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UNIV. OF MO COLLEGE PARK 3 143D DM3bflflbD 7 Digitized by the Internet Archive 2012 with funding from in LYRASIS Members and Sloan Foundation http://archive.org/details/humaniti1997mary ASZZMJVG ML. 1 ro,. January-February 1997 Maryland HUMANITIES UNIVERSITY OF MARYLAND FEB 1 4 1997 COLLEGE PARK LIBRARIES A Voice America in UNIVERSITY OF I IB 1* 1997 MARYLANDIA DEPT. STATE DOCUMENTS To Our Readers 1997 marks the third season for a reborn Chautauqua in western Maryland. At the turn ofthe century, an annual summer Mountain Chautauqua flourished in Garrett County. The Maryland Humanities Council is delighted to continue its collabora- tion with Garrett Community College and the Garrett Lake Arts Festival in bringing whatTheodore Roosevelt dubbed "the mostAmerican thing about America" back to western Maryland. What is a Chautauqua? We provide a detailed answer later in this issue, but briefly today's Chautauqua features scholars who take on the persona ofcelebrated figures from the past, educating and entertaining audiences as they bring history to life once more. This past summer ourA Voice inAmerica Chautauqua featured ThomasJefferson, Frederick Douglass, and Eleanor Roosevelt. We were delighted that our open-airtent was filled both nights with Marylanders who were eager to speak with and learn from these famous Americans and their alter egos. For those ofyou unable to share that Fourth ofJuly weekend with us, we present this issue ofMarylandHumanities. Some ofthe articles tell you a little bit more about Chautauqua programs, past and present. Others focus on the lives ofJefferson, Douglass, and Roosevelt. Perhaps this issue will even encourageyou to join us thisJuly when our Garrett County Chautauqua will feature Maryland literary greats H. L. Mencken, Gertrude Stein, Edgar Al- lan Poe, Zora Neale Hurston, and F. Scott Fitzgerald. The Maryland Humanities Council extends its thanks to the following individuals and organizations that provided material for this issue: ClayJenkinson, Charles Everett Pace, Carrol Peterson, Ann Saville, Frank E. Vzrale, the California Council for the Humanities, the Great Plains Chautauqua Society, the Nevada Humanities Committee, the North Dakota Humanities Council, and the WestVirginia Humanities Council. A special thanks goes to Lockheed Martin whose generous financial support makes this issue ofour magazine possible. Barbara Wells Sarudy ExecutiveDirector This issue of Maryland Humanities sponsored by is V LOCKHEED MARTIN Contents A Voice in America The Humanities include: — Chautauqua The Magic of a Tent Show Archaeology ClayS.Jenkinson reflects on Chautauqua's unique appeal to both audiencesand Artcriticism scholars alike Comparativereligion Ethics History The Chautauqua Movement Jurisprudence We take a brieflookat the historyofChautauqua Language Literature Philosophy The Ambiguities of PresentingJefferson Relatedsocial sciences ClayS.Jenkinson describes the difficultiesand the delights inherent in bringing ThomasJefferson backto the future — Frederick Douglass Abolitionist, Orator, Author, Editor 11 Charles Everett Pacewrites about the remarkable life ofTalbotCountynative, FrederickDouglass — Eleanor Roosevelt First Lady ofthe World 16 Ann Saville tells about Eleanor Roosevelt'spolitical influence duringthe 20* century Humanities in the Nation 20 Humanities in Maryland From the Resource Center 21 Maryland Bookshelf 22 Calendar of Humanities Events 24 Maryland Revisited 26 Maryland's Best Kept Humanities Secrets 27 An Interview with AliciaJuarrero 28 Maryland HUMANITIES Publication Staff Donna L. Byers, Managing Editor Robert I. Cottom, Production Editor Council Staff Council Consultants MarylandHumanities is a publication ofthe Barbara Wells Sarudy, Executive Director Renee Gordon, Development Officer Maryland Humanities Council, an Judy D. Dobbs, Deputy Director Edward H. Kappel, CPA independent, nonprofit, tax-exempt Donna L. Byers, Administrative Director Mallory Maxwell, Public Relations organization. Council programs receive major supportfrom the National Endow- Margitta E. Golladay, Carroll P. Tignall,Jr., CDP ment forthe Humanities; with additional Grants/Management Information Officer fundingfrom theMaryland Division of Polly P. Weber, Public Affairs Officer HistoricalandCulturalPrograms; corpora- tions, foundations and individuals. Chautauqua The Magic of a Tent Show Chautauqua is a tent show. Tent homage to the past without forgetting humanities programs in the United shows are rare enough in an age of the urgency ofthe present, and States. Chautauqua is a shade umbrella high-impact plastic, satellite video because a tent show is an unusual underwhich citizens ofall descrip- conferences, and electronic memo event in the life ofa community, tions can relax and exchange friendly warfare. Moreover, Chautuaqua is the Chautauqua serves as a kind ofinter- dialogue after a long hot day. only humanities tent show in Amer- lude in which citizens can stepback ica. All the other tent programs from their lives for a moment and Chautauqua is a deeply serious overarch religious revivals, carnivals, take an accounting oftheir ways and program, but it is couched in the trappings of playfulness, theater, even circuses, funerals, and used cars. This values. circus. Chautauqua comes to commu- Chautauqua has no cars for sale, no Tents are magical, but they are also nities to stirup the citizenry, to move oscnheoltaorspuotfthoumreasnt.itIinesstewahdoitcofofmeresto frail. A tent is not so much a structure folks slightly offtheir centers ofgrav- town, throw up a tent, and open a can as a compromise with the natural ity, to inspirit them (and those who world. A tent gives people the comfort travel as Chautauquans) to think more ofworms. ofordered space, but that space is clearly, more broadly, and more Tents are magnetic, nostalgic, almost respectful, not defiant, towards the historically about the waywe Ameri- magical. They recall a time in Ameri- forces of nature around it. A tent cans live. can life when there was neighborliness breathes above its audience. It heaves wanhdenlepiseuorpelaetttahlekeedntdooefatchheodtahye,r not aalnmdossti,ghtsetahteorpeditstowothoedegnropuonldesb,uatlive Cmhuacuhtafuoqruiats,pianrtfiaccti,padtoiensg ahtumlaeansittaises scholars as it does for the people they across the eerie continental echoes of yearning to take wing. meet in their travels. Chautauqua the telephone, or in front ofa televi- The Chautauqua tent is also neutral refreshes everyone who takes the sion, but eye-to-eye, rooted in the same soil. ground. This is vitally important. plunge. It puts scholars into contact Established places in the community with the world as it is lived in the We who live in the last decade of the have their own smells, their own heart ofthe nation. It encourages, twentieth century are burdened with habitual clientele: some people feel even requires, scholars to talk in a the complexities of living in a reluc- welcome, some don't. The Chautau- language actually spoken by well- tant world empire. We are so busy sur- qua tent is ecumenical, a temporary adjusted adults, rather than in the viving and striving and accumulating enclosure without secret rules or ritu- codes and jargons ofthe inward- that we have little time for reflection, als, a canopy that welcomes young looking university. almost none for good conversation. and old, vacationers and townspeople, Chautauquans come to town to talk Life slips past us in the night, and we conservatives and liberals, the respect- spend our time trying to make sense of able and the discontented, lovers and with citizens ofall ages, to share with them their ideas and insights. But they the world we awaken into, bewildered, dreamers and hard-headed business in the harsh light ofmorning. We men and women. also come to listen, to hear what people think and what they care often long for a time when the pace of Chautauqua sheds light without heat. about. They are not tourists, but life was breezy. People come together to discuss scholars in residence; not actors, but Chautauqua cannot turn back the tide controversial ideas and values which students of the past with their feet —ofour times, but—it can slow the flow would divide them in another place. firmly planted in the present. They are for a few days and it encourages Gathering people who do not usually eager to launch their tent upon the the forgotten arts oflanguage: precise exchange ideas and opinions is one of winds. talk, good listening, leisurely and care- the most important goals ofthe public ful reading. Because it pays continual The Chautauqua Movement The renowned Chautauqua (shuh taw leaders. The town had to guarantee a In later years, the Chautauquas kwa) was named for the Chautauqua certain amount of money, which followed a national trend from popu- Lake area ofNew York State. There is depended upon the quality ofand lar education to amusement, with some evidence that the Chataka Indi- demand for the entertainment. Ifthe entertainment constituting over half ans, a branch of the Tuscaroras, came ticket sales failed to meet the amount of the program. Broadway musicals north from North Carolina to join the agreed upon the town had to pay the from New York were cut down to size Iroquois and named the lake for them- difference. and sent on the Chautauqua circuit. selves. There are legends claiming the The traveling Chautauquas were more There were magicians and crayon art- name means Land ofthe Mists or democratic than the permanent assem- ists, dramatic readers and Shakespear- where one vanishes away. Others ean actors. Chautauquas even offered blies, usually at lakeside sites. Even the claim it means one took out a fish tiniest ofvillages could look forward silent movies and nickelodeons. there or, because ofthe lake's shape, to an annual visit by a dusty canvas Some humanities scholars who have two moccasins tied together. Chautauqua tent, and the shows were studied the period believe that Chau- Chautauqua began as a training course priced so that few could not afford tauqua lost its way by turning to vari- for Sunday school teachers in 1874. admission. The permanent Chautau- ety shows instead ofoffering people Because Sunday schools were the only quas appealed to people with money challenging, intellectual ideas. Chau- public education available to many to spare and the time to spend a week tauqua left almost as suddenly as it people in the late nineteenth century, or more at a lakeside pavilion. In Mary- appeared. Its height was during World Chautauqua attempted to bring land an annual summer Mountain War I, when President Woodrow professional training to Sunday school Chautauqua flourished in western Wilson called Chautauqua a major teachers in religious studies, general Maryland's Mountain Lake Park. contributor to the war effort. At that teaching methods, and administration. time, Chautauqua brought military In its early years, traveling Chautau- bands, wounded soldiers to tell their In 1878, the Chautauqua Institution quas offered lectures by Biblical histori- stories, and singers of patriotic songs. extended its philosophy ofadult ans, political theorists, and teachers of education to include an appreciation foreign languages, as well as dozens of When peace returned, the circuits — for the arts and humanities through programs to help people improve their went back to their old ways enter- the Chautauqua Literary and Scientific skills and sharpen their minds. Con- tainment and inspirational speeches. Circle. Home study courses in history, gressmen, judges, even U.S. presidents, Many towns began dropping out as art, literature, foreign languages, the traveled the circuit talking about ticket sales declined and the "guaran- classics, and music theory reached women's suffrage, the plight ofthe tors" had to dig deep to pay for the some 80,000 students in the program's poor in the slums ofthe cities, and the shortfall. Chautauqua's death came at first decade. need for patriotism, especially during the same time the economy declined About 1904, independent Chau- World War I. in the 1920s. There were other rea- sons: increased mobility, radio and the tauquas went on the road as "circuit Perhaps the most famous Chautau- talking pictures, and a change in the shows" in the Lyceum movement. quan was WilliamJennings Bryan, Lyceums brought lecturers and who gave one speech, "The Prince of national attitude. The "Roaring Twen- ties" were years of fun, frolic, and far entertainers to town, especially in the Peace," more than 3,000 times on the sChuamumtearuqwuhaesnoftfreavreeldwaavsareiaestiyero.fThe wChhaoutwaaunqtuead ttroairl.epBlrayceangowladswtihtehmsailnver lMeossrecotnhcaenrnanaybooutthesrelffac-tiomrp,rhoovweemevnetr., was the fact that people were not arrangements, from seven days of as the basis ofthe nation's money willing to pay for what they thought programs for the larger, wealthier system. He ran for president three was mediocre entertainment. towns to two and three day "quickies" times and lost three times. He is also which the smallest oftowns could the man who successfully prosecuted In 1976 the Chautauqua was reborn as afford. The financial arrangements school teacherJohn Scopes for teach- a humanities program in which schol- involved selling tickets, but someone ing evolution. His opponent was ars assume the costume and character from the Chautauqua company came Clarence Darrow, the famous lawyer of historical figures. When the modern in advance to meet with community who also traveled the Chautauqua Chautauqua movement began in the circuits. late 1970s in North Dakota, it bor- must take audience questions in a form ofintellectual play. A scholar, rowed the idea ofa dialogue between character. These questions are never who would normally be defined as a historical figures from Steve Allen's planted in advance. They arise from ratherdrab figure haunting libraries, MeetingoftheMinds. Itwas also influ- the humanities material in the suddenly projects her or himselfinto enced by Hal Holbrook's dramatic monologue and from the interests of the soul ofa person from history. This monologues in the character of members ofthe audience. The scholar has a liberating effect on the audience. Samuel Clemens. Two people were answers these questions using the Citizens who are normally shy or instrumental in taking thes—e concepts ideas and, if possible, the actual detached in public settings suddenly and making them a reality the language ofthe historical character. take on dramatic personae themselves. co-founders ofthe modern Chau- These questions require the scholar to In other words, Chautauqua works in tauqua movement, Everett C. Albers, be exceptionally well prepared and to two directions. Scholars play the past Executive Director of the North be able to respond quickly, accurately, on stage, and the audience plays back Dakota Humanities Council and and characteristically on his or her by asking questions and offering com- scholar Clay S.Jenkinson (a.k.a. feet. Third, at the end ofthe program ments that might be inhibited by the ThomasJefferson). Over the past two the scholar must "break character" traditional discourse of the humani- decades those involved in the modern and make comments and take ques- ties. The magic ofChautauqua is that revival ofChautauqua have learned a tions as a humanist. In other words, it inspires a freer use ofthe historical great deal from those models, and the scholar must come out ofcharac- imagination in scholars and among veered towards something more ter to provide historical context, to citizens. academic, more spontaneous, and comment upon the illusion, to tie up more humanistic. loose ends, to recommend books, to Excerptedfrom writings by ClayS. Jenkinson, FrankE. Vzrale ofthe Great explain historical methodology, and To be a humanities program, the first Plains Chautauqua Society, andthestaff to take more questions from the audi- person historical characterization must ofThe West Virginia Humanities Council. ence in a more traditionally historic meet three criteria. First, the scholar manner. must present an unscripted monologue based on the biography, the One ofthe benefits ofChautauqua is ideas, and the writings ofhis/her that it is not only imaginative in itself, character. The emphasis is on history but it inspires the imagination ofindi- and intellectual exploration rather viduals in the audience. Chautauqua is than on drama. Second, the performer Suggested Readings Victoria and RobertCase, WeCalledItCulture: TheStoryofChautauqua, 1948 GayMacLaren,Morally WeRollAlong, 1938 TheodoreMorrison, Chautauqua:A CenterforEducation, Religion, andtheArts inAmerica, 1974 John Heyl Vincent, TheChautauquaMovement, 1886 Excerptedfrom Read MoreAbout Chautauquasofthe Past, abibliographybyCarrolPeterson.