Uncle Tom's Cabin: or, Life among the Lowly
688Uncle Tom's Cabin: or, Life among the Lowly
688Paperback(Modern Library Paperback Edition)
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Overview
Product Details
ISBN-13: | 9780375756931 |
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Publisher: | Random House Publishing Group |
Publication date: | 01/09/2001 |
Series: | Modern Library Classics |
Edition description: | Modern Library Paperback Edition |
Pages: | 688 |
Product dimensions: | 5.30(w) x 7.84(h) x 1.13(d) |
About the Author
Four years later, in 1836, Harriet Beecher married Calvin Stowe, a respected biblical scholar and theologian by whom she had seven children. In order to supplement the family's meager income she continued writing. The Mayflower, her first collection of stories and sketches, appeared in 1843. During this period abolitionist conflicts rocked Cincinnati, and Mrs. Stowe witnessed firsthand the misery of slaves living just across the Ohio River in Kentucky. But not until the passage of the Fugitive Slave Act of 1850 was she inspired to write about their plight. After the family resettled in Brunswick, Maine, when Mr. Stowe was hired as a professor at Bowdoin College, she began working on a novel that would expose the evils of slavery.
First serialized in the National Era, an abolitionist paper, in forty weekly installments between June 5, 1851, and April 1, 1852, and published as a book on March 20, 1852, Uncle Tom's Cabin was an enormous success. Tolstoy deemed it a great work of literature 'flowing from love of God and man,' and within a year the book had sold more than 300,000 copies. When Uncle Tom's Cabin appeared in Great Britain Queen Victoria sent Mrs. Stowe a note of gratitude, and enthusiastic crowds greeted the author in London on her first trip abroad in 1853. In an attempt to silence the many critics at home who denounced the work as vicious propaganda, Mrs. Stowe brought out A Key to Uncle Tom's Cabin in 1853, which contained documentary evidence substantiating the graphic picture of slavery she had drawn. Dred (1856), a second antislavery novel, did not enjoy the acclaim of Uncle Tom's Cabin, yet the author had already stirred the conscience of the nation and the world, fueling sentiments that would ignite the Civil War. When Abraham Lincoln met her at the White House in 1862 he allegedly remarked: 'So you're the little woman who wrote the book that started this great war!'
In subsequent novels Stowe shifted her attention away from the issue of slavery. Beginning with The Minister's Wooing (1859), and continuing with The Pearl of Orr's Island (1862), Oldtown Folks (1869), and Poganuc People (1878), she presented a perceptive and realistic chronicle of colonial New England, focusing especially on the theological warfare that underscored Puritan life. In a second and less popular series of novels—My Wife and I (1871), Pink and White Tyranny (1871), and We and Our Neighbors (1875)—she depicted the mores of post-Civil War America. Mrs. Stowe did enjoy success, however, with the controversial Lady Byron Vindicated (1870), a bold defense of her friend Anne, Lady Byron, that scandalously revealed Lord Byron's moral delinquency. In addition she became a regular contributor to the Atlantic Monthly, which published many of the memorable short stories later collected in Oldtown Fireside Stories (1872) and Sam Lawson's Oldtown Fireside Stories (1881).
Harriet Beecher Stowe wrote little during the last years of her life. She died in Hartford, Connecticut, on July 1, 1896. Perhaps Mrs. Stowe's achievement was best summed up by abolitionist Frederick Douglass who said: 'Hers was the word for the hour.'
Date of Birth:
June 14, 1811Date of Death:
July 1, 1896Place of Birth:
Litchfield, ConnecticutPlace of Death:
Hartford, ConnecticutEducation:
HomeschooledRead an Excerpt
Late in the afternoon of a chilly day in February, two gentlemen were sitting alone over their wine, in a well-furnished dining parlor, in the town of P—, in Kentucky.
There were no servants present, and the gentlemen, with chairs closely approaching, seemed to be discussing some subject with great earnestness.
For convenience sake, we have said, hitherto, two gentlemen. One of the parties,
however, when critically examined, did not seem, strictly speaking, to come under the species. He was a short, thick-set man, with coarse, commonplace features, and that swaggering air of pretension which marks a low man who is trying to elbow his way upward in the world. He was much over-dressed, in a gaudy vest of many colors, a blue neckerchief, bedropped gayly with yellow spots, and arranged with a flaunting tie, quite in keeping with the general air of the man. His hands, large and coarse, were plentifully bedecked with rings; and he wore a heavy gold watch-chain, with a bundle of seals of portentous size, and a great variety of colors,
attached to it,—which, in the ardor of conversation, he was in the habit of flourishing and jingling with evident satisfaction. His conversation was in free and easy defiance of Murray's Grammar, and was garnished at convenient intervals with various profane expressions, which not even the desire to be graphic in our account shall induce us to transcribe.
His companion, Mr. Shelby, had the appearance of a gentleman; and the arrangements of the house, and the general air of the housekeeping, indicated easy,
and even opulent circumstances. As we before stated, the two were in the midst of an earnest conversation.
'That is the way I should arrange the matter,' said Mr. Shelby.
'I can't make trade that way—I positively can't, Mr. Shelby,' said the other, holding up a glass of wine between his eye and the light.
'Why, the fact is, Haley, Tom is an uncommon fellow; he is certainly worth that sum anywhere—steady, honest, capable, manages my whole farm like a clock.'
'You mean honest, as niggers go,' said Haley, helping himself to a glass of brandy.
'No; I mean, really, Tom is a good, steady, sensible, pious fellow. He got religion at a camp-meeting, four years ago; and I believe he really did get it. I've trusted him,
since then, with everything I have,—money, house, horses,—and let him come and go round the country; and I always found him true and square in everything.'
'Some folks don't believe there is pious niggers, Shelby,' said Haley, with a candid flourish of his hand, 'but I do. I had a fellow, now, in this yer last lot I took to
Orleans—'twas as good as a meetin', now, really, to hear that critter pray; and he was quite gentle and quiet like. He fetched me a good sum, too, for I bought him cheap of a man that was 'bliged to sell out; so I realized six hundred on him. Yes, I consider religion a valeyable thing in a nigger, when it's the genuine article, and no mistake.'
'Well, Tom's got the real article, if ever a fellow had,' rejoined the other. 'Why, last fall, I let him go to Cincinnati alone, to do business for me, and bring home five hundred dollars. 'Tom,' says I to him, 'I trust you, because I think you're a
Christian—'I know you wouldn't cheat.' Tom comes back, sure enough; I knew he would. Some low fellows, they say, said to him—'Tom, why don't you make tracks for Canada?' 'Ah, master trusted me, and I couldn't'—they told me about it. I am sorry to part with Tom, I must say. You ought to let him cover the whole balance of the debt; and you would, Haley, if you had any conscience.'
'Well, I've got just as much conscience as any man in business can afford to keep,—just a little, you know, to swear by, as 'twere,' said the trader, jocularly; 'and then, I'm ready to do anything in reason to 'blige friends; but this yer, you see, is a leetle too hard on a fellow—a leetle too hard.' The trader sighed contemplatively, and poured out some more brandy.
'Well, then, Haley, how will you trade?' said Mr. Shelby, after an uneasy interval of silence.
'Well, haven't you a boy or gal that you could throw in with Tom?'
'Hum!—none that I could well spare; to tell the truth, it's only hard necessity makes me willing to sell at all. I don't like parting with any of my hands, that's a fact.'
Here the door opened, and a small quadroon boy, between four and five years of age, entered the room. There was something in his appearance remarkably beautiful and engaging. His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously into the apartment. A
gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to advantage the dark and rich style of his beauty; and a certain comic air of assurance, blended with bashfulness, showed that he had been not unused to being petted and noticed by his master.
Table of Contents
Vol. I | ||
I | In Which the Reader Is Introduced to a Man of Humanity | 7 |
II | The Mother | 17 |
III | The Husband and Father | 20 |
IV | An Evening in Uncle Tom's Cabin | 25 |
V | Showing the Feelings of Living Property on Changing Owners | 37 |
VI | Discovery | 45 |
VII | The Mother's Struggle | 54 |
VIII | Eliza's Escape | 67 |
IX | In Which It Appears That a Senator Is But a Man | 82 |
X | The Property Is Carried Off | 99 |
XI | In Which Property Gets into an Improper State of Mind | 108 |
XII | Select Incident of Lawful Trade | 122 |
XIII | The Quaker Settlement | 139 |
XIV | Evangeline | 148 |
XV | Of Tom's New Master, and Various Other Matters | 158 |
XVI | Tom's Mistress and Her Opinions | 174 |
XVII | The Freeman's Defence | 193 |
XVIII | Miss Ophelia's Experiences and Opinions | 209 |
Vol. II | ||
XIX | Miss Ophelia's Experiences and Opinions, Continued | 226 |
XX | Topsy | 245 |
XXI | Kentuck | 260 |
XXII | "The Grass Withereth--the Flower Fadeth" | 265 |
XXIII | Henrique | 272 |
XXIV | Foreshadowings | 280 |
XXV | The Little Evangelist | 286 |
XXVI | Death | 291 |
XXVII | "This Is the Last of Earth" | 304 |
XXVIII | Reunion | 312 |
XXIX | The Unprotected | 326 |
XXX | The Slave Warehouse | 334 |
XXXI | The Middle Passage | 344 |
XXXII | Dark Places | 350 |
XXXIII | Cassy | 359 |
XXXIV | The Quadroon's Story | 366 |
XXXV | The Tokens | 377 |
XXXVI | Emmeline and Cassy | 383 |
XXXVII | Liberty | 390 |
XXXVIII | The Victory | 396 |
XXXIX | The Stratagem | 406 |
XL | The Martyr | 416 |
XLI | The Young Master | 423 |
XLII | An Authentic Ghost Story | 429 |
XLIII | Results | 436 |
XLIV | The Liberator | 444 |
XLV | Concluding Remarks | 447 |
What People are Saying About This
"Allen masterfully elicits an array of Southern dialects for Stowe's variety of characters. His thoughtful, engaged performance creates a memorable audio experience." -AudioFile
Reading Group Guide
1. Charles Dudley Warner wrote in an 1896 essay (see Commentary section, above) that "Distinguished as the novel is by its character-drawing and its pathos, I doubt if it would have captivated the world without its humor." What is the role of humor in Uncle Tom's Cabin?
2. Given that the cabin is featured only briefly in the novel, why do you think the book is called Uncle Tom's Cabin?
3. Uncle Tom's Cabin draws on modes, such as the jeremiad,
allegory, and prophecy, that were commonly used by New England writers in the nineteenth century whose literary predecessors were eighteenth-century theologians and preachers (for example, Cotton Mather and Jonathan Edwards). How do these elements function in the novel? What role do the Bible and biblical allusion play (there are at least seventy allusions to, or quotations from, the Bible in the novel)?
4. What is the purpose of the two plots (the story of Uncle Tom, on the one hand, and that of the Harrises, on the other)?
5. What is the significance of the repetition of names (e.g., there are two Toms, two Georges, two Henrys [Henrique and Harry])?
6. Ever since the publication of Uncle Tom's Cabin, critics have debated whether its sentimentality undermines its abolitionist purpose. James Baldwin, for example, in a famous essay called "Everybody's Protest Novel" (see Commentary section, above), argued that "Uncle Tom's Cabin is a very bad novel, having, in its self-righteous, virtuous sentimentality, much in common with Little Women. Sentimentality, the ostentatious parading of excessive or spurious emotion, is the mark of dishonesty, the inability to feel; the wet eyes of the sentimentalist betray his aversion to experience, his fear of life, his arid heart, and it is always, therefore, the signal of secret and violent inhumanity, the mask of cruelty." Kenneth Lynn, on the other hand, claims that "Uncle Tom's Cabin is the greatest tear-jerker of them all, but it is a tear-jerker with a difference: it did not permit its audience to escape reality. Instead the novel's sentimentalism continually calls attention to the monstrous actuality which existed under the very noses of its readers. Mrs. Stowe aroused emotions not for emotion's sake alone-as the sentimental novelists notoriously did-but in order to facilitate the moral regeneration of an entire nation." Which side do you take in this debate?
7. A related question concerns the artistic merit of the novel, with one side arguing that while Uncle Tom's Cabin was historically and politically significant, it is not a literary masterpiece (owing, among other things, to its sentimentality), and the other side claiming that it is aesthetically valuable (so James Russell Lowell wrote in 1859, "It was so easy to account for the unexampled popularity of 'Uncle Tom' by attributing to it a cheap sympathy with sentimental philanthropy" but, he continues, "we had the advantage of reading that extraordinary book in Europe, long after the whirl of excitement produced by its publication had subsided, and with a judgement undisturbed by those political sympathies which it is impossible, perhaps unwise, to avoid at home. We felt then, and we believe now, that the secret of Mrs. Stowe's power lay in that same genius by which the great successes in creative literature have always been achieved-the genius that instinctively goes to the organic elements of human nature, whether under a white skin or a black, and which disregards as trivial the conventions and factitious notions which make so large a part both of our thinking and feeling"). Do you think the novel is a successful work of art or not?
Introduction
A Reading Group Guide for Uncle Tom's Cabin
About the Book
Arthur Shelby is a good man kind and fair but he has fallen into financial difficulties. The only way he can set things right is by selling two of his slaves: the strong and faithful Tom, and Eliza's charming young son. Shelby's decision sets in motion two series of events that are as different as night and day, as both Tom and Eliza are forced to leave the Shelby estate. The journeys they take, and the people they meet along the way, lie at the heart of Uncle Tom's Cabin, a story that served as a searing indictment of the slave system that existed at the time.
Discussion Topics
- How do the other people on the Shelby estate react to news of the sale of Tom and Harry? What is Mrs. Shelby's objection? How does young "Mas'r George" deal with the news of his friend's departure? How do the other slaves react?
- Many different people help Eliza during her flight Mr. Symmes, the Bird family, the community of Quakers. What similarities and differences are there among all these people? What reasons does each of them give for helping Eliza?
- Much of the dialogue in the book is given over to a debate on the morality of slavery. Most of the slave owners feel that they are "above" the slave traders. Is this true? Why do you think that so many members of the clergy defended slavery?
- Discuss the author's attitude toward her black characters. Do you think this was an acceptable point of view at the time? What do you think would have to be changed if the story were being told today?
- Miss Ophelia's presence in the story allows the author to addressNorthern attitudes toward blacks. As St. Clare tells her, "You loathe them as you would a snake or a toad, yet you are indignant at their wrongs. You would not have them abused; but you don't want to have anything to do with them yourselves." Is this a fair assessment of Miss Ophelia's feelings? What happens to change her attitude?
- Discuss the death scenes of both Eva and Uncle Tom. In what ways are they similar? In what ways are they different? Why do you think that the author devoted so much time to these death scenes?
- Children play a large part in the story of Uncle Tom's Cabin. What do Eva, Topsy, George Shelby, Harry, and Henrique each symbolize? Would the story have been the same if their characters had been adult?
Activities
- Trace the route of the Underground Railroad. Find information about some of the major stops, as well as some of the famous "conductors" that helped slaves escape. Also, research what the punishment was for helping the slaves.
- Eliza's escape across the river has always been popular with dramatists and actors. See if you can find examples of this scene being acted out (hint: it figures prominently in the movie The King and I). Perform this scene yourself, and any other scenes you think lend themselves well to performance.
- Uncle Tom's Cabin was very controversial when it was first published, and it's often said to be a contributing factor to the Civil War. Research reactions to the book throughout its history.
- Investigate the institution of slavery. What were the economic factors that supported it? Could slavery have ended without a war?
- Quakers played an important role in the abolitionist movement. How did their beliefs make them particularly well suited for the abolitionist cause?
- A great deal of attention is given in the book to descriptions of food. Find some traditional Southern recipes and try them out.
- Find other books and writings that were important in the fight for civil rights. Compare them to Uncle Tom's Cabin, both in terms of style and historical context.
- Investigate the institution of slavery. What were the economic factors that supported it? Could slavery have ended without a war?