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No more than any other political method does democracy always produce the same results or promote the same interests or ideals. Rational allegiance to it thus presupposes not only a schema of hyper-rational values but also certain states of society in which democracy can be
expected to work in ways we approve. Propositions about the working of democracy are meaningless without reference to given times, places and situations and so, of course, are anti-democratic arguments.
This after all is only obvious. It should not surprise, still less shock, anyone. For it has nothing to do with the fervor or dignity of democratic conviction in any given situation. To realize the relative validity of one’s convictions and yet stand for them unflinchingly is what distinguishes a civilized man from a barbarian.
–Joseph Schumpeter, Capitalism, Socialism and Democracy, p. 243 (1943)
This passage from Schumpeter’s magnum opus demonstrates the depth and quality of his commitment to democracy, but also his essentially Weberian understanding of the duties of political actors in a democratic state. That is particularly the case for the close, “to realize the relative validity of one’s convictions and yet stand for them unflinchingly is what distinguishes a civilized man from a barbarian.” He is drawing on core ideas of Politics as a Vocation, and particularly the notion that a democratic political leader must embrace and expound ideals that motivate and inspire, even if the political exigencies of certain circumstances cause him to compromise them. These convictions are nevertheless essential and valid, and a democratic society that does not have them will sink into barbarity. These words are heartfelt. They reflect Schumpeter’s own experiences in his native Austria, torn apart by political strife and dragged ultimately to Anschluß and self-destruction, and his view of America as a state which successfully managed and reconciled these tensions–a stable and mature democracy, though certainly one with its own challenges.
Listen to Erich Wolfgang Korngold’s Symphony in F Sharp Major, op. 40 (1947). Like Schumpeter, Korngold was born in Moravia, made his career first in Austria and then emigrated to the United States, where he achieved success as Hollywood’s leading composer. In this work, dedicated to the memory of Franklin D. Roosevelt, Korngold salutes America as the promise and protector of democracy.
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.”