5. Atmosphere and Perspective. How far from the figures of Bob and the little boy are the people on the sidewalk? How does the artist express the idea of relative distance? Are there any lines in the picture which help us to determine distance? If the eye follows the lines of the cross pieces on the door, will they not come together if extended far enough to the left? Of course the buildings across the street are not very far away, but their outlines are a little hazy. Does this haziness help to give the effect of distance? Do you think the door was really a gray-green? Has the artist used this tone to show the effect of the outdoor light on a gray, or possibly a white door? The building across the street, at the left, has yellow and red and purple tones; do you think these were the actual colors? If not, why has the artist selected these particular shades? Do parts of buildings or other objects in shadow take on different shades from parts in bright lights? What colors appear most frequently in the picture? Has the artist succeeded in giving the picture the atmosphere of Dickens’s story?
II. Pictures and Their Value in Literature
Pictures are in themselves a language—the oldest as well as the most universal tongue of the world. The primitive man of all races resorted to a picture-writing in his first efforts to transcribe his thoughts and emotions into a more lasting form than the oral expression. Our earliest authentic history of the customs, beliefs and life of the ancient Egyptians, the Babylonians, the Chinese and even our own American Indians comes to us from the pictured records they left on stone, wood or clay.
In the present age, what child does not yield to the magic rhythm and the compelling lilt of the old nursery rhymes! With what added joy does he discover that there are pictures for these treasured jingles! And long before the printed words can be recognized he enters the alluring world of books by “reading” the illustrations. With glowing eyes on the picture he repeats the rhyme he had learned from its many demanded repetitions.
By giving him simple, clear, realistic conceptions through pictures, we influence the child to read eagerly the text, to discover the whole story, of which such a fascinating hint is given in the portion illustrated. These first pictures must satisfy the child’s love of action and movement, and portray only the most dramatic scenes, the big important facts with all superfluous happenings omitted.
In fables, where the primary purpose is to convey an abstract truth, a something bigger and broader than the mere interesting events described, the illustrations add much to the meaning and purpose of the text. Here the artist shows not only the physical attributes of the real animal, but in a subtle way goes a step further and through the features or the attitude suggests the characteristics attributed in the fable. Thus unconsciously the little reader gets from the picture an increased conception of the sly, clever, crafty ways of the fox or the slow, plodding, steadfast patience of the tortoise.
As literature develops from the simple nursery rhyme and the brief, abrupt fable to the fairy tale with its illusive beauty, so the pictures should advance in a parallel and a closely related manner. The illustrations now take on a mysterious, unreal, esthetic quality, in harmony with the world of fairy lore, and train the imagination as much as the direct words of the author. The child realizes that the forest scenes which furnish the background for so many of his favorite fairy tales have a subtle beauty which has never been seen by him. Gradually through such pictures he is led to seek an ideal beauty in the real world. He also becomes able not only to appreciate the poetic rendering of this expression of the ideal but is capable of forming more varied mental images of things about which he reads; to put more of his own individuality, his own conceptions, into his mental picture.
The passing ages have so completely revolutionized the customs and ways of life that the child of today finds comparatively little in his familiar surroundings which he can link with the world of history and legend. Literature should be supplemented by pictures to bridge this chasm and to bring legendary and historical heroes into the child’s own world and enable him to follow their thoughts, interpret their emotions and appreciate their actions.
The child who sees a picture of court life where the cavalier is attired in richly colored velvet, silk, lace, and jewels, and surrounded by the luxuries of the court, and compares it with another of the same period which portrays a Puritan in his somber-hued, severe suit, stiff linen collar and cuffs, broad-brimmed, plain hat and not a single jewel or ornament used for mere decorative or esthetic value, realizes the vast difference in the types and character of the two men. He is furnished with an appropriate mental atmosphere in which to follow their history and in which to comprehend the inevitable clash that came between the Cavaliers and the Roundheads. He will then eagerly and sympathetically follow the Pilgrims in their lonely stay in Holland and in their brave struggle in the new country. Here, again, the various pictures portray a land and climate as vigorous, uncompromising and stern as the characters of the Pilgrims themselves. Then the great forests, the felling of the trees, the erection of the log houses and forts, the meeting of Puritans with the neighboring Indians, with their curious costumes, homes, customs and occupations, introduce other phases of life that put the child in a receptive mood for the reading of colonial history, Indian legends and stories of pioneer life.
Familiarity with the author’s portrait, with pictures of his home or his favorite scenes, brings a something of the writer’s personality to the child. He feels the story is told more directly to him. A sympathetic bond is established that leads him to a more intimate and a more intelligent acquaintance with the author’s emotions, thoughts, style and purposes as expressed in his works. He reads Thoreau’s Journal, and notes uncomprehendingly, the potent sway of nature over the heart and life of the man. It requires the keen vision and the genius of the artist to give him a realization of the mesmeric influence nature frequently exerts.