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Politics and Melodrama: a Study of Uncle Tom's Cabin

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Politics and Melodrama: a Study of Uncle Tom's Cabin ! Ghent University Faculty of Arts and Philosphy Politics and Melodrama: A Study of Uncle Tom's Cabin Supervisor: Paper submitted in partial fulfilment of the Prof. Dr. Ilka Saal requirements for the degree of “Master in de Taal- en Letterkunde: Engels – Nederlands” by Tineke Van Pottelberghe May 2009 ! Ghent University Faculty of Arts and Philosphy Politics and Melodrama: A Study of Uncle Tom's Cabin Supervisor: Paper submitted in partial fulfilment of the Prof. Dr. Ilka Saal requirements for the degree of “Master in de Taal- en Letterkunde: Engels – Nederlands” by Tineke Van Pottelberghe May 2009 ACKNOWLEDGEMENTS I wish to acknowledge my debt to my supervisor, Ilka Saal, who has read and commented on one or more chapters of this dissertation. I particularly wish to thank my friends and family, especially my Mom, who has proofread, and my Dad, who has supported me during the several months of hard work. Most important, I wish to thank that little old lady for writing a novel that has left a lasting impression on me. Thank you. Tineke Van Pottelberghe May 2009 TABLE OF CONTENTS INTRODUCTION Dusting off Uncle Tom’s Cabin ............................................................................................. 1 CHAPTER I: THE MELLOW STYLE OF HARRIET BEECHER STOWE.................................................. 7 1.1 The emotional realm ........................................................................................................ 7 1.2 Moral awareness............................................................................................................. 10 1.3 The rule of innocence ..................................................................................................... 12 1.4 Black and white, but no grey.......................................................................................... 14 1.5 The Home of Eden.......................................................................................................... 14 1.6 Victims are moral winners.............................................................................................. 16 1.7 Family matters................................................................................................................ 17 1.8 The obscure, but glorious sacred.................................................................................... 18 1.9 Why Melodrama? ........................................................................................................... 22 CHAPTER II: THE BLACKNESS OF UNCLE TOM’S CABIN ................................................................ 24 2.1 Representing African Americans ................................................................................... 24 2.2 Living apart together ...................................................................................................... 28 2.3 Taking the other’s identity.............................................................................................. 32 2.4 African American as victim-heroes................................................................................ 35 2.5 Man as woman, woman as man...................................................................................... 36 2.6 The portrayal of the African American .......................................................................... 39 CHAPTER III: LIVING THE CHRISTIAN LIFE ................................................................................. 40 3.1 The power of the Bible ................................................................................................... 40 3.2 Tom as the African American Christ.............................................................................. 44 3.3 Christian shepherds ........................................................................................................ 45 3.4 When mothers guide their children to the light.............................................................. 46 3.5 Can religion bring about change?................................................................................... 50 3.6 When conservatism and radicalism meet ....................................................................... 51 3.7 God save America .......................................................................................................... 53 3.8 Christianity as inpiration ................................................................................................ 54 CHAPTER IV: THE CANON’S POLITICS ........................................................................................ 55 4.1 A canon out-of-date ........................................................................................................ 55 4.2 Restrictions for women................................................................................................... 57 4.3 Women cannot write a Great American Novel, can they? ............................................. 60 4.4 The problems with Uncle Tom’s Cabin ......................................................................... 62 4.5 What type of canon for Uncle Tom?............................................................................... 65 4.6 The step-by-step approach.............................................................................................. 68 4.7 A cultural anthology....................................................................................................... 70 CONCLUSION ............................................................................................................................. 72 WORKS CITED............................................................................................................................ 77 ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Van Pottelberghe 1! ! INTRODUCTION Dusting off Uncle Tom’s Cabin Critics, trained in the modernist tradition, tend to regard nineteenth century sentimental novels, written by women, as a “low” form of literature or even as “trash” – thus, creating a dichotomy of “good” and “bad” literature; the first including intellectual, male authors such as Hawthorne and Melville, the latter referring to popular, female authors like Stowe. The urge of these critics to categorize works of art in those terms forces them to look at sentimental novels in a superficial way, and consequently, ignoring the hybrid and intellectual complexity of a novel such as Stowe’s Uncle Tom’s Cabin. This complex character is due to the major paradox Uncle Tom’s Cabin comprises, trying to reconcile a social and moral order that had become more and more estranged from each other (Fluck 323). Conventionally, critics focus only on the aesthetic aspects of the novel, and by doing so they dismissed the entire novel as propaganda, since to them Stowe could not apply the stylistic innovations that authors such as Hawthorne could. To them, Stowe was anything but a literary genius and her work was anything but art. Then, how could a novel of allegedly poor literary quality grow into the most popular work of fiction? I believe that Stowe deliberately opted for a sentimental, popular style in order to address a large public, since her aim was to abolish slavery. The novel did gain an enormous popularity in its own time and is up until now the second best sold book in the history of American literature. It was its popularity that made critics refuse to perceive Uncle Tom’s Cabin in other terms than good and bad. I would like to argue that we study Uncle Tom’s Cabin by the means it deserves, this is to say, that we no longer apply the dominant highbrow point of view, but turn to the conventions the book gives to us. To put it more simply: we must no longer agree with the general conception that melodrama equals “low” and modernism equals “high” literature. Critics such as Jane Tompkins, Leslie Fiedler and Philip ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Van Pottelberghe 2! ! Fisher – and many others – have taken important steps to reassess Stowe’s work, and have encouraged others to take a renewed interest. The extensive debate between supporters and opponents of the novel has been going on since the novel’s publication. George Sand wrote in his review of Uncle Tom’s Cabin that he “cannot say that she has talent as one understands it in the world of letters, but she has genius, as humanity feels the need of genius” (461). In contrast to Sand’s overall positive review, George Holmes could not see any sign of genius in Uncle Tom’s Cabin. Holmes accuses Stowe of “volunteer[ing] officiously to intermeddle with things which concern her not–to libel and vilify people from among whom have gone forth some of the noblest men that have adorned the race” (468). According to Holmes, women are not supposed to deal with the issues Stowe addresses (slave system, politics etc.). His point of view is paradigmatic of other male views, since many men regarded these matters as their responsibilities, not the women’s. In modern times, critics such as Richard Wright and Harold Bloom have discussed the novel. The African American author, Richard Wright, wrote Uncle Tom’s Children as a response to Stowe’s novel.1 However, critics such as Jane Tompkins and Philip Fisher have put forward a different point of view that reassesses the novel. Tompkins has raised an interesting discussion about the relationship between its mass popularity in the nineteenth century
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