Houses of Glass and Veils of Secrecy: Metaphor in Discourses of Political Publicity

By guest contributor Katlyn Marie Carter

We often use metaphors and analogies to talk about politics. The legislative process, you may have heard, is akin to sausage being made. Such metaphors stand to tell us a lot about how we think about politics and different aspects of government. In the case of sausage being made, one might think back a century to Upton Sinclair’s The Jungle, which exposed the meatpacking industry in Chicago as a horrifyingly dirty, disgusting, and degrading affair. In our popular culture, sausage making carries generally negative connotations. When we talk about lawmaking like this, the implication is that it is messy and, though the outcome may sometimes be good, getting to the product is not something that bears scrutiny well. On the flip side, so-called “sunshine laws” are proposed as remedies to corruption or foul play in government. The moniker suggests transparency as a potential cure for the worst aspects of the sausage making process. The use of these particular metaphors sheds light on how we, in early twenty-first century America, think about the ills of the legislative process and how best to remedy them.

Studying the metaphors and analogies people in the past used to talk about politics can similarly enrich our understanding of their thinking and help us identify constitutive relationships between thought and practice. If we want to understand how revolutionaries in the late eighteenth century thought about the legislative process, at the moment when modern representative institutions were first being founded, we would do well to consider the metaphors and analogies they used to describe it. These expressions provide us with ways to deftly discern how thinking about such practices was evolving and how ideas were being shaped through experience with their practical application. Furthermore, paying attention to the way concepts were described metaphorically can reveal anxieties as well as ideals by anchoring ideas more firmly in the cultural context in which they were being applied and developed.

I am by no means the first to suggest paying attention to metaphors in revolutionary politics. More than two decades ago, Lynn Hunt urged analysis of narratives and images of the family applied to politics during the French Revolution—a metaphor which was also ubiquitous in struggles between Britain and the American colonies.  Mary Ashburn Miller has pointed to the application of images and analogies from the natural world in order to argue that French revolutionaries often portrayed political events and violence as beyond human control. Perhaps the most widespread analogy used in political discourse in the late eighteenth century was that of the theater, which scholars of the French Revolution in particular have examined at length. Paul Friedland and Susan Maslan have both pointed to the rampant application of the language of theater to politics and read it as anxiety over the evolving meaning and contested implementation of political representation. Describing politics in terms of theater could carry implications of debauchery, debasement, and downright danger. Examining the connotations of such metaphors and analyzing the way they were applied to politics enriches our understanding of the conceptual development and practical implementation of ideas central to the revolutionary period.

Veils of secrecy and houses of glass, along with references to working “behind the curtain,” “unmasking” traitors, and penetrating “conclaves” permeated both American and French political discourse during the Age of Revolutions. These metaphors were particularly prominent when discussing elected representatives and legislative deliberations among them. They were part of debates—in both France and the United States—over the questions of publicity, or transparency as we would call it today, and secrecy in government. In 1788, Patrick Henry critiqued constitutional provisions allowing for the discretionary use of secrecy in the future federal government, declaring on the floor of the Virginia constitutional ratifying convention: “I appeal to this Convention if it would not be better for America to take off the veil of secrecy. Look at us—hear our transactions” (Convention Debates, June 9, 1788). A year later, in response to a proposal to shut the doors of the Estates General meeting to the public, Third Estate deputy Constantin-François de Chasseboeuf de Volney proclaimed: “I cannot respect he who seeks to hide himself in the shadows; the fullness of day is made to shed light on the truth, and I am proud to think like the philosopher who said that all his actions never had anything secret and that he wished his house was made of glass.”

The question of when secrecy was appropriate versus what should be done in public view was central to the conception and implementation of representative government in the late eighteenth century. Such references are evidence of this fact; but the way in which these concepts were articulated merits further scrutiny. Interrogating the metaphors and analogies employed can help us identify the concerns underlying calls for more publicity and the way in which critiques of secrecy were linked to understandings of how representative government should (and should not) work. Likening the exposure of the legislative process to public view to removing “the veil of secrecy” was not an intellectually or culturally neutral way of describing the procedural decision to deliberate with open doors. Exploring its connotations illuminates the way in which deploying this particular metaphor was both constitutive and reflective of thinking about the purpose of publicity in representative government.


“Les Aristocrates anéantis,” Artist unknown, 1790. Hand-colored etching on paper. Bibliothèque nationale de France, département Estampes et photographie.

This 1790 depiction of a National Guardsman revealing a formerly masked “demon of aristocracy” provides a visual representation reflective of the language used to talk about secrecy and the value of publicity in revolutionary politics. An eye appears in the right-hand corner of the image. Rays of sunshine emanate from this eye. This image resonates strongly with the iconography used in popular society publications urging vigilance over elected officials as well as potential enemies.

We know, for example, that veils—which were often referred to in both American and French political discourse—were associated on the most basic level with hiding and thus could have implied intentional obfuscation. In the Dictionnaire critique de la langue française of 1762, a voile was defined as a piece of cloth used to hide something, especially the faces of women who were widowed or residents of the so-called “Orient.” Referring to a veil could thus carry feminine connotations as well as a link to the “East,” which was often associated with despotism in the eighteenth century. A common figure of speech, the dictionary definition went on to detail, was that “a man has a veil covering his eyes when prejudices, biases, love, hate, or other passions prevent him from seeing things as they are.” Though curiously not defined in Samuel Johnson’s 1755 dictionary of the English language, when Noah Webster released his American Dictionary of the English Language in 1828, a veil was similarly defined as “a cover; a disguise,” and the verb form was defined as “to cover with a veil; to conceal,” or “to hide.”

Even a cursory look at contemporary dictionary definitions provides some leads when it comes to better understanding the implications of the term’s use in calling for publicity or criticizing the secrecy surrounding legislative deliberations. The metaphorical lifting of a veil—when it came to publicizing political activity or government work—suggests that publicity was conceived of and portrayed as a remedy to combat active and intentional concealment. Such hiding, which could have carried connotations of femininity or despotism, might even have implied the operation of prejudice or the prevention of adequate information among those who were covered by the veil: the representatives who were deliberating. Talking about removing the “veil of secrecy” from a representative legislature may have been a way to posit publicity as constitutive of such a regime, in contrast to a despotic one. More than that, it also suggested specific purposes for publicity in such a system. Representatives were not only to deliberate in public view for the purposes of honesty and to combat implications of conspiracy or corruption, but also to maintain communication with the broader public for the purposes of their own information.

This is just one example; further unpacking the cluster of metaphors and analogies that eighteenth-century actors applied when they were talking about government secrecy and calling for greater publicity could continue to enrich our understanding of how these concepts were being defined and deployed on both sides of the Atlantic. When Volney made reference to working in a house of glass, he gestured to an ancient sage who reportedly declared his wish to live in a house that would allow constant monitoring of his actions. Referring to a house could have conjured publicity, or transparency, in a Rousseau-ian sense, as making one’s soul legible to the outside world for the purposes of guaranteeing authenticity. Further use of the metaphor in the context of defending one’s individual actions as a representative enforces such a connotation. In 1793, deputy Bertrand Barère responded to suspicions of potential past links to the monarchy by citing the same metaphor, stating: “A Roman citizen said: ‘I wish that a house open to all gazes would be constructed for me, so that all my fellow citizens can witness my actions.’ Citizens, I would have wanted to live in such a house during my time as a member of the Constituent Assembly.” A member of a representative assembly, such references suggested, was obliged to live transparently, perhaps without separation of private from public. Furthermore, the reference to ancient Rome was rife with republican signaling. Using the metaphor of a house of glass to describe the way a representative should live, think, and deliberate on behalf of the people illuminates the way in which transparency was constitutive of an ideal representative as republican and completely open to public scrutiny in all his actions.

In discussing publicity using these metaphors and analogies, politicians, polemicists, editors, and theorists implicitly laid out a case for why it was necessary, for what they felt they were combating by imposing it. They also defined secrecy as a particular type of threat, linked to dissembling, eastern despotism, femininity, carnival (in the case of masks), or religious superstition (in the case of conclaves), among many other references. Metaphors matter when trying to explain how people in the past thought about and articulated concepts; they give deeper meaning to what might otherwise be encountered as ideas isolated in the intellectual realm of philosophical tracts or constitutional frameworks. Looking at metaphors and analogies has the potential to firmly anchor political ideas to their social and cultural contexts and, in so doing, to expose the way ideas were interdependently shaped and translated from thought into practice.

Katlyn is a postdoctoral fellow at the Weiser Center for Emerging Democracies at the University of Michigan, where she is currently working on a book manuscript about the relationship between state secrecy and representative government during the Age of Revolutions. You can contact her at

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