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Uncle Tom's Cabin

Uncle Tom's Cabin, Boston edition
Author	Harriet Beecher Stowe
Illustrator	Hammatt Billings (1st edition)
Language	English
Genre	Novel
Publisher	National Era (as a serial) & John P. Jewett and Company (in two volumes)
Publication date	20 March 1852
Publication place	United States
Media type	Print (Hardback & Paperback)
ISBN	NA Parameter error in {{ISBNT}}: invalid character

Uncle Tom's Cabin, or Life Among the Lowly, is American author Harriet Beecher Stowe's novel about the evils of slavery. Published in 1852, the novel had a profound effect on the world's view of African-Americans and slavery, so much so in the latter case that people have said the book laid the groundwork for the American Civil War.

Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, focused the novel on the character of Uncle Tom, a long-suffering Black slave around whose life the stories of other characters—both fellow slaves and slave owners—revolve. The sentimental novel depicts the harsh reality of slavery while also showing that Christian love and faith can overcome something as evil as enslavement of fellow human beings.

Uncle Tom's Cabin was the best-selling novel of the 19th century (and the second best-selling book of the 19th century, following the Bible) and is credited with helping to fuel the abolitionist cause in the 1850s. In the first year after it was published, 300,000 copies of the book were sold in the United States alone. The book's impact was so great that when Abraham Lincoln met Stowe at the start of the American Civil War, Lincoln is often quoted as having declared, "So this is the little lady who made this big war."

The book also created a number of common stereotypes about Blacks, many of which endure to this day. These include the affectionate, dark-skinned mammy; the Pickaninny stereotype of black children; and the Uncle Tom, or dutiful, long-suffering servant faithful to his white master or mistress. In recent years, the negative associations with Uncle Tom's Cabin have to a large degree overshadowed the historical impact of the book as a "vital antislavery tool."

Sources for the novel

Stowe wrote the novel as a response to the 1850 passage of the second Fugitive Slave Act, which punished those who aided runaway slaves and diminished the rights of fugitives as well as freed Blacks. Much of the book was composed in Brunswick, Maine, where her husband, Calvin Stowe, taught at his alma mater Bowdoin College.

Some historians believe that Stowe was partly inspired by the autobiography of Josiah Henson, an African-American who lived and worked on a 3,700–acre tobacco plantation in North Bethesda, Maryland owned by Isaac Riley. Henson escaped slavery in 1830 by fleeing to the Province of Upper Canada (now Ontario), where he helped other fugitive slaves arrive and become self-sufficient, and where he wrote his memoirs. Harriet Beecher Stowe evidently acknowledged that Henson's writings inspired Uncle Tom's Cabin. When Stowe's book became famous, Henson republished his memoirs as The Memoirs of Uncle Tom, and traveled extensively in America and Europe. Stowe's novel lent its name to Henson's home—Uncle Tom's Cabin Historic Site, near Dresden, Ontario—which since the 1940s has been a museum.

American Slavery As It Is: Testimony of a Thousand Witnesses, a volume co-authored by Theodore Dwight Weld and the Grimké sisters, is also identified as a source of some of the material. Stowe also said she based the novel on a number of interviews with escaped slaves during the time when Stowe living in Cincinnati, Ohio, just across the Ohio River from Kentucky, a slave state. In Cincinnati the Underground Railroad had local abolitionist sympathizers and was active in efforts to help runaway slaves on their escape route from the South.

Stowe mentioned a number of the inspirations and sources for her novel in her 1853 book A Key to Uncle Tom's Cabin. This nonfiction book was written to back up Stowe's claims about the evils of slavery. However, later research has indicated that Stowe didn't actually read many of the book's cited works until after the publication of her novel.

Publication

Uncle Tom's Cabin was first published as a 40-week serial in National Era, an abolitionist periodical, starting with the 5 June 1851 issue. Because of the story's popularity, publisher John Jewett contacted Stowe about turning the serial into a book. While Stowe questioned if anyone would read Uncle Tom's Cabin in book form, she eventually consented to the request.

Convinced the book would be popular, Jewett made the unusual decision (for that time) to have six fullpage illustrations by Hammatt Billings engraved for the first printing. Published in book form on March 20, 1852, the novel soon sold out its complete print run. A number of other editions were soon printed (including a deluxe edition in 1853, featuring 117 illustrations by Billings).

In the first year of publication, 300,000 copies of Uncle Tom's Cabin were sold. The book eventually became the bestselling novel in the world during the 19th century (and the second best-selling book after the Bible), with the book being translated into every major language. A number of the early editions carried an introduction by Rev James Sherman, a Congregational minister in London noted for his abolitionist views.

Uncle Tom's Cabin sold equally well in England, with the first London edition appearing in May, 1852 and selling 200,000 copies. In a few years over 1.5 million copies of the book were in circulation in England, although most of these were pirated copies (a similar situation occured in the United States).

Plot summary

Template:Spoiler

Eliza escapes with her son, Tom sold "down the river"

The book opens with a Kentucky farmer named Arthur Shelby facing the lose of his farm because of debts. Even though he and his wife (Emily Shelby) believe that they have a benevolent relationship with their slaves, Shelby decides to raise the needed funds by selling two of them—Uncle Tom, a middle-aged man with a wife and children, and Harry, the son of Emily Shelby’s maid Eliza—to a slave trader. Emily Shelby hates the idea of doing this because she had promised her maid that her child would never be sold; Emily's son, George Shelby, hates to see Tom go because he sees the old man as his friend and mentor.

When Eliza overhears Mr. and Mrs. Shelby discussing plans to sell Tom and Harry, Eliza determines to run away with her son. The novel states that Eliza made this decision not because of physical cruelty, but by her fear of losing her only surviving child (she has already lost two children by miscarriage). Eliza departs that night, leaving a note of apology to her mistress.

While all of this is happening, Uncle Tom is sold and placed on a riverboat, which sets sail down the Mississippi River. While onboard, Tom meets and befriends a young white girl named Eva. When Eva falls into the river, Tom saves her. In gratitude, Eva's father, Augustine St. Clare, buys Tom from the slave trader and takes him with the family to their home in New Orleans. During this time, Tom and Eva begin to relate to one another because of the deep Christian faith they both share.

Eliza's family hunted, Tom's life with St. Clare

During Eliza's escape, she meets up with her husband George Harris, who ran away previously. They decide to attempt to reach Canada. However, they are now being tracked by a slave hunter named Tom Loker. Eventually Loker and his men trap Eliza and her family, causing George to shoot Loker. Worried that Loker may die, Eliza convinces George to bring the slave hunter to a nearby Quaker settlement for medical treatment.

Back in New Orleans, St. Clare debates slavery with his cousin Ophelia who, while opposing slavery, is deeply prejudiced against Black people. St. Clare, however, believes he is not biased, even though he is a slave owner. In an attempt to show Ophelia that her views on Blacks are wrong, St. Clare purchases Topsy, a young black slave. St. Clare then asks Ophelia to educate Topsy.

After Tom has lived with the St. Clares for two years, Eva grows very ill. Before she dies she experiences a vision of heaven, which she shares with the people around her. As a result of her death and vision, the other characters resolve to change their lives, with Ophelia promising to love her slaves more, Topsy saying she will better herself, and St. Clare pledging to free Uncle Tom.

Tom sold to Simon Legree

Before St. Clare can follow through on his pledge, he is fatally stabbed while intervening in a fight. His wife reneges on her late husband's vow and sells Tom at auction to a vicious plantation owner named Simon Legree. Legree (who is not a native southerner but a transplanted Yankee) takes Tom to rural Louisiana, where Tom meets Legree's other slaves, including Emmeline (whom Legree purchased at the same time). Legree begins to hate Tom when Tom refuses Legree's order to whip his fellow slave. Tom receives a brutal beating, and Legree resolves to crush Tom's faith in God. But Tom refuses to stop reading his Bible and comforting the other slaves as best he can. While at the plantation, Tom meets Cassy, another of Legree's slaves. Cassy was previously separated from her son and daughter when they were sold; unable to endure the pain of seeing another child sold, she killed her third child.

At this point Tom Loker returns to the story. Loker has changed as the result of being healed by the Quakers. George, Eliza, and Harry have also obtained their freedom after crossing into Canada. In Louisiana, Uncle Tom almost succumbs to hopelessness as his faith in God is tested by the hardships of the plantation. However, he has two visions—one of Jesus and one of Eva—which renews his resolve to remain a faithful Christian, even unto death. He encourages Cassy to escape, which she does, taking Emmeline with her. When Tom refuses to tell Legree where Cassy and Emmeline have gone, the Legree orders his overseers to kill Tom. As Tom is dying, he forgives the overseers who savagely beat him. Humbled by the character of the man they have killed, both men become Christians. After Tom's death, George Shelby (Arthur Shelby's son) arrives to buy Tom’s freedom, but finds he is too late.

Final Section

On their boat ride to freedom, Cassy and Emmeline meet George Harris' sister and accompany her to Canada. Once there Cassy discovers that Eliza is her long-lost daughter who was sold as a child. Now that their family is together again, they travel to France and eventually Liberia, the African nation created for former American slaves. There they meet Cassy's long-lost son. George Shelby returns to the Kentucky farm and frees all his slaves. George tells them to remember Tom's sacrifice and his belief in the true meaning of Christianity.

Major characters in Uncle Tom's Cabin

Uncle Tom

Uncle Tom, the title character, was initially seen as a noble long-suffering Christian slave. In more recent years his name has become an epithet directed towards certain African-Americans because he was derided as being a submissive slave who is punished despite his loyalty. Uncle Tom has come to represent African-Americans who are accused of selling out to whites, thereby allegedly becoming a bad role model for black society. Ironically, Stowe clearly intended to portray Uncle Tom as a praiseworthy person. Throughout the book, far from allowing himself to be exploited, he stands up for his beliefs and is grudgingly admired even by his enemies.

Eliza

A slave (personal maid to Mrs. Shelby), she escapes to the North with her five-year old son Harry after he is sold to Mr. Haley. Her husband, George, eventually finds Eliza and Harry in Ohio, and emigrates with them to Canada, then France and finally Liberia.

The character Eliza was inspired by an account given at Lane Theological Seminary in Cincinnati by John Rankin to Stowe's husband Calvin, a professor at the school. According to Rankin, in February, 1838 a young slave woman had escaped across the frozen Ohio River to the town of Ripley with her child in her arms and stayed at his house on her way further north.

Eva

Eva, whose real name is Evangeline St. Clare, is the daughter of Augustine St. Clare. Eva enters the narrative when Uncle Tom is traveling via steamship to New Orleans to be sold, and he rescues the 5 or 6 year-old girl from drowning. Eva begs her father to buy Tom, and he becomes the head coachman at the St. Clare plantation. He spends most of his time with the angelic Eva, however.

Eva constantly talks about love and forgiveness, even convincing the dour slave girl Topsy that she deserves love. She even manages to touch the heart of her sour aunt, Ophelia. Some consider Eva to be a prototype of the character archetype known as the Mary Sue.

Eventually Eva falls ill. Before dying, she gives a lock of her hair to each of the slaves, telling them that they must become Christians so that they may see each other in Heaven. On her deathbed, she convinces her father to free Tom, but because of circumstances the promise never materializes.

Simon Legree

A villainous and cruel slave owner—a Northerner by birth—whose name has become synonymous with greed. It is Tom's Christianity which arouses him.

Topsy

A "ragamuffin" young slave girl of unknown origin (she claims to have "just growed"). She was transformed by Little Eva's love. Topsy is often seen as the origin of the pickaninny stereotype of Black children.

The phrase "growed like Topsy" (later "grew like Topsy"; now somewhat archaic) passed into the English language, originally with the specific meaning of unplanned growth, later sometimes just meaning enormous growth.

Other characters

Arthur Shelby

Tom's master in Kentucky. Shelby is characterized as a "kind" slaveowner and a stereotypical Southern gentleman.

Emily Shelby

Mr. Shelby's wife is a deeply religious woman who strives to be a kind and moral influence upon her slaves. She is appalled when her husband sells his slaves with a slave trader. As a woman, she had no legal way to stop this, as all property belonged to her husband.

George Shelby

Arthur and Emily's son. Sees Tom as a "friend" and as the perfect Christian.

Augustine St. Clare

Tom's second owner, father of Little Eva; of the slaveowners in the novel, the most sympathetic character. St. Clare recognizes the evil in chattel slavery, but is not ready to relinquish the wealth it brings him. After his daughter's death he becomes more religious and starts to read the Bible to Tom. His sometimes good intentions ultimately come to nothing.

Major themes

The over-riding theme in Uncle Tom's Cabin is Stowe's desire to show the evil of slavery, especially with regards to how this "peculiar institution" forcibly separated families from each other. Stowe pushed home this theme on almost every page of the novel, sometimes even changing the story's voice so she could give a "homily" on the destructive nature of slavery (such as when a white woman on the steamboat carrying Tom into further slavery states, "The most dreadful part of slavery, to my mind, is its outrages of feelings and affections—the separating of families, for example."

Another major theme is the moral power of women and sanctity of mothers. Stowe proposed motherhood as the "ethical and structural model for all of American life," the one moral power which could save the United States from the demon of slavery. While later critics have noted that Stowe's female characters are often domestic cliches instead of realistic women, Stowe's novel "reaffirmed the importance of women's influence" and helped pave the way for the women's rights movement in the following decades.

The novel's final, over-arching theme is exploring the nature of Christianity and how Christian theology is fundamentally incompatible with slavery. This theme is most evident when Tom urges St. Clare to "look away to Jesus" after the death of St. Clare's beloved daughter Eva. After Tom dies, George Shelby eulogizes Tom by saying, "What a thing it is to be a Christian."

Reactions to the novel

Uncle Tom's Cabin has exerted an influence "equaled by few other novels in history." Upon publication, Uncle Tom's Cabin ignited a firestorm of protest from defenders of slavery (who created a number of books in response to the novel) while the book elicited praise from abolitionists. As a best-seller, the novel heavily influenced later protest literature (such as The Jungle by Upton Sinclair). Unfortunately, the novel also created and popularized a number of stereotypes about African Americans.

Contemporary and world reaction

Immediately upon publication, Uncle Tom's Cabin outraged people in the American South. The novel was also roundly criticized by slavery supporters.

Acclaimed Southern novelist William Gilmore Simms declared the work utterly false, while others called the novel criminal and slanderous. Reactions ranged from a bookseller in Mobile, Alabama who was forced to leave town for selling the novel to threatening letters sent to Stowe herself (including a package containing a slave's dismembered ear). Many Southern writers, like Simms, soon wrote their own books in opposition to Stowe's novel (see the Anti-Tom section below).

Some critics highlighted Stowe's paucity of life-experience relating to Southern life, which (in their view) led her to create wrong descriptions of the region. For instance, she had never set foot on a Southern plantation. However, Stowe always said she based the characters of her book on stories she was told by runaway slaves in Cincinnati, Ohio, where Stowe lived. It is reported that, "She observed firsthand several incidents which galvanized her to write famous anti-slavery novel. Scenes she observed on the Ohio River, including seeing a husband and wife being sold apart, as well as newspaper and magazine accounts and interviews, contributed material to the emerging plot."

In response to these criticisms, in 1853 Stowe published A Key to Uncle Tom's Cabin, an attempt to document the veracity of the depiction of slavery in her anti-slavery novel. In the book, Stowe discusses each of the major characters in Uncle Tom's Cabin and cites "real life equivalents" to them while also mounting a more "aggressive attack on slavery in the South than the novel itself had." Like the novel, A Key to Uncle Tom's Cabin was also a best-seller. It should be noted, though, that while Stowe claimed the A Key to Uncle Tom's Cabin was about her consulted sources, she actually read many of the cited works only after the publication of her novel.

Despite these supposed and actual flaws in Stowe's research, and despite the shrill attacks from defenders of slavery, the novel still captured the imagination of many Americans.

According to Stowe's son, when Abraham Lincoln met her in 1862 Lincoln commented, "So this is the little lady who started this great war." Historians are undecided if Lincoln actually said this line, and in a letter that Stowe wrote to her husband a few hours after meeting with Lincoln no mention of this comment was made. Since then, many writers have credited this novel with focusing Northern anger at the injustices of blacks and the Fugitive Slave Law and helping to fuel the abolitionist movement. Union General and politician James Baird Weaver said that the book convinced him to become active in the abolitionist movement.

Uncle Tom's Cabin also created great interest in England. The first London edition appeared in May, 1852, and sold 200,000 copies. Much of this interest was because of British antipathy to America. As one prominent writer explained, "The evil passions which 'Uncle Tom' gratified in England were not hatred or vengeance , but national jealousy and national vanity. We have long been smarting under the conceit of America—we are tired of hearing her boast that she is the freest and the most enlightened country that the world has ever seen. Our clergy hate her voluntary system—our Tories hate her democrats—our Whigs hate her parvenus—our Radicals hate her litigiousness, her insolence, and her ambition. All parties hailed Mrs. Stowe as a revolter from the enemy." Charles Francis Adams, the American minister to Britain during the war, argued later that, "Uncle Tom's Cabin; or Life among the Lowly, published in 1852, exercised, largely from fortuitous circumstances, a more immediate, considerable and dramatic world-influence than any other book ever printed."

The book has been translated into almost every language, including Chinese (with translator Lin Shu creating the first Chinese translation of an American novel) and Amharic (with the 1930 translation created in support of Ethiopian efforts to end the suffering of blacks in that nation.

Literary significance and criticism

As the first widely read political novel in the United States, Uncle Tom's Cabin greatly influenced development of not only American literature but also protest literature in general. Later books which owe a large debt to Uncle Tom's Cabin include The Jungle by Upton Sinclair and Silent Spring by Rachel Carson.

Because of this influence, over the years literary critics have postulated a number of theories about what Stowe was trying to say with the novel (aside from the obvious anti-slavery message). For example, as an ardent Christian and active abolitionist, Stowe placed many of her religion's beliefs into the novel. Some scholars have stated that Stowe saw her novel as offering a solution to the moral and political dilemma that troubled many slavery opponents: whether engaging in prohibited behavior was justified in opposing evil. Was the use of violence to oppose the violence of slavery and the breaking of proslavery laws morally defensible? Which of Stowe's characters should be emulated, the passive Uncle Tom or the defiant George Harris? Stowe's solution was similar to Ralph Waldo Emerson's: God's will would be followed if each person sincerely examined his principles and acted on them.

Other scholars see the novel as expressing the values and ideas of the Free Soil Movement. In this view, the character of George Harris embodies the principles of free labor, while the complex character of Ophelia represents those Northerners who condoned compromise with slavery. In contrast to Ophelia is Dinah, who operates on passion. During the course of the novel Ophelia is transformed, just as the Republican Party (3 years later) proclaimed that the North must transform itself and stand up for its antislavery principles.

Other scholars have seen feminist theory at play in Stowe's book, seeing the novel as a critique of the patriarchal nature of slavery. For Stowe, blood relations rather than paternalistic relations between masters and slaves formed the basis of families. Moreover, Stowe viewed national solidarity as an extension of a person's family, thus feelings of nationality stemmed from possessing a shared race. Consequently she advocated African colonization for freed slaves and not amalgamation into American society.

The book has also been seen as an attempt to redefine masculinity as a necessary step toward the abolition of slavery. In this view, abolitionists had begun to resist the vision of aggressive and dominant men that the conquest and colonization of the early 19th century had fostered. In order to change the notion of manhood so that men could oppose slavery without jeopardizing their self-image or their standing in society, some abolitionists drew on principles of women's suffrage and Christianity as well as passivism, and praised men for cooperation, compassion, and civic spirit. Others within the abolitionist movement argued for conventional, aggressive masculine action. All the men in Stowe's novel are representations of either one kind of man or the other.

Creation and popularization of stereotypes

In recent decades, scholars and readers have criticized the book for what is seen as condescending racist descriptions of the book's black characters, especially with regard to the character's appearance, speech, and behavior and the passive nature of Uncle Tom in accepting his fate. The novel's creation and use of common stereotypes about African Americans is important because Uncle Tom's Cabin was the best-selling novel in the world during the 19th century. As a result, the book (and the images illustrating the book) had a major role in permanently engraining these stereotypes into the American psyche.

Among the negative stereotypes of Blacks in Uncle Tom's Cabin are:

• The "happy darky" (in the lazy, carefree character of Sam);
• The light-skinned tragic mulatto as a sex object (in the characters of Eliza, Cassy, and Emmeline);
• The affectionate, dark-skinned female mammy (through several characters, including Mammy, a cook at the St. Clare plantation).
• The Pickaninny stereotype of black children (in the character of Topsy);
• The Uncle Tom, or African American who is too eager to please white people (in the character of Uncle Tom).

In the last few decades these negative associations have to a large degree overshadowed the historical impact of Uncle Tom's Cabin as a "vital antislavery tool." The beginning of this change in perception had its roots in an essay by James Baldwin titled "Everybody’s Protest Novel." In the essay, Baldwin called Uncle Tom’s Cabin a "very bad novel" which was also racially obtuse and aesthetically crude.

In the 1960s and '70s, the Black Power and Black Arts Movements attacked the novel, saying that the character of Uncle Tom engaged in "race betrayal," making Tom (in some eyes) worse than even the most vicious slave owner. Criticisms of the other stereotypes in the book also increased during this time.

In recent years, though, scholars such as Henry Louis Gates Jr. have begun to reexamine Uncle Tom's Cabin, stating that the book is a "central document in American race relations and a significant moral and political exploration of the character of those relations."

Anti-Tom literature

In response to Uncle Tom's Cabin, writers in the Southern United States produced a number of books to rebut Stowe's novel. This so-called Anti-Tom literature generally took a pro-slavery viewpoint, arguing that the evils of slavery as depicted in Stowe's book were overblown and incorrect. The novels in this genre tended to feature a benign white patriarchal master and a pure wife, both of whom presided over child-like slaves in a benevolent extended-family-style plantation. The novels either implied, or directly stated, the racist view that African Americans were a child-like people unable to live their lives without being directly overseen by white people.

The two most famous anti-Tom books are The Sword and the Distaff by William Gilmore Simms and The Planter's Northern Bride by Caroline Lee Hentz; the latter author had been a close personal friend of Stowe's when the two lived in Cincinnati. Simms' book was published a few months after Stowe's novel and it contains a number of sections and discussions that are clearly disputing Stowe's book and her view of slavery. Hentz's 1854 novel, widely-read at the time, but now largely forgotten, offers a defense of slavery as seen through the eyes of a northern woman—the daughter of an abolitionist, no less—who marries a southern slave owner.

In the decade between the publication of Uncle Tom's Cabin and the start of the American Civil War, between twenty and thirty anti-Tom books would be published. Among these novels are two books titled Uncle Tom's Cabin As It Is (one by W.L. Smith and the other by C.H. Wiley) and a book by John Pendleton Kennedy.

Film, TV and theatrical adaptations

"Tom shows"

Even though Uncle Tom's Cabin was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book. Eric Lott, in his book Uncle Tomitudes: Racial Melodrama and Modes of Production, estimates that at least three million people saw these plays, ten times the book's first-year sales. Some of these shows were essentially minstrel shows loosely based on the novel and their grossly exaggerated caricatures of black people further perpetuated some of the stereotypes that Stowe used.

Given the lax copyright laws of the time, stage plays based on Uncle Tom's Cabin—"Tom shows"—began to appear while the story itself was still being serialized. These plays varied tremendously in their politics—some faithfully reflected Stowe's sentimentalized antislavery politics, while others were more moderate, or even pro-slavery. A number of the productions also featured songs by Stephen Foster, including "My Old Kentucky Home," "Old Folks at Home," and "Massa's in the Cold Ground."

Stowe herself never authorized dramatization of her work, because of her puritanical distrust of drama (although she did eventually go to see George Aiken's version, and, according to Francis Underwood, was "delighted" by Caroline Howard's portrayal of Topsy). Asa Hutchinson of the Hutchinson Family Singers, whose antislavery politics closely matched those of Stowe, tried and failed to get her permission to stage an official version. Stowe's refusal left the field clear for any number of adaptations, some launched for (various) political reasons and others as simply commercial theatrical ventures.

All "Tom shows" appear to have incorporated elements of melodrama and blackface minstrelsy. The best-known "Tom Shows" were those of George Aiken and H.J. Conway. Aiken's play was generally faithful to Stowe's novel, but clearly borrowed heavily from minstrelsy: not only were the slave roles all played by white actors in blackface, but Stephen Foster's "Old Folks at Home" was played in the scene where Tom is sold down the river.

"Tom shows" were so popular that there were even pro-slavery versions. Among the most popular was Uncle Tom's Cabin as It Is: The Southern Uncle Tom, produced in 1852 at the Baltimore Museum. There were also numerous other "offshoots, parodies, thefts, and rebuttals" of Uncle Tom's Cabin. The many variants of the story "dominated northern popular culture… for several years".

According to Eric Lott, even those "Tom shows" which stayed relatively close to Stowe's novel played down the feminist aspects of the book and Stowe's criticisms of capitalism, and turned her anti-slavery politics into anti-Southern sectionalism. Nonetheless, Lott argues, the plays increased sympathy for the slaves among the Northern white working class (which had been somewhat alienated from the abolitionist movement by its perceived elitist backing).

Silent films

Uncle Tom's Cabin has been made into a number of film versions. Most of these movies were created during the silent film era (with Uncle Tom's Cabin being the most-filmed story of that time period). This was due to the continuing popularity of both the book and "Tom shows," meaning audiences were already familiar with the characters and the plot, making it easier for the film to be understood without spoken words.

• A 1903 version of Uncle Tom's Cabin was one of the earliest "full-length" movies (although "full-length" at that time meant between 10 and 14 minutes). This film, directed by Edwin S. Porter, used white actors in blackface in the major roles and black performers only as extras. This version was evidently similar to many of the "Tom Shows" of earlier decades and featured a large number of black stereotypes (such as having the slaves dance in almost any context, including at a slave auction).
• Another film version from 1903 was directed by Siegmund Lubin and starred Lubin as Simon Legree. While no copies of Lubin's film still exist, according to accounts the movie was similar to Porter's version and reused the sets and costumes from a "Tom Show."
• In 1910, a 3-Reel Vitagraph Company of America production was directed by J. Stuart Blackton and adapted by Eugene Mullin. According to The Dramatic Mirror, this film was "a decided innovation" in motion pictures and "the first time an American company" released a dramatic film in 3 reels. Until then, "full-length" movies of the time were 15 minutes long and contained only one reel of film. The movie starred Florence Turner, Mary Fuller, Edwin R. Phillips, Flora Finch, Genevieve Tobin and Carlyle Blackwell Sr.
• Another 1910 version, directed by Barry O'Neil, starred Frank Hall Crane as Uncle Tom, Anna Rosemond as Eliza, Marie Eline as Little Eva, and Grace Eline as Topsy.
• A 1913 release was directed by Otis Turner and adapted by Allan Dwan. It starred Edward Alexander, Margarita Fischer, Harry A. Pollard, Iva Shepard and Gertrude Short.
• Another 1913 release was directed by Sidney Olcott and starred Anna Q. Nilsson.
• A 1914 version was directed by William Robert Daly. It was adapted Edward McWade from the play adaptation by George L. Aiken. It starred Sam Lucas, Teresa Michelena, Marie Eline (again), Roy Applegate and Boots Wall.
• A 1918 version was directed and adapted by J. Searle Dawley. It starred Marguerite Clark (as both Little Eva and Topsy), Sam Hardy, Florence Carpenter, Frank Losee and Walter P. Lewis.
• A 1927 version was directed by Harry A. Pollard (who'd played Uncle Tom in the 1913 release of Uncle Tom's Cabin). This two-hour movie spent more than a year in production and was the third most expensive picture of the silent era (at a cost of $1.8 million). Black actor Charles Gilpin was originally cast in the title role, but was fired after the studio decided his "portrayal was too aggressive." James B. Lowe then took over the character of Tom. One difference in this film from the novel is that after Tom dies, he returns as a vengeful spirit and confronts Simon Legree before leading the slave owner to his death. Black media outlets of the time praised the film, but the studio—fearful of a backlash from Southern and white film audiences—ended up cutting out controversial scenes, including the flim's opening at a slave auction (where a mother is torn away from her baby). The story was adapted by Pollard, Harvey F. Thew and A.P. Younger, with titles by Walter Anthony. It starred James B. Lowe, Virginia Grey, George Siegmann, Margarita Fischer, Mona Ray and Madame Sul-Te-Wan.

Later films and other cinematic mentions

For several decades after the end of the silent film era, the subject matter of Stowe's novel was judged too sensitive for further film interpretation. In 1946, Metro-Goldwyn-Mayer considered filming the story, but ceased production after protests led by the National Association for the Advancement of Colored People.

• A German language version, directed by Géza von Radványi, appeared in 1965 and was presented in the United States by exploitation film presenter Kroger Babb.
• The next film version was a television broadcast in 1987 directed by Stan Lathan and adapted by John Gay. It starred Avery Brooks, Phylicia Rashad, Edward Woodward, Jenny Lewis, Samuel L. Jackson and Endyia Kinney.
• Versions of Uncle Tom's Cabin have featured in a number of animated cartoons, including Walt Disney's "Mickey's Mellerdrammer" (1933), which features the classic Disney character performing the play in blackface with exaggerated, orange lips; the Bugs Bunny cartoon "Southern Fried Rabbit" (1953), where Bugs disguises himself as Uncle Tom and sings "My Old Kentucky Home" in order to cross the Mason-Dixon line; "Uncle Tom's Bungalow" (1937), a Warner Brother's cartoon supervised by Tex Avery; "Eliza on Ice" (1944), one of the earliest Mighty Mouse cartoons produced by Paul Terry; and "Uncle Tom's Cabana" (1947), a six-minute cartoon directed by Tex Avery.
• Birth of a Nation (1915) deliberately used a cabin similar to Uncle Tom's home in the film's dramatic climax, where several white Southerners unite with their former enemy (Yankee soldiers) to defend what the film's caption says is their "Aryan birthright." According to scholars, this reuse of such a familiar cabin would have resonated with, and been understood by, audiences of the time.
• Dimples, a 1936 Shirley Temple film, is a humorous look at the opening night of the 1853 play version of Uncle Tom's Cabin in New York. The film's last scene features a minstrel show starring Temple and Stepin Fetchit.
• "Uncle Tom's Uncle," a 1926 Our Gang (The Little Rascals) episode, has the kids creating their own "Tom Show."
• A highlight of the Rodgers and Hammerstein musical The King and I (1951) is a ballet, "Small House of Uncle Thomas", in traditional Siamese style which has been organized by Tuptim, on the subversive theme of Eliza's escape.
• In Gangs of New York (2002), Leonardo DiCaprio and Daniel Day-Lewis's characters attend an imagined wartime adaptation of Uncle Tom's Cabin with a deus ex machina ending. An actor portraying Abraham Lincoln is suspended in mid-air as he speaks consolingly to the blackface actors portraying Stowe's characters. The nativist audience members respond by shouting racist epithets, throwing objects at "Lincoln," and rioting to calls of "Down with the Union!"
• A number of other movies have utilized characters, plots, and themes from Uncle Tom's Cabin, including An Uncle Tom's Cabin Troupe (1913); the Duncan Sisters' Topsy and Eva (1927); and 1938's Everybody Sing (which features Judy Garland in blackface).

See also

• Origins of the American Civil War
• Abolitionism
• Slavery
• History of slavery in the United States
• St. Clair Avenue
• Harriet Beecher Stowe
• Timeline of the American Civil Rights Movement
• Uncle Tom

Notes

1. The Civil War in American Culture by Will Kaufman, Edinburgh University Press, 2006, page 18.
2. ^ Introduction to Uncle Tom's Cabin Study Guide, accessed May 16, 2006.
3. Goldner, Ellen J. "Arguing with Pictures: Race, Class and the Formation of Popular Abolitionism Through Uncle Tom's Cabin." Journal of American & Comparative Cultures 2001 24(1-2): 71-84. Issn: 1537-4726 Fulltext: online at Ebsco.
4. Charles Edward Stowe, Harriet Beecher Stowe: The Story of Her Life (1911) p. 203.
5. ^ Africana: arts and letters: an A-to-Z reference of writers, musicians, and artists of the African American Experience by Henry Louis Gates, Kwame Anthony Appiah, Running Press, 2005, page 544.
6. Harriet Beecher Stowe House. Accessed Feb. 17, 2007.
7. ^ "Historic Uncle Tom's Cabin Saved" by Susan Logue, VOA News, January 12, 2006. Accessed May 16, 2006.
8. A Key to Uncle Tom's Cabin by Harriet Beecher Stowe, 1853, page 42, in which Stowe states "A last instance parallel with that of Uncle Tom is to be found in the published memoirs of the venerable Josiah Henson..." An excerpt of this information and acknowledgement is also in A Routledge Literary Sourcebook on Harriet Beecher Stowe's Uncle Tom's Cabin by Debra J. Rosenthal, Routledge, 2003, pages 25-26.
9. The Columbia Encyclopedia, Sixth Edition, 2001-05
10. ^ A Key to Uncle Tom's Cabin, Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 20, 2007.
11. First Edition Illustrations, Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 18, 2007.
12. , Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 18, 2007.
13. ^ Slave narratives and Uncle Tom's Cabin, Africans in America, PBS, accessed Feb. 16, 2007.
14. "publishing, history of." (2007). In Encyclopædia Britannica. Retrieved April 18, 2007, from Encyclopædia Britannica Online.
15. Hagedorn, Ann. Beyond The River: The Untold Story of the Heroes of the Underground Railroad. Simon & Schuster, 2002, pp. 135-39.
16. The Word Detective, issue of May 20, 2003, accessed Feb. 16, 2007.
17. Drawn With the Sword: Reflections on the American Civil War by James Munro McPherson, Oxford University Press, 1997, page 29.
18. Drawn With the Sword: Reflections on the American Civil War by James Munro McPherson, Oxford University Press, 1997, page 30.
19. Uncle Tom's Cabin by Harriet Beecher Stowe, Vintage Books, Modern Library Edition, 1991, page 150.
20. "Stowe's Dream of the Mother-Savior: Uncle Tom's Cabin and American Women Writers Before the 1920s" by Elizabeth Ammons, New Essays on Uncle Tom's Cabin, Eric J. Sundquist, editor, Cambridge University Press, 1986, page 159.
21. Whitewashing Uncle Tom's Cabin: Nineteenth-Century Women Novelists Respond to Stowe by Joy Jordan-Lake, Vanderbilt University Press, 2005, page 61.
22. The Stowe Debate: Rhetorical Strategies in Uncle Tom's Cabin by Mason I. (jr.) Lowance, Ellen E. Westbrook, C. De Prospo, R., Univ of Massachusetts Press, 1994, page 132.
23. Historical Dictionary of Women's Education in the United States by Linda Eisenmann, Greenwood Press, 1998, page 3.
24. The Company of the Creative: A Christian Reader's Guide to Great Literature and Its Themes by David L. Larsen, Kregel Publications, 2000, pages 386-387.
25. The Company of the Creative: A Christian Reader's Guide to Great Literature and Its Themes by David L. Larsen, Kregel Publications, 2000, page 387.
26. "Stowe, Harriet Beecher." (2007). In Encyclopædia Britannica. Retrieved April 18, 2007, from Encyclopædia Britannica Online.
27. "Simms's Review of Uncle Tom's Cabin" by Charles S. Watson, American Literature, Vol. 48, No. 3 (Nov., 1976), pp. 365-368
28. "Over and above... There Broods a Portentous Shadow,--The Shadow of Law: Harriet Beecher Stowe's Critique of Slave Law in Uncle Tom's Cabin" by Alfred L. Brophy, Journal of Law and Religion, Vol. 12, No. 2 (1995 - 1996), pp. 457-506.
29. "Woodcraft: Simms's First Answer to Uncle Tom's Cabin" by Joseph V. Ridgely, American Literature, Vol. 31, No. 4 (Jan., 1960), pp. 421-433.
30. University of Wisconsin-Milwaukee Library. Special collection page on traditions and interpretations of Uncle Tom's Cabin.
31. Charles Edward Stowe, Harriet Beecher Stowe: The Story of Her Life (1911) p. 203.
32. ^ Uncle Tom's Cabin, introduction by Amanda Claybaugh, Barnes and Noble Classics, New York, 2003, page xvii.
33. Goldner, Ellen J. "Arguing with Pictures: Race, Class and the Formation of Popular Abolitionism Through Uncle Tom's Cabin." Journal of American & Comparative Cultures 2001 24(1-2): 71-84. Issn: 1537-4726 Fulltext: online at Ebsco.
34. "Review of James Baird Weaver by Fred Emory Haynes" by A. M. Arnett, Political Science Quarterly, Vol. 35, No. 1 (Mar., 1920), pp. 154-157; and profile of James Baird Weaver, accessed Feb. 17, 2007.
35. Nassau Senior, quoted in Ephraim Douglass Adams, Great Britain and the American Civil War (1958) p: 33.
36. Charles Francis Adams, Trans-Atlantic Historical Solidarity: Lectures Delivered before the University of Oxford in Easter and Trinity Terms, 1913. 1913. p. 79
37. Richard Pankhurst, Economic History of Ethiopia (Addis Ababa: Haile Selassie I University Press, 1968), p. 122.
38. Tompkins, Jane. Sensational Designs: The Cultural Work of American Fiction, 1790-1860. New York: Oxford University Press, 1986. See chapter five, "Sentimental Power: Uncle Tom's Cabin and the Politics of Literary History."
39. The Cambridge Companion to Harriet Beecher Stowe by Cindy Weinstein, Cambridge University Press, 2004, page 13.
40. Smylie, James H. "Uncle Tom's Cabin Revisited: the Bible, the Romantic Imagination, and the Sympathies of Christ." American Presbyterians 1995 73(3): 165-175. Issn: 0886-5159.
41. ^ Bellin, Joshua D. "Up to Heaven's Gate, down in Earth's Dust: the Politics of Judgment in Uncle Tom's Cabin" American Literature 1993 65(2): 275-295. Issn: 0002-9831 Fulltext online at Jstor and Ebsco.
42. ^ Grant, David. "Uncle Tom's Cabin and the Triumph of Republican Rhetoric." New England Quarterly 1998 71(3): 429-448. Issn: 0028-4866 Fulltext online at Jstor.
43. Riss, Arthur. "Racial Essentialism and Family Values in Uncle Tom's Cabin." American Quarterly 1994 46(4): 513-544. Issn: 0003-0678 Fulltext in JSTOR.
44. ^ Wolff, Cynthia Griffin. "Masculinity in Uncle Tom's Cabin," American Quarterly 1995 47(4): 595-618. ISSN: 0003-0678. Fulltext online at JSTOR. Cite error: The named reference "Wolff" was defined multiple times with different content (see the help page).
45. Smith; Jessie Carney; Images of Blacks in American Culture: A Reference Guide to Information Sources Greenwood Press. 1988.
46. Hulser, Kathleen. "Reading Uncle Tom's Image: From Anti-slavery Hero to Racial Insult." New-York Journal of American History 2003 65(1): 75-79. Issn: 1551-5486.
47. Illustrations, Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 18, 2007.
48. Smith; Jessie Carney; Images of Blacks in American Culture: A Reference Guide to Information Sources Greenwood Press. 1988.
49. ^ "Digging Through the Literary Anthropology of Stowe’s Uncle Tom", by Edward Rothstein, from the New York Times, October 23, 2006.
50. Whitewashing Uncle Tom's Cabin: nineteenth-century women novelists respond to Stowe by Joy Jordan-Lake, Vanderbilt University Press, 2005.
51. "Caroline Lee Hentz's Long Journey" by Philip D. Beidler. Alabama Heritage Number 75, Winter 2005.
52. "People & Events: Uncle Tom's Cabin Takes the Nation by Storm" Stephen Foster, The American Experience, PBS, accessed April 19, 2007.
53. ^ Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993. ISBN 0-19-507832-2. The information on "Tom shows" comes from chapter 8: "Uncle Tomitudes: Racial Melodrama and Modes of Production" (p. 211-233)
54. "People & Events: Uncle Tom's Cabin Takes the Nation by Storm" Stephen Foster, The American Experience, PBS, accessed April 19, 2007.
55. ^ Uncle Tom's Cabin on Film, Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.
56. ^ The First Uncle Tom's Cabin Film: Edison-Porter's Slavery Days (1903), Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.
57. "Duping" Porter: Sigmund Lubin's Production (1903), Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.
58. The 3-Reel Vitagraph Production (1910), Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.
59. Universal Super Jewel Production (1927), Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.
60. ^ Uncle Tom's Cabin in Hollywood: 1929-1956, Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.
61. Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson by Linda Williams, Princeton Univ. Press, 2001, page 115. Also H. B. Stowe's Cabin in D. W. Griffith's Movie, Uncle Tom's Cabin and American Culture, a Multi-Media Archive, accessed April 19, 2007.

Online resources

• University of Virginia Web site "Uncle Tom's Cabin and American Culture: A Multi-Media Archive" Ed by Stephen Railton, covers 1830 to 1930, offering links to primary and bibliographic sources on the cultural background, various editions, and public reception of Harriet Beecher Stowe's influential novel. The site also provides the full text of the book, audio and video clips, and examples of related merchandising.

External links

• Uncle Tom's cabin: or Life among the lowly; frontispiece by John Gilbert; ornamental title-page by Phiz; and 130 engravings on wood by Matthew Urlwin Sears, 1853 (a searchable facsimile at the University of Georgia Libraries; DjVu & layered PDF format)
• Pictures and stories from Uncle Tom's cabin; "The purpose of the editor of this little work, has been to adapt it for the juvenile family circle. The verses have accordingly been written by the authoress for the capacity of the youngest readers ..." 1853 (a searchable facsimile at the University of Georgia Libraries; DjVu & layered PDF format)
• Uncle Tom's Cabin at Project Gutenberg
• University of Virginia--Uncle Tom's Cabin and American Culture
• University of Wisconsin--Milwaukee special collections
• PBS Africans in America
• Screenplay--"Uncle Tom's Cabin"--Copyright 2004 by C.D. Thomson--On-Line for Free Reading
• Uncle Tom's Cabin Historic Site
• 8th June 2006 episode of In Our Time
• "Digging Through the Literary Anthropology of Stowe’s Uncle Tom", by Edward Rothstein, from the New York Times, October 23, 2006.

• 1852 novels
• History of slavery in the United States
• Novels dealing with slavery
• Cultural history of the American Civil War
• Serialized novels