The Genteel Tradition and the Sacred Rage

High Culture vs. Democracy in Adams, James, and Santayana

Robert Dawidoff

• Publisher: The University of North Carolina Press
• Year: 2000
• Print ISBN: 9780807857298, 9780807820179
• eBook ISBN: 9780807861004
• Topic: History
• Subtopic: North American History
• Index: History

Asking why many American intellectuals have had such difficulty accepting wholeheartedly the cultural dimensions of democracy, Robert Dawidoff examines their alienation and ambivalence, a tradition of detachment he identifies as “Tocquevillian.” In the work of three towering American literary figures - Henry Adams, Henry James, and George Santayana — Dawidoff explores fully this distancing and uneasy response to democratic culture.

Linked together by common Harvard, Cambridge, and New England connections, and by an upper-class, Brahmin background, each of these three writers, Dawidoff argues, was at once self-critical and contemptuous of cultural democracy — especially its indifference to them and what they represented. But their claims to detached observation of democratic culture must be viewed skeptically, Dawidoff warns, and borrowed with caution.

An important contribution of the book is its integration of gay issues into American intellectual history. Viewing James’s and Santayana’s attitudes toward their homosexuality as affecting their views of American society, Dawidoff examines this significant and overlooked element in the American intellectual and cultural mix. Dawidoff also includes powerful new readings of Adams’s Democracy and James’s The Ambassadors and discusses Santayana’s Americanist essays.

In his foreward, Alan Trachtenberg notes the “taboo” that seems to have fallen over the word democracy. “It is rarely encountered anymore in humanistic studies,” he says, “ snubbed in favor of gender, class, race, region.” This trend, he says, may be in part due to an unease about studying the culture in which we participate because the posture of the cutural critic implies a certain detachment. “The Genteel Tradition and the Sacred Rage returns the question of democracy to centerstage,” he concludes, “not as political theory alone but as cultural and personal experience.”

Originally published in 1992.

A UNC Press Enduring Edition — UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

CHAPTER ONE
TOCQUEVILLE AND THE AMERICAN MIND

TOCQUEVILLE’S AMERICAN PROJECT

One way to start an argument among educated Americans is to suggest that Alexis de Tocqueville was wrong about democracy in America. If there is any orthodoxy in the study of American civilization, it is some sort of Tocquevillian one. The objectivity, the detached observational quality of the young Frenchman’s remarkable study of democratic civilization in the United States remains a polestar for American self-study. Its accuracy, its method, and its importance constitute an assumption of the American literate classes. Pounded into our brains in college and reinforced by journalism and academic commentary, Tocqueville’s observations have a privileged status. Much of the influence his Democracy in America exercises can be attributed to the book’s power. It is an authoritative and persuasive rendering of American political culture and of democratic political culture. It was the first and remains the best comprehensive study of what Tocqueville presciently saw as a great modern subject.

The Tocqueville story is attuned to the view of the Robert Burns maxim that distills the Protestant and social scientific tenet that it is best to see yourself as others see you—the “others” being the province of wise men to posit, and the proof of the pudding being the acquired taste of the eating. And, like those traditions, it leaves it to the subject to define the appropriate judging “other”; it is a fantasy of self, not of difference. But it remains an odd fact of American interpretation that a young foreigner’s observations on his first visit to a phenomenal new regime have such credibility. The accuracy of his observations, especially as they concern the cultural life of the American democratic regime, has great limits. But the attractiveness of his method and the allure of his claim to detachment persist, and it is worth thinking about why they do. It is one suggestion of this book that the Tocquevillian strain in American interpretation bespeaks a response to democracy on the part of Americans for whom its implications—especially its cultural implications—are unhappy and whose experience of the intellectual life of the American democracy is painful.

Democracy, for Tocqueville, was something that was bound to happen—and America the only place to look to see how it happened. This is why it mattered so much to him to distinguish those aspects of American life that were exceptional, that could not be counted upon or ought not to be worried about in Europe, from those that were democratic in the general sense. Democracy in America renders America as a kind of democracy. With its remnant hints of something actually seen, it also suggests a people born of historical circumstance and shaped by luck and inheritance, bodying themselves in the democratic form.

Tocqueville disciplined his information about America to his serious purposes. Here and there, however, his own youthful experience of America’s exciting youth burst out—in all the moments in the two big volumes where the rough-and-ready American detail resists Tocqueville’s categorizing generalizations, refusing to assemble like iron filings under magnetic sway—in a tribute to the movement westward. In his attempts to generalize about the gravity of frontiersmen, for instance, it is possible to see the Americans Tocqueville encountered crowding his archetypes with their interesting particularities. He happened to encounter more frontier gravity than hilarity. And it seems clear that, like any journalist, he could not resist working up what he saw into an American and democratic archetype; hence his observations on the gravity of the frontiersmen. Democracy in America is studded with undigested nuggets that tell about the ways in which Tocqueville was in a particular place and time, as well as in a class of regime.¹

In his predictions of the course of democratic civilization, Tocqueville’s abstractions from the particular case leave the impression of a formidable observer’s detachment. He filtered his observations through his aristocratic biases, which remained relatively undiluted and virtually unchallenged in the sphere of culture—however tempered in matters political. He questioned the ancien régime but appeared not to have questioned the value of its civilization. In his presentation of democracy, Tocqueville meant to render and distinguish the things about America that were special to it—the frontier, the English Puritan heritage, the low and busy political life, its civilization, and its peoples—but presumably were accidental to democracy. The things that made American democracy work, in Tocqueville’s account, were the things most interpreters have found to be the makings of the “American mind” and civilization. They also tended to be the things he was least able to recognize as elements of civilization, as he knew it.

The notion of the American mind has had a curious American history. It is presently an unfashionable notion among historians, although its attributes as an interpretive mode, called by other names, do persist. America recently has had a mentalité, but no mind. But modern American historians learned from ancient American founders, like John Adams and Thomas Jefferson, to consider the collective category of American thinking. Tocqueville has been particularly influential among those who have written about this subject. Henry Adams and Henry Steele Commager, David Potter and Daniel Boorstin, and the classic phase of American Studies form some of the links in the great chain of Tocquevillian being. Inexplicit Tocquevillians, like George Santayana, Richard Hofstadter, and Lionel Trilling, are friendly to his understandings. Even decidedly non-Tocquevillian historians of American culture, like Vernon Louis Parrington, Perry Miller, and Merle Curti, depended on the general notion of an American mind that Tocqueville did so much to define.²

Tocqueville’s primary interest remained politics and the ordering of civil society into a regime. Issues of moeurs seemed to him inevitably conjoined to the nature of the regime. Although he grounded his observations of American political life in a study of documents and laws and institutions, as well as in observations and conversations, the phenomena that informed his discussions of expressive life were considerably less certain and more subject to the influence of taste and the opinions of the interlocutors. Did he inspect an American college? Did he read an American book? Tocqueville did not know much about American art, but he knew what he liked.³

American culture was harder to find than American politics in the Jacksonian period. Tocqueville was poorly placed to find out about it on his own or to appreciate what he might encounter of it. His encounter with American culture really amounted to interactions with Americans who were subject to the worried claim of traditional civilization on the democratic future and subject to their own provincial, Anglo-American cultural anxieties to boot. He had neither motive nor skill to question their outlook. They agreed with him that what was good about American civilization was European and that what threatened it was democratic. Tocqueville described lasting political structures from what he saw of American politics, crediting their capacity to grow. He boiled down the lasting dynamics of democratic civilization to the particular, unsatisfactory moment of cultural history he observed superficially and without much interest. American civil society did not do away with Tocqueville’s doubts about democracy, but it eased his mind. Culturally, the case was virtually opposite.

In matters of civilization, Democracy in America loosed those doubts about democracy and equality that remained under control in Tocqueville’s discussion of politics. His fears about what equality would do to political life notwithstanding, he advanced the cause of democracy by translating his experience of visiting a democracy into his generalizations about democracy itself. As his journals reveal, Tocqueville met a host of people with whom he might share a civil society. Patriotic Americans though they were, many expressed reservations about American politics that resembled his own.

Tocqueville was as ill-prepared to welcome cultural change as he was well-disposed to welcome liberalizing political reform. Indeed, the prospect alarmed him.⁴ Civilization, as he knew it, might not end with the advent of democracy. Nevertheless, the pell-mell of American culture did not reassure him; it tired and bored, confused and depressed him.

It was only in the American woods that Tocqueville found the contrasting quiet that soothed his soul. In Michigan, Tocqueville had reached at last, he thought, the imaginative destination of his journey. “Now as we advanced further the last signs of man disappeared. Soon there was nothing even to indicate the presence of savages, and we had before us the spectacle which we had been so long pursuing, the depths of a virgin forest.” There, he experienced that a kind of sublime

majestic order reigns above your head. But near the ground there is a general picture of confusion and chaos. Trunks that can no longer support the weight of their branches, are split half-way up and left with pointed and torn tops. Others, long shaken by the wind, have been thrown all complete on the ground; torn out of the soil, their roots form so many natural ramparts behind which several men could easily take cover. Immense trees, held up by the surrounding branches, stay suspended in the air, and fall to dust without touching the ground.... In the solitudes of America nature in all her strength is the only instrument of ruin and also the only creative force. As in forests subject to man’s control, death strikes continually here; but no one is concerned to clear the debris away. Every day adds to the number; they fall and pile up one on top of the other; time cannot reduce them quickly enough to dust and make fresh places ready. There many generations of the dead lie side by side. Some that have come to the last stage of dissolution, show as no more than a train of red dust along the grass. Others already half consumed by time, still yet preserve their shape.⁵

In a remarkable passage, Tocqueville summarizes how the scene affects the traveler. “This repose of all nature is no less impressive in the solitudes of the New World than on the immensity of the sea. At midday when the sun darts its beams on the forest, one often hears in its depths something like a long sigh, a plaintive cry lingering in the distance. It is the last stir of the dying wind. Then everything around you falls back into a silence so deep, a stillness so complete that the soul is invaded by a kind of religious terror.”

Looking around, the traveler sees the signs of nature in perpetual war and at perpetual peace and hears no sound, not even the one Daniel Boone kept his ears sharp for—the axe striking. “Here not only is man lacking, but no sound can be heard from the animals either. The smallest of them have left these parts to come close to human habitations, and the largest have gone to get even further away. Those that remain stay hidden from the sun’s rays. So all is still in the woods, all is silent under their leaves. One would say that for a moment the Creator had turned his face away and the forces of nature are paralyzed.”⁶ Like so many intelligent travelers, Tocqueville confronted nature with ideas he had learned from books.

Democracy in America emphasized that Americans cherished no aesthetic feelings toward their forests, seeing them only as a field for expansion. Tocqueville contrasted the man-made with the deep, powerful workings of nature. Nobody reading the above excerpts would think of him as a detached observer. He saw what he wanted to see, viewing nature as Jean-Jacques Rousseau or William Wordsworth might—with the highest human feeling and intelligence but with an ear that banished the sound of animals and a second sight that could discern the chaotic order of nature and the Creator’s moods (even in the gloom of a Michigan forest not very far from settlements of all kinds). The sublime ordered his feelings.

This experience of the primeval, the natural, and the sublime—for which his aristocratic, traditional, aesthetic education had conditioned him—was the emotional high point of his journey. In this passage, he shows an ambition not unlike that of American painters, poets, and writers of the day, and of the richer cultural age to come, to find the proper terms in which to understand the panorama of the American setting. But Tocqueville appears to have blamed Americans for not seeing what he saw, and for not being able to appreciate it. The democratic soul and the American soul seemed to him as distant as the Native American from his own experience. Tocqueville banished the Native American from this forest primeval, where the forces of nature are in control and the animal and the human are absent. He found an eerie place out in the woods, and it surely is significant that the Creator’s face is turned away when this, at best, troubled dévot had his communion with his deepest feelings.

In the Michigan woods (one wonders how near the Big Two-Hearted River), Tocqueville found what he says he had looked for elsewhere in vain on his American journey. He had expected a living panorama. “It was there, in a word, that I counted on finding the history of the whole of humanity framed within a few degrees of longitude.” He wrote:

Nothing is true in this picture. Of all the countries in the world America is the least adapted to provide the sight that I went to seek. In America, even more than in Europe, there is one society only. It may be rich or poor, humble or brilliant, trading or agricultural, but it is made up everywhere of the same elements; it has been levelled out by an egalitarian civilisation. The man you left behind in the streets of New York, you will find him again in the midst of almost impenetrable solitude: same dress, same spirit, same language, same habits and the same pleasures. Nothing rustic, nothing naive, nothing that smells of the wilds, nothing even that resembles our villages.⁷

Other testimony of the time remarked a big difference in human society and conditions throughout America. The sameness Tocqueville saw must be observed from a distance, indeed.

The things that seemed to many observers of the frontier so at variance from the conditions “back east” hardly struck Tocqueville, who was looking for the great chain of human social being. It is almost funny how little difference the Frenchman noticed between the city merchants and the rude frontiersmen. America had disappointed his hope of finding the history of human civil society. One may wonder how he could have recognized such a tableau, except in French shapes and forms. He was a poor cultural-anthropological analogist. It bears on Tocqueville’s importance to Americans that through him we can, presumably, see ourselves as others saw us. But it is worth keeping in mind how much of his view consisted of his not seeing what Americans were used to seeing. What was there for Tocqueville was the absence of what he had expected to see.

What he experienced as the sameness and the “present tense” of American life depressed him. There was no differentiation, no adventure, nothing to stir this young, romantic, conservative Frenchman’s imagination or to stimulate his emotions. And, then, he found himself in the forest at last. In the absence of these unfeeling, doubly familiar Americans, and sunk in that ennui with the regular round of human existence that so often feeds the sublime experience of nature, Tocqueville encountered the American, the western, woods—the archetypal home of the primeval for Europeans, too. The vision he had there punished the Americans. His excitement sprang from satiation with observation. He had a profound internal experience and returned to his job, refreshed by the forests.

What he found there was what he had missed in the human sights he had been viewing. He found the generations, the traditions, the tangled evidence of war and peace, the passage of time, the averted face of God—all the things which, many years later, Henry James (in a famous passage on Nathaniel Hawthorne) noted the frustrating absence of from the imaginative viewpoint in American democracy.⁸ Tocqueville projected it onto nature and populated the forest with the drama he missed among Americans. A wonderful moment, it inspires tremendous fellow feeling for the too often, too wonderfully, distanced observer.⁹

This should also be kept in mind as an instance of how Tocqueville’s private agenda of feeling and attachment created his detachment. If he saw a disappointing democratic sameness in Americans, if American aesthetics disappointed, disappointment was partially his object. The experience of the sublime in nature characteristically generates a moral hierarchy by which to judge people who do not see the natural world in the same way. Tocqueville used his strictures on democratic civilization to establish standards that protected his own aesthetics from American infection and democratic competition. Delight and fellow feeling did not tinge Tocqueville’s appreciation of American civilization. The version of civilization, public and private, that America had to offer him was seldom beguiling or ennobling, only intermittently recognizable, and never tempting. He yielded little of his heart of hearts to the expressive life of the United States.

In the name of the traditions that had formed him, Tocqueville suggested that in the opposition between aristocratic and democratic civilizations is revealed the true price democracy makes the superior individual pay. His chapters catalogue the risks to which democracy must expose cherished notions of literature, philosophy, morals, language, intellect, the self, human nature, and the possibilities of civilized life. They prepare the reader to see the democratic as an adversary to traditional civilization. The detached, observant Tocqueville attributed the debasing effect of democracy to the twin forces of individualism (materialist individualism) and equality. They reduce human life to the individual’s unaided experience and subject that already devalued coin of experience to the inflationary pressure of democratic egalitarianism. And the superior human being imagines how insupportable it would be to have to live under such conditions.

Most of Tocqueville’s informants were Whigs. With them, Tocqueville saw a bustling society so full of project that it could be forgiven its failure to develop a more refined and theoretical intellectual life. He also remarked that Americans were, after all, prov...

Table of contents

• Cover Page
• THE GENTEEL TRADITION AND THE SACRED RAGE
• Copyright Page
• Dedication
• CONTENTS
• FOREWORD
• ACKNOWLEDGMENTS
• INTRODUCTION
• CHAPTER ONE TOCQUEVILLE AND THE AMERICAN MIND
• CHAPTER TWO HENRY ADAMS: THE FIRST AMERICAN TOCQUEVILLIAN
• CHAPTER THREE HENRY JAMES AND THE SACRED RAGE
• CHAPTER FOUR GEORGE SANTAYANA AND THE GENTEEL TRADITION
• CONCLUSION
• NOTES
• BIBLIOGRAPHY
• INDEX