Summary

Portrait of Karel Čapek Karel Čapek The Best Continental Short Stories of 1923-1924 (1924)

And so, when that insistent madman asked me what was truth, I was going to retort that it is not truth that matters.”
“That was better left unsaid,” remarked Holecek politely.
“But there really is something superior to truth, something that does not fetter, but frees. There have been days when I have lived as in an ecstatic dream: how free I was then! Nothing seemed more natural than miracles. Miracles are merely freer and more perfect events than the others. They are the successful cases among thousands of failures and chance shots. How that imprint seemed familiar then!
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Portrait of Karel Čapek Karel Čapek The Best Continental Short Stories of 1923-1924 (1924)

Boura was excited. He was talking a lot and poking fun at the Aristotelians, while Holecek twisted silently the stem of his glass between his fingers. Looking at Boura, he was saying to himself, “Well, anxious one, what in reality are you seeking? You have seen a miracle and that did not save you. You have known truth and did not submit to it. You have had great inspirations and they have not lit up your life for the centuries to see.
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Portrait of Karel Čapek Karel Čapek The Best Continental Short Stories of 1923-1924 (1924)

It is the footprint of a man.”
“Quite. But where the devil does it come from?”
“Suppose some one must have gone by there,” Boura was going to say, but he stopped, puzzled. The imprint was isolated in the middle of a field; there was no other before or behind; it was a sharp imprint on the white surface of the snow, but no footsteps led either to or from it.
“How is this thing possible?” he said in his astonishment, and made a movement as if to go near it.
“Hold on!” cried the man, stopping him. “You would just make a lot of other footprints around it and spoil it all.”
Source: Wikisource

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