After our discussions last class, I found myself continuing to think about the way Harriet Beecher Stowe writes, and why exactly this novel took off, and became one of the most widely read novels of the 19th century (regardless of how controversial it has since become). It became increasingly obvious to me that Stowe used a tactic, probably in a strategic way, that could definitely be rejected today: she made one of the most key characters, young slave Eliza, a very light-skinned black woman who could “pass” easily as white. In scenes like the scene when Eliza is about to have her little son taken away from her, and runs away across the river, Stowe’s writing begs for the sympathy of any reader, but especially white readers. Without a doubt, every white woman with a child was imagining themselves in her shoes, and what they might have done if they were coming for HER little boy. Is it possible that, subconsciously, at least, Eliza’s light skin was in large part what made it so easy for white women to identify with her? Another tactic, of course, which seems to be particularly obvious in the end of the story with Tom’s death, is the way Stowe and the story is siding with/mirroring Christianity and Christian morality. Without a doubt, she writes Uncle Tom is a noble, Christlike character who is patiently enduring the torture imposed on him by Legree. The way he is tortured onto death just as Jesus was, had to have been by design, as was the references to Tom holding prayer services in his cabin each night. Finally, the way she portrays the Shelbys seems to have also played a role in how the novel was received and the success/popularity it gained during its time. As written, the Shelbys are forced by absolute economic necessity to sell these slaves, but they themselves (especially Mrs. Shelby) are portrayed all in all as fundamentally good people. Here, Stowe is letting white readers have someone positive to identify with, while still acknowledging that the institution of slavery itself is evil. This certainly was in a massive part of why the novel was popular in comparison to other more harsh narratives within the abolitionist literature of the time; white readers could complacently/peacefully identify with the virtuous Shelbys who were “masters,” even while also claiming to despise the institution of slavery itself.
Stowe’s Strategy
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Hi Kaitlin!
I was also intrigued by Beecher Stowe’s decision to highlight different characters’ complexions. Specifically, I was surprised at the emphasis given to Dodo’s race. When Henrique is reprimanding Dodo, a child born with a lighter complexion, it is noted that Dodo, “had white blood in his veins, as could be seen by the quick flush in his cheek, and the sparkle of his eye, as he eagerly tried to speak” (Stowe, 388). The description of Dodo’s blood as “white” suggests that there is an internal difference between people who are born from one black parent to those that are born from two black parents. It also seems to suggest that even if a person has one black parent, they are more so white than they are black. Furthermore, the repeated mentioning of the blush displayed on Dodo’s face, alongside moments where an emotional reaction is appropriate, highlights Dodo’s inability to hide his inward disposition. When Eva shows Dodo kindness it is noted that “the blood rushed to his cheeks, and the tears to his eyes” (Stowe, 390). Dodo’s complexion is how he shows his emotions and inner self to those around him. On the other hand, Topsy is simultaneously described as the “blackest of her race” and the person who is most capable of deceiving (hiding her emotions) from those around her. As you said, I am not sure that Beecher Stowe purposefully makes some characters different complexions for specific reasoning, but it is an interesting aspect of the text.
Hi Kaitlin!
Stowe’s approach to character portrayal, especially with Eliza, is fascinating. It’s like she strategically crafted this character who could tug at the heartstrings of white readers, making them really empathize with her struggles. That scene with Eliza fleeing across the river with her son is just so emotionally charged, and you’re right, it probably hit home for a lot of white readers, imagining themselves in her shoes. But what really struck me is how Stowe handles the Shelbys. It’s like she gives white readers these characters they can identify with, who are grappling with the moral complexities of slavery. Even though they’re part of the system, Stowe paints them as fundamentally good people, struggling with economic necessity.
-Siena Rose
Hi all,
I agree with all that has been said about tactics that Stowe uses to build characters who would be sympathetic to a 19th Century white reader. As I wrote about in my initial post, we also see her appealing to a certain group with socioeconomic and educational privilege. One thing that I also noticed, which particularly pertains to Kaitlin’s original point about Eliza, is that Stowe seems to make her more sympathetic characters conventionally attractive. One such example of this is in the tavern scene, where those opposing slavery are described as “great” and “tall,” with an “easy lounge.”
I think another reason worth pointing out is the novel’s serialized publication in the “National Era,” an abolitionist weekly, before its release as a single volume. Serialization allowed Stowe to reach a wide audience over time, creating anticipation and ongoing discussion among readers. It enabled readers to engage with the story in a communal way, discussing each installment and speculating about the story’s development. This would be even more impactful given the subject material being slavery, an immensely divisive topic given the state of the institution in 1852, with more than 3.4 million enslaved African-Americans. This ongoing engagement helped build a strong readership base and generated significant buzz around the novel even before its full publication.
Furthermore, the serialized publication allowed Stowe to respond to reader reactions and the changing political climate. This might also be the reason why she released “The Key to Uncle Tom’s Cabin”, in response to critics that questioned the truth and validity of the work, showing her awareness and involvement with the literary community and their opinions surrounding her writing. This interactivity, though not direct in the modern sense, created a dynamic relationship between Stowe and her audience, enhancing the novel’s impact, relevance, and popularity.