Not every senator has escaped so nearly from the failures which attend success as has Frelinghuysen. Nor is his escape complete. A sense of unreality haunts him. Aggressiveness in his case covers it, as it so often does a feeling of weakness. After he has blustered through some utterance, he will buttonhole you and ask, "Did I make a damn fool of myself? Now, the point I was trying to make was, etc. Did I get it clear? Or did I seem like a damn fool?"
Less agile minded than Senator Edge, he watches the motions of his New Jersey colleague as a fascinated bird watches those of a snake or a cat. Intellectually he is not at ease, even in the Senate.
Another of the Harding set is Harry New of Indiana, one of the "Wa'al naow" school of statesmen, in dress and speech the perfect county chairman of the stage. The broad-brimmed black felt hat, winter and summer, has withstood all the insidious attacks of fashion. The nasal voice has equally resisted all the temptations to conformity with the softer tones which are now everywhere heard. In politics one has to be regular, and New has the impulse to individuality, which with Borah and LaFollette manifests itself in political isolation. With New it manifests itself in hat and speech. New thus remains a person, not merely a clothes-horse which is recorded "aye" when Mr. Lodge votes "aye" and "no" when Mr. Lodge votes "no." But this is hardly fair. Mr. New has been irregular in other ways. He has not made money; he has lost it, a fortune in a stone quarry. He is indifferent to it. This marks him as a person. He would rather whip a stream for trout than go after dollars with a landing net.
Whipping a stream for trout is the clue to Harry New. If you are a fisherman you impute all sorts of wiles to the fish. You match your wits against the sharp wits under the water, and your ego is fortified when, the day being dark and your hand being cunning, you land a mess from the stream. The world is a trout stream to New. The hat and the nasal accent are the good old flies that Isaak Walton recommended.
There is the type of mind which sees craft where others see simplicity. We associate shrewdness with the kind of hat New wears and the kind of voice he has preserved against the seductions of politeness. It is one of our rural traditions. Suppose shrewdness that asks no more than conversation and a small mess of fish. It is delightful. As we listen to it arriving after the most penetrating exposition at the same conclusions which we have reached directly and stupidly, we are flattered. We realize that we, too, are shrewd, unconsciously so, as, wasn't it Molière's bourgeois gentleman, who learned that he was unconsciously a gentleman, since he had been doing all his life some of the things that gentlemen did?
A playboy of the western plains, New would be happier if his colleague, Jim Watson, did not also take himself seriously as a politician. "Jim," says New, "is an orator, a great orator, but he ought to let politics alone; as a politician he is, like all orators a child."
New is no orator. A fair division would be for Watson to be the orator and New the politician. But no one is ready to admit that he is no politician. For New politics is craft; for Watson it is embraces. At a dinner in Indiana, New contrived to have his rival for the senatorship, Beveridge, and the politically outlawed Mayor of Indianapolis, Lew Shank, not invited. Watson would have led them both in with an arm around the neck of each. That individualism which makes New preserve the hat and the accent makes him punish foes, or is it that the sense of being "close to Harding" robs him of discretion?
In the board of aldermen of any large city you will find a dozen Calders, local builders or contractors, good fellows who have the gift of knowing everyone in their districts, who by doing little favors here and there get themselves elected to the municipal legislature; they see that every constituent gets his street sign and sidewalk encumbrance permits, interview the police in their behalf when necessary, and the bright young men who compose the traditional humor of the daily press refer to them gaily as "statesmen."
The art of being a Senator like Calder is the art of never saying "no." He is worth mentioning because he has the bare essentials of senatorship, the habit of answering all letters that come to him, the practice of introducing by request all bills that anyone asks to have introduced, industry in seeking all jobs and favors that anyone comes to him desiring.
He "goes to the mat" for everybody and everything. He shakes everybody's hand. He is a good news source to representatives of the local press and is paid for his services in publicity. New York is populous and sent many soldiers to the late war. Nevertheless, the mother or father of a soldier from that state who did not receive a personal letter from Calder must have eluded the post office.