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olasank [31]
3 years ago
13

According to forrest McDonald, what did republican thinkers claim was the vital principle of republics?

History
1 answer:
Kaylis [27]3 years ago
5 0

Philadelphia Society, unlike many of the people who labor in the groves of academe, have a wholesome respect for the American constitutional system, despite the distortions that have been inflicted upon that system in recent decades. Moreover, judging from the conversations I have had with various members throughout the years, most of you are well informed as to how we happened to have been so blessed. Judging by a look at the program you will hear tomorrow, you will be even better informed twenty-four hours from now.  

Again, unlike denizens of the academy, we all appreciate our economic system of private enterprise for profit in as free a market as possible. But I expect that most of you assume that the economic system was born part and parcel with the constitutional order, in keeping with the Framers' intentions. But that is not the way things were. "Wait a minute!" you may be thinking. The English philosopher John Locke, whose views were familiar to virtually every American of the founding generation, had taught that the ownership of property was a God-given natural right, antecedent to civil society, and the revolutionary state constitutions and bills of rights had given ringing approval to that dictum. James Madison, in the Constitutional Convention, cited "the security of property" as being first among "the primary objects of civil society," and the other delegates echoed that sentiment.  

But one cannot leap from the framers' belief in the sanctity of private property to the conclusion that they advocated either capitalism or a free market economy. The very thinkers whom Americans looked to for their ideas about private property placed limitations on the right. John Calvin opined that a man might choose among many callings but was bound by God's law to follow the one that promised the greatest public good. John Locke taught that a man could accumulate property, but only insofar as he could consume it and none went to waste; the rest belonged to the public. Sir William Blackstone in his Commentaries on the Laws of England famously defined property as “that sole and despotic dominion which one man claims and exercises over the external things of this world, in total exclusion of the right of any other individual in the universe"; but after formulating that definition on the second page of book two of the Commentaries, Blackstone devotes the remaining 518 pages of the volume to qualifying and specifying exceptions to it.  

In addition to the many such qualifications that Americans had inherited from the mother country, the states or local governments fixed the prices of bread, regulated rates charged by millers and innkeepers, and interfered in buying, selling, and lending. They routinely set aside private contracts on the basis of the medieval concept that everything had an intrinsic "fair value" and therefore a "just price." A modern market definition of contracts was yet to appear in America.  

Overcoming these obstacles to the emergence of a free market order was made difficult by two ideological considerations. The first was the commitment to a republican form of government. Most Patriots had come by their republicanism willy-nilly, as a by-product of the general reaction against the supposed excesses of George III and with neither a historical nor a philosophical understanding of what they were embracing. Between 1776 and 1787, however, increasing numbers of public men took the trouble to learn about the history of republics and to study the writings of theorists of republicanism. Two distinct species of republican ideology arose as a result--one, the more nearly classical, may be described as puritan, and was concentrated in New England; the other, the more modern, may be described as agrarian and was concentrated in the tobacco belt.  

 

 

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how can we interpret and compare speeches from president lincoln and Obama, and from Frederick Douglass, to help us analyze the
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I have a short article included to help.

Explanation:

Frederick Douglass’s 1845 Narrative continues to be a popular pedagogical text for high school and college curricula for the didactic reason that Douglass is a strong advocate for the benefits of reading and writing. Responding to the rumor that he might have been a well-educated freeman masquerading as a runaway slave, the educational elements of Douglass’s autobiography were partially intended to explain the source of his eloquence—tracing his beginning lessons in penmanship with neighborhood boys in Baltimore to his clandestine reading of The Columbian Orator. By including the letter he forged in his first escape attempt, he implies the message that literacy set him free. Setting a precedent for many African American literary figures who came after him, including Ralph Ellison’s fictionalized Invisible Man and the real-life President Barack Obama, Douglass fashioned a compelling explanation of his coming-to-voice, which even competes with, and eventually eclipses, the drama of his escape in the book’s final chapters.

One of the most dramatic emblems of Douglass’s literary education is the moment he becomes moved to address the ships on the Chesapeake Bay—it is a picture in words of his oratorical birth. In William Lloyd Garrison’s preface to Frederick Douglass’s 1845 Narrative, he celebrates the theatrical scene: Reduced to total abjection by the brutality of his slavemaster Covey, Douglass retreats to the Chesapeake shore on Sunday, and gives a moving speech to the white-sailed ships on the horizon. Performing as if he were on stage, Douglass laments his misery, questions whether there is a God, and concludes that since Covey is probably going to kill him anyway, he might as well try to escape. According to Garrison, Douglass’s oratorical tableau is the visual and literary epitome of the basic human desire for freedom—a “whole Alexandrine library of thought, feeling, and sentiment” (7). Like Garrison’s investment in The Liberator’s 1850 masthead, adapting Josiah Wedgwood’s image of a shackled and kneeling slave asking, “Am I not a man and a brother?,” Garrison points Douglass’s readers to this moving portrait of suffering with the hope that they, too, will vicariously experience the slave’s resolution for freedom.1 Although Garrison seems to have hoped that the scene would principally inspire sympathy for Douglass among his white readers, in Douglass’s hands it also turns into a representation of literary agency with lasting significance for African American literature. Douglass’s figure of himself—embodied in words—as communicating with the nation is echoed in similar moments of coming-to-voice in African American literary figures to the present day, and has become one of the most enduring elements of his rhetorical legacy.

Douglass’s waterside speech is a curiously artistic milestone in antislavery testimony even beyond its anguished desperation. Garrison might have pointed to many other dramatic passages—such as the whipping of Aunt Hester, the slave auction, the abandonment of Douglass’s grandmother, or even the fight with Covey—but he chose instead to highlight this highly literary, if not overwrought, transformational moment in Douglass’s consciousness. In his essay on the aesthetic elements of Douglass’s Narrative, written over forty years ago, Albert Stone argued this speech was an expression of Douglass’s artistic impulses to imaginatively synthesize his thought processes concerning freedom (72).2 But put more bluntly, he might have admitted that Douglass probably never gave this speech at all. Part of what makes Douglass’s first autobiography so effective is his ability to blend his largely factual account of slavery so seamlessly with the inventions of art. Like his deliberately falsified account of his grandmother’s abandonment and death, whose purple passages remained in his autobiographies even after he admitted that they were not true, Douglass’s speech is one of the more glaring examples of his departure from conventional fact in telling his story

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