Thomas Hart Benton Quotes

...the majority in a democracy has no more right to tyrannize over a minority than, under a different system, the latter would to oppress the former.

Perhaps the twentieth-century Senator is not called upon to risk his entire future on one basic issue in the manner of Edmund Ross or Thomas Hart Benton. Perhaps our modern acts of political courage do not arouse the public in the manner that crushed the career of Sam Houston and John Quincy Adams. Still, when we realize that a newspaper that chooses to denounce a Senator today can reach many thousand times as many voters as could be reached by all of Daniel Webster’s famous and articulate detractors put together, these stories of twentieth-century political courage have a drama, an excitement—and an inspiration—all their own.

The [Gila River area is] so utterly desolate, desert, and Godforsaken, that Kit Carson says a wolf could not make his living upon it.” | U.S. Representative THOMAS HART BENTON addressing the house of representatives, June 26, 1854

Talking of appearances, I would like my future readers to know that the picture of Jim and me that Thomas Hart Benton painted on the wall of the Missouri state capitol bears not the slightest resemblance to either one of us. ... I've never been satisfied with any representation of myself and have seen only one picture of Jim that did him justice. I don't know why this should be, unless it is evidence of a nearly universal prejudice against us, instigated by Sunday school superintendents, Republicans, and bigots.

spring. The enormous economic impact of the mule trade and how Oregon Trail traffic stimulated the American economy have been frequently ignored by historians, mostly because it is a lot more prestigious for professional academics to sound learned about Senator Thomas Hart Benton or the Missouri Compromise than to actually know something about America’s basic means of transportation for a century—wagons and mules. Yes,

HIC | JACET | FISCI LIBERATOR’, ‘here lies the Treasury’s Liberator’. However, in Senator Thomas Hart Benton’s fully documented account of the Bank war, in his Thirty Years’ View, or A History of the Working of the American Government (1854), the hero is unquestionably President Jackson, and Van Buren is not seen to play a leading role, in part because while Vice-President he chaired the Senate Debates and could have no voice in them. (That difference raises the question of historical accuracy to which I will return.) The first third of canto 37 weaves together thirty or more items, most of them things said by Van Buren or taken up by him over the many years from 1813 when he was a New York state senator to 1840 when he was President. The passage is a prime instance of Pound’s method of adding one detail to another without providing the conventional syntactical and logical connections, in order to allow a more complex web of relations to develop. Banks fraudulently failing, wealthy landowners and factory owners, high judges and the Chief Justice himself, senators, financial speculators, all are implicated in defrauding immigrants of the value of their banknotes, in driving settlers off the land they would cultivate, in denying workers the vote, in preventing local government of local affairs, and in ‘“decrying government credit. |…in order to feed on the spoils”’.

The individual most responsible for the triumph of the documentary style was probably Roy Stryker of the government’s Farm Security Administration (FSA), who sent a platoon of famous photographers out to record the lives of impoverished farmers and thus “introduce America to Americans.” Stryker was the son of a Kansas Populist, and, according to a recent study of his work, “agrarian populism” was the “first basic assumption” of the distinctive FSA style. Other agencies pursued the same aesthetic goal from different directions. Federal workers transcribed folklore, interviewed surviving ex-slaves, and recorded the music of the common man. Federally employed artists painted murals illustrating local legends and the daily work of ordinary people on the walls of public buildings. Unknowns contributed to this work, and great artists did too—Thomas Hart Benton, for example, painted a mural that was actually titled A Social History of the State of Missouri in the capitol building in Jefferson City.16 There was a mania for documentary books, photos of ordinary people in their homes and workplaces that were collected and narrated by some renowned prose stylist. James Agee wrote the most enduring of these, Let Us Now Praise Famous Men, in cooperation with photographer Walker Evans, but there were many others. The novelist Erskine Caldwell and the photographer Margaret Bourke-White published You Have Seen Their Faces in 1937, while Richard Wright, fresh from the success of his novel Native Son, published Twelve Million Black Voices in 1941, with depictions of African American life chosen from the populist photographic output of the FSA.

Thomas Hart Benton, el primer senador en servir treinta años consecutivos, alcanzó una prominencia que ningún otro senador de un nuevo estado podría reclamar, y defendió al Oeste con una energía ilimitada que ningún candidato opositor podía igualar.