There may often be excuse for doing things poorly in this world, but there is never any excuse for calling a poorly done thing, well done.

Herein lies the tragedy of the age: Not that men are poor, - all men know something of poverty. Not that men are wicked, - who is good? Not that men are ignorant, - what is truth? Nay, but that men know so little of men.

The problem of the twentieth century is the problem of the color line.

Daily the Negro is coming more and more to look upon law and justice, not as protecting safeguards, but as sources of humiliation and oppression. The laws are made by men who have little interest in him; they are executed by men who have absolutely no motive for treating the black people with courtesy or consideration; and, finally, the accused law-breaker is tried, not by his peers, but too often by men who would rather punish ten innocent Negroes than let one guilty one escape.

But art is not simply works of art; it is the spirit that knows Beauty, that has music in its soul and the color of sunsets in its headkerchiefs; that can dance on a flaming world and make the world dance, too.

To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships.

One is astonished in the study of history at the recurrence of the idea that evil must be forgotten, distorted, skimmed over. We must not remember that Daniel Webster got drunk but only that he was a splendid constitutional lawyer. We must forget that George Washington was a slave owner . . . and simply remember the things we regard as creditable and inspiring. The difficulty, of course, with this philosophy is that history loses its value as an incentive and example; it paints perfect man and noble nations, but it does not tell the truth.