Almost unconsciously, at first, I had begun to wonder whether,
instead of being things of actuality, they were not, rather, a mere set
of romantic trade-marks, so to speak; symbols signifying the South as
the butler with side whiskers signifies English comedy; as "Her" visit
to "His" rooms, in the third act, signifies English drama; or as double
doorways in a paneled "set" signify French farce.
Furthermore, it had occurred to me that of persons of southern accent,
or merely southern extraction, whom I had encountered in the North, a
strangely high percentage were not only of "fine old southern family,"
but of peculiarly tenacious purpose in respect to having the matter
understood.
I cannot pretend to say when the "professional Southerner," as we know
him in New York, began to operate, nor shall I attempt to place the
literary blame for his existence--as Mark Twain attempted to place upon
Sir Walter Scott the blame for southern "chivalry," and almost for the
Civil War itself. Let me merely say, then, that I should not be
surprised to learn that "Colonel Carter of Cartersville"--that lovable
old fraud who did not mean to be a fraud at all, but whose naivete
passed the bounds of human credulity--was not far removed from the
bottom of the matter.
In the tenor of these sentiments my companion shared--though I should
add that he complained bitterly about agreeing with me, saying that with
hats alike, and overcoats alike, and trunks alike, and suitcases alike,
we already resembled two members of a minstrel troupe, and that now
since we were beginning to think alike, through traveling so much
together, our friends would not be able to tell us apart when we got
home again--in spite of this he admitted to the same suspicion of the
South as I expressed.
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