CORRESPONDENCE. THE NAKED TRUTH.

Taranaki Daily News, 9 March 1917, Page 3

CORRESPONDENCE.

THE NAKED TRUTH.

To the Editor. Sir, —Having seen in your issue of the sth inst. a somewhat wanton criticism by "Protest" of my letter of 28th nit. re "The Naked Truth," it is evident that a more elaborate explanation is necessary for liis understanding. Firstly, he accuses me of seeking subterfuge by substituting the word "beautiful" for "naked." I would ask, Does not every one know that the "Truth'' was portrayed as being naked? Those of the same inclination as "Protest," however, do not seem to recognise the beauty of her. I would explain: Nearly all the art masters, past and present, painters, sculptors, plasterers, etc., have shown their' appreciation of the beauty of the figure of the nude human body, man and child, but mostly woman, by having frequent recourse to it in the production of their masterpieces. Evidence of this is to be found in the Eoyal Academy in London, or any other art exhibition. Moreover, on the majority of the buildings which have any architectural claim, which are recognised as masterpieces of art and beauty, and on many of the fine sculptural statues and decorative features which occupy most prominent aspects in the ancient and modern cities of Europe the figure of the nude woman is predominant. Yet neither clergy nor laity have ever objected, save in a few isolated instances. Why? Surely "Protest'' will not suggest that they were less modest, less moral or less religious than he. Again, I would ask: Upon what authority does "Protest" object to the impersonation of all that is most beautiful in life, of righteousness and truth, by what has been recognised for centuries as the most beautiful model in the creation of art masterpieces? Secondly, "(Protest" infers that I apologise for not stating what everybody knows by remarking that the figure was "very faint." I am sorry I have misled him on this point, but it was only to give a true account of the picture that I recorded the fact. However, I consider that the allegory was only more perfect by its faintness, 'or is not Truth faint and hard to discern as compared with modern conventionality Also "Protest" suggests that the fai< ,of the form wag- merely a ruse emp.jyod by the producer to ensure a successful censorship. How was it, then, that the statue of Venus, shown in the introductory legend, and which was in reality the same actress which impersonated "Truth," and which was not a mere shadow, was not condemned by the censor? From "Protest's" remarks we can only understand that the gentleman who examined the picture was either a very thick-headed fellow to he duped by such a contrivance as proposed, or horribly negligent in his duty in allowing such a base exhibition of 'mmorality to pass his jurisdiction. It seems to me, Sir, rather unfortunate that your previous correspondent should have waxed so humorous about "jam and concoction," "coughs," "scandals," "sporting papers" and sundry, for it onlv serves to emnhasise his poor conception of the whole thing. In the picture the narson and congregation were seen, and it was evident that the listeners were hit fa'rlv hard, but I would ask "Protest" how he knew that it was scandal and gossip which were finding a target in every heart? Do the clergy here employ scandal and gossip? Do they fail to drive their sermons home for the want of it? Asain, it only needed a small amount of imagination to see that the parson did not leave the church. The scene was cut off and the text of the sermon portrayed as I endeavored to explain in my previous letter. Next the scene returns to the church when only the parson is left, and closes the picture by portraying.his death as the outcome of the strain of a supreme effort to bring home to his congregation the predominat ! ng evil of hypocrisy and neglect of modern society. In conclusion, I do not thihk my morality or thought will be in any danger if I neglect to ponder on a chance remark of an elderly man as recommended to do by "Protest."—l am, etc., H.A.M. Hawera, March 6. MONEY AND RACECOURSES. . To the Editor. Sir, —Like owls in daylight may weH bo applied to people who think that the average race-goer or gambler hopes to make money on a racecourse. He knows as a rule that one plus one makes two, and that every time he places a pound on the totalisator the racing clubs take l'2'/ 2 per cent., of which the Government receives 5 per cent. The balance the club i retain to provide stakes, etc., to enable the breeders and owners of racehorses to provide the best with a minimum of loss for the average race-goer or gambler. So surely there is some equivalent here. The only known people to make money out of horse-racing are the bookmakers, which the cables tells us a certain section of the community are so anxious to retain at the present time in New South Wales. As for the word "legitimate," it can be used in many ways, such as legitimate crank.—l am, etc., RENOWN.