Martin Luther King Jr. Day Anthology - - (comprehension books .TXT) 📗

definite purpose. That purpose was to quicken the sense of responsibility of the North by showing the real character of slavery, and to touch the South by showing that the inevitable wrong of it lay in the system rather than in those involved in it. Abundant material was in her hands, and the author burned to make it serviceable. What should she do? She might have done what she did afterwards in The Key, presented to the public a mass of statistics, of legal documents. The evidence would have been unanswerable, but the jury might not have been moved by it; they would have balanced it by considerations of political and commercial expediency. I presume that Mrs. Stowe made no calculation of this kind. She felt her course, and went on in it. What would an artist have done, animated by her purpose and with her material? He would have done what Cervantes did, what Tourgenieff did, what Mrs. Stowe did. He would have dramatized his facts in living personalities, in effective scenes, in vivid pictures of life. Mrs. Stowe exhibited the system of slavery by a succession of dramatized pictures, not always artistically welded together, but always effective as an exhibition of the system. Cervantes also showed a fading feudal romantic condition by a series of amusing and pathetic adventures, grouped rather loosely about a singularly fascinating figure.

 

Tourgenieff, a more consummate artist, in his hunting scenes exhibited the effect of serfdom upon society, in a series of scenes with no necessary central figure, without comment, and with absolute concealment of any motive. I believe the three writers followed their instincts, without an analytic argument as to the method, as the great painter follows his when he puts an idea upon canvas. He may invent a theory about it afterwards; if he does not, some one else will invent it for him. There are degrees of art. One painter will put in unnecessary accessories, another will exhibit his sympathy too openly, the technique or the composition of another can be criticised. But the question is, is the picture great and effective?

 

Mrs. Stowe had not Tourgenieff’s artistic calmness. Her mind was fused into a white heat with her message. Yet, how did she begin her story? Like an artist, by a highly dramatized scene, in which the actors, by a few strokes of the pen, appear as distinct and unmistakable personalities, marked by individual peculiarities of manner, speech, motive, character, living persons in natural attitudes. The reader becomes interested in a shrewd study of human nature, of a section of life, with its various refinement, coarseness, fastidiousness and vulgarity, its humor and pathos.

As he goes on he discovers that every character has been perfectly visualized, accurately limned from the first; that a type has been created which remains consistent, which is never deflected from its integrity by any exigencies of plot. This clear conception of character (not of earmarks and peculiarities adopted as labels), and faithful adhesion to it in all vicissitudes, is one of the rarest and highest attributes of genius. All the chief characters in the book follow this line of absolutely consistent development, from Uncle Tom and Legree down to the most aggravating and contemptible of all, Marie St. Clare. The selfish and hysterical woman has never been so faithfully depicted by any other author.

 

Distinguished as the novel is by its character-drawing and its pathos, I doubt if it would have captivated the world without its humor. This is of the old-fashioned kind, the large humor of Scott, and again of Cervantes, not verbal pleasantry, not the felicities of Lamb, but the humor of character in action, of situations elaborated with great freedom, and with what may be called a hilarious conception. This quality is never wanting in the book, either for the reader’s entertainment by the way, or to heighten the pathos of the narrative by contrast. The introduction of Topsy into the New Orleans household saves us in the dangerous approach to melodrama in the religious passages between Tom and St. Clare. Considering the opportunities of the subject, the book has very little melodrama; one is apt to hear low music on the entrance of little Eva, but we are convinced of the wholesome sanity of the sweet child. And it is to be remarked that some of the most exciting episodes, such as that of Eliza crossing the Ohio River on the floating ice (of which Mr. Ruskin did not approve), are based upon authentic occurrences. The want of unity in construction of which the critics complain is partially explained by the necessity of exhibiting the effect of slavery in its entirety. The parallel plots, one running to Louisiana and the other to Canada, are tied together by this consideration, and not by any real necessity to each other.

 

There is no doubt that Mrs. Stowe was wholly possessed by her theme, rapt away like a prophet in a vision, and that, in her feeling at the time, it was written through her quite as much as by her. This idea grew upon her mind in the retrospective light of the tremendous stir the story made in the world, so that in her later years she came to regard herself as a providential instrument, and frankly to declare that she did not write the book; “God wrote it.” In her own account, when she reached the death of Uncle Tom, “the whole vital force left her.” The inspiration there left her, and the end of the story, the weaving together of all the loose ends of the plot, in the joining together almost by miracle the long separated, and the discovery of the relationships, is the conscious invention of the novelist.

 

It would be perhaps going beyond the province of the critic to remark upon what the author considered the central power of the story, and its power to move the world, the faith of Uncle Tom in the Bible. This appeal to the emotion of millions of readers cannot, however, be overlooked. Many regard the book as effective in regions remote from our perplexities by reason of this grace.

When the work was translated into Siamese, the perusal of it by one of the ladies of the court induced her to liberate all her slaves, men, women, and children, one hundred and thirty in all.

“Hidden Perfume,” for that was the English equivalent of her name, said she was wishful to be good like Harriet Beecher Stowe. And as to the standpoint of Uncle Tom and the Bible, nothing more significant can be cited than this passage from one of the latest writings of Heinrich Heine:—

 

“The reawakening of my religious feelings I owe to that holy book the Bible. Astonishing that after I have whirled about all my life over all the dance-floors of philosophy, and yielded myself to all the orgies of the intellect, and paid my addresses to all possible systems, without satisfaction like Messalina after a licentious night, I now find myself on the same standpoint where poor Uncle Tom stands,—on that of the Bible! I kneel down by my black brother in the same prayer! What a humiliation! With all my science I have come no further than the poor ignorant negro who has scarce learned to spell. Poor Tom, indeed, seems to have seen deeper things in the holy book than I… . Tom, perhaps, understands them better than I, because more flogging occurs in them; that is to say, those ceaseless blows of the whip which have aesthetically disgusted me in reading the Gospels and the Acts.

But a poor negro slave reads with his back, and understands better than we do. But I, who used to make citations from Homer, now begin to quote the Bible as Uncle Tom does.”

 

The one indispensable requisite of a great work of imaginative fiction is its universality, its conception and construction so that it will appeal to universal human nature in all races and situations and climates. Uncle Tom’s Cabin does that.

Considering certain artistic deficiencies, which the French writers perceived, we might say that it was the timeliness of its theme that gave it currency in England and America. But that argument falls before the world-wide interest in it as a mere story, in so many languages, by races unaffected by our own relation to slavery.

 

It was the opinion of James Russell Lowell that the anti-slavery element in Uncle Tom and Dred stood in the way of a full appreciation, at least in her own country, of the remarkable genius of Mrs. Stowe. Writing in 1859, he said, “From my habits and the tendency of my studies I cannot help looking at things purely from an aesthetic point of view, and what I valued in Uncle Tom was the genius, and not the moral.” This had been his impression when he read the book in Paris, long after the whirl of excitement produced by its publication had subsided, and far removed by distance from local influences. Subsequently, in a review, he wrote, “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 fictitious notions which make so large a part both of our thinking and feeling… . The creative faculty of Mrs. Stowe, like that of Cervantes in Don Quixote and of Fielding in Joseph Andrews, overpowered the narrow specialty of her design, and expanded a local and temporary theme with the cosmopolitanism of genius.”

 

A half-century is not much in the life of a people; it is in time an inadequate test of the staying power of a book. Nothing is more futile than prophecy on contemporary literary work. It is safe, however, to say that Uncle Tom’s Cabin has the fundamental qualities, the sure insight into human nature, and the fidelity to the facts of its own time which have from age to age preserved works of genius.

STRIVINGS OF THE NEGRO PEOPLE

by W. E. Burghardt Du Bois

 

Berween me and the other world there is ever an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter round it. They approach me in a half-hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or, I fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? At these I smile, or am interested, or reduce the boiling to a simmer, as the occasion may require. To the real question, How does it feel to be a problem? I answer seldom a word.

 

And yet, being a problem is a strange experience,—peculiar even for one who has never been anything else, save perhaps in babyhood and in Europe. It is in the early days of rollicking boyhood that the revelation first bursts upon one, all in a day, as it were. I remember well when the shadow swept across me. I was a little thing, away up in the hills of New England, where the dark Housatonic winds between Hoosac and Taghanic to the sea. In a wee wooden schoolhouse, something put it into the boys’ and girls’

heads to buy gorgeous visiting-cards—ten cents a package—and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card,—refused it peremptorily, with a glance. Then it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but