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The Southern Israelite
Page 63
Wasserman The Great Story-Teller
(Continued from Page 57)
v 4nr.v-t. ller. He is this above all else
■i fabulist born. Many a time I have
told him that he might have
},h life sitting cross-legged on
Kiva <lt* Schiavoni, or could even
s jt in some Oriental market-
telling stories—telling stories—
i. t ) lt . people standing about him
k and open-mouthed, listening
. v. rv word. He knows how to im-
them, and has at his command all
.... aI -t- of tlie narrator as well as all
art!tii-e- a term I do not hesitate
• i)„e, for these little tricks also are
. ml. 11<“ is the man who today can
\ U ite a real novel of the finer
manv ladies and gentlemen can
v . the other kind. It is he who is
something which actually
not exi<t any more. For I have
inv faith in the novel. Or, rather,
; iH'iie\e in its future: 1 believe that
i- rmw at a critical point, that it may
, .,-|op on a high plane, that most
1/inu' things will he done with it.
it :t I no longer have much faith in
the old novel.
Vet Washerman's supreme gifts still
ui.im' it |»o<>ible—more than possible:
ruimphnnt. From a certain point of
. v\\ lie i> a conservative artist—eon-
Joy’s-
Flower Sho/t
». E. JOY, l>
>«..// \cn Year Will
lie Happier
U You Will Lot
■JOYS FLOWERS
bring JOY”
Columbus, (da.
servative in his art, we must emphasize,
lest the word create a false impression.
For in other respects he is anything
but that. He is a moralist, so that he
cannot possibly be conservative. The
intellectual elements of a great talent,
the inherent urge toward the quality
of dignity, the development of the spi
ritual and the moral from the primi
tive root—these phenomena common to
all art are uncommonly and beautifully
evident in his case. Early in his career
he made use of the phrase which to
him expresses the most evil and objec
tionable, the most genuinely immoral
element of life—“Die Tragheit des Her
zens.” This expression is especially
well chosen because it is to be taken in
both the artistic and the moral sense;
it was born in the heart of the artist.
Emotional and psychic inertia is
naturally hostile to nil art; against it
all art must fight. “We would willing
ly entertain people,” said Goathe, “if
only they were more responsive to en
tertainment.” This, translated into mor
al phraseology, is the power of inertia
with which our story-teller’s talent is
constantly in conflict, from “Kaspar
Hauser” to “Maurizius.”
Recently I was told of a charateris-
tic phrase which this man of fifty ut
tered before a group of young people:
‘‘I am becoming more and more of a
rebel.” What he meant is no irrespon
sible revolutionary frame of mind, but
an indentification of himself with his
time, the will to live and serve. It is
a fundamentally conservative revolt
whose aim is the preservation of cul
ture, the relief or attenuation of the
dangerous tension now obtaining, in all
domains, between unyielding material
reality and that state of cognition which
our spirit lias always reached—in other
words, between inteleetual and material
reality. Thus the revolt of Jakob Was-
sermann is his struggle against the
deadly menace of emotional inertia,
against the “Tragheit des Herzens.”
—Copywright 1921) by Seven Arts Fea
ture Syndicate.
Then there’s the one about the
Scotchman who bought two loaves of
bread for supper and then sat in
f the subway waiting for the jam.—
Hulla-Baloo.
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