When people talk about the Southwestern humorists today, they most often mean authors like George Washington Harris, author of the Sut Lovingood stories, Thomas Bangs Thorpe, who wrote “The Big Bear of Arkansas, “ or Johnson J. Hooper’s Simon Suggs stories. These authors were all Southern gentlemen for the most part—doctors, lawyers, or other professional men. Yet the humor they wrote was broad, often vulgar, and were delivered in a backwoods dialect with idiosyncratic spellings. They often began the tales with the “gentleman” narrator speaking directly to the reader—explaining that they had heard these stories while traveling through the back country from colorful, though uneducated characters.
Since these are the nineteenth century humorists most often anthologized, the casual reader might draw the conclusion that their brand of humor represents the whole of humor in the Old Southwest of the 1830s-1850s. Such an assumption, however, would be misleading. As with other periods in American literature, humorists wrote their tales and sketches on both sides of the spectrum. For every author whose characters depicted backwoods con men and uneducated rubes, there existed a corresponding author who represented the Southern gentleman who eschewed dialects and instead styled their sketches and tales in the more refined and educated writing reminiscent of their British counterparts. While they often also showed the rough side of the Southwestern frontier during its early times, the con men and (often) immoral characters were themselves educated. They used little dialect, wanting to demonstrate clearly for readers their own erudition.
Augustus Baldwin Longstreet appears to be the “missing link” between authors such as Hooper and Harris, who pioneered dialect humor, and authors such as Joseph Glover Baldwin, whose sketches represent a more “refined” Southern humor. His sketches alternate between two narrators (Hall and Baldwin). One is a typical Georgia “cracker”—a poor, edging toward middle-class white, the other more educated and less tolerant of vulgarity. In his tales, the gentlemanly narrator never lapses into dialect. His “Georgia Theatrics”, shows readers the sounds of an eye-gouging, fist pumping frontier fight, only to undercut the idea—the young man is only practicing what he would do if he were called upon to fight in the backwoods manner.