Andy Griffith evoked stylized small-town America

Close your eyes and picture it: small-town America.

It has a little post office, of course. A general store, too, and a fishing hole. There’s a barber who knows everyone — and knows about everyone. There’s a friendly auto mechanic. The picture wouldn’t be complete without several women who could be anyone’s favorite older sister or aunt.

Kids scurry around at reasonable paces, making low-grade mischief while dirtying their short-sleeve plaid shirts. Quirky characters wander about in a landscape of picket fences and healthy storefronts.

And the police officer in charge? He’s tough but fair, community minded, the Solomon of his entire, geographically limited jurisdiction. He’s Atticus Finch without any of the racial tension.

This is, today, the comforting script America often reaches for when it summons the vanished rural nation that so many say they long for. Not coincidentally, it is also the state of mind given to us by Andy Griffith.

More than anyone except perhaps Walt Disney, Griffith was the entertainment-world emblem of the 20th-century values Americans often like to say they prize most. He spread the notion, begun by no less a figure than Thomas Jefferson, that somehow the very best of us was contained in the rural life — in this case, the fictional tales of Mayberry that “The Andy Griffith Show” delivered for almost a decade.

“The show is kind of like a step back in time, especially for my generation,” Molly Jones 24, of Raleigh, said after learning of Griffith’s death Tuesday. “It’s kind of like, `Oh, this is how it used to be,’ and `Why isn’t it this way still?’ Things were so much simpler back then.”

The reality of the age was somewhat different. Griffith’s show, in a way, defied its times rather than captured them.

Though it felt like the 1950s in many ways, it was actually a product of the roller-coaster decade that followed. It debuted in 1960, four weeks before John F. Kennedy was elected, and ended its run on a spring evening in 1968 three nights before the Rev. Martin Luther King Jr. was shot in Memphis. While the country was tearing itself apart, Mayberry quietly endured, a Dick-and-Jane primer for an America yanked in every direction — a vision, during the Cold War, of friendly, unintruded-upon isolationism.

At the center of it all was Griffith, himself a product of Mount Airy, N.C., who began his career doing comedic interpretations of yokels years before he honed his persona into the Sheriff Andy Taylor combination of avuncular community figure, doting father and sage Southerner.

Though Griffith would later say the sheriff was the better angel of his nature, the perception was otherwise. “Andy was Mayberry, and Mayberry was Andy,” Don Knotts, who played Barney Fife, said in 1999.