"The south produced statesmen and soldiers, planters and doctors and lawyers and poets, but certainly no engineers and mechanics. Let Yankees adopt such low callings"
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Mitchell’s line lands like a lace-gloved slap: a proud inventory of “statesmen and soldiers” capped with the sneer that the South produced “certainly no engineers and mechanics.” The sentence is engineered (ironically) to make absence sound like virtue. By stacking high-status professions and then banishing technical labor to “Yankees” and “low callings,” she captures a class system that doesn’t just rank people; it ranks forms of usefulness.
The specific intent is social sorting. “Planters and doctors and lawyers and poets” aren’t simply jobs here; they’re badges of gentility, roles that preserve an order built on land, leisure, and inherited authority. “Engineers and mechanics” represent the modern world: industrial discipline, practical problem-solving, and the idea that prosperity can be manufactured rather than owned. Mitchell’s contempt for that world isn’t accidental. It’s a nostalgia that needs a villain, and “Yankees” supply one: industrious, commercial, unromantic, allergic to the plantation myth.
The subtext is even sharper: the South’s material underdevelopment is rewritten as moral refinement. If you don’t build railroads or machines, you can pretend you were too elevated to bother. In the context of Mitchell’s era, that posture doubles as Lost Cause branding - a cultural product designed to make defeat feel like dignity and to turn economic and technological lag into evidence of superior taste. It’s snobbery doing historical repair work.
The specific intent is social sorting. “Planters and doctors and lawyers and poets” aren’t simply jobs here; they’re badges of gentility, roles that preserve an order built on land, leisure, and inherited authority. “Engineers and mechanics” represent the modern world: industrial discipline, practical problem-solving, and the idea that prosperity can be manufactured rather than owned. Mitchell’s contempt for that world isn’t accidental. It’s a nostalgia that needs a villain, and “Yankees” supply one: industrious, commercial, unromantic, allergic to the plantation myth.
The subtext is even sharper: the South’s material underdevelopment is rewritten as moral refinement. If you don’t build railroads or machines, you can pretend you were too elevated to bother. In the context of Mitchell’s era, that posture doubles as Lost Cause branding - a cultural product designed to make defeat feel like dignity and to turn economic and technological lag into evidence of superior taste. It’s snobbery doing historical repair work.
Quote Details
| Topic | Engineer |
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