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George Washington was an avid theater-goer, and he was very clear about his favorite plays – Thomas Brinsley Sheridan’s “School for Scandal” (1777), for instance, was a work he prized above others for its wit, but Joseph Addison’s “Cato: A Tragedy” (1713) was his all-time favorite. Washington’s speeches and letters are recurrent with citations to passages of this, Addison’s magnum opus. And among them figure these lines in act IV, curiously important to a man whose career was marked so heavily by generous and self-denying public service:
When vice prevails, and impious men bear sway,
The post of honour is a private station.
The lines reflect an ancient Roman’s sense of virtue. Public service was the high path of any career, but a virtuous man should take care to refrain from offering his services at a time when the power of the state is held by men of poor moral character.
For Washington, the idea of Republic was a sort of solution to the dilemma of the bad ruler. A professional civil service would owe its allegiance not to an autocratic ruler, but to a Republican ideal—just as impractical old Cato preferred death and service to the Republic to Caesar’s offer of clemency and life coupled with acceptance of the rule of the dictator. As Washington said in his famous letter to Edmund Randolph of September 1789, it was vital that those selected for civil service be chosen purely on the basis of their merits, without regard to personal sentiment or attachment.
The process we see underway in America today is the subversion of that precept of our Republic. And what must in all likelihood follow is precisely what Washington foresaw: the best among us will disdain public service and turn from it, just as John McKay and David Iglesias predicted in their appearance yesterday at the University of Seattle Law School. The betrayal by the attorney general and his coterie thus amounts to a double blow. O tempora, o mores.
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”