Honor and Blood: Brooks, Sumner, and Conceptions of the Body in Nineteenth-Century America

By: Jacob Friefeld

It was May 22, 1856, the United States Senate had adjourned for the day and Senator Charles Sumner of Massachusetts sat in his chair, feverishly writing at his desk.  Unbeknownst to Sumner, a guest was waiting in the chamber for those around the Senator to part ways.  Once Sumner was alone, the guest, Preston Brooks, a member of the House of Representatives from South Carolina, approached him.  Upon his approach, Brooks stated, referring to a speech given by Sumner two days earlier, “I have read your speech twice and carefully.  It is a libel on South Carolina and on Mr. Butler also, a relative of mine.”  Then, without warning, Brooks lifted his cane and began raining blows on Sumner’s head.  As each successive swing of the cane reached its mark, Sumner found himself powerless to stop the beating as the desks were fastened to the chamber floor trapping the Massachusetts Senator in his chair.  Before the deed was done, Brooks had landed twelve to fifteen blows on the now bloodied Sumner’s head.[1]

To the modern observer and to the majority of Northern observers, this attack may have seemed ruthless, unprovoked, and a punishment not in proportion with an insulting speech.  However, in the Southern man’s mind, the speech and the beating corresponded perfectly.  A different construction of the body in the minds of Northern and Southern men caused this difference in view.

The Brooks-Sumner affair has been the subject of various past historical inquiries; however, all these approaches take Southern honor for granted as something abstract and emotional.[2] These studies also take for granted the Southern defense of Brooks’ actions, never questioning the language used in the defensive arguments.  Upon a closer analysis of the debate that took place between North and South after Brooks completed his bloody deed two separate conceptions of the male body come to light.  One conception was based in the material world where, as the old saying goes, “sticks and stones may break my bones, but names will never hurt me;” the other was steeped deeply in a world of honor in which names, lies, and sharp rhetoric could harm one’s very body.  Different conceptions of masculinity in the nineteenth-century American North and South shaped these conflicting views.[3]

In this case, Southern planters and slave owners (the primary architects of the dominant male discourse in the South) created the conception of manhood that guided Southern response.  On the other hand, Northern wage workers, small businessmen, and professionals of the emerging middle class were engaged in mapping a new industrialized masculinity.

While Southern masculinity was deeply entrenched in an ethos of honor, Northerners defined their manhood in the marketplace.[4] Although Southern honor predated slavery in America, it was always tied up with hierarchy and rejection of the lowly and honor-less.[5] Early in the history of Jamestown, indentured servants and apprentices filled the role of the less honored, while masters were able to keep the honored position that their clean hands afforded them.[6] However, by the 1850s, Southern men defined their manhood against black slaves, who were dominated and incapable of possessing honor, and against women, who derived their honor from others, namely their husbands and fathers.[7] Furthermore, certain aspects of Southern culture such as lying and physical appearance held a heightened place of importance, a place these cultural facets did not occupy in the North.[8] In the slavery system, the words of the master had to be accepted as truth because he was a man of honor and the slave was not.[9] This was also true outside of slavery; when Southern men of honor interacted, they took each other’s words as truth and even if a lie was being told, it was not considered such unless pointed out by another man.  In other words, a “liar” did not own a lie; instead, it was given to him by someone else.8 Consequently, the Southern honor system placed no positive value on the truth; rather, one found value in not being called a liar.[10] If a lie was given, it constituted a serious breach of the accused’s honor and the conflict needed to be settled through a duel.[11] However, if a spoken untruth went unrevealed, all was well because the appearance of truth and honor had been upheld.  Additionally, concern for appearances explains why Southerners usually reacted violently against practical jokes while Northerners considered practical joking a part of friendly interaction.[12] Rattling the world of appearances in the South could be a deadly game.

On the other hand, industrial era Northern culture had no place for honor based on hierarchy and expressed through dueling.  Ideal Northern manhood was increasingly the domain of the middle class.  In the North, unlike in the South, from approximately the age of six, young boys occupied a sub-cultural world separate from (but deeply related to) dominant adult society.[13] Northern fathers of the middle class, no longer working on the farm, did not need their sons to help with their work.  The release from traditional family work gave boys time to hike, explore, swim, and horseback ride.[14] Boyhood had no set ending, but there were events that ushered boys into adulthood.  Leaving home, marriage, or holding one’s first steady job could serve as appropriate points of passage into polite adult society.[15] Once a young boy became a man, he proved his masculinity in the marketplace.  Success in the competitive business world required self-control and sober planning rather than the spontaneity and impulses of boyhood.[16] As a result, competition and achievement outside the home created an aggressive masculine work space, leaving women to create a feminine home space that provided a realm of femininity against which Northern men could define their manhood.[17] Also, these men, responding to a fear of dependence on wage labor, increasingly defined their manhood as white against others such as free and enslaved blacks and Europeans who had not yet been assimilated into white manhood.[18]

If a young man did not exercise his positive white manhood as an entrepreneur, he could also find a masculine domain within the law.[19] With firm admission standards through the Bar and forms of hierarchy and training, the professional lawyer had replaced the part-timer of the colonial years.  As professionalism took hold in the law, literary pursuits were increasingly looked down upon as a waste of a lawyer’s time.  Unlike their pre-professional predecessors who saw themselves as men of letters, men who practiced professional law were considered reasoned men of action who could get things done.[20]

Preston Brooks fit perfectly into the dominant southern gender constructions of his time.  Born in the summer of 1819 to wealthy, well respected parents in South Carolina, Brooks’ early life was privileged and filled with lessons of honor and family loyalty.  He served for a short while in the South Carolina Assembly until the Mexican American War broke out in 1846.  He battled typhoid during the war and was unable to win any real fame or honor in battle, a fact highlighted by his community’s neglect of his contributions in the war during a ceremony meant to honor veterans who fought in Mexico.  So enraged was Brooks over the slight that he almost fought a duel with one of the veterans who had been honored.  Seeking the fame he never found in Mexico, Brooks ran for and won election to the House of Representatives in 1853.[21]

Charles Sumner, on the other hand, provides a more conflicted sketch of gender construction.  Sumner was a member of the middle class and a non-dueling proponent of self-controlled manhood.  Along with his material condition and self-controlled ideology, Sumner’s practice of law made him a creation of ideal Northern masculinity.  However, several of Sumner’s other relations and beliefs removed him from the mainstream concept of Northern manhood.  Although he was a lawyer brimming with potential, he saw lawyers “as one of the veriest wretches in the world.”[22] His sour view of lawyers and the law (and his need to get away from them) led him, to the dismay of his colleagues, to take a trip to Europe.  A friend warned Sumner that if he took the trip, he would return “[...] with a cane, moustaches and an additional stock of vanity—that’s all.”[23] Ironically, had Sumner actually returned from his 1837 trip with a cane, he might have been able to defend himself from Brooks nineteen years later.  The cane, moustache, and vanity that Sumner’s friend warned against showed a disdain for dandyism—excessive concern for one’s appearance.  Northern American men saw Dandyish behavior as womanly and irrational—the antithesis of manhood.

Sumner’s involvement in reform movements, most importantly the antislavery movement, led him to argue for the integration of Boston’s Public Schools in 1849 and made him a pariah among the majority of American citizens who wanted neither abolition nor integration.22  Though his antislavery views were unpopular in traditional Northern circles, his dedication to the rational principle of individual liberty and equality guided him through hostile political storms.  It was his dedication to the cause of individual liberty and his rejection of the racism implicit in white manhood that made Charles Sumner a conflicted character when considered against dominant masculine paradigms in the North.

So, it is within the context of self-controlled Northern manhood and Southern masculinity deeply tied to honor that Sumner gave his three part speech, “The Crime against Kansas, the Apologies for the Crime, the True Remedy,” on May 19 and May 20, 1856.  In his speech, Sumner attacked slavery, Senator Andrew Pickens Butler’s truthfulness, and the State of South Carolina.  In doing so, the lawyer Sumner no doubt saw himself as building a case against a “criminal” whom his speech was “dragging into the day.”[24] However, Sumner’s trial-like arraignment of slavery and Senator Butler seemed more brutal and vicious to Southern gentlemen.  In his speech Sumner characterized Butler as someone who had “raised [himself] to eminence on [the senate] floor in championship of human wrongs.”[25] Characterizing slavery in a negative light by considering it a “human wrong” was a manipulation of the Southern man’s world of appearances. The man of honor portrayed slavery as a positive institution; to characterize it in any other way would be a form of giving a Southern man a lie and an assault on his honor.  Similarly, Sumner went on to speak of slavery as Butler’s mistress “who, though ugly to others, is always lovely to him; though polluted in the sight of the world, is chaste in his sight [...]”25  In this case, Sumner metaphorically unmasks the institution of slavery from its positive place in Southern society while simultaneously unmasking Butler, not as the paternal lover of a decent institution, but as a complicit party in the activities of a shameful practice.  Unknowingly, as he built his case against slavery and Butler, Sumner played the deadly game of manipulating the world of Southern appearances and specifically Senator Butler’s honor.

Sumner did not only use metaphors and general attacks on slavery to slight Butler’s honor, he also painted him as a liar.  He suggested that Butler’s characterization of Senators who supported a free Kansas as “sectional and fanatical” was “lack[ing] all grace of originality, and all sentiment of truth.”[26] Sumner went on to discuss Butler’s arguments on the Kansas question claiming within those arguments that there was no coherency in his speech regarding the issue, “nor was there any possible deviation from truth which he did not make.”[27] Pounding his point home Sumner asserted that “[Butler] cannot open his mouth, but out there flies a blunder[...].”[28] To Sumner, a Northern man, his charges of blunders and outright lies were accusations supported by facts that needed to be answered by Butler.  The Senator from Massachusetts did not realize that the Southern world of appearances rested on the acceptance of an honorable man’s word; Sumner had given Butler a lie and would have to pay the price.

Some prices, once paid, have costs of their own.  After Brooks walloped Sumner, the press in both sections went wild with the story.  In the days that followed Preston Brooks’ assault on Sumner, the Southern press answered in a united voice.  The Charleston Mercury decried “Senator Sumner’s gross attack upon Senator Butler in his absence, which caused Mr. Brooks’ castigation of him.”[29] The Mercury suggested that Sumner’s “gross attack” was equal to Brooks’ attack in the Senate chamber setting each act as equal in relation to the body.  The Daily Morning News out of Savannah admitted that they were “as much opposed to brute violence as any of Sumner’s mock sympathizers; […]but Sumner commenced the warfare[…].”[30] Referring to Sumner’s speech as the beginning of warfare paints Sumner’s “Crime against Kansas” as a brutal physical attack rather than the rhetorical attack Sumner had meant it to be.  Since he fired the first shots of the war, the men in the South thought Sumner should have expected a beating of this magnitude in response to his offense.  Yet another article appearing in the Daily South Carolinian maintained that “Charles Sumner [was] the ruffianly and wanton assailant in this matter.  He [was] the party upon whom the condemnation of the public should fall.”  The article continued, suggesting that “Brooks did no more than any honorable man would have done under similar circumstances[…].”[31] This article reiterated that Sumner was the instigator of violence and had to be acted upon as he acted against the honor of Brooks’ family. Another article claimed that “Mr. Brooks’ constituents [did] not regard, and [could not] be made to regard, his difficulty with Mr. Sumner as a sectional or a political one.”  Instead Brooks’ constituents saw him as a man “not disposed to act from prudential considerations when the honor of his state and the reputation of a relative have been ruthlessly and deliberately assailed.”[32] Each of these articles paints Sumner’s attack as somehow physically upsetting the person of Senator Butler, a brutal attack that his relative, Preston Brooks, avenged.  No doubt, some Northern opinion sources found Sumner’s speech in poor taste.  The Boston Courier admitted that “Mr. Sumner’s personal attack upon [Butler] was[…]unmannerly and indecent, in the highest degree[…]”[33] Although this Northern viewpoint opposed Sumner’s speech, it did so in the realm of decency and manners befitting a middle class man; the South disliked the speech for the way it assaulted Butler’s very being.

Southern papers did not always refer directly to Sumner’s speech as a violent attack, but sometimes alluded to its violent nature.  This was the case in an article commenting on a meeting of students considering the Brooks-Sumner affair at the University of Virginia where “Several very eloquent speeches were delivered, all of which fully approved the course of Mr. Brooks, and a resolution was passed, to purchase for Mr. B a splendid cane.”[34] The article did not refer to Sumner’s violence, but it did find Brooks’ shellacking in proportion with Sumner’s speech and considered that act worth rewarding as one would honor a hero returned from battle.  The Hinds County Gazette also failed to point out the particular violence of Sumner’s speech when it claimed that the paper “expect[ed] to see [Massachusetts] apologise for and whitewash Mr. Sumner’s coarseness in the Senate.”  Moreover, in a speech to the Senate, Butler characterized the Brooks-Sumner affair as a series of “Events which [grew] out of the commencement of a controversy for which the Senator from Massachusetts […] should be held exclusively responsible[…].”  He continued his speech saying that had he been present to hear Sumner’s speech “he would have demanded […] that [Sumner] should review that speech and retract or modify it[…].”  Butler went on to say that if Sumner “refused this, what [he] would have done [he could] not say; yet [he could] say that [he] would not have submitted to it.”[35] In a similar vein, when it was testified that Senator Toombs of Georgia was “at a distance looking on but offering no assistance[…],” Toombs corrected the record saying “that he not only gave no assistance, but that he approved of what Mr. Brooks had done.”[36] These accounts implicitly accused Sumner of brutality as they all approved of Brooks’ violent response.

While some Southern papers were critical of Brooks, the lion’s share of the Southern press was complimentary.  Among the critical Southern newspapers, most were from the Border States, and the press grew increasingly critical of Brooks the farther North one went.  The previously mentioned article in the Boston Courier that looked at Sumner’s speech as “unmannerly and indecent, in the highest degree,” pointed out that outrage over Sumner’s remarks was not limited to the South, but the characterization of those remarks as “unmannerly and indecent” rather than as some kind of brutish attack on Butler starkly points out the difference in each region’s conception of the body.33  The writers in the Courier did not see Sumner’s speech as a physical attack on Butler’s honor, rather they saw it as a mere lapse in character.

This sentiment was echoed in the May 29th New York Observer and Chronicle which refused “to excuse the remarks of Mr. Sumner which were the grounds of the assault.”  The publication went on to assert that the speech was not a “justification for such a brutal assault,” continuing on to say that “When any man descends to the use of vile and vituperative language, he injures only himself!”[37] The Observer and Chronicle agreed with the Boston Courier that Sumner’s speech was in poor taste, but the New York magazine refused to grant that his remarks may have injured Senator Butler.  Rather, the article argued that only Sumner was injured by his own remarks.  The idea that Sumner rather than Butler was injured by the “Crime against Kansas” speech shows a complete disregard for Southern conceptions of honor; instead, the Observer and Chronicle was acting within a Northern masculine paradigm that was concerned with self-control and character.[38] Because Northerners were concerned with the reaction to Sumner’s speech rather than with what his words had done to Butler’s honor, Brooks’ actions were interpreted as “A cowardly attempt to beat down freedom of speech” in a May 23rd New York Times article.[39] The National Era journal also alluded to the threat posed to freedom of speech saying that “To assail a member of the Senate for words spoken in debate [...] is a grave offence, not only against the rights of a member, but the Constitutional privilege of this body.”[40] So, while the majority of men in the South were concerned with the defense of Butler’s honor, the North’s primary concern was with what they saw as the South’s disdain for freedom of speech.[41] The North failed to realized that Southern men were willing to accept any sort of speech as long as it did not attack the honor that was tied so closely to their physical selves.

In spite of having differences over Sumner’s speech, there were similarities in the words used regarding the Brooks-Sumner crisis in both North and South.  Words such as brutality and assault were used in Northern and Southern opinions on the affair; however, in the South, Sumner’s attacks on Butler were seen as brutal while in the North, Brooks’ caning of Sumner was conceived as brutal.  Such is the case in the May 23rd New York Times that headlined an article depicting Brooks’ attack as an act of “Disgraceful Brutality of a Member of Congress.”[42] In its May 24th edition, the paper lionized Sumner’s speech that the Southerners considered a physical attack on Senator Butler as one “of the ablest [speeches] ever made in the body which he is a useful and honorable member.”[43] The paper went on to depict Sumner as “parliamentary and polished [...]” while it accused Brooks of “cowardly ruffianism [...].”  The sentiment was the same in a circular published on May 29th that found “nothing unparliamentary in Mr. Sumner’s characterization of Butler” while it considered Brooks’ response “an outrage.”[44] Perhaps the most damning response to the crisis came from the Maine Farmer that suggested “If the House of Representatives do not expell Brooks, the people ought to give the whole of them leave to stay at home in future.”  The paper went on to claim that it was “because such crimes [had] been winked at [...] that they increase[d] among them.”[45] So, in the same way that Southerners had depicted Sumner’s speech as a cowardly attack and Brooks’ response as an honorable defense, Sumner’s speech was depicted by many in the North as well written while Brooks’ response was seen as a cowardly assault.  Even among those who thought Sumner’s speech in poor taste, they did not see it as equaling a physical attack and believed Brooks’ cane-work a brutal response.

It took seven years of war and death during the American Revolution to give North and South a “fundamentally pure” blood sacrifice with which to bind their two different cultural systems into a single union.[46] Sumner’s blood sacrifice eight decades later signaled the beginning of the end of that union.  While the Brooks-Sumner affair showed two very distinct constructions of the male body, it also showed a lack of understanding.  The ferocious way in which the sections argued and failed to see the other’s side paints a picture of a North and South that did not see each other as having very different cultural points of view.  Instead, Northern and Southern men looked upon each other as similar parts of one nation based on their common independence and paternalist systems.  Consequently, when the crisis of secession reared its head four years later, Northerners and Southerners looked at each other as having absurd views within a shared value system. It was in such confusion that North and South went to war—confusion that had already begun to surface in the Senate in 1856 when two conceptions of the body collided in honor and blood.


[1] “Latest Intelligence,” New York Times, 23 May 1856, 1.  David Herbert Donald, Charles Sumner and the Coming of the Civil War, 3rd ed. (Naperville, Illinois: Sourcebooks, Inc., 2009), 246-247.  The description of the beating contains information from both of these sources.  Brooks’ words in each of them are consistent.

[2] Three different conclusions regarding  Brooks-Sumner can be found in the following: Donald, Charles Sumner and the Coming of the Civil War, 252-253; Michael D. Pierson, “’All Southern Society Is Assailed by the Foulest Charges:’ Charles Sumner’s ‘The Crime against Kansas’ and the Escalation of Republican Anti-Slavery Rhetoric,” New England Quarterly, 68 no. 4 (December 1995), 534; Manisha Sinha, “The Caning of Charles Sumner: Slavery, Race, and Ideology in the Age of the Civil War,” Journal of the Early Republic, 23, no. 2 (Summer 2003), 235.

[3] In breaking down gender constructions, I use Michel Foucault’s work dealing with cultural discourse as a tool.  I am inclined to accept the following definition of culture: “[...] The sum of the intellectual achievements of individual[s], which their fellow [men/women] have accepted in whole or in part and which have influenced the [society’s] way of life.” Ayn Rand, “Don’t Let It Go,” Philosophy: Who Needs It, (New York: Signet, 1984), 280.

[4] Kenneth S. Greenberg, Honor and Slavery: Lies, Duels, Noses, Masks, Dressing As a Woman, Gifts, Strangers, Humanitarianism, Death, Slave Rebellions, The Pro-Slavery Argument, Baseball, Hunting, and Gambling in the Old South (Princeton: Princeton University Press, 1996). I rely heavily on Greenberg’s work to unravel the discourse-like language of honor in which southern masculine life was based.

E. Anthony Rotundo, American Manhood: Transformations in Masculinity from the Revolution to the Modern Era (New York: Basic Books, 1993).  Rotundo’s book was equally helpful in my quest to place Northern masculinity.

[5] Bertram Wyatt-Brown, Southern Honor: Ethics & Behavior in the Old South (New York: Oxford University Press, 1982), 4.

[6] Ibid, 16.

[7] Walter Johnson, Soul By Soul: Life Inside the Antebellum Slave Market (Cambridge: Harvard University Press, 1999), 78.  Discusses how the slave buyer imagined what he could be and how he could fulfill his desires through the person he purchased.  Elizabeth Fox-Genovese, Within the Plantation Household: Black and White Women of the South (Chapel Hill: The University of North Carolina Press, 1988), 11.

[8] Greenberg, Honor and Slavery, xii-xiii.

[9]Ibid, 11.

[10] Ibid, 33-34.

[11] Ibid, 18.

[12] Ibid, 12-13.

[13] Rotundo, American Manhood, 31-32.

[14] Ibid, 35.

[15] Ibid, 53-54.

[16] Ibid, 55.

[17] Ibid, 3.

[18] David R. Roediger  The Wages of Whiteness: Race and the Making of the American Working Class (New York: Verso, 1991), 13.

[19] Michael Grossberg, “Institutionalizing Masculinity: The Law as a Masculine Profession,” in Meanings for Manhood: Constructions of Masculinity in Victorian America, eds. Mark C. Carnes and Clyde Griffen (Chicago: University of Chicago Press, 1990), 134.

[20] Ibid, 134-135.  More scholarship needs to be done to fully explain how the North and South became so different.  I suggest the powerful politics of maternalism played an important role in the different conceptions of masculinity.  While cities grew in the North, northern women created social bonds and communities that played on the womanly role of mother in order to influence politics.  These womanly communities lent considerable weight to the Northern anti-dueling movement.  In the far more agrarian South, maternalism did not develop and dueling survived.  Please note, this is just a hypothesis—a seed of an explanation.  For further reading on maternalism: Nancy F. Cott,  The Bonds of Womanhood: “Woman’s Sphere” in New England, 1780-1835, ( New Haven and London: Yale University Press, 1977) and Linda K. Kerber, Women of the Republic: Intellect and Ideology in Revolutionary America, (Chapel Hill: University of North Carolina Press, 1980, 1981, 1982).

[21] William L. Barney, “Preston Smith Brooks”, in the American National Biography Online,  http://www. anb.org.flagship.luc.edu/articles/04/04-00153.html?a=1&g=m&n=Preston%20Brooks&ia=-at&ib=-bib&d=10&ss=0&q=1 (Accessed July 8, 2009).

[22] Frederick J. Blue, “Sumner, Charles,” the American National Biography Online, http://www.anb.org.flagship.luc.edu/articles/04/0400969.html?a=1&f=%22Charles%20Sumner%22&d=10&ss=1&q=2 (Accessed July 8, 2009).

[23] Donald , Charles Sumner and the Coming of the Civil War, 34.

[24] Charles Sumner, The Crime Against Kansas, the Apologies for the Crime, the True Remedy: Speech of Hon. Charles Sumner in the Senate Chamber 19th and 20th May, 1856 (Boston: John P. Jewett & Co., 1856), 6.

[25] Ibid, 9.

[26] Ibid, 10.

[27] Ibid, 85.

[28] Ibid, 86.

[29] “Senator Sumner’s Speech,” Charleston Mercury (South Carolina), 26 May 1856, Column C.

[30] “Sumner Sympathy,” Daily Morning News (Savannah, Georgia), 31 May 1856, Column B.

[31] “Mr. Sumner and His Sympathizers,” Daily South Carolinian, 12 June 1856, Column E.

[32] “The Brooks and Sumner Case—Close of the Debate—Resignation of Mr. Brooks,” Charleston Mercury, 18 July 1856, Column B.

[33] “Senator Sumner and Mr. Brooks,” Boston Courier as reprinted in the Charleston Mercury, 29 May 1856, Column B.

[34] “Another Cane for Mr. Brooks,” Fayetteville Observer (North Carolina), 2 June 1856, Column C.

[35] “Mr. Brooks and Mr. Sumner: Extracts from the speech of Hon. A.P. Butler of South Carolina, in the Senate, June 12, 1856,” Charleston Mercury, 23 June 1856, Column A.

[36] “Mr. Sumner’s Testimony: Excitement in the Senate,” Charleston Mercury, 31 May 1856, Column G.

[37] “Congressional Outrage,” New York Observer and Chronicle, 29 May 1856, 174.

[38] Judy Hilkey, Character Is Capital: Success Manuals and Manhood in Gilded Age America, (Chapel Hill and London: The University of North Carolina Press, 1997).  Hilkey discusses a conception of masculinity that saw a strong character as paramount to success.

[39] “The Cowardly Assault on Mr. Sumner,” New York Times, 23 May 1856, 1.

[40] “Deadly Assault on Charles Sumner,” National Era 10, no. 491(29 May 1856), 86.

[41] Sinha, “The Caning of Charles Sumner,” 250.  Sinha points out that Northerners were appalled at the way in which silencing Sumner with a beating resembled the silencing of a slave who had no right to free speech.

[42] “Disgraceful Brutality of a Member of Congress,” New York Times, 23 May, 1856.

[43] “Mr. Sumner’s Speech,” New York Times, 24 May 1856.

[44] “News of the Week: Ruffianism in Congress,” Circular, 29 May 1856, 74.

[45] “Savage Brutality,” Maine Farmer, 29 May 1856, 2.

[46] Benedict Anderson, Imagined Communities, 144.

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Mid-month Review

August, 2010: Mid-month Review

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The Show about Nothing and Everything (and Me): Seinfeld, Political Correctness, and Selfdom

By: Peter Thoma

For those born without a sense of humor, I apologize – this essay is not for you. Television in the 1990s was marked by an increase in the fragmentation of the audience (not to mention an increase in internet usage). With the proliferation in cable television shows, there was no reliable base viewership. Sitcoms in the 1990s targeted younger viewers who could appreciate parodies and references to other forms of media or popular culture. Most of the sitcoms ultimately followed Seinfeld’s example, and featured young, white, unmarried, urban, and upscale characters – precisely the demographics the networks were hoping to capture. But why do individuals consider Seinfeld important? Why is this sitcom significant? Was it because it was a “show about nothing”? The absence of a story does not necessarily mean that it lacked a plot. While a story is a series of events simply retold, a plot is a series of events that reveals dramatic and emotional significance. In truth, the characters and plot were probably more similar to the average viewer and their daily experience than any other television show could imagine. There was a reflective quality, and we witnessed the dramatic/emotional elements significant in our society at the time – for we are a narcissistic society.

Seinfeld owed its initial success not to sheer popularity, but rather to capturing a demographic group that wielded economic clout. Although televisions are owned and viewed by almost all classes and groups in America, viewing habits vary according to different demographics. Robert Hurd, an English and literature professor, notes that “the audience of a program is not only quantitatively analyzed by networks, but qualitatively analyzed according to income and cultural characteristics that forecast, more or less accurately, consumer habits. Before Seinfeld achieved its utmost popularity, it ranked high among middle-class white men,” a very desirable audience for advertisers because of their spending habits and disposable income (it failed to garner significant support from African-Americans and families with children).[1] Its popularity among middle-class white men was partly due to the fact that that particular audience could more readily identify with particular situations and circumstances (hanging out with friends, dating, living in apartments). The focus is mainly squared on Jerry, a single, middle-class, white male, making the character relatable to the white, male audience.

There was a connection among the characters and the audience members. Vicariously, I was yelled at by the Soup Nazi, I waited for a table in a Chinese restaurant, and it was I who stole a marbled rye from an old woman. Still, the Seinfeld characters were soulless creatures, but they went beyond just being amoral, they were immoral without suffering any consequence, almost like a cartoon.[2] TV Guide once boldly stated the characters “were the icons of a cynical age: the sarcastic Jerry, the apoplectic George, the fickly Elaine and the spastic Kramer. Hardly role models, these urban antiheroes helped define the ironic ’90s with an attitude of easily aggravated self-interest.”[3] Ultimately, they showcased the preponderance of self-interest, as well as the futility of the facade of empathy and living for others. Together, they created a group dynamic rooted in jealousy, insecurity, and a lack of faith in fellow human beings.[4] While magazines at the time were possibly melodramatic – hoping to cash-in on the perceived exceptionality of Seinfeld – the characters were simply caricatures of “normal” people. Jerry played himself, George was a blend of Woody Allen (more so in earlier seasons) and Larry David, Kramer was based on Kenny Kramer (Larry David’s neighbor/friend), and Elaine was simply an afterthought-female character; all characters were typical and unimpressive (though minimally more complex and developed with each passing season). This offers an opportunity for the audience to swap themselves out with one of the characters (or draw comparisons between themselves, family members, or friends). Jerry, George, Kramer, and Elaine were unexceptional (aside from the insider status maintained between the show and the audience – the secret commonality shared with the fans). They did not have special talents, and they did not have distinct jobs. They were not important – just a drop in a bucket, reciprocating myself and millions of other fans.

The playful commentary of political correctness helped connect the audience and the characters. By some accounts, the doctrine of political correctness is the 1990s’ equivalent of the McCarthyism of the 1950s or the witch-hunts and heresy trials.[5] Now, I do not want to examine the “political” aspect of political correctness; rather, I merely will touch on its prevalence within Seinfeld and why it is historically important. The pushing of barriers of appropriate television discussion, as well as imaginative ideas for episodes became part of the appeal of the show. In part, this is what attracted people’s attention; the four main characters constantly fluctuated between absurd and crude (mirroring ourselves and experiences). The entertainment magazine, Variety, boasts that in the evenings, “Seinfeld managed to […bring] to the living room all the topics that make network censors (and Congressmen in an election year) twitch, foam, and rant: masturbation, […] urination, menage a trois, contraception, breast implants, … penile shrinkage.”[6] However, the writers attempted to do this with style and tact. “The Contest,” became one of the most famous Seinfeld episodes. The name of the episode comes from the contest held among the four main characters to see who could go the longest without masturbating. While the actual word “masturbation” is never mentioned, inferences make it clear that the bulk of the episode centers on pleasuring one’s self (such as use of the phrase, “master of your domain”). Some advertisers felt so uncomfortable with the episode that they did not want to be associated with the show (and pulled their commercials from Seinfeld’s time slot).

The edginess, pushing of limits, and controversy Seinfeld generated helped make it popular, while at the same time, sparked debate. This debate and discussion furthered public awareness of this sitcom, prompting individuals to weigh-in, therein forming an opinion on the show itself and the antics within the show. As more people tuned in over the years, Seinfeld’s clout and audience base increased. During a period of obsessive political correctness, Larry David and Jerry Seinfeld tapped into the social frustration against codes of conduct and social conventions, helping propel the show’s popularity.

In the episode entitled, “The Cigar Store Indian,” Jerry makes insensitive impersonations of Native Americans in front of a woman (Winona) he is trying to impress (who, unbeknownst to Jerry, is a Native American). He makes these comments as he is giving Elaine a cigar-store Indian statue. Larry David specifically told the writers to have Jerry give a gift that would offend someone. Later in the episode, as he is attempting to apologize, he suggests grabbing something to eat. When he approaches a mailman who is bending over, Jerry says, “You must know where the Chinese restaurant is around here.” The visibly upset mailman stands up and yells, “Why must I know? Because I’m Chinese?”[7] After the incident, Jerry makes a concerted effort to practice political correctness by avoiding words and phrases that (in his eyes) could be considered insensitive toward Native Americans. When talking about dinner plans, he avoids using the word “reservation,” and when Winona asks how he acquired tickets to an event, Jerry dances around the term “scalper.” Toward the end of the episode, after giving Jerry a TV Guide, Winona asks for it back, prompting him to nearly call her an “Indian-giver.”

Two episodes standout as mocking the sensitivity of political correctness with regard to African-Americans: “The Diplomat’s Club” and “The Wizard.” In “The Diplomat’s Club,” George tells his African-American boss, Mr. Morgan, that he looks like Sugar Ray Leonard. Not amused, Mr. Morgan vocally questions if George thinks all African-Americans look the same. Throughout the episode, George is obsessed with trying to prove that he is not racist (ironically, Mr. Morgan is the one who constructed the entire issue centered on race). Coincidently, this story within the episode was inspired by Larry David; he said to someone that the actor playing Mr. Morgan looked like Sugar Ray Leonard, and they wondered to themselves whether or not he would take offense to that.[8] In “The Wizard,” Elaine does not know the race of the man she is dating. When she introduces Darryl to Jerry and George, a debate ensues on whether or not he is black. At one point, George asks, “Should we be talking about this?” When an African-American waitress asks if she can take the money for the bill, the three of them, perhaps concerned about the political correctness surrounding the debate regarding Elaine’s boyfriend’s race, uncharacteristically leave a generous tip. Later in the episode, in a hushed voice, George suggests that he might be “mixed.” Elaine follows by furrowing her brow and asks if that is the right word to describe him. Uncomfortable, George states that he “really [doesn’t] think we’re suppose to be talking about this,” and he leaves the table. In the end, Darryl (who is in fact white) had mistaken Elaine as Hispanic, showcasing the absurdity of not openly discussing race (and, generally speaking, the utility/preponderance of racial categories). Clearly, political correctness is a highlight of Seinfeld, though not limited to Native Americans and African Americans.

“The Puerto Rican Day” is an episode that generated significant backlash over its political incorrectness. Within the episode, Kramer accidently throws a sparkler onto a Puerto Rican flag. When he notices that the flag is on fire, he throws it to the ground and stomps on it. Afterwards, he is chased by an angry mob. After losing sight of him, the mob begins to shake Jerry’s empty car, and ultimately throws it down a stairwell; Kramer remarks, “It’s like this every day in Puerto Rico.”[9] According to the president of the National Puerto Rican Coalition, Manuel Mirabal, the scene was an “‘unconscionable insult’ to Puerto Ricans. […] It is unacceptable that the Puerto Rican flag be used by Seinfeld as a stage prop under any circumstances.”[10] Bronx Borough President, Fernando Ferrer, said the Seinfeld episode “crossed the line between humor and bigotry,” and that it was a slur to depict men rioting and vandalizing a car and suggesting that it happens every day in Puerto Rico.[11] After receiving complaints, NBC removed it from syndication (and to this day, it is not shown on television). These examples are clear indicators of Seinfeld’s poking fun of political correctness. They mock and demonstrate the limitations political correctness has on speech, how these limitations are constraining and can cause confusion, and how the fear of rousing a diatribe – against those who are perceived as acting against racial sensitivities – impedes freedoms and discourse.

Harking back to the notion that the Seinfeld characters were similar to cartoons in that there were no permanent repercussions from their actions, Jerry, George, Kramer, and Elaine were able to mock and ridicule at leisure, unfettered by social norms. We openly chuckled at (though privately identified with) the Seinfeld characters. We sympathized with them, though their antics brought us a moment of playful excitement – much like a young boy might find a playful moment with just himself, a magnifying-glass, and an ant. Constantly, there is a power-powerless struggle. Individuals within a society are compelled and held under the eye of law, order, societal norms, and higher powers. We are but ants under a magnifying-glass. For the Seinfeld characters, their luck ended with the final episode. The eye of law, decency, and civility caught them. Of course, this episode ultimately raises the question, “for whom do we live?” Invariably, we must live for our fallible selves, though we run the risk of a society’s indignation.

The final show entails a trial against Jerry, George, Elaine, and Kramer. On their way to Paris, they have airplane issues, forcing them to land in a small town in New England. They witness an obese man getting robbed, videotaping the crime and mocking the man in the process. Jerry laughs and says, “Well, there goes the money for the lipo;” Elaine then laughs, noting that “the great thing about robbing a fat guy is it’s an easy getaway […]. They can’t really chase you,” and afterwards, they all smile and George chimes in, claiming that the robber is doing him a favor, for “it’s less money for him to buy food.”[12] Again, they are staring at the struggling man, smiling and laughing, amused. In the end, Jerry, George, Elaine, and Kramer are arrested for failing to help someone in trouble (on the grounds of the Good Samaritan Law). While it was not really a funny episode, and failed to yield any cute catchphrases, it did end the series. Throughout the trial, a long parade of “victims” lamented over the maltreatment they received from Seinfeld and his crew. A jury of “peers” denounced them and the judge decided to remove them from society. Imprisoned in a jail or trapped within the confines of society, we are ostensibly doomed to conform or fail.

Sometimes, the characters did things we only wished we could have done; they circumvented and transcended social expectations and political correctness. While watching Seinfeld, America seemingly cheered the demise of civility. Lines blurred between mocking political correctness and mocking benevolence and good. Seinfeld mirrors the ills of American society, underscores and scoffs social codes, and presents (to a mainstream audience) an acceptable presentation and performance of the derision of basic human respect. America fell in love with these characters, and the audience embraced their actions. In what can be described as narcissism, mass media and individuals saw themselves in Seinfeld, embracing the situational comedy, along with the ambivalence and apathy toward others. In the end, Seinfeld, through its comical concern with social manners and customs, seemed to assert not the decline of civility, but rather its preponderance in American society.[13] The obsession with codes of conduct is illustrated, and the silliness of social manners is examined; the sitcom is used as a forum to subvert the very parameters that limit the discourse of the 1990s. Political correctness is mocked, dismissed, and contorted throughout Seinfeld, paralleling American society’s struggle with oversensitivity with race, gender, sexual orientation, religion, and many other social aspects. An outsider’s constraints on free thought/action will inevitably lead to frustration.

Seinfeld enabled a mass audience to join in the mocking of values and morals. When Jerry steals a marbled rye, from an old lady, the audience laughed at the absurdity, forgetting or consciously ignoring the criminality of the action.[14] The viewer is invested in Jerry’s needs and selfdom – not in the wellbeing of the elderly woman. Similarly, kidnapping a dog, stabbing someone with a fork in the forehead, laughing during the middle of a piano concert, making out during Schindler’s List, and many other antics generated laugh after laugh. In the episode “The Parking Garage,” Jerry, George, Elaine, and Kramer are in a parking structure, trying in vain to locate their vehicle. This episode highlights a struggle with society; the group asks a number of people to drive them around to search for their car, but no one comes to their aid. After failed attempts, Elaine asks a gentleman to help them, only to be rebuffed. She pleads with him, asking “Why can’t you do it?” He responds that he “can’t,” but after further badgering, he comes out and makes it known that he does not want to help, and that he would not get any satisfaction from helping someone.[15] This not only speaks to the hypocritical nature of a caring society, but the fact that in a PC-age, no one wants to come out and say they do not want to help others; rather, individuals prefer to make excuses, for society finds this more acceptable. We live for ourselves; society must not be the crux of thought and action.

As a part of mass culture, Seinfeld also underscores the collective mass of humanity, indifferent to individuality. The show’s main characters identify themselves as the anti-community, an alternate way of life which ignores the thoughts and feelings of others. The masses consist of a large quantity of people unable to express their human qualities because they are related to each other neither as individuals nor as members of a community; rather, they are only loosely, impersonally, abstractly joined.[16] Set in New York, amongst a sea of people, Jerry and his friends exist purely for themselves – no sense of community. Mass culture often degrades the public by objectifying individuals; Similarly, Jerry, George, Elaine, and Kramer regard others (including girlfriends and boyfriends) as objects – objects for their personal/individual benefit. As the main characters are removed from significant and/or positive interaction with family, they bind together, not as a cross-section of an impersonal mass, but as individuals. In “The Bizarro Jerry,” Elaine is friends with a man named Kevin, who happens to have an apartment and friends physically similar to George and Kramer; however, their personalities and traits are the opposite. Kevin and his two friends are nice, giving, helpful, and caring.[17] Elaine, tired of her life and her relationship with Jerry, George, and Kramer, finds herself wanting to divorce from her selfish companions. In the end though, she does not fit with Kevin and his friends, and Elaine returns to avarice and self-concern. Within the final episode, the four main characters are removed from New York, and their antics do not belong in the small New England community. During their trial, they are referred to as the “New York Four,” an impersonal collective, objectified, void of individuality, something “other.”[18] Ultimately, this is the overarching self-referential aspect of Seinfeld. This show is part of mass culture, and showcases the day-to-day antics of a disingenuous microcosm of mass mentality. As television charmed and hypnotized the American public during the 1960s and 1970s, the 1980s and 1990s were witness to sitcoms grappling an increasingly fractured and consumer-based society – a society obsessed with watching itself portrayed on the small screen. Parents and children during the 1950s through the 1970s were witness to idyllic family life (for the most part), but by the 1990s, the single life – a life where the focus was squarely on one’s self – became the norm on television.

These characters were not creative or exceptional. Their occupations and actions were not heroic, rewarding, or thoughtful. Within the final episode, the “New York Four” were portrayed as individuals, but merely apparitions among apparitions – monsters to be jailed. They were the people we should not be; yet, they were who we are. For these reasons, we identified with them, and subsequently, other television shows attempted to duplicate the “Seinfeld-model.” The reign of a mainstream sitcom came to a crawling end. Now, only the coagulation of the depraved, degenerate, and insipid forms the behemoth known as “entertainment,” constructed by music, movie, television/internet, and fashion “artists.” Base, jejune, and callow, American society is stuck in front of a mirror – and it is not master of its domain. Desperate to be relevant, television does what it has always done – project images the audience wants to see. They want to see themselves.


[1] Robert Hurd, “Taking Seinfeld Seriously: Modernism in Popular Culture.” New Literary History, Vol. 37, No. 4, Autumn 2006, 770-771.

[2] Stephen Winzenburg, TV’s Greatest Sitcoms. Baltimore, MD: Publish America, 2004, 60.

[3] Matt Roush, “Sayonara Seinfeld.” TV Guide, Vol. 46, No. 19, May 9, 1998, 20-21.

[4] Ken Tucker, “The Fantastic 4.” Entertainment Weekly, May 4, 1998, 13.

[5] William S. Livingston, “‘PC’- Issues Behind the Phrase.” The Alcalde, Sep-Oct 1991, 21.

[6] Claude Brodesser, “‘Seinfeld’ Verdict in: Show was Without Peer.” Variety, May 18, 1998 – May 24, 1998, 36.

[7] “The Cigar Store Indian,” Seinfeld: Season 5, Vol. 4 DVD – Disk 2. Culver City, CA: Columbia TriStar Home Entertainment, 2005.

[8] “The Diplomat’s Club (Commentary with Writers Tom Gammill and Max Pross),” Seinfeld: Season 6, Vol. 5 DVD – Disk 4. Culver City, CA: Columbia TriStar Home Entertainment, 2005.

[9] “The Puerto Rican Day,” Seinfeld: Season 9, Vol. 8 DVD – Disk 4. Culver City, CA: Columbia TriStar Home Entertainment, 2007.

[10] “NBC Apologizes for ‘Seinfeld’ Episode on the Puerto Rican Day Parade.” New York Times, May 9, 1998, Section B, 3.

[11] Ibid., 3.

[12] “The Finale.” Seinfeld: Season 9, Vol. 8 DVD – Disk 4. Culver City, CA: Columbia TriStar Home Entertainment, 2007.

[13] Mary M. Dalton and Laura R. Linder, eds., The Sitcom Reader: America Viewed and Skewed. Albany, NY: State University of New York Press, 2005, 43.

[14] “The Rye.” Seinfeld: Season 7, Vol. 6 DVD – Disk 2. Culver City, CA: Columbia TriStar Home Entertainment, 2006.

[15] “The Parking Garage.” Seinfeld: Season 3, Vol. 2 DVD – Disk 2. Culver City, CA: Columbia TriStar Home Entertainment, 2004.

[16] Dwight Macdonald, Against the American Grain. New York, NY: Random House, 1962, 8.

[17] “The Bizarro Jerry,” Seinfeld: Season 8, Vol. 7 DVD – Disk 1. Culver City, CA: Columbia TriStar Home Entertainment, 2007.

[18] “The Finale.” Seinfeld: Season 9, Vol. 8 DVD – Disk 4. Culver City, CA: Columbia TriStar Home Entertainment, 2007.

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The History Roll

Welcome to HistoryRoll.com a site that will serve as a compendium of the best historical writing on the internet.  Along with a monthly list of the web’s best historical writing, the HistoryRoll will publish one article per month by one of our featured writers that explores an aspect of history or historical theory.

Your job, as a reader, is to email us what you think is the best historical writing on the internet thereby nominating it for inclusion in that month’s HistoryRoll.  We are currently under construction , but we will be fully operational by August, so please send your emails with your nominations to Submissions@HistoryRoll.com  Thank you, and enjoy.

Jacob K. Friefeld, Executive Editor.

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