The Only Thing We Have to Fear Is Fear Itself

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FDR delivers his 1st inaugural address
Question

Where did the line in FDR’s First Inaugural Address, “The only thing we have to fear is fear itself,” come from? Did he write it?

Answer

Columbia University professor Raymond Moly wrote most of Roosevelt’s speech, and talked over his initial drafts with the president-elect. Several days before the inauguration, Moly delivered a typescript of his final draft to Roosevelt, who was staying at the Mayflower Hotel in Washington, D.C. Roosevelt went over the speech then with Moly and copied it out in longhand. The line about “fear itself” was not in the speech at that point. Before leaving FDR’s hotel suite, Moly burned his typewritten draft in the fireplace.

Louis Howe

The next day, former newspaperman and Roosevelt’s long-time close confidante, Louis McHenry Howe, arrived in Washington. According to Howe’s assistant Lela Stiles, a few days previously, Howe had talked with a newspaperman and friend about difficulties that the country faced, and during the conversation Howe told his friend, “I don’t care what else Franklin says in his inaugural address as long as he tells the people that the only thing they have to fear is fear.”

When Howe arrived in Washington, FDR gave him his handwritten draft of the speech. Howe made his own changes and additions and had a secretary type a new draft. One of Howe’s changes had been to add the line, “So first of all let me assert my firm belief that the only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes the needed effort to bring about prosperity once again.” FDR liked Howe’s addition, but then, on the draft, changed the end of the sentence, from “to bring about prosperity once again” to “needed efforts to convert retreat into advance.” These were the words he used when he delivered the speech several days later at the inauguration, on March 4, 1933.

FDR liked Howe’s addition, but then, on the draft, changed the end of the sentence.
The Health of the Nation, the Health of FDR

Roosevelt’s revision of Howe’s sentence was in keeping with the revisions that he and Moly had made to earlier drafts. One of the guiding metaphors in the first versions of the speech had turned on comparing the country’s economic condition to a sickness, but Moly had ultimately decided that Roosevelt would be better able to inspire the nation to profound and wide-ranging action if he did not compare it to an invalid, but rather to an army preparing for war. The imagery of sickness in the early drafts yielded therefore to martial language in the last drafts. FDR’s change of Howe’s sentence followed along with this.

Nevertheless, the new version of the sentence still refers to fear and a rejection of being "paralyzed." Whatever else FDR conveyed to his listeners with this sentence, a message of reassurance about his own health was surely part of what they heard. Concerns about whether his polio had incapacitated him had sometimes surfaced during the election campaign and two weeks before the inauguration he had avoided the bullets of a would-be assassin.

Frances Perkins, who served as FDR’s Secretary of Labor, reminisced in 1946, more than a decade after the speech, about Roosevelt coming to terms with his having contracted polio in 1921. She wrote, “He learned in that period and began to express firm belief that the ‘only thing to fear is fear itself.’ He never displayed the slightest bitterness over his misfortune.” Perkins was a little unclear here about whether she was referring specifically to Roosevelt in the decade before he became president, and whether she really meant to place the exact phrase “the only thing to fear is fear itself” in his mouth during that time.

Henry David Thoreau?

If Roosevelt had in fact often expressed those words, it is difficult to understand why his closest colleagues and even his wife Eleanor did not assume that he had thought them up himself and inserted them into the inaugural address, but looked elsewhere for the ultimate source of the expression. When FDR’s associate and sometimes-speechwriter Samuel Rosenman asked Eleanor about the expression, she ventured that her husband may have found something very much like it in a volume of Henry David Thoreau’s writings, which she thought he must have had with him in his hotel suite in Washington.

Thoreau had written the sentence, “Nothing is so much to be feared as fear,” in his journal entry for September 7, 1851, in passing, as part of his comment on his contemporaries’ criticisms of Harriet Martineau’s arguments for atheism in her just-published Letters on the Laws of Man’s Nature and Development. Ralph Waldo Emerson later quoted his young friend approvingly, and the phrase was indeed included in later collections of Thoreau’s writings.

Newspaper Ad?

Professor Moly, however, pointed directly at Louis Howe as the proximate source, and doubted that Howe—whose reading habits focused on detective novels—had found the Thoreau quote. He later told William Safire, “I do clearly remember that the phrase appeared in a department store’s newspaper advertisement some time earlier in February. I assume that Howe, an inveterate newspaper reader, saw it too. …" To Howe’s everlasting credit, he realized that the expression fully fitted the occasion.”

"To Howe’s everlasting credit, he realized that the expression fully fitted the occasion."

Moly's reference to department store advertisements sounds like the campaign used by Wanamaker’s. During the first few months of 1933, Wanamaker’s department store placed large display ads in The New York Times. The ads included a small box with inspirational messages of business and commercial platitudes or sentiments “from the founder’s writings,” those of John Wanamaker, who sometimes quoted people like Benjamin Franklin or George Washington. I do not see any of ads for the first two months of 1933 in which Wanamaker quoted Thoreau or anyone else expressing precisely the statement about “fear itself,” nor do I see a quote of Wanamaker venturing the phrase himself. However there are many platitudes there about confidence, cheerfulness, a positive attitude, persistence, honesty, and integrity. Perhaps Professor Moly saw an ad that I have been unable to locate.

Diagnosing the Health of the Nation's Businesses

The phrase “The only thing to fear is fear” did have some currency at the time among businessmen. Julius Barnes, the Chairman of the Board of the National Chamber of Commerce, for example, gave a news conference in early February announcing the organization’s effort to promote efforts to stabilize business suffering during the depression. The conference was reported by The New York Times on February 9. One of the subheadings of the article was “Fears Most Fear Itself,” and quoted Barnes as saying, “In a condition of this kind, the thing to be feared most is fear itself. Confidence, tempered with prudence, is necessary to the operation of even the most perfect business mechanism. The retarding effect of a sense of insecurity is promptly communicated from worker to consumer, from consumer to producer and the whole machine stalls, and the anticipated evil becomes.”

Many in the business community were in fact convinced that the country was suffering from a kind of psychic sickness, caused not by systemic problems in industry or banking, but by the nation’s irrational lapse into fear, which had caused an economic paralysis. It was the fear itself that needed to be exorcised. FDR’s predecessor, Herbert Hoover, also often spoke in this way.

By this metaphor, the nation was an invalid who had been afflicted with a mental problem, a paralysis of action. Its thinking somehow had to be turned around, toward a positive confidence. By changing the patient’s thinking, his body would naturally recover his mobility. The nation needed a mental healer.

The nation needed a mental healer.
New Thought

This sounds rather like the frame of reference of the quasi-religious “New Thought” or “Mind-Cure” or “Mental Science” Movement that blossomed in the United States in the late 19th and early 20th centuries. As William James described it in his 1929 work, The Varieties of Religious Experience, “The leaders of this faith have had an intuitive belief in the all-saving power of healthy-minded attitudes as such, in the conquering efficacy of courage, hope, and trust, and a correlative contempt for doubt, fear, worry, and all nervously precautionary states of mind.” The movement was defined not so much by an organizational form as by the common assumptions and themes of a group of writers who specialties included what we would today called “alternative medicine,” speculative psychology, and inspirational literature. Their writings are dominated by perorations on healing and success. The business community, then as now, had a fondness for “motivational” speaking and writing, especially as it might make a sales force more effective. It is likely not an accident, therefore, that the head of the Chamber of Commerce would be diagnosing the chief of the nation’s problems as fear.

In fact, the precise phrase, “The only thing to fear is fear,” occurs in the 1908 book, Thought Vibration; or, the law of attraction in the thought world, written by New Thought writer William Walker Atkinson. He counseled, “Remember, the only thing to fear is Fear, and—well, don’t even fear Fear, for he’s a cowardly chap at the best, who will run if you show a brave front.” In 1918, Atkinson wrote The Power of Concentration under the pseudonym of Theron Q. Dumont, in which he declared, “There is no justification for the loss of courage. The evils by which you will almost certainly be overwhelmed without it are far greater than those which courage will help you to meet and overcome. Right, then, must be the moralist who says that the only thing to fear is fear.”

Another “New Thought” writer, the “naturopathic doctor,” Henry Lindlahr, wrote in his 1919 book, Practice of Natural Therapeutics, “Avoid fear in all its forms of expression; it is responsible for the greater part of human suffering. The only thing to fear is fear.”

Businesses had invoked these precise sentiments around the time they were published, during the domestic economic pinch prevalent during World War I, for example. On the 4th of July, 1917, the musical instrument firm of Edward Droop and Sons in Washington, D.C., paid for a large display ad in The Washington Post, under the large headline, “The Only Thing to Fear Is Fear.” The firm’s ad continued:

We refuse to be perturbed by the alarmists, the pessimists and by the timid who see things at night. As prophets in the past they have a batting average of about .001. The only times they have hit the truth is when they themselves created the conditions they feared by fearing them. Our slogan during these earnest times is “Keep Business Going.” We shall retrench in nothing, cancel nothing, fear nothing. Our faith in the existing and eternal prosperity of the United States of America is immovable. … We believe that this is the very time of all times that you should buy what you want—whether it be in our line or in any other. The only way to stop your business is to stop the other fellow’s. The only thing to fear is fear.

The phrase “The only thing to fear is fear” and its variants, therefore, were demonstrably “out there” in circulation within the business community during the first few decades of the 20th century. William Safire makes the point that it does not really matter where the phrase came from because it was FDR that used it during his speech to inspire the nation and it was he, therefore, who transmuted the linguistic coin into rhetorical gold.

For more information

Text and audio of FDR's First Inaugural Address, March 4, 1933, at History Matters.

Bibliography

William Walker Atkinson, Thought Vibration: or, The law of attraction in the thought world, Chicago: The Library Shelf, 1908, pp. 46-49.

“Business to Make Stabilization Study: National Commerce Chamber Is Forming Committee to Work Out Formal Program,” New York Times, February 9, 1931, p. 3.

Theron Q. Dumont (William Walker Atkinson), The Power of Concentration. Chicago: Advanced Thought Publishing Company, 1918.

Davis W. Houck, FDR and Fear Itself: The First Inaugural Address. College Station: Texas A&M University Press, 2002, pp. 119-120.

William James, The Varieties of Religious Experience. New York: 1929, p. 93.

Henry Lindlahr, Practice of Natural Therapeutics. Chicago: The Lindlahr publishing company, 1919, p. 447.

“The Only Thing to Fear Is Fear,” Display ad for E. F. Droop & Sons, Company, Washington Post, July 4, 1917, p. 2.

Frances Perkins, The Roosevelt I Knew. New York: Viking Press, 1946, p. 29.

William Safire, “Nothing to fear but fear itself,” Safire’s Political Dictionary, rev. edition. Oxford: University Press, 2008, pp. 481-483.

Lela Stiles, The Man Behind Roosevelt: The Story of Louis McHenry Howe. New York: The World Publishing Company, 1954, p. 235.

“The Value of a Silver Tongue,” Bankers’ Magazine (May 1927): 666.

Schuyler Mansion State Historic Site [NY]

Description

The Schuyler Mansion State Historic Site preserves the Georgian residence in which the Schuyler family, a prominent Dutch family within the United States, lived between 1763 and 1804. Philip J. Schuyler (1733-1804) served as a Revolutionary War general and U.S. Senator, in addition to pursuing business interests. His daughter married Alexander Hamilton (circa 1755-1804), first U.S. Secretary of the Treasury, on site in 1780.

The site offers guided mansion tours, exhibits, interpretive signs, and outreach programming. Between November and the middle of May tours are available by appointment only.

Maine Maritime Museum

Description

The Museum presents visitors with exhibits brimming with art and artifacts; contemporary, interactive areas for children and adults; an historic shipyard with five of the original 19th-century buildings; a Victorian-era shipyard owner's home; an active waterfront; and a life-size sculptural representation of the largest wooden sailing vessel ever built.

The museum offers exhibits, tours, boat cruises, classes, educational programs, research library access, and educational and recreational events.

McDonald's #1 Store Museum

Description

The Museum is a recreation of the first McDonald's Restaurant opened in Des Plaines, IL, by McDonald's Corporation founder, Ray Kroc, on April 15, 1955. The customer service and food preparation areas contain original equipment used in the days when fresh potatoes were peeled, sliced, blanched and fried; milkshake mix and syrup were whipped up on the Multi-mixers; Coca-Cola and root beer were drawn from a barrel, and orangeade from the orange bowl. The all-male crew is represented by mannequins dressed in the 1955 uniform—dark trousers, white shirts, aprons, and paper hats. The basement features a historical display of photos, memos, early advertising, memorabilia, and a short video presentation.

The museum offers exhibits and a short film.

Captain Salem Avery House [MD]

Description

The Captain Salem Avery House, built circa 1860, served as the home of a local fisherman, known as Captain Avery, and his family. The museum presents the history of the Chesapeake Bay's western shore—with a particular focus on the years between 1850 and the present.

The house offers exhibits and a research library. The library collection includes oral histories. The website offers an activity guide for teachers.

Historic Government Publications from World War II: A Digital Library

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Image, A Pocket Guide to Hawaii, R. Bach, 1945, Historic Government Publications
Annotation

More than 300 U.S. government publications from World War II have been digitized for this site, an ongoing project that plans to add another 200 documents.

Materials include pamphlets and books emphasizing home front issues, such as air raids, preservation, child labor, and victory farms. All materials are searchable by title, author, subject, and keyword. Browsing is also available.

A companion collection of photographs, the "Melvin C. Shaffer Collection," depicts the home front situation in Germany, North Africa, Italy, and Southern France from 1943 to 1945. Shaffer was a U.S. Army medical photographer assigned to document the medical history of the war through major campaigns. Shafer took the photographs on this site—totaling approximately 340—unofficially with the goal of recording the war's impact on civilians.

July 1942: United We Stand

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Cover, "Screen Romances," August 1942
Annotation

Presents an exhibit on the "United We Stand" campaign of July 1942, a collaboration of the National Publishers Association and the Treasury Department in which approximately 500 magazine publications carried images of the American flag on their covers. The intent of the campaign was to raise public morale and stimulate the sale of war bonds during a time of national anxiety concerning the course World War II had taken. The exhibit includes nearly 300 covers along with a photo-narrative that addresses the history of the campaign and selected aspects of cover design issues. The exhibit also makes an effort to draw parallels to the recent nationwide display of the flag following the September 11th attacks.

Magazine covers are searchable according to subject, title, and keyword. The site includes a 19-title bibliography. Useful for those studying propaganda efforts, the history of business-government wartime collaboration, homefront nationalism, and the history of the magazine publishing industry.

Film Review: The Aviator

Date Published
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Photo, Howard Hughes speaking before the Press Club, Jul. 21, 1938, LoC
Article Body

This is the third in a series of film reviews reprinted from the Journal of American History. These reviews model ways of looking critically at popular films, documentaries, miniseries, and other history-based features.

Some talented people have the misfortune to enter popular memory in their decrepitude. Howard Hughes's name, when joined with "crazy" or "Las Vegas," produces far more results in an Internet search than when it is joined with "twa" or "Constellation." It is the phobias and the fingernails that most people remember, not the aviation achievements.

The chief virtue of Martin Scorsese's The Aviator is that it restores Hughes to his rightful place as one of America's great aviation visionaries. As in most biopics, messy details are simplified, and characters are conflated or altered. Scorsese and the writer John Logan have reduced complex business deals to spur-of-the-moment decisions and edited out their hero's racism. Hughes liked African Americans about as much as he liked germs, though you would never know it from watching the film. Leonardo DiCaprio plays Hughes as a troubled but socially beneficent hero like those in Ayn Rand's novels. He's Howard Roark, but with more neuroses and ready cash.

As in most biopics, messy details are simplified, and characters are conflated or altered.

By contrast, Scorsese and Logan darken Juan Trippe's character. Alec Baldwin portrays the head of Pan American Airways as a smarmy airline vulture, plotting with meretricious politicians to take over the world's air routes, on display in his posh office. Trippe was a schemer, but he was as concerned with long-term survival as with achieving monopoly. He knew that Pan Am needed domestic feeder routes and that his airline would be at a competitive disadvantage if limited to overseas operations. World War II had left twa (which Hughes renamed Trans World Airlines) in a position to develop both domestic and international routes. Trippe's attempt to use political pressure to force Hughes to sell TWA was, in a business sense, perfectly rational. Had Trippe gotten his way, Pan Am might still be flying.

What Scorsese and Logan get right about aviation history is just as important. They understand the central emotional paradox of Hughes's generation of aviation pioneers. In order to make aviation pay, they had to kill the spirit of adventure that had attracted them to flying in the first place. Hughes loved hot planes. But he knew that attracting paying customers meant making flying as comfortable and risk-free as possible. He worked with manufacturers to develop larger, faster, and more reliable airliners equipped with pressurized cabins. Planes such as the Constellation could fly high above the weather, minimizing drag and airsickness while whisking passengers across the country. Hughes's aggressive pursuit of this vision—he ends the film obsessing about jets as "the way of the future"—helped the airline industry revolutionize long-distance passenger service. Like all revolutions, this one exacted a price. The railroads' Pullman car business died off, as did the romance of flying. Pressurized equipment made the distant landscape seem barely worth a glance from vestigial windows. Bernard DeVoto called cross-country flying "the dullest mode of travel." Many a conference-bound historian has shared the thought.

Like all revolutions, this one exacted a price. The railroads' Pullman car business died off, as did the romance of flying.

One of the contradictions of Hughes's career is that his other youthful obsession, filmmaking, got in the way of making flying a mass business. Hell's Angels (1930), which cost four lives and as many millions of dollars to film, featured colliding planes and stoic airmen plunging to their deaths. Hughes shot so much spectacular footage that the unused film turned up in at least seven other movies, among them Hughes's own Sky Devils(1932). What was good for the box office was not necessarily good for the airlines. Aviation boosters hated the crash-and-burn movies because they reinforced anxieties about flying. If Hughes the technological visionary wanted to expand air travel, Hughes the filmmaker was spitting into the wind. Scorsese gaudily colorizes one of the most notorious scenes in Hell's Angels, that of a pilot burning alive in his cockpit. The gesture may be an acknowledgment of the contradiction, or an ironic reference to Scorsese's own fear of flying, or both.

Youthful, handsome, and tall (the compact DiCaprio makes us forget that Hughes was 6′ 4″), Hughes carried on several affairs with movie stars during his filmmaking career. Scorsese uses these romances and his own encyclopedic knowledge of film history to re-create Hollywood's interwar culture—its nightlife, its gossip industry, its cult of bosomy celebrity. Cate Blanchett does a superb turn as Katharine Hepburn, and Kate Beckinsale wields a sharp wit as Ava Gardner. Hollywood may have been a macho town in the thirties, but The Aviator's leading women are every bit as shrewd and determined as the men. The winds of liberation blow through this film.

Scorsese uses these romances and his own encyclopedic knowledge of film history to re-create Hollywood's interwar culture—its nightlife, its gossip industry, its cult of bosomy celebrity.

So does the hurricane of obsession. Scorsese is fascinated by reckless obsessives, roles Robert De Niro seems to have been born to play. Think of Johnny Boy Civello in Mean Streets (1973) or Jake La Motta in Raging Bull (1980) or Rupert Pupkin in The King of Comedy (1983)—with the twist that, for Pupkin, obsession turns out to be a good career move. Not for Howard Hughes. The only question in the long, last part of the film is whether Hughes will be done in by Trippe and his senatorial lackey, Ralph Owen Brewster (Alan Alda), or whether he will do himself in first. "I see things," Hughes tells Ava Gardner. "I know, baby," she says.

Why did Hughes go around the bend? Scorsese and Logan assign Hughes's germ phobia to his hygiene-obsessed mother, shown bathing young Howard in the film's opening and closing scenes. "You are not safe," she tells him. Hughes lathers up for the rest of his life. In his adolescence, Hughes lost both of his parents and most of his hearing. "People simply don't understand how deaf Howard was," Katharine Hepburn told A. Scott Berg. "It made him terribly detached and a real self-starter. But it also started him down an endlessly lonely path, really cut off from people." DiCaprio brings out Hughes's deafness in subtle ways. He maneuvers close to other characters, studying their faces for clues to the meanings of words he cannot hear. Deafness made it harder to cope with stress, of which Hughes had more than his share. Besides the relentless press attention, he was involved in several car and plane crashes, two of which are spectacularly re-created in the film. The cumulative damage to his body and brain ultimately left him dependent on narcotics. Anyone subjected to as much trauma as Hughes suffered would probably be seeing things too.

The particularities of history recede, the generalities of the human condition advance.

Scorsese uses every tool at his disposal, from lighting to sound editing to choice of film stock, to evoke Hughes's turbulent mental state. This is a technically brilliant and emotionally disturbing film, one in which director, writer, and star conspire to drag us along into the quicksand swamp of obsession. As the hero lines up sterile milk bottles filled with his amber urine, the film gains in psychological intensity but loses in historical interest. If the first hour is about the golden age of Hollywood and the second about the golden age of aviation, the third seems a self-conscious remake of Citizen Kane (1941), featuring Hughes as a cagier version of William Randolph Hearst. The particularities of history recede, the generalities of the human condition advance. The film ends on a universal, if homey, note. When you have your mental health, you have everything.

Bibliography

This review was first published in the Journal of American History, Vol. 92, No. 3, 1092-1094, 2005. Reprinted with permission from the Organization of American Historians (OAH).

Guampedia

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Illustration, Landing Place at Guam, Jan-July 1863, T. Coghlan, Flickr Commons
Annotation

Don't let Guam be forgotten in your classroom! After all, it is one of only 16 non-self-governing territories worldwide that are recognized by the UN. As such, leaving Guam out of history is to ignore a rather remarkable political exception.

Guampedia offers a range of short articles on everything from architecture to World War II. These pages also feature relevant photographs and further resource listings. Additional sections offer basic facts on Guam (motto, population, etc.) and its major villages. Be sure to check out the history lesson plans to see if there's any ready-made content appropriate for you to introduce to your classroom.

Additional ways to explore include a selection of media collections including photographs, illustrations, soundbites, and video; MARC Publications, including issues of the Guam Recorder, lectures, and additional e-publications on topics such as archaeology and stonework; and traditional recipes.

Kentuckiana Digital Library

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Image for Kentuckiana Digital Library
Annotation

These historical materials come from 15 Kentucky colleges, universities, libraries, and historical societies. There are nearly 8,000 photographs; 95 full-text books, manuscripts, and journals from 1784 to 1971; 94 oral histories; 78 issues of Mountain Life and Work from 1925-62; and 22 issues of Works Progress Administration in Kentucky: Narrative Reports.

Photographs include collections by Russell Lee, who documented health conditions resulting from coal industry practices; Roy Stryker, head of the New Deal Farm Security Administration photographic section; and others that provide images of cities, towns, schools, camps, and disappearing cultures. Oral histories address Supreme Court Justice Stanley F. Reed, Senator John Sherman Cooper, the Frontier Nursing Service, veterans, fiddlers, and the transition from farming to an industrial economy. Texts include Civil War diaries, religious tracts, speeches, correspondence, and scrapbooks. Documents cover a range of topics, including colonization societies, civil rights, education, railroads, feuding, the Kentucky Derby, Daniel Boone, and a personal recollection of Abraham Lincoln.