Struggles and Triumphs, P. T. Barnum [good books to read in english .txt] 📗

Constitution cannot be strictly and literally construed. The opposition express great love for white blood. Will they let a mulatto vote half the time, a quadroon three-fourths, and an octoroon seven-eighths of the time? If not, why not? Will they enslave seven-eighths of a white man because one-eighth is not Caucasian? Is this democratic? Shall not the majority seven control the minority one? Out on such “democracy.”

But a Democratic minority committee (of two) seem to have done something besides study ethnology. They have also paid great attention to fine arts, and are particularly anxious that all voters shall have a “genius for the arts.” I would like to ask them if it has always been political practice to insist that every voter in the great “unwashed” and “unterrified” of any party should become a member of the Academy of Arts before he votes the “regular” ticket? I thought he was received into the full fellowship of a political party if he could exhibit sufficient “inventive faculties and genius for the arts,” to enable him to paint a black eye. Can a man whose “genius for the arts” enables him to strike from the shoulder scientifically, be admitted to full fellowship in a political party? Is it evident that the political artist has studied the old masters, if he exhibits his genius by tapping an opponent’s head with a shillelagh? The oldest master in this school of art was Cain; and so canes have been made to play their part in politics, at the polls and even in the United States Senate Chamber.

“Is genius for the arts and those occupations requiring intellect and wisdom” sufficiently exemplified in adroitly stuffing ballot boxes, forging soldiers’ votes, and copying a directory, as has been done, as the return list of votes? Is the “inventive faculty” of “voting early and often,” a passport to political brotherhood? Is it satisfactory evidence of “artistic” genius, to head a mob? and a mob which is led and guided by political passion, as numerous instances in our history prove, is the worst of mobs. Is it evidence of “high art” to lynch a man by hanging him to the nearest tree or lamp post? Is a “whiskey scrimmage” one of the lost arts restored? We all know how the “artists” of both political parties are prone to embellish elections and to enhance the excitements of political campaigns by inciting riots, and the frequency with which these disgraceful outbreaks have occurred of late, especially in some of the populous cities, is cause for just alarm. It is dangerous “art.”

Mr. Speaker: I repeat that I am a friend to the Irishman. I have travelled through his native country and have seen how he is oppressed. I have listened to the eloquent and patriotic appeals of Daniel O’Connell, in Conciliation Hall, in Dublin, and I have gladly contributed to his fund for ameliorating the condition of his countrymen. I rejoice to see them rushing to this land of liberty and independence; and it is because I am their friend that I denounce the demagogues who attempt to blind and mislead them to vote in the interests of any party against the interests of humanity, and the principles of true democracy. My neighbors will testify that at midwinter I employ Irishmen by the hundred to do work that is not absolutely necessary, in order to help them support their families.

After hearing the minority report last week, I began to feel that I might be disfranchised, for I have no great degree of “genius for the arts;” I felt, therefore, that I must get “posted” on that subject as soon as possible. I at once sauntered into the Senate Chamber to look at the paintings; there I saw portraits of great men, and I saw two empty frames from which the pictures had been removed. These missing paintings, I was told, were portraits of two ex-Governors of the State, whose position on political affairs was obnoxious to the dominant party in the Legislature; and especially obnoxious were the supposed sentiments of these governors on the war. Therefore, the Senate voted to remove the pictures, and thus proved as it would seem, that there is an intimate connection between politics and art.

I have repeatedly travelled through every State in the South, and I assert, what every intelligent officer and soldier who has resided there will corroborate, that the slaves, as a body, are more intelligent than the poor whites. No man who has not been there can conceive to what a low depth of ignorance the poor snuff-taking, clay-eating whites of some portion of the South have descended. I trust the day is not far distant when the “common school” shall throw its illuminating rays through this Egyptian pall.

I have known slave mechanics to be sold for $3,000 and even $5,000 each, and others could not be bought at all; and I have seen intelligent slaves acting as stewards for their masters, travelling every year to New Orleans, Nashville, and even to Cincinnati, to dispose of their master’s crops. The free colored citizens of Opelousas, St. Martinsville, and all the Attakapas country in Louisiana, are as respectable and intelligent as an ordinary community of whites. They speak the French and English languages, educate their children in music, and “the arts” and they pay their taxes on more than fifteen millions of dollars.

Gentlemen of the opposition, I beseech you to remember that our state and our country ask from us something more than party tactics. It is absolutely necessary that the loyal blacks at the South should vote in order to save the loyal whites. Let Connecticut, without regard to party, set them an example that shall influence the action at the South, and prevent a new form of slavery from arising there, which shall make all our expenditure of blood and treasure fruitless.

But some persons have this color prejudice simply by the force of education, and they say, “Well, a nigger is a nigger, and he can’t