from his hand a quasi-philosophical defence of the South African War,
entitled "Our Race as Pioneers." He said:

"Inevitable social and political measures claim obedience,
which may be at variance with the spiritual and ethical
conscience; but there comes in the question of necessity,
apparent laws that contest with pure right and wrong; ... and
as we must live, nothing remains but commerce; and commerce
cannot be carried on without competition, and pushing the
limits of our interests. The result of competition can only be
conflict--war, unless some other outlet can be found. Commerce
will not supply this; its very activity, which is its health
and life, will produce the ambition, envy, and jarring
interests that will be fatal to peace.... The principle,
_Movement_, must have its outlet, its safety valve. This has
always been war.... The goddess Trade, the modern Pandora, has
in her box all the evils that afflict mankind.... How can
Commerce, as understood by the principles of trade, abolish
war?"

"The simple principles of right and wrong are easily
defined," and perhaps easily painted; "but the complexity of
human affairs and legitimate interests, conducing to the
activity demanded by the great law, _Movement_, makes some
elasticity necessary, even where there is the most honest
desire to be just."

Thus, from his own words, we see how the painter transcends the
politician; he is a stimulator, he gives hints, not instructions; he is
commanding, imperative, but he does not show how, nor stay to devise
ways and means. He even perceives, as he thinks, that though the
commands of his pictures, "Faith," "Conscience," and "Love Triumphant,"
be given, yet they cannot be obeyed fully because of "Evolution" and
"Destiny," or as he calls it "Movement."

To his intimate friends Watts, who was so introspective, often
complained of "the duality of my nature." In the midst of affairs,
financial or worldly, on questions of criticism, personal conduct and
the like, the great artist was variable and uncertain. Though humble and
self-deprecatory to an extreme degree, he made mistakes from which he
could escape only with great difficulty; and he suffered much from
depression and melancholy. This man, however, never appears in the
pictures; when once in his studio, alone facing his canvas, Watts is
final, absolute, an und