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Rembrandt is a prophet-wizard, not only in his shadowy portraits, but in his etchings of holy scenes even his simplest cobweb lines become incantations. Vedder's portraits of Lazarus and Samson are conceptions that touch the hem of the unknown. George Frederick Watts was a painter of portraits of the soul itself, as in his delineations of Burne-Jones and Morris and Tennyson.
Agnes' Eve. Edgar Poe, always a magician, blends this power with the prophetical note in the poem, The Haunted Palace, and in the stories of William Wilson, The Black Cat and The Tell-tale Heart. This prophet-wizard side of a man otherwise a wizard only, has been well illustrated in The Avenging Conscience photoplay. From Maeterlinck we have The Bluebird and many another dream.
Is it too much to expect that some American prophet-wizard of the future will give us this film in the spirit of an Egyptian priest? The Greeks, the wisest people in our limited system of classics, bowed down before the Egyptian hierarchy. That cult must have had a fine personal authority and glamour to master such men.
Hallowe'en, for instance, lasts a whole week now, with mummers on the streets every night, October 25-31. Who do we mean by The Prophet-Wizard? We mean not only artists, such as are named in this chapter, but dreamers and workers like Johnny Appleseed, or Abraham Lincoln. The best account of Johnny Appleseed is in Harper's Monthly for November, 1871.
It is keener than in Poe, owing to the human elements before and after. The Chameleon producer approximates in The Avenging Conscience the type of mystic teacher, discussed in the twentieth chapter: "The Prophet-Wizard." This chapter is a superstructure upon the foundations of chapters five, six, and seven.
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