Mr. McCutcheon and George Fitch are also harmonious in clever fooling of pen and pencil, and Thomas Fogarty, though by no means convincing, goes well enough with Mr. O'Higgins' story, which is not convincing, either. The hat and dress pictures are photographs, and do artificial justice to their artificial subjects in Mrs. Woodrow's arraignment of the Fantastic Feminine.
But—. Go to your library after, or send your ten cents for, or look up on your own shelves, that August number, and turn to Lincoln Colcord's story of "Anjer," to see what an illustrator dare do. Here's a story, the merits of which need not be discussed, but in which great stress is laid on a certain Malay Princess, the free nobility of whose savage love healed the sick heart of an exhausted man. "I saw how beautiful she was," says the narrator: "her breast was bare in a long slit, and shadowed like the face of the pool." "The most glorious native woman of the East I've ever seen." "She walked like a tiger, with a crouching step of absolute grace." "Her eyes called as if they'd spoken words of love: the beauty of her face was beyond speech—almost beyond thought." Thus Mr. Colcord.
And how Mr. Townshend? It is on Page 334, Mr. Townshend's "illustration." ("Whit way do we ca' it the Zoo?" "If it wasna' ca'd the Zoo, what would we ca' it?") A bit of railing and a pillar is the only concession to the scene described; that and the fact that there is a man and a woman there. One more detail is granted—a forehead ornament, as alleged. For the rest?
Since the picture is so unjust to the words of the author, can the words of the critic do any justice to the picture? The man will do, as well one man as another, apparently. The big blob of an object that seems to have been suggested by a Gargantuan ginger jar, and to be put in for tropical effect, as also a set of wooden bananas, may be forgiven.
But the Princess—the tigress—the free, graceful, passionate woman—the beauty beyond speech. Look at it.
A crooked, crouching, awkward negroid type, a dress of absurd volume and impossible outlines, the upper part a swathed bath towel, one stiff, ugly arm hung helpless, one lifted and ending in a hoof, a plain pig's hoof; the head bent, chin sunk on chest like a hunchback's; and the face—! One could forgive the gross, unusual ugliness; but why no hint of interest in her lover? Why this expression as of a third generation London pauper in a hospital? What explanation is there of this meagre, morbid, deformed female in the midst of that story?
Frank incapacity on the part of an artist is possible. To try and try and try again and utterly fail is possible. To write to the author and say, "I cannot visualize your character, or express it, and must decline to undertake the order," or to the editor and refuse the job, is possible. But to take the order, to read the story (if he did read it), to send in and accept pay for a picture like that—"Whit way would ye ca' it?"
PERSONAL PROBLEMS
A passionate interest is shown by many persons in consulting anonymous advisers through the columns of various publications. Their inquiries are mainly as to small matters of etiquette, and the care of the complexion.
In one of the current women's papers we find such questions as these:
"When one is introduced, how does one acknowledge the introduction?
Must it be by a mention of the weather? How should one receive a small
gift?" (x) All these by one breathless inquirer.