Main currents in American thought

For some reason no glamour has ever gathered about the Georgia frontier. It may be that fate conspired against it in bestowing no idealizing historian to throw a romantic haze over life in the pine woods. Or perhaps it was the Georgians themselves who did the commonwealth an evil turn. As a matter of sober fact what could even romance do with the raw materials that went to the making of this crude southern Yankee state? How could the most confirmed romantic discover rare graces in the indigenous Cracker, or weave poetry about the ubiquitous peddler with his pack of Yankee notions? Any honest historian could hardly avoid taking into account the ungainly throng that attended a gander pulling, or depict Ransy Sniffle as other than a pallid, pot-bellied, clay-eating grotesque. Crude, uncouth, drab, with primitive passions and unlovely manners, Georgia offered scanty materials for the most ardent eulogist. Frontier life there ran a petty round between fist fights and horse races, between politics and religion. These were the staples of everyday existence, as necessary to the natural man as whisky and salt pork; and the honest Georgian preferred his whisky straight and his politics and religion red-hot. The Jeffersonian hated the Federalist vindictively; and Presbyterian, Baptist, and Methodist regarded each other malignantly, convinced that the devil was stoking his fires for the lost neighbor who persisted in sitting under the wrong preaching. Denominationalism on the Georgia frontier was as harsh and unforgiving as political partisanship. Alexander H.

Stephens believed that the plain people of Georgia were the most democratic on the face of the earth, and the kindliest; yet the pugnacious little democrat was himself nearly butchered by a democratic neighbor. In depicting such a society realism was the only honest method; but to make it palatable it must be well seasoned with humor. If it were garnished with moralizing, so much the better. There must be no subtleties in the treatment, no literary touches. The humor must be in the backwoods vernacular, and the preaching open and aboveboard—frank pulpit-thumping lessons to awaken the surliest sinner.

For such business Gus Longstreet was ideally fitted. A true child of the Georgia border, he never quite outgrew his early environment. Born in Augusta in 1790 of New Jersey parents, Holland Dutch but with a large admixture of English blood,⁠[1] he came of plain stock. A driving, robust, energetic fellow, never squeamish, with a ready wit, he was at home amongst the plain people, the greatest wag in every gathering. He could knock a man down or shoot out a squirrel’s eye with any champion of them all; he could enter into a dance or a revival meeting with equal ardor, or take the stump against a seasoned campaigner. A fellow must be simple-minded who would expect to get the best of him in swapping horses, or in the way of a practical joke. It came hard for so vigorous a plebeian to settle down as a substantial citizen, and the dignified titles that he gathered in the course of a long and prosperous career—judge, doctor of laws, doctor of divinity—fitted him somewhat incongruously. On the whole one prefers the plain Gus Longstreet to Judge Longstreet, but his neighbors, who thought they knew a man when they saw one, thrust his titles upon him. Besides he had gone to college and was thereby lifted to a place of distinction which he could not avoid. The process of scraping off the bark of the frontier followed orthodox southern lines. A few years’ schooling at Dr.

Moses Waddell’s celebrated Academy, where at different times Calhoun, Crawford, McDuffie, Petigru and Legaré prepared for college, and two years at Yale, provided him with a stock of rusty Latin to suffice a college president; and a winter or two at the law school in Litchfield, Connecticut, following Calhoun’s high example, furnished him with enough Blackstone to meet the demands of Georgia law courts. Thus provided intellectually, he went forth boldly to cope with the Georgia world as he found it.

It was a plebeian world that approved his plebeian qualities. There was nothing of the southern patrician in Gus Longstreet, nothing of the ascetic Puritan that marked so deeply men like Calhoun, Legaré, and the Grimkés. In his strong instinct of acquisitiveness, his canny thrift that never failed to seize advantage by the forelock, his desire to get on in the world while serving God, he was a Georgia Yankee, with an emotional religion that took comfort in discovering that God was always on his side of any controversy. Yankee also was his knack of doing many things well enough to impress his less capable neighbors. He was a frontier jack-of-all-trades, passing easily from one profession to another, lawyer, newspaper editor, writer, minister, politician, teacher, and between times busying himself with all sorts of odd jobs, doing everything readily and nothing thoroughly well. A good talker, his chief interests were politics, religion, and money-making. He wrote much in careless haste, apologizing always for the lack of finish; but except for the sketches which were gathered under the title of Georgia Scenes, he produced nothing that needs to be remembered. At the age of forty-eight he quitted the law for the Methodist ministry, proved to be a mediocre preacher, and was soon given the berth of president of Emory College, a denominational school then recently established at Oxford, for which his literary reputation and his reputed scholarship seemed to fit him.

Later he was president for a few months of Centenary College, Louisiana, but found the place uncongenial, resigned, and was chosen president of the University of Mississippi, where he served seven years and made full use of the opportunity to speculate in real estate. At the age of sixty-six he was made president of the University of South Carolina, where he ruled patriarchally till the school was closed by the war.

How great a man he was judged to be by his fellow Georgians is hard for us to realize today. Throughout his later years he was regarded by his friends as the brightest ornament of Georgia society, a Christian gentleman who was a model to southern youth, a scholar who had brought honor to the commonwealth, an author who had silenced the reproach that the state had produced no literature. Yet it must be confessed that the Judge shrinks in compass when taken out of his native environment. Beside John P. Kennedy or Hugh Legaré, he lacks distinction either of mind or manner; compared with Gilmore Simms he is only an amateur in letters. His latest biographer⁠[2] has sifted a mass of material to prove the solid and eminent worth of the man; yet no impression of intellectual vigor emerges from the analysis; one must take it on the authority of somewhat incompetent witnesses. The figure that emerges from the clutter of contemporary estimate is that of a capable, expansive, middle-class soul, disputatious in the lordly southern manner, genially domineering, magnificently superior to logic, given to erecting an imposing structure of convictions on the slightest of foundations, impatient of contradiction and inclined to lose his temper when the argument went against him—a witty, agreeable gentleman, at home amongst mediocre preachers, and an oracle to admiring friends. He was on terms of intimacy with not a single first-class mind. He had no intellectual curiosity and was incapable of rigorous intellectual processes. Yet good fortune had marked him for her own.

A small investment in letters, made at odd moments between law cases and farming operations, returned him such dividends in the way of contemporary fame that for forty years thereafter he lived in the sunshine of a literary reputation. No other American, unless it were William Wirt, ever drew such ample revenues of popular praise from a casual investment, and certainly none ever expanded with greater self-satisfaction. To the end of his life he was the much-sought-after author of Georgia Scenes, and the most ambitious southern magazines were glad to publish his frequent effusions; in all of which the Judge delighted, for he was a simple soul and accounted himself an apostle of southern culture, a mentor of southern taste, and he loved to see his name in print.

As a man close to the people Longstreet reflected the current Georgia views on politics. He was an idolatrous admirer of Calhoun and George McDuffie. The former he rated “above William Pitt, or any other premier who ever lived before or since his day” (Wade, Augustus Baldwin Longstreet, p. 124) and the latter he regarded as “hardly inferior to him in anything.” Calhoun’s innate Hebraisms, so deeply imbued with a patriarchal spirit, fitted to a nicety his own Hebraized conception of a Jeffersonian order. Writing of Calhoun, in after years, Longstreet remarked with evident approval:

The background of his political thought was Jeffersonian agrarian. He was always a countryman at heart, and his dearest interests were agricultural. But he seems to have been quite unread in political theory, and probably had never heard of John Taylor’s economic principles. Suffering from an incurable political itch, he was one of the earliest and most ardent of states-rights advocates. He went for Nullification before either Calhoun or McDuffie had espoused it; and he followed his premises through to the logical end of secession. But with the growth of northern Abolitionism his Jeffersonianism began to disintegrate. Garrison’s appeal to equalitarianism and the rights of man aroused all his southern prejudices. A philosophy that could be turned against the sacred institution was no philosophy for a southern gentleman, and like Calhoun he repudiated the whole French liberal philosophy that he had imbibed in his youth. He even went so far as to play with Calhoun’s doctrine of economic representation. Writing to President Lamar, of Texas, in the late thirties, he said, “A government should have a legislative assemblage to represent each of its large economic interests, one, say, agricultural, one manufacturing, one commercial. No bill not acceptable to all three of these assemblages should become a law” (ibid., p. 138). But in defense of slavery he argued as a minister rather than an economist. He declined to consider it an economic question; he would not discuss it as a social question; political theories, he believed, had nothing to do with it.

The right to hold slaves he regarded as a moral question to be determined exclusively by the authority of the Bible, and on such a question he professed to speak with assurance. He was vastly annoyed at the Abolitionists’ unchristian appeal to the old doctrine of equalitarianism, and in 1845 he wrote angrily, “Will not some of you accept my ideas and then argue through the question on that basis, without taking recourse to the Declaration of Independence or throwing up a breastwork out of the long-forsaken rubbish of the Social Contract, or bewildering your pursuers in the mazes of metaphysical subtlety?” (ibid., p. 282). His religion was deeply involved in the institution of slavery, and it seemed to him uncharitable for an intellectual like Theodore Parker to question the sufficiency of a southern minister’s texts, or to drag him beyond his intellectual depths. So exasperated did he grow that finally he would have no fellowship with northern Methodists, and was a prime mover in the great schism that rent the church into sectional branches. Abolitionism seemed to him hypocrisy and blasphemy and as a minister of Christ he could not hold fellowship with those who rejected the Master’s word. After the war, in reviewing the long controversy, his Christian pugnacity flared up anew, and he flung at the northern churches the accusation that they had been “the most man-astounding, God-offending foes that we had” (ibid., p. 367).

There could be no more telling commentary on the literary poverty of ante-bellum Georgia than the extraordinary popularity of Longstreet’s sketches. Written for the most part between the years 1832 and 1836, while he was publishing the State Rights Sentinel, they profess to be authentic documents of frontier life in Georgia in the early years of the century, and the deliberate note of realism contributes to the impression of authenticity. The love of the romantic that spread like the plague among southern men of letters during the long reign of Sir Walter, fortunately did not infect the robust nature of Longstreet. The best of the sketches are spun out of the vernacular; they are as objective as Longstreet could make them—conscious studies in the local, done with obvious delight in butternut ways and frontier dialect. The quality of the work improves as he draws nearer the backwoods, and comes upon the unregenerate Cracker in his native habitat. There his humor has free play, exuding in practical jokes and ready repartee, in boyish pranks and homely idiom. And there he finds characters to his liking and bits of realistic drama. If one were to single out the sketch that is most indigenous to the Georgia frontier, the truest local document, the choice might well fall on The Fight, an account of a bloody meeting between backwoods gladiators brought on by skillful diplomacy of Ransy Sniffle, a grotesque clay-eater and Longstreet’s favorite character.

Other excellent sketches are The Gander Pulling, The Shooting Match, Georgia Theatrics, The Horse Swap, The Militia Company Drill—stories that throw an unromantic light on the ways of the Georgia Cracker. Longstreet was as uncritical as his readers and his frequent failures are glaring in their badness. Perhaps the worst of the sketches are the absurd The “Charming Creature” as a Wife, a crude sermon on the folly of marrying a lazy woman; The Song, an overdone burlesque, and the puerile The Debating Society, a heavy practical joke which for some inexplicable reason Poe thought the best of the whole.

Slight though the sketches in Georgia Scenes are, they embody solid merits; they are not literary and they are quite unaffected by Irving and the exploitation of the picturesque. Realism was only too rare in those days of high-flown romance, and how honestly realistic was Longstreet’s work is revealed by a comparison with James Hall’s contemporary stories of the West, such as Harpe’s Head, or even with Kennedy’s Swallow Barn. After all Gus Longstreet was an original, and he set the style that was followed in a long series of frontier sketches, and established the tradition of frontier humor that flowered at last in Mark Twain.