In several key passages in Thomas Hobbes's understudied translation of Thucydides's History of the Peloponnesian War, Hobbes's Pericles directs audiences to distrust rhetoric in favor of calculative self-interest, inward-focused affective states, and an epistemic reliance on sovereignty. Hobbes's own intervention via his translation of Thucydides involves similar rhetorical moves. By directing readers to learn from Thucydides, Hobbes conceals his own rhetorical appeals in favor of sovereignty while portraying rhetoric undermining sovereignty as manipulative, self-serving, and representative of the entire category of “rhetoric.” Hobbes's double redescription of rhetoric is an important starting point for an early modern project: appeals that justify a desired political order are characterized as “right reason,” “the law of nature,” or “enlightenment,” while rhetoric constituting solidarities or publics outside the desired order is condemned. Hobbes's contribution to this project theorizes rhetoric as a barrier to individual calculations of interest, placing a novel constraint on political life.

This article reinterprets Thucydides's analysis of the post-Periclean turn in Athenian politics by reading it within the context of contemporary “tragic” and “scientific” explanatory traditions. It finds in this analysis an ambitious attempt to reinvent the traditional, tragic pattern of hubris-driven reversal by reinterpreting its underlying causal logic according to a scientific perspective in which the overdetermining effects of deities are replaced by the variable power dynamics of democratic deliberation. The resultant analysis identifies a change in the relative standing of leaders as the determining cause of democratic reversal, not the absolute decline in leadership, thus tracing the Athenian turn towards hubris, great error, and civil discord to the egalitarian ordering of the post-Periclean assembly. In so doing, it shows how Thucydides's analysis posed a powerful challenge to previous attempts, both tragic and scientific, to prognosticate the fate of imperial democracy, as well as offering an exemplary moment of Thucydides's synthetic approach towards tragic and scientific explanatory perspectives.

This article offers a new interpretation of the Cuban intellectual José Martí's international political thought. It argues that Martí's analysis of early US imperialism and call for Spanish American unity are best understood as an immanent critique of the “unionist paradigm,” a tradition of international political thought that originated in the American independence movements. Martí recognized the impediments that racism had placed in the way of both US and Spanish American efforts to stabilize the hemisphere's republics by uniting them under regional institutions. He argued that, in his own time, Anglo-Saxon supremacism had deprived US-led Pan-Americanism of all legitimacy, causing a crisis of international political order in the Americas. In the context of this crisis, he developed a revised, antiracist unionism that, he argued, would free Spanish America's republics from imperial aggression and interstate conflicts, making the region a global model of stable and inclusive self-rule.

How does tragedy, primarily a dramatic-literary experience, shape politics? While scholars have mostly looked to classical tragedy and expressions of public mourning to answer this, I employ a policy-oriented case study to do so: the politics of Daniel Patrick Moynihan. Widely known for his data-driven social science, I want to suggest the counterintuitive claim that the popular senator from New York was ironically also influenced deeply by literary tragedy. This article demonstrates how Moynihan cultivated a set of tragic sensibilities that informed his realist political calculations and implanted in his policies a tragic awareness that limited the goals of what government could achieve, while helping define what it should and how. Rather than evaluate the validity of his controversial proposals from the 1960s, I offer a critical reexamination that highlights the tragic impulses coloring them. In the process, I conceptualize a politics of tragedy as a “tamed” form of postwar liberalism.