Thesis and Theme in "Uncle Tom's Cabin" Author(s): Dorothy S.

Brown Reviewed work(s): Source: The English Journal, Vol. 58, No. 9 (Dec., 1969), pp. 1330-1334+1372 Published by: National Council of Teachers of English Stable URL: http://www.jstor.org/stable/811916 . Accessed: 20/10/2012 09:21
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Thesis and Theme in Uncle Tom'sCabin

Dorothy S. Brown
Departmentof English Berea College Berea, Kentucky

HE thesis of Harriet Beecher Stowe's famous novel is explicit: slavery is always evil. Mrs. Stowe made it clear that her quarrel was not merely with the evils resulting from slavery, but with the evil in the institution itself. That a novel written for propaganda purposes should be widely read a hundred years after the removal of that evil is an anomaly, but one for which there is, in Uncle Tom's Cabin, an explanation. While the novel's thesis was the evil of slavery, its theme was something entirely separate: the power of love. Because the book's thesis is so obvious and its moral was so effectively presented, it was read by early critics more often as a social document than as literature, and most of what was written about it dealt with its authenticity. Severn Duvall observes that early reviewers of the book seemed to indulge in continued debate over the Missouri Compromise and other political and moral issues, and to ignore the novel's literary qualities.'

Critics and biographers of the last two decades have become aware of Uncle Tom's Cabin as something more than social history. Edmund Wilson has described it as "a much more impressive work than one has ever been allowed to suspect.'"2 C. H. Foster observes that it "possesses most of the large virtues, inaccessible to mere talent, and a few of the graces accessible to any painstaking and intelligent craftsman."3 William R. Taylor is aware that "The extraordinary and unexampled appeal of the novel throughout the Western world... suggests its capacity to touch upon and illuminate wide themes."4 Finally, Kenneth S. Lynn, in his introduction to the 1962 edition, mentions specifically, if briefly, the "religion of love" which pervades the book.5 A reading of Uncle Tom's Cabin with the theme of love in mind is a rewarding experience, but before tracing this theme
2Patriotic Gore (New York: Oxford University Press, 1962), p. 5.

1"Uncle Tom's Cabin: The Sinister Side of the Patriarchy," New England Quarterly, 36 (1963). Reprinted in Seymour L. Gross and John Edward Hardy, eds. Images of the Negro in American Literature (Chicago: University of Chicago Press, 1966).

3The Rungless Ladder: Harriet Beecher Stowe and New England Puritanism (Durham:
Duke University Press, 1954), p. 59. 4 Cavalier and Yankee (New York: G. Braziller, 1961), pp. 311-312. 5 Uncle Tom's Cabin (Cambridge, Mass.: Harvard University Press, 1962), pp. xix-xxiv.

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it is necessary to dispose of the thesis. After recognizing the obvious and explicit, it will be easier to isolate the subtle and implicit. HE object of these sketches," Mrs. 64T Stowe "is to declares in her

preface, awaken sympathy and feeling for the African race, as they exist among us; to show their wrongs and sorrows, under a system so necessarily cruel and unjust as to defeat and do away [sic] the good effects of all that can be attempted for them, by their best friends, under it."6 Through the words and actions of the characters in the novel, many points of view concerning slavery are presented: e.g., the hardened attitude of the slave trader; the tolerant desperation (or desperate tolerance) of Augustine St. Clare; the open opposition of the Quakers and of St. Clare's New England cousin, Miss Ophelia. Mrs. Stowe's thesis, that even at its best slavery is evil, is most clearly expressed by Mrs. Shelby: "I was a fool to think I could make anything good out of such a deadly evil. It is a sin to hold a slave under laws like ours,-I always felt it was... I thought, by kindness, and care, and instruction, I could make the condition of mine better than freedom-fool that I was!" (page 50; Chapter V). When Mrs. Shelby makes this speech, her husband is in such serious financial difficulty that he finds it necessary to sell Uncle Tom, and also Eliza's little boy. This sale is the first mentioned of several instances in the novel where a slave with a kind master is endangered by the system. Later in the book St. Clare dies unexpectedly, leaving his selfish wife, Marie, to dispose of the slaves as she pleases. Still later we learn that Cassy, brought up in refinement and ed6Uncle Tomn's Cabin Books, 1960), p. 6. All will be to this edition. given also, to facilitate using other editions. (New York: Dolphin subsequent references Chapter numbers are reference by readers

ucated in a convent, had been made vulnerable first by her father's death, then by her next owner's infidelity, and finally by the gambling debts incurred by the latter to his cousin, who treated Cassy with unmitigated cruelty. Slavery itself was bad enough, and Mrs. Stowe had a great deal to say on the suffering that resulted from that peculiar institution. But the Fugitive Slave Act passed in 1850 made her doubly indignant. This mandate for people in the free states to act in violation of the conscience of a Christian moved Mrs. Stowe to bitter irony. "The catching business," she wrote, "... is rising to the dignity of a lawful and patriotic profession. If all the broad land between the Mississippi and the Pacific becomes one great market for bodies and souls, and human property retains the locomotive tendencies of this nineteenth century, the trader and catcher may yet be among our aristocracy" (p. 92; Chapter VIII). While it may be possible for good men to pass such laws, it is not, according to Mrs. Stowe, possible for a true Christian either to enforce or to obey them. So Senator Bird of Ohio, who has voted in favor of this infamous slave law, helps Eliza, a fugitive slave, to escape. Such touches of irony do much to counterbalance the novel's excess of sentimentality, in part caused, if not excused, by the public taste of the era. Its other major fault is its sometimes slovenly style, perhaps the result of the haste in which it was written for serialization. In spite of its slovenliness and the book sentimentality, however, as well-constructed a piece of emerges literary architecture embodying a theme of more universal and timeless appeal than its localized and outdated thesis: the theme of the power of love. Love of family is shown in the character of George Harris, who with Eliza and their son escapes to freedom. Tom's character, however, contains not only love of

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frequently disorganized in their work; the slaves on the Legree plantation have become brutes. Through these three difin Patriotic Gore, ferent environments moves Tom, unWilson, EDMUND has observed that the novel traces the spoiled by the opulence of the St. Clares wanderings of George and Eliza, and and unchanged by the brutality of Lethose of Uncle Tom, in a way which gree, steadfast in his Christian ideal of reveals the traits of a whole society. The love: love of family, love of mankind, result is a rhythmic pattern, a kind of and love of God. It is this idea of the picaresque in counterpoint, with the power of love which is the central theme more important passage moving with of Uncle Tom's Cabin. In the Shelby Uncle Tom, and a somewhat more re- household the motivating force is love stricted passage carrying the George- of family. In the St. Clare household, it is love of mankind. At the Legree planEliza motif. The subplot of George and Eliza is a tation, where Tom becomes a kind of saga of young rebels (with a cause) es- missionary, it is love of God. The Shelby family is governed by caping northward to freedom while the mature southern martyr, the Christ- love, tact, and pride of kinship. Before figure, moves farther south to a final he is forced to sell Tom, Mr. Shelby has sacrifice. The movement itself is not con- always treated him with consideration sistently southward, for the Legree plan- and respect. Mrs. Shelby has strong feeltation was a few miles north of New ings of responsibility toward Eliza and Orleans and Lake Pontchartrain, the two her son, as well as a genuine affection St. Clare estates. But somehow the read- for them. Young "Mas'r George" treats er has a feeling of Tom's downward Tom and Chloe with both respect and movement, caused perhaps by the ter- affection. In the tranquil domestic scene rain of Legree's place (the swamp, the depicted in the fourth chapter, George desolation, the wildness) and by its re- is not just a visitor at Tom's cabin; he is moteness. an integral part of the family. It is Tom's sacrifices with which the The slaves in the Shelby household author is primarily concerned. George see themselves not as property, but as Harris, the brave young mulatto, can "folks." Aunt Chloe reflects pride in her escape; but those who must remain can owners when she tells young George: be freed only by sacrifice. Tom's sacri"Dem Lincons an't much count no fices result in Christian regeneration for ... I mean set along side our way! both white and black, and eventually in folks. They's 'spectable folks enough freedom for the Shelby slaves. in a kinder plain way; but, as to gettin' These sacrifices are made in three loup anything in style, they don't begin cales: the contented, domestic atmosto have a notion on 't. Set Mas'rLincon, of the the disnow, alongside Mas'r Shelby! Good household; phere Shelby Lor! and Missis Lincon,-can she kindSt. Clare where slaves estate, organized er sweep it into a room like my missis,are treated indulgently by their master so kinder splendid, yer know! 0, go but contemptuously and cruelly by their way! don't tell me nothin' of dem mistress; and the Legree plantation, Lincons!" (p. 38; ChapterIV). which is seemingly abandoned by God himself. The slaves in these three places This is followed by her admission that are clearly affected by the treatment the Lincons' Jinny is a "far" cook, but they receive. Those in the Shelby house- compared to her own pies-that is, hold take pride in their family; the St. Chloe's-Jinny's "wan't no 'count 't all." Clare slaves are spoiled, often selfish, Mrs. Shelby has taught her slaves the family, but also love of mankind and love of God.

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duties and obligations of Christian marriage, and even arranged and directed Eliza's wedding to George Harris, who is owned by a neighbor. Even the comic Sam and Andy feel themselves a part of the household, not just property. Sam, a kind of nineteenthcentury organization man, hopes to please the right person and thereby be advanced in responsibility and prestige. He is willing enough to catch Eliza, if this is what his master wishes, until he learns from Andy that Mrs. Shelby wants Eliza to escape, and then he enthusiastically foils Haley's pursuit. Like Sambo and Quimbo, he is motivated by the desire for favor and position: he tries to please "Missis" so that he can be elevated to Tom's place. But his actions are governed by the kindness of Mrs. Shelby, while Sambo's and Quimbo's are governed by the evil of Legree.

table acts are scattered and impulsive. Marie is cruel, selfish, domineering, and a poor housekeeper. Eva is a saint too good for this world, though while here she does what she can, and even she lacks a sense of order, as Miss Ophelia makes clear when we first meet her on the boat and she is helping Eva get her things together to disembark. "What did you ever do, child, when you were coming on with only your papa. I should have thought you'd a lost everything you had," protests the orderly Miss Ophelia. "Well, aunty," Eva replies, "I did lose a great many; and then, when we stopped anywhere, papa would buy some more of whatever it was" (p. 192; Chapter XV). The disorder of the St. Clare household is symbolically illustrated in the description of Aunt Dinah's kitchen, which is the despair of Ophelia, who found in one drawer ".. . a nutmegcharacter is formed by the grater and two or three nutmegs, a TOM'S domestic tranquillity which sur- Methodist hymn-book, a couple of soiled rounds him. Though his piety may tire Madras handkerchiefs, some yarn and the modern reader, he is not a passive, knitting-work, a paper of tobacco and a submissive character. He is a pillar of pipe, a few crackers, one or two gilded strength, not a symbol of weakness or china-saucers with some pomade in them, submission. He does refuse to flee with one or two thin old shoes, a piece of Eliza, just as later in the book he tells St. flannel carefully pinned up, enclosing Clare that he will not leave "as long as some small white onions, several damask Mas'r needs me," and still later he rejects table-napkins, some coarse crash towels, escape with Cassy because he feels that some twine and darning-needles, and he must stay and continue his missionary several broken papers, from which sunwork. Each refusal is a sacrifice; two of dry sweet herbs were sifting into the these sacrifices are to save members of his drawer" (pp. 244-245; Chapter XVIII). own race. He submits to being bought by But even in this chaotic kitchen, Dinah Haley from Mr. Shelby not because he manages to turn out delicious meals, just is afraid, or because of loyalty to his as the St. Clare home, badly managed as owner, but because he is so valuable that it is, and cursed with the institution of without his sale all the others, including slavery, can produce the saintly, if dishis wife and children, will have to be orderly, Eva. sold. This is his first sacrifice, made to preserve the unity of the Shelby house- THE confusion and disorder of the St. hold and to maintain the welfare of his Clares represents the South and its fellow slaves. problems. When Miss Ophelia, who has Mr. and Mrs. St. Clare are not, like the learned of the cruel treatment of a slave Shelbys, happily married. Although St. belonging to a neighbor family, conClare is kind and generous, his chari- fronts her cousin with the issue he replies,

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"If we are to be prying and spying into all the dismals of life, we should have no heart to anything. 'Tis like looking too close into the details of Dinah's kitchen" (p. 258; Chapter XIX). The lesser members of the St. Clare household are as frivolous as the head cook is disorganized. Adolph, spoiled by his master, is addicted to fancy clothes and expensive cologne, both of which he appropriates from St. Clare's supply. Jane and Rosa are more interested in their earrings, their balls, and their flirtatious banter with Adolph than in either their work or their souls. Into this disorderly but amiable group St. Clare, who buys slaves, apparently, out of a whimsical desire to help them and to entertain himself, brings Topsy as a challenge for his New England cousin. Topsy, who has been abused all her life, does not respond to the good intentions and kindly treatment of Ophelia, but she does respond to Eva's love, a power greater than justice, or duty, or any of "Miss Feely's" New England virtues. The power of Eva's love is shown also when her cousin Henrique mistreats his slave Dodo, then throws him a coin. Eva wins Dodo's gratitude by kind words and a tender smile. Henrique's mistreatment of his mulatto slave is another example of the effect of environment on behavior. Augustine St. Clare's brother Alfred, Henrique's father, is a proud aristocrat, and the boy is growing up with the same attitude as his father. "That's the way papa manages," Henrique explains to the distressed Eva. Eva's death, like Tom's, is a kind of sacrifice, a martyrdom which results in the unfulfilled promise of her father to free Tom and in the belated ability of Ophelia to bestow on Topsy the love an affection which she needs to be less "wicked." Unlike Eva's, Tom's sacrifice for St. Clare's benefit is not death but continued bondage, a death-in-life. At St. Clare's death, Tom is concerned only with his

to people who have never read the novel. Only Cassy has any power at all over him, and she controls him by playing on his superstitious nature. The Legree plantation is Tom's Gethsemane. He is tempted, but he resists the temptation and remains steadfast. He is here surrounded by slaves who have been reduced to a state of brutality by their master. At the Legree plantation all semblance of family life has disappeared, as has all love for mankind and all knowledge of God. Sambo and Quimbo, who sadistically beat their fellow slaves, replace the cheerful and obliging Sam and Andy of the Shelby home and the fastidious Adolph of the St. Clares. Cassy, who has killed her last child to prevent its suffering, and who but for Tom's influence would have killed Legree, replaces the tender Eliza of the Shelby household and the frivolous Jane and Rosa of the St. Clares'. The place has no kitchen and no cook: each slave grinds and cooks his own meal. The nameless, faceless creatures who live there are able to think only of their own individual survival, and at the same time to hope for death. They cannot even pray. In the midst of this degredation Tom is whipped to death by Legree. The rewards (for others) of his death are greater than those of Eva's. Sambo and Quimbo become humanized again, and beg his forgiveness; Cassy and Emmeline escape; and young George Shelby, who melodramatically appears moments before Tom dies, resolves to free all his slaves. He keeps this resolution. Tom's death is triumphant as was
(Continued on page 1372)

Legree, SIMON represents cruelty and oppression even

Tom's next owner,

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dreary repetitiveness of the traditional grammar texts, English has taken a different turn. Those who are out-of-touch with the interesting and provocative changes of these ten years are truly disadvantaged. In the '60s the Institutes have brought us the "new English" to take its place with modern math and new science: the new criticism, the old rhetoric, and "modern" grammar. From these have come Project English studies and innovations and so many bags of teaching tricks that no one is able to live long with old college notes and test files. We have no more than absorbed the ideas of the Dartmouth Seminar before we are confronted with the interesting comparisons of American English education with comparable British programs. And now we discover that it is not enough to teach English, but we must think about establishing behavioral objectives for judging our performance. The sixties are about at an end. They have been filled with paradoxes and frustrations; they have offered new voices, new challenges, and a new organization for old ideas. They seem to foreshadow the future, and at the same time they have provided the bonfires on which we burned some of the dead verbiage of English teaching. We can look to see what kind of phoenix may be rising from these ashes. The phoenix may be the English teacher or department chairman ready to assert himself and demand his rightful spot in the sun. It could be, too, that the phoenix will be nothing more than a plucked bird, bereft of bright plumage, singing a melodious dirge as he sets fire to his nest of spices and prepares to be reborn as the Humanities. But, that I do not believe. It is only the "dead" language which does not change. English-alive and vociferous -has a dynamic future as an educational force in our schools.

Thesisand Theme in Uncle Tom'sCabin

(Continued from page 1334) his life. It is hard to forgive him for not killing Legree, which he could easily have done, leading the slaves out of bondage and returning to his wife and children. But, within the frame of reference of the novel, the soul is more important than the man, the eternal life more important than the temporal. Tom, being a saint, could not act otherwise. the novel Tom never Throughout changes, never fluctuates, never loses his faith or his courage. If we see him as a Christ-figure, a symbol of love, as he was obviously intended to be, this supernatural steadfastness is convincing.

Lookin' In

by FloydL.Bergman

Every time they read Sir Walter Raleigh they borrow it.