Democracy In America-2 [44]
years, the population indulges in this kind of amusement with the greatest reserve. This is attributable to peculiar causes, which the reader is already acquainted with, and of which a few words will suffice to remind him. The Puritans who founded the American republics were not only enemies to amusements, but they professed an especial abhorrence for the stage. They considered it as an abominable pastime; and as long as their principles prevailed with undivided sway, scenic performances were wholly unknown amongst them. These opinions of the first fathers of the colony have left very deep marks on the minds of their descendants. The extreme regularity of habits and the great strictness of manners which are observable in the United States, have as yet opposed additional obstacles to the growth of dramatic art. There are no dramatic subjects in a country which has witnessed no great political catastrophes, and in which love invariably leads by a straight and easy road to matrimony. People who spend every day in the week in making money, and the Sunday in going to church, have nothing to invite the muse of Comedy.
A single fact suffices to show that the stage is not very popular in the United States. The Americans, whose laws allow of the utmost freedom and even license of language in all other respects, have nevertheless subjected their dramatic authors to a sort of censorship. Theatrical performances can only take place by permission of the municipal authorities. This may serve to show how much communities are like individuals; they surrender themselves unscrupulously to their ruling passions, and afterwards take the greatest care not to yield too much to the vehemence of tastes which they do not possess.
No portion of literature is connected by closer or more numerous ties with the present condition of society than the drama. The drama of one period can never be suited to the following age, if in the interval an important revolution has changed the manners and the laws of the nation. The great authors of a preceding age may be read; but pieces written for a different public will not be followed. The dramatic authors of the past live only in books. The traditional taste of certain individuals, vanity, fashion, or the genius of an actor may sustain or resuscitate for a time the aristocratic drama amongst a democracy; but it will speedily fall away of itself - not overthrown, but abandoned.
Chapter XX: Characteristics Of Historians In Democratic Ages Historians who write in aristocratic ages are wont to refer all occurrences to the particular will or temper of certain individuals; and they are apt to attribute the most important revolutions to very slight accidents. They trace out the smallest causes with sagacity, and frequently leave the greatest unperceived. Historians who live in democratic ages exhibit precisely opposite characteristics. Most of them attribute hardly any influence to the individual over the destiny of the race, nor to citizens over the fate of a people; but, on the other hand, they assign great general causes to all petty incidents. These contrary tendencies explain each other.
When the historian of aristocratic ages surveys the theatre of the world, he at once perceives a very small number of prominent actors, who manage the whole piece. These great personages, who occupy the front of the stage, arrest the observation, and fix it on themselves; and whilst the historian is bent on penetrating the secret motives which make them speak and act, the rest escape his memory. The importance of the things which some men are seen to do, gives him an exaggerated estimate of the influence which one man may possess; and naturally leads him to think, that in order to explain the impulses of the multitude, it is necessary to refer them to the particular influence of some one individual.
When, on the contrary, all the citizens are independent of one another, and each of them is individually weak, no one is seen to exert a great, or still less a lasting power, over the community. At
A single fact suffices to show that the stage is not very popular in the United States. The Americans, whose laws allow of the utmost freedom and even license of language in all other respects, have nevertheless subjected their dramatic authors to a sort of censorship. Theatrical performances can only take place by permission of the municipal authorities. This may serve to show how much communities are like individuals; they surrender themselves unscrupulously to their ruling passions, and afterwards take the greatest care not to yield too much to the vehemence of tastes which they do not possess.
No portion of literature is connected by closer or more numerous ties with the present condition of society than the drama. The drama of one period can never be suited to the following age, if in the interval an important revolution has changed the manners and the laws of the nation. The great authors of a preceding age may be read; but pieces written for a different public will not be followed. The dramatic authors of the past live only in books. The traditional taste of certain individuals, vanity, fashion, or the genius of an actor may sustain or resuscitate for a time the aristocratic drama amongst a democracy; but it will speedily fall away of itself - not overthrown, but abandoned.
Chapter XX: Characteristics Of Historians In Democratic Ages Historians who write in aristocratic ages are wont to refer all occurrences to the particular will or temper of certain individuals; and they are apt to attribute the most important revolutions to very slight accidents. They trace out the smallest causes with sagacity, and frequently leave the greatest unperceived. Historians who live in democratic ages exhibit precisely opposite characteristics. Most of them attribute hardly any influence to the individual over the destiny of the race, nor to citizens over the fate of a people; but, on the other hand, they assign great general causes to all petty incidents. These contrary tendencies explain each other.
When the historian of aristocratic ages surveys the theatre of the world, he at once perceives a very small number of prominent actors, who manage the whole piece. These great personages, who occupy the front of the stage, arrest the observation, and fix it on themselves; and whilst the historian is bent on penetrating the secret motives which make them speak and act, the rest escape his memory. The importance of the things which some men are seen to do, gives him an exaggerated estimate of the influence which one man may possess; and naturally leads him to think, that in order to explain the impulses of the multitude, it is necessary to refer them to the particular influence of some one individual.
When, on the contrary, all the citizens are independent of one another, and each of them is individually weak, no one is seen to exert a great, or still less a lasting power, over the community. At