II. The Final Act (June/July 1984 | Volume: 35, Issue: 4)

II. The Final Act

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Authors: Vance Bourjaily

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June/July 1984 | Volume 35, Issue 4

AT THE TIME OF Richard Nixon’s resignation from the Presidency, columnists, politicians, and other sages spoke woefully of the tragedy of Watergate, or the trauma of Watergate, depending on whether their sense of language was Shakespearean or psychiatric. They were, in either case, Washington folk, and apparently not much aware that many of us, out in the country, looked on the thing more as the triumph of Watergate, or even, depending on the length of our standing as Nixon-haters, the Watergate comedy hour—with Groucho Liddy, Harpo Hunt in the red wig, and the President as Zeppo, the straight brother who sings at the end of the show. Martha Mitchell was perfect as Margaret Dumont, and there were several candidates for Chico, Charles Colson for one, though my favorite was Donald Segretti, the busy young California lawyer who signed himself on as an expert in dirty tricks.

 

If there were gleeful, hard-nosed scapegraces who watched Watergate that way, our laughter had, I confess, a paranoid nervousness much of the time. We could never feel sure that Nixon, Haig, and Kissinger would not engineer America’s first military take-over, in preference to its first presidential act of self-destruction. Not until we saw the final helicopter lift off from the White House garden could we really relax and enjoy it all.

I enjoy it less in perspective, and I sympathize more with the leading player. I have come to see Watergate not as a complete tragedy but as the last act of a terribly extended one, which opened in crazy violence with the assassination of John Kennedy.

It was Greek in form, rather than Elizabethan, a democratic rather than a royal tragedy. This was largely because of the participation of a chorus of around two hundred million. Much of the long sequence concerned the fall of the great Kennedy family, whose antagonist Nixon was. But interwoven was the division of a once-united nation, whose people passionately took sides on the conduct of a distant war and on the demands for power at home of their minorities—the blacks, the women, and the young.

Remembered in this way, it ended in Aristotelian catharsis. Richard Nixon was a doomed anti-hero, whose coerced self-sacrifice, with true irony, realized his campaign slogan in bringing us together. Remembered in this way, Watergate was what we needed.

There was almost exactly one decade between the assassination, in November 1963, and the onset of the resolution in irony, which I take to be President Nixon’s declaration, in November 1973: “I am not a crook.” Irony is that mode in which the audience understands that truth is the opposite of what is said, although the speaker genuinely believes his words.

I shall not try to itemize everything that happened in those ten American years. As a member of the chorus I was forty-one when they started, fifty-one when they ended, and can recall no other decade like it. The proliferation of dreadful events was