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The folk who compose our pictures are children of the Ghetto; their faults are bred of its hovering miasma of persecution, their virtues straitened and intensified by the narrowness of its horizon. And they who have won their way beyond its boundaries must still play their parts in tragedies and comedies—tragedies of spiritual struggle, comedies of material ambition—which are the aftermath of its centuries of dominance, the sequel of that long cruel night in Jewry which coincides with the Christian Era. If they are not the Children, they are at least the Grandchildren of the Ghetto.

The folk who compose our pictures are children of the Ghetto; their faults are bred of its hovering miasma of persecution, their virtues straitened and intensified by the narrowness of its horizon. And they who have won their way beyond its boundaries must still play their parts in tragedies and comedies—tragedies of spiritual struggle, comedies of material ambition—which are the aftermath of its centuries of dominance, the sequel of that long cruel night in Jewry which coincides with the Christian Era. If they are not the Children, they are at least the Grandchildren of the Ghetto.