The Romantic Period, 1820-1860: Outline of American Literature: Chapter 4
The Romantic Period, 1820-1860: Fiction
Outline of American Literature: Chapter 4
Protagonists of the American Romance are haunted, alienated individuals.By Kathryn VanSpanckeren
- The American Novelist
- The Romance: Nathaniel Hawthorne, Herman Melville, Edgar Allan Poe
- Women Writers and Reformers: Lydia Child, Angeline and Sarah Grimké, Elizabeth Cady Stanton, Sojourner Truth, Harriet Beecher Stowe, Harriet Jacobs, Harriet Wilson, Frederick Douglass
EIL Editor’s Note: Remember that literary analysis is subjective, and the opinions expressed in this article below are the analysis of one particular writer, rather than the final word on how you should interpret these artists and their works. Each writer’s analysis is informed by his or her worldview, education, personal taste, and reading background, just as yours will be. As you read this article and write about authors from this period, remember to support your analysis with quotes from the original texts and other evidence, including biographical information about the authors and their other writings. That use of evidence is what makes an analysis interesting, and in the end, plausible.
Also, be aware that today’s writers, the author of this article included, are often influenced by the modernist view described in Chapter 6 of Outline of American Literature (emphasis added):
…a school of “new criticism” arose in the United States, with a new critical vocabulary. New critics hunted the “epiphany” (moment in which a character suddenly sees the transcendent truth of a situation, a term derived from a holy saint’s appearance to mortals); they “examined” and “clarified” a work, hoping to “shed light” upon it through their “insights.”
Walt Whitman, Nathaniel Hawthorne, Herman Melville, Edgar Allan Poe, Emily Dickinson, and the Transcendentalists represent the first great literary generation produced in the United States. In the case of the novelists, the Romantic vision tended to express itself in the form Hawthorne called the “Romance,” a heightened, emotional, and symbolic form of the novel. Romances were not love stories, but serious novels that used special techniques to communicate complex and subtle meanings.
Instead of carefully defining realistic characters through a wealth of detail, as most English or continental novelists did, Hawthorne, Melville, and Poe shaped heroic figures larger than life, burning with mythic significance. The typical protagonists of the American Romance are haunted, alienated individuals. Hawthorne’s Arthur Dimmesdale or Hester Prynne in The Scarlet Letter, Melville’s Ahab in Moby-Dick, and the many isolated and obsessed characters of Poe’s tales are lonely protagonists pitted against unknowable, dark fates that, in some mysterious way, grow out of their deepest unconscious selves. The symbolic plots reveal hidden actions of the anguished spirit.
One reason for this fictional exploration into the hidden recesses of the soul is the absence of settled, traditional community life in America. English novelists – Jane Austen, Charles Dickens (the great favorite), Anthony Trollope, George Eliot, William Thackeray – lived in a complex, well-articulated, traditional society and shared with their readers attitudes that informed their realistic fiction. American novelists were faced with a history of strife and revolution, a geography of vast wilderness, and a fluid and relatively classless democratic society. American novels frequently reveal a revolutionary absence of tradition. Many English novels show a poor main character rising on the economic and social ladder, perhaps because of a good marriage or the discovery of a hidden aristocratic past. But this buried plot does not challenge the aristocratic social structure of England. On the contrary, it confirms it. The rise of the main character satisfies the wish fulfillment of the mainly middle-class readers.
In contrast, the American novelist had to depend on his or her own devices. America was, in part, an undefined, constantly moving frontier populated by immigrants speaking foreign languages and following strange and crude ways of life. Thus the main character in American literature might find himself alone among cannibal tribes, as in Melville’s Typee, or exploring a wilderness like James Fenimore Cooper’s Leatherstocking, or witnessing lonely visions from the grave, like Poe’s solitary individuals, or meeting the devil walking in the forest, like Hawthorne’s Young Goodman Brown. Virtually all the great American protagonists have been “loners.” The democratic American individual had, as it were, to invent himself.
The serious American novelist had to invent new forms as well hence the sprawling, idiosyncratic shape of Melville’s novel Moby-Dick and Poe’s dreamlike, wandering Narrative of Arthur Gordon Pym. Few American novels achieve formal perfection, even today. Instead of borrowing tested literary methods, Americans tend to invent new creative techniques. In America, it is not enough to be a traditional and definable social unit, for the old and traditional gets left behind; the new, innovative force is the center of attention.
The Romance form is dark and forbidding, indicating how difficult it is to create an identity without a stable society. Most of the Romantic heroes die in the end: All the sailors except Ishmael are drowned in Moby-Dick, and the sensitive but sinful minister Arthur Dimmesdale dies at the end of The Scarlet Letter. The self-divided, tragic note in American literature becomes dominant in the novels, even before the Civil War of the 1860s manifested the greater social tragedy of a society at war with itself.
Nathaniel Hawthorne (1804-1864)
Nathaniel Hawthorne, a fifth-generation American of English descent, was born in Salem, Massachusetts, a wealthy seaport north of Boston that specialized in East India trade. One of his ancestors had been a judge in an earlier century, during trials in Salem of women accused of being witches. Hawthorne used the idea of a curse on the family of an evil judge in his novel The House of the Seven Gables.
Many of Hawthorne’s stories are set in Puritan New England, and his greatest novel, The Scarlet Letter (1850), has become the classic portrayal of Puritan America. It tells of the passionate, forbidden love affair linking a sensitive, religious young man, the Reverend Arthur Dimmesdale, and the sensuous, beautiful townsperson, Hester Prynne. Set in Boston around 1650 during early Puritan colonization, the novel highlights the Calvinistic obsession with morality, sexual repression, guilt and confession, and spiritual salvation.
For its time, The Scarlet Letter was a daring and even subversive book. Hawthorne’s gentle style, remote historical setting, and ambiguity softened his grim themes and contented the general public, but sophisticated writers such as Ralph Waldo Emerson and Herman Melville recognized the book’s “hellish” power. It treated issues that were usually suppressed in 19th-century America, such as the impact of the new, liberating democratic experience on individual behavior, especially on sexual and religious freedom.
The book is superbly organized and beautifully written. Appropriately, it uses allegory, a technique the early Puritan colonists themselves practiced.
Hawthorne’s reputation rests on his other novels and tales as well. In The House of the Seven Gables (1851), he again returns to New England’s history. The crumbling of the “house” refers to a family in Salem as well as to the actual structure. The theme concerns an inherited curse and its resolution through love. As one critic has noted, the idealistic protagonist Holgrave voices Hawthorne’s own democratic distrust of old aristocratic families: “The truth is, that once in every half-century, at least, a family should be merged into the great, obscure mass of humanity, and forget about its ancestors.”
Hawthorne’s last two novels were less successful. Both use modern settings, which hamper the magic of romance. The Blithedale Romance (1852) is interesting for its portrait of the socialist, utopian Brook Farm community. In the book, Hawthorne criticizes egotistical, power-hungry social reformers whose deepest instincts are not genuinely democratic. The Marble Faun (1860), though set in Rome, dwells on the Puritan themes of sin, isolation, expiation, and salvation.
These themes, and his characteristic settings in Puritan colonial New England, are trademarks of many of Hawthorne’s best-known shorter stories: “The Minister’s Black Veil,” “Young Goodman Brown,” and “My Kinsman, Major Molineux.” In the last of these, a naïve young man from the country comes to the city – a common route in urbanizing 19th-century America – to seek help from his powerful relative, whom he has never met. Robin has great difficulty finding the major, and finally joins in a strange night riot in which a man who seems to be a disgraced criminal is comically and cruelly driven out of town. Robin laughs loudest of all until he realizes that this “criminal” is none other than the man he sought – a representative of the British who has just been overthrown by a revolutionary American mob. The story confirms the bond of sin and suffering shared by all humanity. It also stresses the theme of the self-made man: Robin must learn, like every democratic American, to prosper from his own hard work, not from special favors from wealthy relatives.
“My Kinsman, Major Molineux” casts light on one of the most striking elements in Hawthorne’s fiction: the lack of functioning families in his works. Although Cooper’s Leather-Stocking Tales manage to introduce families into the least likely wilderness places, Hawthorne’s stories and novels repeatedly show broken, cursed, or artificial families and the sufferings of the isolated individual.
The ideology of revolution, too, may have played a part in glorifying a sense of proud yet alienated freedom. The American Revolution, from a psychohistorical viewpoint, parallels an adolescent rebellion away from the parent-figure of England and the larger family of the British Empire. Americans won their independence and were then faced with the bewildering dilemma of discovering their identity apart from old authorities. This scenario was played out countless times on the frontier, to the extent that, in fiction, isolation often seems the basic American condition of life. Puritanism and its Protestant offshoots may have further weakened the family by preaching that the individual’s first responsibility was to save his or her own soul.
Herman Melville (1819-1891)
Herman Melville, like Nathaniel Hawthorne, was a descendant of an old, wealthy family that fell abruptly into poverty upon the death of the father. Despite his patrician upbringing, proud family traditions, and hard work, Melville found himself in poverty with no college education. At 19 he went to sea. His interest in sailors’ lives grew naturally out of his own experiences, and most of his early novels grew out of his voyages. In these we see the young Melville’s wide, democratic experience and hatred of tyranny and injustice. His first book, Typee, was based on his time spent among the supposedly cannibalistic but hospitable tribe of the Taipis in the Marquesas Islands of the South Pacific. The book praises the islanders and their natural, harmonious life, and criticizes the Christian missionaries, who Melville found less genuinely civilized than the people they came to convert.
Moby-Dick; or, The Whale, Melville’s masterpiece, is the epic story of the whaling ship Pequod and its “ungodly, god-like man,” Captain Ahab, whose obsessive quest for the white whale Moby-Dick leads the ship and its men to destruction. This work, a realistic adventure novel, contains a series of meditations on the human condition. Whaling, throughout the book, is a grand metaphor for the pursuit of knowledge. Realistic catalogues and descriptions of whales and the whaling industry punctuate the book, but these carry symbolic connotations. In chapter 15, “The Right Whale’s Head,” the narrator says that the Right Whale is a Stoic and the Sperm Whale is a Platonian, referring to two classical schools of philosophy.
Although Melville’s novel is philosophical, it is also tragic. Despite his heroism, Ahab is doomed and perhaps damned in the end. Nature, however beautiful, remains alien and potentially deadly. In Moby-Dick, Melville challenges Emerson’s optimistic idea that humans can understand nature. Moby-Dick, the great white whale, is an inscrutable, cosmic existence that dominates the novel, just as he obsesses Ahab. Facts about the whale and whaling cannot explain Moby-Dick; on the contrary, the facts themselves tend to become symbols, and every fact is obscurely related in a cosmic web to every other fact. This idea of correspondence (as Melville calls it in the “Sphinx” chapter) does not, however, mean that humans can “read” truth in nature, as it does in Emerson. Behind Melville’s accumulation of facts is a mystic vision – but whether this vision is evil or good, human or inhuman, is never explained.
The novel is modern in its tendency to be self-referential, or reflexive. In other words, the novel often is about itself. Melville frequently comments on mental processes such as writing, reading, and understanding. One chapter, for instance, is an exhaustive survey in which the narrator attempts a classification but finally gives up, saying that nothing great can ever be finished (“God keep me from ever completing anything. This whole book is but a draught – nay, but the draught of a draught. O Time, Strength, Cash and Patience”). Melville’s notion of the literary text as an imperfect version or an abandoned draft is quite contemporary.
Ahab insists on imaging a heroic, timeless world of absolutes in which he can stand above his men. Unwisely, he demands a finished text, an answer. But the novel shows that just as there are no finished texts, there are no final answers except, perhaps, death.
Certain literary references resonate throughout the novel. Ahab, named for an Old Testament king, desires a total, Faustian, god-like knowledge. Like Oedipus in Sophocles’ play, who pays tragically for wrongful knowledge, Ahab is struck blind before he is wounded in the leg and finally killed. Moby-Dick ends with the word “orphan.” Ishmael, the narrator, is an orphan-like wanderer. The name Ishmael emanates from the Book of Genesis in the Old Testament – he was the son of Abraham and Hagar (servant to Abraham’s wife, Sarah). Ishmael and Hagar were cast into the wilderness by Abraham.
Other examples exist. Rachel (one of the patriarch Jacob’s wives) is the name of the boat that rescues Ishmael at book’s end. Finally, the metaphysical whale reminds Jewish and Christian readers of the biblical story of Jonah, who was tossed overboard by fellow sailors who considered him an object of ill fortune. Swallowed by a “big fish,” according to the biblical text, he lived for a time in its belly before being returned to dry land through God’s intervention. Seeking to flee from punishment, he only brought more suffering upon himself.
Historical references also enrich the novel. The ship Pequod is named for an extinct New England Indian tribe; thus the name suggests that the boat is doomed to destruction. Whaling was in fact a major industry, especially in New England: It supplied oil as an energy source, especially for lamps. Thus the whale does literally “shed light” on the universe. Whaling was also inherently expansionist and linked with the idea of manifest destiny, since it required Americans to sail round the world in search of whales (in fact, the present state of Hawaii came under American domination because it was used as the major refueling base for American whaling ships). The Pequod’s crew members represent all races and various religions, suggesting the idea of America as a universal state of mind as well as a melting pot. Finally, Ahab embodies the tragic version of democratic American individualism. He asserts his dignity as an individual and dares to oppose the inexorable external forces of the universe.
The novel’s epilogue tempers the tragic destruction of the ship. Throughout, Melville stresses the importance of friendship and the multicultural human community. After the ship sinks, Ishmael is saved by the engraved coffin made by his close friend, the heroic tattooed harpooner and Polynesian prince Queequeg. The coffin’s primitive, mythological designs incorporate the history of the cosmos. Ishmael is rescued from death by an object of death. From death life emerges, in the end.
Moby-Dick has been called a “natural epic” – a magnificent dramatization of the human spirit set in primitive nature – because of its hunter myth, its initiation theme, its Edenic island symbolism, its positive treatment of pre-technological peoples, and its quest for rebirth. In setting humanity alone in nature, it is eminently American. The French writer and politician Alexis de Tocqueville had predicted, in the 1835 work Democracy in America, that this theme would arise in America as a result of its democracy:
The destinies of mankind, man himself taken aloof from his country and his age and standing in the presence of Nature and God, with his passions, his doubts, his rare propensities and inconceivable wretchedness, will become the chief, if not the sole, theme of (American) poetry.
Tocqueville reasons that, in a democracy, literature would dwell on “the hidden depths of the immaterial nature of man” rather than on mere appearances or superficial distinctions such as class and status. Certainly both Moby-Dick and Typee, like Adventures of Huckleberry Finn and Walden, fit this description. They are celebrations of nature and pastoral subversions of class-oriented, urban civilization.
Edgar Allan Poe (1809-1849)
Edgar Allan Poe, a southerner, shares with Melville a darkly metaphysical vision mixed with elements of realism, parody, and burlesque. He refined the short story genre and invented detective fiction. Many of his stories prefigure the genres of science fiction, horror, and fantasy so popular today.
Poe’s short and tragic life was plagued with insecurity. Like so many other major 19th-century American writers, Poe was orphaned at an early age. Poe’s strange marriage in 1835 to his first cousin Virginia Clemm, who was not yet 14, has been interpreted as an attempt to find the stable family life he lacked.
Poe believed that strangeness was an essential ingredient of beauty, and his writing is often exotic. His stories and poems are populated with doomed, introspective aristocrats (Poe, like many other southerners, cherished an aristocratic ideal). These gloomy characters never seem to work or socialize; instead they bury themselves in dark, moldering castles symbolically decorated with bizarre rugs and draperies that hide the real world of sun, windows, walls, and floors. The hidden rooms reveal ancient libraries, strange art works, and eclectic oriental objects. The aristocrats play musical instruments or read ancient books while they brood on tragedies, often the deaths of loved ones. Themes of death-in-life, especially being buried alive or returning like a vampire from the grave, appear in many of his works, including “The Premature Burial,” “Ligeia,” “The Cask of Amontillado,” and “The Fall of the House of Usher.” Poe’s twilight realm between life and death and his gaudy, Gothic settings are not merely decorative. They reflect the overcivilized yet deathly interior of his characters disturbed psyches. They are symbolic expressions of the unconscious, and thus are central to his art.
Poe’s verse, like that of many Southerners, was very musical and strictly metrical. His best-known poem, in his own lifetime and today, is “The Raven” (1845). In this eerie poem, the haunted, sleepless narrator, who has been reading and mourning the death of his “lost Lenore” at midnight, is visited by a raven (a bird that eats dead flesh, hence a symbol of death) who perches above his door and ominously repeats the poem’s famous refrain, “nevermore.” The poem ends in a frozen scene of death-in-life:
And the Raven, never flitting, still
is sitting, still is sitting
On the pallid bust of Pallas just
above my chamber door;
And his eyes have all the seeming of
a demon’s that is dreaming,
And the lamp-light o’er him
streaming throws his shadow on the
And my soul from out that shadow
that lies floating on the floor
Shall be lifted – nevermore!
Poe’s stories – such as those cited above – have been described as tales of horror. Stories like “The Gold Bug” and “The Purloined Letter” are more tales of ratiocination, or reasoning. The horror tales prefigure works by such American authors of horror fantasy as H.P. Lovecraft and Stephen King, while the tales of ratiocination are harbingers of the detective fiction of Dashiell Hammett, Raymond Chandler, Ross Macdonald, and John D. MacDonald. There is a hint, too, of what was to follow as science fiction. All of these stories reveal Poe’s fascination with the mind and the unsettling scientific knowledge that was radically secularizing the 19th-century world view.
In every genre, Poe explores the psyche. Profound psychological insights glint throughout the stories. “Who has not, a hundred times, found himself committing a vile or silly action, for no other reason than because he knows he should not,” we read in “The Black Cat.” To explore the exotic and strange aspect of psychological processes, Poe delved into accounts of madness and extreme emotion. The painfully deliberate style and elaborate explanation in the stories heighten the sense of the horrible by making the events seem vivid and plausible.
Poe’s combination of decadence and romantic primitivism appealed enormously to Europeans, particularly to the French poets Stéphane Mallarmé, Charles Baudelaire, Paul Valéry, and Arthur Rimbaud. But Poe is not un-American, despite his aristocratic disgust with democracy, preference for the exotic, and themes of dehumanization. On the contrary, he is almost a textbook example of Tocqueville’s prediction that American democracy would produce works that lay bare the deepest, hidden parts of the psyche. Deep anxiety and psychic insecurity seem to have occurred earlier in America than in Europe, for Europeans at least had a firm, complex social structure that gave them psychological security. In America, there was no compensating security; it was every man for himself. Poe accurately described the underside of the American dream of the self-made man and showed the price of materialism and excessive competition – loneliness, alienation, and images of death-in-life.
Poe’s “decadence” also reflects the devaluation of symbols that occurred in the 19th century – the tendency to mix art objects promiscuously from many eras and places, in the process stripping them of their identity and reducing them to merely decorative items in a collection. The resulting chaos of styles was particularly noticeable in the United States, which often lacked traditional styles of its own. The jumble reflects the loss of coherent systems of thought as immigration, urbanization, and industrialization uprooted families and traditional ways. In art, this confusion of symbols fueled the grotesque, an idea that Poe explicitly made his theme in his classic collection of stories, Tales of the Grotesque and Arabesque (1840).
American women endured many inequalities in the 19th century: They were denied the vote, barred from professional schools and most higher education, forbidden to speak in public and even attend public conventions, and unable to own property. Despite these obstacles, a strong women’s network sprang up. Through letters, personal friendships, formal meetings, women’s newspapers, and books, women furthered social change. Intellectual women drew parallels between themselves and slaves. They courageously demanded fundamental reforms, such as the abolition of slavery and women’s suffrage, despite social ostracism and sometimes financial ruin. Their works were the vanguard of intellectual expression of a larger women’s literary tradition that included the sentimental novel. Women’s sentimental novels, such as Harriet Beecher Stowe’s Uncle Tom’s Cabin, were enormously popular. They appealed to the emotions and often dramatized contentious social issues, particularly those touching the family and women’s roles and responsibilities.
Abolitionist Lydia Child (1802-1880), who greatly influenced Margaret Fuller, was a leader of this network. Her successful 1824 novel Hobomok shows the need for racial and religious toleration. Its setting – Puritan Salem, Massachusetts – anticipated Nathaniel Hawthorne. An activist, Child founded a private girls’ school, founded and edited the first journal for children in the United States, and published the first anti- slavery tract, An Appeal in Favor of that Class of Americans Called Africans, in 1833. This daring work made her notorious and ruined her financially. Her History of the Condition of Women in Various Ages and Nations (1855) argues for women’s equality by pointing to their historical achievements.
Angelina Grimké (1805-1879) and Sarah Grimké (1792-1873) were born into a large family of wealthy slaveowners in elegant Charleston, South Carolina. These sisters moved to the North to defend the rights of blacks and women. As speakers for the New York Anti-Slavery Society, they were the first women to publicly lecture to audiences, including men. In letters, essays, and studies, they drew parallels between racism and sexism.
Elizabeth Cady Stanton (1815-1902), abolitionist and women’s rights activist, lived for a time in Boston, where she befriended Lydia Child. With Lucretia Mott, she organized the 1848 Seneca Falls Convention for Women’s rights; she also drafted its Declaration of Sentiments. Her “Woman’s Declaration of Independence” begins “men and women are created equal” and includes a resolution to give women the right to vote. With Susan B. Anthony, Elizabeth Cady Stanton campaigned for suffrage in the 1860s and 1870s, formed the anti-slavery Women’s Loyal National League and the National Woman Suffrage Association, and co-edited the weekly newspaper Revolution. President of the Woman Suffrage Association for 21 years, she led the struggle for women’s rights. She gave public lectures in several states, partly to support the education of her seven children.
After her husband died, Cady Stanton deepened her analysis of inequality between the sexes. Her book The Woman’s Bible (1895) discerns a deep-seated anti-female bias in Judaeo-Christian tradition. She lectured on such subjects as divorce, women’s rights, and religion until her death at 86, just after writing a letter to President Theodore Roosevelt supporting the women’s vote. Her numerous works – at first pseudonymous, but later under her own name – include three co-authored volumes of History of Woman Suffrage (1881-1886) and a candid, humorous autobiography.
Sojourner Truth (c.1797-1883) epitomized the endurance and charisma of this extraordinary group of women. Born a slave in New York, she grew up speaking Dutch. She escaped from slavery in 1827, settling with a son and daughter in the supportive Dutch-American Van Wagener family, for whom she worked as a servant. They helped her win a legal battle for her son’s freedom, and she took their name. Striking out on her own, she worked with a preacher to convert prostitutes to Christianity and lived in a progressive communal home. She was christened “Sojourner Truth” for the mystical voices and visions she began to experience. To spread the truth of these visionary teachings, she sojourned alone, lecturing, singing gospel songs, and preaching abolitionism through many states over three decades. Encouraged by Elizabeth Cady Stanton, she advocated women’s suffrage. Her life is told in the Narrative of Sojourner Truth (1850), an autobiographical account transcribed and edited by Olive Gilbert. Illiterate her whole life, she spoke Dutch-accented English. Sojourner Truth is said to have bared her breast at a women’s rights convention when she was accused of really being a man. Her answer to a man who said that women were the weaker sex has become legendary:
I have ploughed and planted, and gathered into bars, and no man could head me! And ain’t I a woman? I could work as much and eat as much as a man – when I could get it – and bear the lash as well! And ain’t I a woman? I have borne thirteen children, and seen them most all sold off to slavery, and when I cried out with my mother’s grief, none but Jesus heard me! And ain’t I a woman?
This humorous and irreverent orator has been compared to the great blues singers. Harriet Beecher Stowe and many others found wisdom in this visionary black woman, who could declare, “Lord, Lord, I can love even de white folk!”
Harriet Beecher Stowe (1811-1896)
Harriet Beecher Stowe’s novel Uncle Tom’s Cabin; or, Life Among the Lowly was the most popular American book of the 19th century. First published serially in the National Era magazine (1851-1852), it was an immediate success. Forty different publishers printed it in England alone, and it was quickly translated into 20 languages, receiving the praise of such authors as Georges Sand in France, Heinrich Heine in Germany, and Ivan Turgenev in Russia. Its passionate appeal for an end to slavery in the United States inflamed the debate that, within a decade, led to the U.S. Civil War (1861-1865).
Reasons for the success of Uncle Tom’s Cabin are obvious. It reflected the idea that slavery in the United States, the nation that purportedly embodied democracy and equality for all, was an injustice of colossal proportions.
Stowe herself was a perfect representative of old New England Puritan stock. Her father, brother, and husband all were well-known, learned Protestant clergymen and reformers. Stowe conceived the idea of the novel – in a vision of an old, ragged slave being beaten – as she participated in a church service. Later, she said that the novel was inspired and “written by God.” Her motive was the religious passion to reform life by making it more godly. The Romantic period had ushered in an era of feeling: The virtues of family and love reigned supreme. Stowe’s novel attacked slavery precisely because it violated domestic values.
Uncle Tom, the slave and central character, is a true Christian martyr who labors to convert his kind master, St. Clare, prays for St. Clare’s soul as he dies, and is killed defending slave women. Slavery is depicted as evil not for political or philosophical reasons but mainly because it divides families, destroys normal parental love, and is inherently un-Christian. The most touching scenes show an agonized slave mother unable to help her screaming child and a father sold away from his family. These were crimes against the sanctity of domestic love.
Stowe’s novel was not originally intended as an attack on the South; in fact, Stowe had visited the South, liked southerners, and portrayed them kindly. Southern slaveowners are good masters and treat Tom well. St. Clare personally abhors slavery and intends to free all of his slaves. The evil master Simon Legree, on the other hand, is a northerner and the villain. Ironically, the novel was meant to reconcile the North and South, which were drifting toward the Civil War a decade away. Ultimately, though, the book was used by abolitionists and others as a polemic against the South.
Harriet Jacobs (1818-1896)
Born a slave in North Carolina, Harriet Jacobs was taught to read and write by her mistress. On her mistress’s death, Jacobs was sold to a white master who tried to force her to have sexual relations. She resisted him, finding another white lover by whom she had two children, who went to live with her grandmother. “It seems less degrading to give one’s self than to submit to compulsion,” she candidly wrote. She escaped from her owner and started a rumor that she had fled North.
Terrified of being caught and sent back to slavery and punishment, she spent almost seven years hidden in her master’s town, in the tiny dark attic of her grandmother’s house. She was sustained by glimpses of her beloved children seen through holes that she drilled through the ceiling. She finally escaped to the North, settling in Rochester, New York, where Frederick Douglass was publishing the anti-slavery newspaper North Star and near which (in Seneca Falls) a women’s rights convention had recently met. There Jacobs became friends with Amy Post, a Quaker feminist abolitionist, who encouraged her to write her autobiography. Incidents in the Life of a Slave Girl, published under the pseudonym “Linda Brent” in 1861, was edited by Lydia Child. It outspokenly condemned the sexual exploitation of black slave women. Jacobs’s book, like Douglass’s, is part of the slave narrative genre extending back to Olauda Equiano in colonial times.
Harriet Wilson (c. 1807-1870)
Harriet Wilson was the first African-American to publish a novel in the United States – Our Nig: or, Sketches from the life of a Free Black, in a two-storey white house, North, showing that Slavery’s Shadows Fall Even There (1859). The novel realistically dramatizes the marriage between a white woman and a black man, and also depicts the difficult life of a black servant in a wealthy Christian household. Formerly thought to be autobiographical, it is now understood to be a work of fiction.
Like Jacobs, Wilson did not publish under her own name (Our Nig was ironic), and her work was overlooked until recently. The same can be said of the work of most of the women writers of the era. Noted African-American scholar Henry Louis Gates, Jr. – in his role of spearheading the black fiction project – reissued Our Nig in 1983.
Frederick Douglass (1817-1895)
The most famous black American anti-slavery leader and orator of the era, Frederick Douglass was born a slave on a Maryland plantation. It was his good fortune to be sent to relatively liberal Baltimore as a young man, where he learned to read and write. Escaping to Massachusetts in 1838, at age 21, Douglass was helped by abolitionist editor William Lloyd Garrison and began to lecture for anti-slavery societies.
In 1845, he published his Narrative of the Life of Frederick Douglass, An American Slave (second version 1855, revised in 1892), the best and most popular of many “slave narratives.” Often dictated by illiterate blacks to white abolitionists and used as propaganda, these slave narratives were well-known in the years just before the Civil War. Douglass’s narrative is vivid and highly literate, and it gives unique insights into the mentality of slavery and the agony that institution caused among blacks.
The slave narrative was the first black literary prose genre in the United States. It helped blacks in the difficult task of establishing an African-American identity in white America, and it has continued to exert an important influence on black fictional techniques and themes throughout the 20th century. The search for identity, anger against discrimination, and sense of living an invisible, hunted, underground life unacknowledged by the white majority have recurred in the works of such 20th-century black American authors as Richard Wright, James Baldwin, Ralph Ellison, and Toni Morrison.
Outline of American Literature is a publication of the U.S. State Department. You can read more and explore further at the official website for Outline of American Literature (OAL). This chapter of OAL has been updated by the EIL staff, who added a table of contents and additional section headings for easier reading.
Kathryn VanSpanckeren, professor of English at the University of Tampa, has lectured in American literature widely abroad, and is former director of the Fulbright-sponsored Summer Institute in American Literature for international scholars. Her publications include poetry and scholarship. She received her Bachelors degree from the University of California, Berkeley, and her Ph.D. from Harvard University.
More Outline of American Literature hosted by Excellence in Literature