CHAPTER 4: The DEMOCRATIC (R)EVOLUTION We are better than we realize we are. For the first time, we can now create institutions of governance that elicit our best. Copyright 2026 by Paul L. LaClair
Value for Saturday of Week 13 in the season of Sowing
Being Optimistic
Optimism is an attitude that accompanies hope. When we practice and cultivate being optimistic, we poise ourselves to act on our dreams.
- . . . the only thing we have to fear is fear itself. [Franklin Delano Roosevelt, first inaugural address]
- People deal too much with the negative, with what is wrong. Why not try and see positive things, to just touch those things and make them bloom? [attributed to Thich Nhat Hanh]
- Pessimism leads to weakness, optimism to power. [This is not a quotation but a distillation of ideas in William James’ book The Principles of Psychology.]
- A pessimist sees the difficulty in every opportunity; an optimist sees the opportunity in every difficulty. [variously attributed]
- I hope the millions of people I’ve touched have the optimism and desire to share their goals and hard work and persevere with a positive attitude. [attributed to Michael Jordan]
- One of the things I learned the hard way was that it doesn’t pay to get discouraged. Keeping busy and making optimism a way of life can restore your faith in yourself. [attributed to Lucille Ball]
“Optimism is expecting good things to occur in your life.” “. . . optimism is defined as a cognitive variable reflecting one’s favourable view about their future . . . Optimists generally have more positive than negative expectations and tend to report less distress in their daily lives, even in the face of challenges . . . What is expected to happen in the future can affect how people experience situations in their daily lives, their health, and how they deal with emotions and stress.”
“. . . an optimistic approach protects and promotes mental health.” “. . . optimism and hope are important adaptive phenomena that foster wellbeing, quality of life, and psychological adjustment in the general population and in specific groups, such as people living with mental health conditions. Optimistic and hopeful individuals adapt better to adversity, have lower chances of developing mental disorders, and exhibit behaviours that are healthier and related to greater satisfaction with life.”
“Optimism is generally accepted by psychiatrists, psychologists and other mental health professionals as a preferred way of being. ‘Hope and optimism about the future’ was identified as one of five processes for recovery in mental illness in a systematic review and narrative synthesis of 97 papers in psychiatry.” “. . . positive expectations (that characterize optimism) are associated with higher levels of subjective well-being, better physical health, and a higher quality and quantity of social relationships.”
“People who are more optimistic have better pain management, improved immune and cardiovascular function, and greater physical functioning. Optimism helps buffer the negative effects of physical illness and is associated with better health outcomes in general. Optimists tend to look for meaning in adversity, which can make them more resilient.” One meta-analytic review grouped “studies into those that focused solely on mortality, survival, cardiovascular outcomes, physiological markers (including immune function), immune function only, cancer outcomes, outcomes related to pregnancy, physical symptoms, or pain. In each case, optimism was a significant predictor of health outcomes or markers . . .” “Higher optimism and lower pessimism were most consistently associated with lower rates of substance use and lower cardiometabolic risk.”
The benefits of optimism depend on how we approach the attitude and act in response to it. “. . . optimistic beliefs lead to goal attainment when they support agency by contributing to the sense that we are competent and efficacious agents and that our goals are both desirable and attainable.”
“The benefits of optimism are partially attributable to the manner in which optimists and pessimists cope with adversity. Optimists tend to cope with adversity actively, attempting to solve problems when they can, accepting problems that they cannot resolve, and focusing on the positive aspects of their experiences.” “Higher levels of optimism have been related prospectively to better subjective well-being in times of adversity or difficulty (i.e., controlling for previous well-being). Consistent with such findings, optimism has been linked to higher levels of engagement coping and lower levels of avoidance, or disengagement, coping.” “A significant positive relation emerges between optimism and coping strategies focused on social support and emphasis on positive aspects of stressful situations.”
“Optimists tend to live on average 11 to 15 percent longer than pessimists . . .” “Optimism is associated with exceptional longevity . . .”
On the whole, optimism is better than pessimism. Still, we are best advised not to overdo it. “. . . tempering a sunny disposition with a small dose of realism, or even pessimism, might be the best way to build resilience and achieve one’s goals.”
“There is evidence that optimism is associated with taking proactive steps to protect one’s health, whereas pessimism is associated with health-damaging behaviors. Consistent with such findings, optimism is also related to indicators of better physical health.” “Optimism may significantly influence mental and physical well-being by the promotion of a healthy lifestyle as well as by adaptive behaviours and cognitive responses, associated with greater flexibility, problem-solving capacity and a more efficient elaboration of negative information.”
“While optimists tend to focus on the good outcomes, pessimists focus on the bad outcomes of risk.” A study of college freshmen revealed that “students holding higher expectations of success at their freshman year may enjoy better actual academic achievements.”
Optimism appears to lead to civic engagement. “In this era of unprecedented environmental change, optimism could help unite people to act.” “. . . social entrepreneurs’ optimism and hope are positively related to the social performance of their social ventures.”
Optimism is a positive attitude about what may happen in the future. Its benefits are clearest when it is expressed as an attitude: “. . . when measured as a trait (e.g., dispositional optimism), optimism seems to largely act as a protective resource—encouraging people to participate in positive behaviors, engage in more productive problem solving, or simply feel happier . . .” Because optimism looks to the future, it is not an action, per se, but optimists are more likely to be active and proactive than pessimists.
Optimism is distinguished from hope in a few ways. Hope is focused on something more specific than optimism, which is a more general attitude. In this sense, optimism is broader, while hope is deeper. (There, in a sense, is a spatial dimension of two values that express a relation to time.)
Real
True Narratives
Biographies on Franklin Delano Roosevelt:
- Jean Edward Smith, FDR (Random House, 2007).
- Conrad Black, Franklin Delano Roosevelt: Champion of Freedom (Public Affairs, 2003).
- Alan Brinkley, Franklin Delano Roosevelt (Oxford University Press, 2009).
- John W. Sloan, FDR and Reagan: Transformative Presidents with Clashing Visions (University Press of Kansas, 2008).
- Doris Kearns Goodwin, No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II (Simon & Schuster, 1994).
- H.W. Brands, Traitor to His Class: The Privileged Life and Radical Presidency of Franklin Delano Roosevelt (Vintage Books, 2008)
Histories on the New Deal, during the era called the Age of Roosevelt:
- Arthur M. Schlesinger, Jr., The Crisis of the Old Order: The Age of Roosevelt, Volume I, 1919-1933 (Houghton Mifflin, 1956).
- Arthur M. Schlesinger, Jr., The Coming of the New Deal: The Age of Roosevelt, Volume II, 1933-1935 (Houghton Mifflin, 1958).
- Arthur M. Schlesinger, Jr., The Politics of Upheaval: The Age of Roosevelt, Volume III, 1935-1936 (Houghton Mifflin, 1960).
Fireside chats:
- March 12, 1933, on the banking crisis
- May 7, 1933, on progress
- May 8, 1933, on wages
- October 23, 1933, economic recovery plan
Technical and Analytical Readings
On optimism:
- Anna J. Willow, ed., Anthropological Optimism: Engaging the Power of What Could Go Right (Routledge, 2023).
- Walter Laqueur, Optimism in Politics: Reflections on Contemporary History (Routledge, 2014).
On the discipline and practice of positive psychology:
- Shane J. Lopez and C.R. Snyder, eds., The Oxford Handbook of Positive Psychology (Oxford University Press, 2nd Edition, 2009).
- Alex Linley, Susan Harrington and Nicola Garcea, eds., The Oxford Handbook of Positive Psychology and Work (Oxford University Press, 2009).
- Michael L. Wehmeyer, ed., The Oxford Handbook of Positive Psychology and Disability (Oxford University Press, 2013).
- Stewart I. Donaldson, Mihaly Csikszentmihaly and Jeanne Nakamura, eds., Applied Positive Psychology: Improving Everyday Life, Schools, Work, and Society (Routledge, 2011).
- Alex Linley and Stephen Joseph, eds., Positive Psychology in Practice (Wiley, 2004).
- Alan Carr, Positive Psychology: The Science of Happiness and Human Strengths (Routledge, 2nd Edition, 2011).
- R. Snyder, et. al., Positive Psychology: The Scientific and Practical Explorations of Human Strengths (Sage Publications, 3rd Edition, 2014).
- Christopher Peterson, Pursuing the Good Life: 100 Reflections on Positive Psychology (Oxford University Press, 2012).
- Martin E.P. Seligman, Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment (Free Press, 2002).
- Jennifer S. Cheavens & David B. Feldman, The Science and Application of Positive Psychology (Cambridge University Press, 2022).
Photographs
Documentary and Educational Films
Imaginary
Fictional Narratives
Novels and stories:
- Sarah Perry, Melmoth: A Novel (Custom House, 2018): “For all the swirling jackdaws and oppressive doom , this book has a ruddy optimism at its core.”
- Jenni Fagan, Luckenbooth: A Novel (Pegasus, 2020): “Despite its darkness, the novel is carried by jagged delight and optimism, a bright hope coming through the walls and a fundamental belief in people.”
From the dark side: Optimism can be a means of self-delusion.
“Now then the splendor will begin again,” thought the Fir. But they dragged him out of the room, and up the stairs into the loft: and here, in a dark corner, where no daylight could enter, they left him. “What's the meaning of this?” thought the Tree. “What am I to do here? What shall I hear now, I wonder?” And he leaned against the wall lost in reverie. Time enough had he too for his reflections; for days and nights passed on, and nobody came up; and when at last somebody did come, it was only to put some great trunks in a corner, out of the way. There stood the Tree quite hidden; it seemed as if he had been entirely forgotten. “'Tis now winter out-of-doors!” thought the Tree. “The earth is hard and covered with snow; men cannot plant me now, and therefore I have been put up here under shelter till the spring-time comes! How thoughtful that is! How kind man is, after all! If it only were not so dark here, and so terribly lonely! Not even a hare! And out in the woods it was so pleasant, when the snow was on the ground, and the hare leaped by; yes—even when he jumped over me; but I did not like it then! It is really terribly lonely here!” [Hans Christian Andersen, “The Fir Tree” (1844).]
Winter passes, and then:
. . . one morning there came a quantity of people and set to work in the loft. The trunks were moved, the tree was pulled out and thrown—rather hard, it is true—down on the floor, but a man drew him towards the stairs, where the daylight shone. “Now a merry life will begin again,” thought the Tree. He felt the fresh air, the first sunbeam—and now he was out in the courtyard. All passed so quickly, there was so much going on around him, the Tree quite forgot to look to himself. The court adjoined a garden, and all was in flower; the roses hung so fresh and odorous over the balustrade, the lindens were in blossom, the Swallows flew by, and said, “Quirre-vit! My husband is come!” but it was not the Fir Tree that they meant. “Now, then, I shall really enjoy life,” said he exultingly, and spread out his branches; but, alas, they were all withered and yellow! It was in a corner that he lay, among weeds and nettles. The golden star of tinsel was still on the top of the Tree, and glittered in the sunshine. In the court-yard some of the merry children were playing who had danced at Christmas round the Fir Tree, and were so glad at the sight of him. One of the youngest ran and tore off the golden star. “Only look what is still on the ugly old Christmas tree!” said he, trampling on the branches, so that they all cracked beneath his feet. And the Tree beheld all the beauty of the flowers, and the freshness in the garden; he beheld himself, and wished he had remained in his dark corner in the loft; he thought of his first youth in the wood, of the merry Christmas-eve, and of the little Mice who had listened with so much pleasure to the story of Humpy-Dumpy. “'Tis over—'tis past!” said the poor Tree. “Had I but rejoiced when I had reason to do so! But now 'tis past, 'tis past!” And the gardener's boy chopped the Tree into small pieces; there was a whole heap lying there. The wood flamed up splendidly under the large brewing copper, and it sighed so deeply! [Hans Christian Andersen, “The Fir Tree” (1844).]
Poetry
He had his dream, and all through life, / Worked up to it through toil and strife. / Afloat fore’er before his eyes, / It colored for him all his skies: / The storm–cloud dark / Above his bark, / The calm and listless vault of blue / Took on its hopeful hue, / It tinctured every passing beam— / He had his dream.
He labored hard and failed at last, / His sails too weak to bear the blast, / The raging tempests tore away / And sent his beating bark astray. / But what cared he / For wind or sea! / He said, “The tempest will be short, / My bark will come to port.” / He saw through every cloud a gleam— / He had his dream.
[Paul Laurence Dunbar, “He Had His Dream” (1896).]
Music: Composers, artists, and major works
Robert Schumann, Symphony No. 3 in E-flat Major, Op. 97, “Rheinish” (1850) (approx. 32-36’) (list of recorded performances), “was his final work in the genre which had occupied so much of his energy over the previous ten years of his career. Written around the time of his arrival as the new conductor in Düsseldorf, it is a vibrant testimony to what was to be the last truly happy time in his life.” “The nickname 'Rhenish'—having to do with the Rhine and its surroundings—quickly attached itself to the work. Although this moniker did not derive from the composer himself, Schumann wryly noted that the symphony 'perhaps reflects something of Rhenish life here and there.'” “The Rhenish Symphony, which Schumann composed between November 2 and December 9, 1850, reflects his optimism in the face of new challenges and a fresh start among a people more outgoing than any he had known and whose ebullience delighted him.” Top recorded performances are conducted by Szell in 1960, Kubelik in 1964, Sawallisch in 1973, Bernstein in 1984, Dohnányi in 1988, Skrowaczewski in 2006, Zinman in 2014, Ticciati in 2014, Nézet-Séguin in 2014, and Gardiner in 2020.
Pytor Ilyich Tchaikovsky, Piano Concerto No. 2 in G Major, Op. 44 (1880) (approx. 36-49’) (list of recorded performances), is “a brilliant, at times fiendishly difficult, and optimistic work . . .” Top recorded performances are by Graffman (Ormandy) in 1965, Zhukov (Rozhdestvensky) in 1969, Donohoe (Barshai) in 1986, Leonskaja (Masur) in 1997, Hough (Vänskä) in 2009, Trpčeski (Vasily Petrenko) in 2012;, and Gerstein (Byckkov) in 2019.
Many of Franz Josef Haydn’s symphonies and other works reflect an unwavering optimism, especially during the early stages of his writing. Each of these is in a major key.
- Symphony No. 9 in C Major, Hob. I/9 (1762) (approx. 12’) (list of recorded performances)
- Symphony No. 10 in D Major, Hob. I/10 (between 1757 and 1761) (approx. 14-16’) (list of recorded performances)
- Symphony No. 11 in E-flat Major, Hob. I/11 (between1760 and 1762) (approx. 19-23’) (list of recorded performances)
- Symphony No. 12 in E Major, Hob. I/12 (1763) (approx. 15-19’) (list of recorded performances)
- Symphony No. 13 in D Major, Hob. I/13 (1763) (approx. 15-27’) (list of recorded performances)
- Symphony No. 14 in A Major, Hob. I/14 (between 1761 and 1763) (approx. 15-16’) (list of recorded performances)
- Symphony No. 15 in D Major, Hob. I/15 (between 1760 and 1763) (approx. 19-20’) (list of recorded performances)
- Symphony No. 16 in B-flat Major, Hob. I/16 (between 1757 and 1761) (approx. 13-17’) (list of recorded performances)
- Symphony No. 17 in F Major, Hob. I/17 (between 1757 and 1763) (approx. 15-20’) (list of recorded performances)
- Symphony No. 18 in G Major, Hob. I/18 (between 1757 and1764) (approx. 14-16’) (list of recorded performances)
- Symphony No. 19 in D Major, Hob. I/19 (between 1757 and 1761) (approx. 11-13’) (list of recorded performances)
- Symphony No. 20 in C Major, Hob. I/20 (by 1762) (approx. 14-18’) (list of recorded performances)
- Symphony No. 21 in A Major, Hob. I/21 (1764) (approx. 16’) (list of recorded performances)
- Symphony No. 23 in G Major, Hob. I/23 (1764) (approx. 18-20’) (list of recorded performances)
- Symphony No. 24 in D Major, Hob. I/24 (1764) (approx. 16-21’) (list of recorded performances)
- Symphony No. 25 in C Major, Hob. I/25 (between 1761 and, most likely, in 1763) (approx. 12-15’) (list of recorded performances)
- Symphony No. 27 in G Major, Hob. I/27 (probably before 1760) (approx. 11-15’) (list of recorded performances)
- Symphony No. 28 in A Major, Hob. I/28 (1765) (approx. 18-22’) (list of recorded performances)
- Symphony No. 29 in E Major, Hob. I/29 (1765) (approx. 17-22’) (list of recorded performances)
- Symphony No. 30 in C Major, ““Alleluia”, Hob. I/30 (1765) (approx. 13-16’) (list of recorded performances)
- Symphony No. 31 in D Major, ”Hornsignal”, Hob. I/31 (1765) (approx. 20-34’) (list of recorded performances)
- Symphony No. 32 in C Major, Hob. I/32 (between 1757 and 1763, probably 1760/1761) (approx. 15-20’) (list of recorded performances)
- Symphony No. 33 in C Major, Hob. I/33 (1760/1761, or 1763-65) (approx. 16-22’) (list of recorded performances)
- Symphony No. 35 in B-flat Major, Hob. I/35 (1767) (approx. 18-25’) (list of recorded performances)
- Symphony No. 36 in E-flat Major, Hob. I/36 (first half of 1760s) (approx. 16-21’) (list of recorded performances)
- Symphony No. 37 in C Major, Hob. I/37 (by 1758) (approx. 13-16’) (list of recorded performances)
- Concertos for Two Lire Organizzate, Hob. VIIh/1 (approx. 14-16’) (list of recorded performances)
In his early piano concerti, Nos. 5, 6, 7, and 8, Mozart likely drew from Haydn’s example, which he added to his natural, youthful enthusiasm.
- Piano Concerto No. 5 in D Major, K. 175 (1773) (22-29’) (list of recorded performances)
- Piano Concerto No. 6 in B-flat Major, K. 238 (1776) (approx. 20-23’) (list of recorded performances)
- Piano Concerto No. 7 in F Major, K. 242, “Lodron” (1776) (approx. 23’) (list of recorded performances)
- Piano Concerto No. 8 in C Major, K. 246, “Lützow” (1776) (approx. 21-24’) (list of recorded performances)
Other works of sunny optimism:
- Tomaso Albinoni, complete Oboe Concerti (approx. 165’) (list of recorded performances): 12 Oboe concerti, Op. 7 (ca. 1715) (approx. 86’); and Op. 9 (1722) (approx. 118’)
- Alexander Grechaninov, Symphony No. 5 in G Minor, Op. 153 (1936) (approx. 37’): “Grechaninov's last symphony ignores the storm clouds that were gathering over Europe in 1936. Although it is not frivolous (the second movement is built around what sounds like a funeral march), it cannot hide its essential optimism, which becomes explicit in the finale.”
- Christian Friedrich Witt, Flute Concerto in G Major, Op. 8 (1807) (approx. 23-24’)
- Otto Nicolai, Symphony No. 2 in D Major, WoO 99 (1835) (approx. 36-44’): “Its mixture of understatement and gestures of musical romanticism gives it a unique quality.”
- Nikolai Medtner, Vergessene Weisen (Forgotten Melodies), Opp. 38 (list of recorded performances), 39 (list of recorded performances) & 40 (list of recorded performances) (1920) (approx. 100’): “Nikolai Medtner (1880–1951) composed three cycles of piano pieces called Vergessene Weisen (Forgotten Melodies) during 1919–20. These were difficult years for Medtner, having had to live through World War I and the Russian Revolution, yet there is an optimism and joy all through these wonderful pieces, more than half of which have the word 'Danza' in their titles.”
- Ezra Laderman, Decade (approx. 9’)
- Christian Sinding, Piano Trio No. 3 in C major, Op. 87 (1908) (approx. 32’): “The opening movement, Con brio, begins in stormy, restless fashion with a chromatic, descending motif. Only with the introduction of the second theme is tension relaxed. The middle movement, marked Romanza, is a calmer andante, while the finale, Allegro, is full of sunny optimism.”
Albums:
- Sonny Singh, “Chardi Kala” (2022) (38’): “Chardi Kala is the Sikh concept of revolutionary eternal optimism.” Drawing on a wide swath of musical and cultural traditions, this Brooklyn-based Sikh/Punjabi singer and trumpet player creates a remarkably unique musical experience.
- Renner Ensemble Regensburg, “WeissundBlau” (2023) (67’): “The optimism of this music and its characteristic inflections have a timeless element to them.”
- Songhoy Blues, “Optimisme” (2020) (35’): “Upbeat, unrelentingly positive and optimistic in its take-down of the rich, powerful and corrupt, Optimisme is a hip-swinging joy from the first notes of the almost punky ‘Badala’ to the final fade out of the soulful ‘Kouma’.”
- Zodiac Trio, “The World Is Waiting for the Sunrise” (2025) (58’).
From the dark side (pessimism):
- Mats Gustafsson’s musical style can well be called dystopian. “In his own words: 'standing with one leg in the punk/garage bucket and the other in the free jazz/improv bucket' Mats draws a lot of raw energy from his punk rock roots constantly looking for challenging projects within any genre.” Here is a link to his playlists., and to a fascinating album with Joachim Nordwall, entitled “Their Power Reached Across Space and Time – To Defy Them Was Death – Or Worse” (2023) (39’), of which a reviewer writes: “This is as far from a casual easy listen as you are likely to encounter, but it is also a riveting, almost alien-sounding encounter that resonates with emotion, wry humor, and discriminating taste.”
- Paul May and Carolyn Hume, “Kill the Lights” (2019) (44’): “. . . they create a haunting atmosphere of cinematic interludes and tribal rhythms with settings deep in nostalgia and sadness. ‘Kill The Lights’ is a journey of sonic intimacy where stillness and release permeate the duo’s landscape.”
- Galina Ustvolskaya’s final four symphonies are “bleak, pessimistic from first to last, with little relief and with no final consolation. ‘The listeners ... will only find the plaintive sighs of terror and pain’ (Frans Lemaire).” Symphony No. 2, "True and Eternal Bliss" (1979) (approx. 21-24’); Symphony No. 3, "Jesus Messiah, Save Us" (1983) (approx. 15’); Symphony No. 4, "Prayer" (1985/7) (approx. 7’); Symphony No. 5, "Amen" (1990) (approx. 13’).
From the dark side (brooding):
- Dmitri Shostakovich, Symphony No. 8 in C Minor, Op. 65 (1943) (approx. 61-72’) (list of recorded performances): composed in the USSR during World War II, this symphony reflects “suffering on a cosmic scale.” “. . . given that the Eighth was created at the turning point in the war, its expected optimism generated huge anticipation. 2nd February 1943 saw the defeat of the German army at Stalingrad. Despite the gigantic losses suffered by the Red Army during the battle, a sense of great achievement and pride spread across the Soviet Union – Stalin had defeated the Nazis. The trouble for Shostakovich was that this was not necessarily a reason to celebrate. He feared that the victory would actually only help Stalin, whose newly acquired prestige in the West would allow him to wield even more power than he already did.” Shostakovich said: “In this work there was an attempt to express the emotional experiences of the People, to reflect the terrible tragedy of war. Composed in the summer of 1943, the Eighth Symphony is an echo of that difficult time, and in my opinion quite in the order of things.” He also wrote: “And then the war came and the sorrow became a common one. We could talk about it, we could cry openly, cry for our lost ones. People stopped fearing tears. Before the war there probably wasn’t a single family who hadn’t lost someone, a father, a brother, or if not a relative, then a close friend. Everyone had someone to cry over, but you had to cry silently, under the blanket, so no one would see. Everyone feared everyone else, and the sorrow oppressed and suffocated us. It suffocated me too. I had to write about it. I had to write a Requiem for all those who died, who had suffered. I had to describe the horrible extermination machine and express protest against it. The Seventh and Eighth Symphonies are my Requiems.” Excellent performances are conducted by Mravinsky in 1960, Kondrashin in 1961, Previn in 1973, Svetlanov in 1979, Mravinsky in 1982 **, Haitink in 1983 **, Kurt Sanderling in 1986, Vasily Petrenko in 2010, and Gergiev in 2013.
- Dmitri Shostakovich, Symphony No. 10 in E Minor, Op. 93 (1953) (approx. 50-56’) (list of recorded performances): published just after Stalin’s death, this symphony “is 48 minutes of tragedy, despair, terror, and violence and two minutes of triumph.” “The pianist Tatyana Nikolaeva, one of his confidants, insisted that the symphony—and unquestionably its first movement--dates from 1951, and that the piece, like so many others, was withheld until after Stalin’s death.” Excellent recordings are conducted by Ančerl in 1955, Kurtz in 1956, Karajan in 1966, Haitink in 1977, Neeme Järvi in 1988, Jansons in 1995, Kurt Sanderling in 1996, Wigglesworth in 2000, and Vasily Petrenko in 2010 ***.
Music: songs and other short pieces
- “I Can See Clearly Now” (lyrics), versions by Johnny Nash, Jimmy Cliff, and Bob Marley
- Franz Schubert (composer), “Freude der Kinderjahre” (The Joy of Childhood Years), D. 455 (1816) (lyrics)
Visual Arts
- Isaac Levitan, Sunny Autumn Day (1897)
Film and Stage
- Oklahoma!, the Broadway musicalmade into a film
- On the Town, Bernstein’s song and danceclassic
- Miracolo a Milano (Miracle in Milan): though the film is interpreted as a spoof, it portrays the unfailing optimismof a boy-into-man
On the shadow side, Peter Greenaway has created remarkably cynical views of the human condition:
