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I cannot pretend that my ambition to paint the Man of Sorrows had any religious inspiration, though I fear my dear old dad at the Parsonage at first took it as a sign of awakening grace. And yet, as an artist, I have always been loath to draw a line between the spiritual and the beautiful; for I have ever held that the beautiful has in it the same infinite element as forms the essence of religion. But I cannot explain very intelligibly what I mean, for my brush is the only instrument through which I can speak. And if I am here paradoxically proposing to use my pen to explain what my brush failed to make clear, it is because the criticism with which my picture of the Man of Sorrows has been assailed drives me to this attempt at verbal elucidation. My picture, let us suppose, is half-articulate; perhaps my pen can manage to say the other half, especially as this other half mainly consists of things told me and things seen.
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This is a Chronicle of Dreamers, who have arisen in the Ghetto from its establishment in the sixteenth century to its slow breaking-up in our own day. Some have become historic in Jewry, others have penetrated to the ken of the greater world and afforded models to illustrious artists in letters, and but for the exigencies of my theme and the faint hope of throwing some new light upon them, I should not have ventured to treat them afresh; the rest are personally known to me or are, like Joseph the Dreamer, the artistic typification of many souls through which the great Ghetto dream has passed. Artistic truth is for me literally the highest truth: art may seize the essence of persons and movements no less truly, and certainly far more vitally, than a scientific generalization unifies a chaos of phenomena. Time and Space are only the conditions through which spiritual facts straggle. Hence I have here and there permitted myself liberties with these categories. Have I, for instance, misplaced the moment of Spinoza's obscure love-episode - I have only followed his own principle, to see things sub specie aeternitatis, and even were his latest Dutch editor correct in denying the episode altogether, I should still hold it true as summarizing the emotions with which even the philosopher must reckon
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Jews --- Jewish fiction. --- Fiction.
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