The Secret Life of a Developing Country (Ours) (September/October 1988 | Volume: 39, Issue: 6)

The Secret Life of a Developing Country (Ours)

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Authors: Jack Larkin

Historic Era: Era 4: Expansion and Reform (1801-1861)

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September/October 1988 | Volume 39, Issue 6

WE LOOKED DIFFERENT

Contemporary observers of early-19th-century America left a fragmentary but nonetheless fascinating and revealing picture of the manner in which rich and poor, Southerner and Northerner, farmer and city dweller, freeman and slave presented themselves to the world. To begin with, a wide variety of characteristic facial expressions, gestures, and ways of carrying the body reflected the extraordinary regional and social diversity of the young republic.

When two farmers met in early-19th-century New England, wrote Francis Underwood, of Enfield, Massachusetts, the author of a pioneering 1893 study of small-town life, “their greeting might seem to a stranger gruff or surly, since the facial muscles were so inexpressive, while, in fact, they were on excellent terms.” In courtship and marriage, countrymen and women were equally constrained, with couples “wearing all unconsciously the masks which custom had prescribed; and the onlookers who did not know the secret would think them cold and indifferent.”

Underwood noted a pervasive physical as well as emotional constraint among the people of Enfield; it was rooted, he thought, not only in the self-denying ethic of their Calvinist tradition, but in the nature of their work. The great physical demands of unmechanized agriculture gave New England men, like other rural Americans, a distinctively ponderous gait and posture. Despite their strength and endurance, farmers were “heavy, awkward and slouching in movement” and walked with a “slow inclination from side to side.”

Yankee visages were captured by itinerant New England portraitists during the early nineteenth century, as rural storekeepers, physicians, and master craftsmen became the first more or less ordinary Americans to have their portraits done. The portraits caught their caution and immobility of expression as well as recording their angular, long-jawed features, thus creating good collective likenesses of whole communities.

The Yankees, however, were not the stiffest Americans. Even by their own impassive standards, New Englanders found New York Dutchmen and Pennsylvania German farmers “clumsy and chill” or “dull and stolid.” But the “wild Irish” stood out in America for precisely the opposite reason. They were not “chill” or “stolid” enough, but loud and expansive. Their expressiveness made Anglo-Americans uncomfortable.

The seemingly uncontrolled physical energy of American blacks left many whites ill at ease. Of the slaves celebrating at a plantation ball, it was “impossible to describe the things these people did with their bodies,” Frances Kemble Butler, an Englishborn actress who married a Georgia slave owner, observed, “and above all with their faces....” Blacks’ expressions and gestures, their preference for rhythmic rather than rigid bodily motion, their alternations of energy and rest made no cultural sense to observers who saw only “antics and frolics,” “laziness,” or “savagery.” Sometimes perceived as obsequious, childlike, and dependent, or sullen and inexpressive, slaves also wore masks—not “all unconsciously” as Northern farm folk did, but as part of their self-protective strategies for controlling what masters, mistresses, and other whites could know about their feelings and motivations.

American city dwellers, whose daily routines were