Answer. Nothing. Some artists love the sombre, the melancholy, the hopeless. They enjoy painting the bowed form, the tear-filled eyes. To them grief is a festival. There are people who find pleasure in funerals. They love to watch the mourners. The falling clods make music. They love the silence, the heavy odors, the sorrowful hymns and the preacher's remarks. The feelings of such people do not indicate the general trend of the human mind. Even a poor artist may hope for success if he represents something in which many millions are deeply interested, around which their emotions cling like vines. A man need not be an orator to make a patriotic speech, a speech that flatters his audience. So, an artist need not be great in order to satisfy, if his subject appeals to the prejudice of those who look at his pictures.
I have never seen a good painting of Christ. All the Christs that I have seen lack strength and character. They look weak and despairing. They are all unhealthy. They have the attitude of apology, the sickly smile of non-resistance. I have never seen an heroic, serene and triumphant Christ. To tell the truth, I never saw a great religious picture. They lack sincerity. All the angels look almost idiotic. In their eyes is no thought, only the innocence of ignorance.
I think that art is leaving the celestial, the angelic, and is getting in love with the natural, the human. Troyon put more genius in the representation of cattle than Angelo and Raphael did in angels. No picture has been painted of heaven that is as beautiful as a landscape by Corot. The aim of art is to represent the realities, the highest and noblest, the most beautiful. The Greeks did not try to make men like gods, but they made gods like men. So that great artists of our day go to nature.
Question. Is it not strange that, with one exception, the most notable operas written since Wagner are by Italian composers instead of German?
Answer. For many years German musicians insisted that Wagner was not a composer. They declared that he produced only a succession of discordant noises. I account for this by the fact that the music of Wagner was not German. His countrymen could not understand it. They had to be educated. There was no orchestra in Germany that could really play "Tristan and Isolde." Its eloquence, its pathos, its shoreless passion was beyond them. There is no reason to suppose that Germany is to produce another Wagner. Is England expected to give us another Shakespeare?
—The Sun, New York, March 19, 1899.
CAPITAL PUNISHMENT AND THE WHIPPING-POST.
Question. What do you think of Governor Roosevelt's decision in the case of Mrs. Place?
Answer. I think the refusal of Governor Roosevelt to commute the sentence of Mrs. Place is a disgrace to the State. What a spectacle of man killing a woman—taking a poor, pallid, frightened woman, strapping her to a chair and then arranging the apparatus so she can be shocked to death. Many call this a Christian country. A good many people who believe in hell would naturally feel it their duty to kill a wretched, insane woman.
Society has a right to protect itself, but this can be done by imprisonment, and it is more humane to put a criminal in a cell than in a grave. Capital punishment degrades and hardens a community and it is a work of savagery. It is savagery. Capital punishment does not prevent murder, but sets an example—an example by the State—that is followed by its citizens. The State murders its enemies and the citizen murders his. Any punishment that degrades the punished, must necessarily degrade the one inflicting the punishment. No punishment should be inflicted by a human being that could not be inflicted by a gentleman.