man has to use any of the inferior creatures, for the subsistence and comfort of his life, is for the benefit and sole advantage of the proprietor, so that he may even destroy the thing, that he has property in by his use of it, where need requires: but government being for the preservation of every man's right and property, by preserving him from the violence or injury of others, is for the good of the governed: for the magistrate's sword being for a terror to evil doers, and by that terror to inforce men to observe the positive laws of the society, made conformable to the laws of nature, for the public good, i. e. the good of every particular member of that society, as far as by common rules it can be provided for; the sword is not given the magistrate for his own good alone. Children therefore, as has been shewed, by the dependance they have on their
live on the margins of society they feel they have little in common with. Some turn to drugs because hey find living in this world too painful. Others eventually become healers or spiritual teachers, that is to say, teachers of Being. In past ages, they would probably have been called contemplatives. There is no place for them, it seems, in our contemporary civilization. On the arising new earth, however, their role is just as vital as that of the creators, the doers, the reformers. Their function is to anchor the frequency of the new consciousness on his planet. I call them the frequency-holders. They are here to generate consciousness through the activities of daily life, through their interactions with others as well as through “just being.” In this way, they endow the seemingly insignificant with profound meaning. Their task is to bring spacious stillness into this world by being absolutely Present in whatever they do
competitions, and to award scholarships. Several smaller music societies were also founded. Looking back at the creative output at the beginning of the new era, Lüdig states: At present it is difficult to characterise in detail the work of our younger composers because many of them are still developing. Generally speaking, our music, in spite of several remarkable works, is still in its childhood and waiting for talents and doers, though it has greatly advanced during a relatively short time. We can state with satisfaction that the foundation for our music has been laid, a foundation that is original and popular.1 In symphonic music there was a growing interest in folk music by the end of the decade (works by Juhan Aavik and Eduard Tubin). However, at the beginning of the Twenties the influence of classical-romantic expression was still remarkable, as the
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