Summary

Portrait of Israel Zangwill Israel Zangwill Ghetto Comedies — The Model of Sorrows (1907)

Was Kazelia also a myth? Did the second daughter ever go to Hamburg? Was the landlord's detaining me in the parlour a ruse to gain time for the attics to be emptied of any comforts? Where were the silver candlesticks? These and other questions surged up torturingly. But I remembered the footsore figure on the Brighton pavement; I remembered the months he had practically lived with me, the countless conversations, and as the Man of Sorrows rose reproachful before me from my own canvas, with his noble bowed head, my faith in his dignity and probity returned unbroken.
Source: Wikisource

Portrait of Israel Zangwill Israel Zangwill Ghetto Comedies — The Model of Sorrows (1907)

On the third day our sufferings became almost insupportable, and the Russian cold seized on our bodies, and our strength began to fail. We looked upon the cell as our tomb, and on Kazelia as the Angel of Death. Here, it seemed, we were to die of hunger. We lost hope of seeing the sun. For well we know Russia. Who seeks Truth finds Death more easily.
Source: Wikisource

Portrait of Israel Zangwill Israel Zangwill Ghetto Comedies — The Model of Sorrows (1907)

HOW I FOUND THE MODEL
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.
Source: Wikisource

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