Tatsuhiko. "Mary's image for the top position of her river on the science of marriage shows a woman writing a book. Maybe that's Mary documenting her scientific achievements. But I think the woman represents humanity itself, in a constant state of scientific self-development. This forever unfolding dimension is a part of our humanity, the humanity that we all share. So it becomes our task to draw more and more people into that scientific dialog in which we develop our humanity to unlock its potential. I think, this is what universal marriage is. It is born by a universal love for our humanity that we all share, that we all have an interest in developing, that we all must develop, because everything that is good and beautiful, that inspires love, is located in our humanity and nowhere else. It doesn't exist anywhere else. Our marriage of six people in New Delhi, that Indira and I, and Tatsuhiko have built together, and are still building, may be seen as a model along that way, that is rooted in the scientific domain."

      "That qualifies as a sunrise," Olive interjected. "We also need to do something at this level in the sexual domain. I don't think we have seen a sunrise over that river yet. But we will, before we leave Australia," she said and began to smile.

      "By the way, who is paying for this wonderful project?" Indira asked me. "Are you?"

      I shook my head. I looked at Olive.

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