In the absence of optimism, we are left with nothing but critics, naysayers, and prophets of doom. When a nation expects the worst from its people and institutions, and its experts focus exclusively on faults, hope dies. Too many people spend too much tie looking down rather than up, finding fault with their country’s political institutions, economic system, educational establishment, religious organizations, and—worst of all—with each other.
Faultfinding expends so much negative energy that nothing is left over for positive action. It takes courage and strength to solve the genuine problems that afflict every society. Sure, there well always be things that need fixing. But the question is, do you want to spend your time and energy tearing things down or building them up
The staging of a Broadway show could illustrate my point. Let’s say a new production is about to open. A playwright has polished the script, investor have put up the money, and the theater has been rented. A director has been chosen, actors have been auditioned and selected, and the cast has been rehearsing for weeks. Set, lighting, and sound engineers have been hard at work. By the time opening night arrives, nearly a hundred people have labored tirelessly—all working long hours to make magic for their audience.
On opening night, four or five critics sit in the audience. If they pan it, the play will probably close in a matter of days or weeks. If they praise it, the production could go on for a long and successful run. In the end, success or failure might hinge on the opinion of a single person—someone who might be in a bad mood on opening night! What’s wrong with this scene In one sense, nothing. Critics have a legitimate role. The problem arises when we make critics our heroes or put them in control of our fate. When we empower the critic more than the playwright, something is wrong. It is much easier to criticize than to create. When we revere the critics of society, we eventually become a society of critics, and when that happens, there is no room left for constructive optimism.
Compared with the playwrights, the critics are, according to the author, ().
A. pretentious rather than honest
B. arrogant rather than modest
C. cruel rather than merciful
D. destructive rather than constructive