Chautauqua

From the William James essay What Makes A Life Significant, referenced in class today by Levi:

A few summers ago I spent a happy week at the famous Assembly Grounds on the borders of Chautauqua Lake. The moment one treads that sacred enclosure, one feels one's self in an atmosphere of success. Sobriety and industry, intelligence and goodness, orderliness and ideality, prosperity and cheerfulness, pervade the air. It is a serious and studious picnic on a gigantic scale. Here you have a town of many thousands of inhabitants, beautifully laid out in the forest and drained, and equipped with means for satisfying all the necessary lower and most of the superfluous higher wants of man. You have a first-class college in full blast. You have magnificent music-a chorus of seven hundred voices, with possibly the most perfect open-air auditorium in the world. You have every sort of athletic exercise from sailing, rowing, swimming, bicycling, to the ball-field and the more artificial doings which the gymnasium affords. You have kindergartens and model secondary schools. You have general religious services and special club-houses for the several sects. You have perpetually running soda-water fountains, and daily popular lectures by distinguished men. You have the best of company, and yet no effort. You have no zymotic diseases, no poverty, no drunkenness, no crime, no police. You have culture, you have kindness, you have cheapness, you have equality, you have the best fruits of what mankind has fought and bled and striven for under the name of civilization for centuries. You have, in short, a foretaste of what human society might be, were it all in the light, with no suffering and no dark corners.

I went in curiosity for a day. I stayed for a week, held spell-bound by the charm and ease of everything, by the middle-class paradise, without a sin, without a victim, without a blot, without a tear.

And yet what was my own astonishment, on emerging into the dark and wicked world again, to catch myself quite unexpectedly and involuntarily saying: "Ouf! what a relief! Now for something primordial and savage, even though it were as bad as an Armenian massacre, to set the balance straight again. This order is too tame, this culture too second-rate, this goodness too uninspiring. This human drama without a villain or a pang; this community so refined that ice-cream soda-water is the utmost offering it can make to the brute animal in man; this city simmering in the tepid lakeside sun; this atrocious harmlessness of all things,-I cannot abide with them. Let me take my chances again in the big outside worldly wilderness with all its sins and sufferings. There are the heights and depths, the precipices and the steep ideals, the gleams of the awful and the infinite; and there is more hope and help a thousand times than in this dead level and quintessence of every mediocrity."

Such was the sudden right-about-face performed for me by my lawless fancy! There had been spread before me the realization—on a small, sample scale of course—of all the ideals for which our civilization has been striving: security, intelligence, humanity, and order; and here was the instinctive hostile reaction, not of the natural man, but of a so-called cultivated man upon such a Utopia. There seemed thus to be a self-contradiction and paradox somewhere, which I, as a professor drawing a full salary, was in duty bound to unravel and explain, if I could.

So I meditated. And, first of all, I asked myself what the thing was that was so lacking in this Sabbatical city, and the lack of which kept one forever falling short of the higher sort of contentment. And I soon recognized that it was the element that gives to the wicked outer world all its moral style, expressiveness and picturesqueness,—the element of precipitousness, so to call it, of strength and strenuousness, intensity and danger. What excites and interests the looker-on at life, what the romances and the statues celebrate and the grim civic monuments remind us of, is the everlasting battle of the powers of light with those of darkness; with heroism, reduced to its bare chance, yet ever and anon snatching victory from the jaws of death. But in this unspeakable Chautauqua there was no potentiality of death in sight anywhere, and no point of the compass visible from which danger might possibly appear. The ideal was so completely victorious already that no sign of any previous battle remained, the place just resting on its oars. But what our human emotions seem to require is the sight of the struggle going on. The moment the fruits are being merely eaten, things become ignoble. Sweat and effort, human nature strained to its uttermost and on the rack, yet getting through alive, and then turning its back on its success to pursue another more rare and arduous still-this is the sort of thing the presence of which inspires us, and the reality of which it seems to be the function of all the higher forms of literature and fine art to bring home to us and suggest. At Chautauqua there were no racks, even in the place's historical museum; and no sweat, except possibly the gentle moisture on the brow of some lecturer, or on the sides of some player in the ball-field.
Such absence of human nature in extremis anywhere seemed, then, a sufficient explanation for Chautauqua's flatness and lack of zest.

But was not this a paradox well calculated to fill one with dismay? It looks indeed, thought 1, as if the romantic idealists with their pessimism about our civilization were, after all, quite right. An irremediable flatness is coming over the world. Bourgeoisie and mediocrity, church sociables and teachers' conventions, are taking the place of the old heights and depths and romantic chiaroscuro. And, to get human life in its wild intensity, we must in future turn more and more away from the actual, and forget it, if we can, in the romancer's or the poet's pages. The whole world, delightful and sinful as it may still appear for a moment to one just escaped from the Chautauquan enclosure, is nevertheless obeying more and more just those ideals that are sure to make of it in the end a mere Chautauqua Assembly on an enormous scale. Was im Gesang soll leben muss im Leben untergehn. [What should live in song must go down in life.] Even now, in our own country, correctness, fairness, and compromise for every small advantage are crowding out all other qualities. The higher heroisms and the old rare flavors are passing out of life...