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The Effect of Uncle Tom’s Cabin Essay

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Uncle Tom’s Cabin

by Harriet Beecher Stowe

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Uncle Tom’s Cabin Essay

Uncle Tom’s Cabin

This paper tends to seek and analyze the character of a certain story into which Uncle Tom’s Cabin is the story chosen. The aim of this paper is to choose one of this story’s characters and discuss him/her as a subject to Bildungsroman. In order to understand this paper, Bildungsroman is said to be a kind of novel or a novel with a youthful character who depicts his growth turning into a matured one. This serves as a book report; character analysis regarding a certain character of a story depicted as a Bildungsroman and narrate his or he dramatically narration of maturing development.

Bildungsroman Depicted by Tom Tom is the protagonist who depicts a Bildungsroman narration in the story Uncle Tom’s Cabin. This is depicted through his maturity growth from being just a slave, thinking like a slave through his development to his belief to Christianity and Christ. Onwards to Tom’s continuous journey in life, he became a devotee as well as a person whom others relied on. At the end of the story, Tom died but his maturity towards love of God and faith touched the life of all those people around him.

His life is dramatically narrated as full of fleshly pains brought by the cruelty of his last master but still Tom struggled for his faith and held on to it until his very last breathe. At the end, he became a role model of goodness and faith conviction. Uncle Tom’s Cabin Tom as the main character in the story of Uncle Tom’s Cabin is said to be a slave; literally, and by heart, he has no other intention of being something else but is contented with what he is until the day that other slave buyers tended to purchase him from his owner.

This is where his maturity development turns in; from his travel from his former owner, the Shelby; to his purchaser, Mr. Haley (Stowe). Uncle Tom was forced to leave his family and was taken by Mr. Haley into the slave market. This is where he gets to meet a little girl whom he became fond of and eventually became his dearest friend. The incident when Eva accidentally fell to the river was the start when Tom became a part of the St. Clare family, basically for saving the daughter (Stowe).

On and on eventually, Tom is not required to work harder on the household but became a seemingly partner or a devotee of Christianity together with Eva. Tom’s life made another change when the little girl Eva became ill and eventually died. People around the St. Clare family changed and decided to let Tom alone for his freedom. Radically, St. Claire died and Tom was sold to a plantation owner named Legree (Stowe). The new owner of Tom is said to be cruel and evil, he tends to buy slaves and pick one to be his sex slave.

Tom was punished by his evil owner once he did not comply with Legree’s order which is to whip one of the slaves (Stowe). Because of the said action of Tom in which he disobeyed to the command of his owner, he was being beaten up so hard; Legree intended Tom to lose his faith on God by simply making him suffer from the pain that the beating that has done to the latter (Stowe). After he was beaten up, he gets to meet the former sex slave of his owner where he noticed that the lady was being separated from her daughter. Cassy’s child was taken away from her due to slavery (Stowe).

After some time, Tom was changed after the Quakers healed him. In the place of Louisiana, Tom’s beliefs on his faith almost fade away, but still, he counted on and held on to his faith in which he has two different views of (Stowe). Toms Faith is determined by two important inspirations; first is an inspiration of Christ and the second one is an inspiration of Eva. These two said inspirations are the ones who made him courageously and fearless of his experienced torment over the hands of his Evil master Legree (Stowe).

Uncle Tom is the one who eventually encouraged Cassy to seek for her freedom and the latter did obey his suggestion and took Emmeline with her. In this part of the story, Uncle Tom changed another people’s life by simply encouraging them with the help of his faith and stand on Christianity and Christ (Stowe). Legree, noticing about the escape of the two slaves, punished Tom and beat him all the time as for a change because he did not want to tell his master where the two escaped people have gone. On the time that Tom notice that he is near death, he gave forgiveness to all those who have committed sin unto him and died a martyr death (Stowe).

His former owner, Shelby, was too late to buy for his freedom from the cruel master. At the end of the story, all the people whom were a part of Tom’s journey and experiences became happy. They all realized the essence of Tom in their lives and decided to live a life as Tom did to his. Analysis Uncle Tom’s maturity does not pertain particularly to the youthful growth until his old days, but therefore, it pertains to the growth of faith and love which Tom shared with all the people around him; from his very first master until his last master even tough his last owner is cruel to him.

His faith’s intent became stronger and stronger with its conviction as he experienced all the pain that he endured during his life and for that he became more determined with his belief. With the help of Eva and those other people whom he took courage and strength from, Tom continued being a person full of life, hope, and heaven even during being on earth. Works Cited Stowe, Harriet Beecher. Uncle Tom’s Cabin or, Life among the Lowly. Modern Library, 1996.

University/College: University of California

Type of paper: Thesis/Dissertation Chapter

Date: 9 August 2016

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Uncle Tom's Cabin Critical Essays

Harriet Beecher Stowe

Sample Essay Outlines

In Uncle Tom’s Cabin, Harriet Beecher Stowe emphasizes that the effects of slavery are as tragic for the slave as for the slave-holder. Discuss why Mr. Shelby and Augustine St. Clare are ambivalent figures because of their involvement in slavery.

I. Thesis Statement: Mr. Shelby and Augustine St. Clare are ambivalent figures because despite being humane slave owners, they unwittingly contribute to their slaves’ miseries.

II. The slave owners’ humanity

A. Both treat their slaves humanely

B. Mr. Shelby repulsed by Haley the slave trader

C. St. Clare knows slavery is wrong

D. St. Clare exposes Miss Ophelia’s hypocritical stance on slavery

III. The slave owners’ carelessness

A. Mr. Shelby falls into debt and must sell Tom and Harry

B. Mr. Shelby refuses help from his wife

C. St. Clare opposes slavery, but cannot free his slaves

D. St. Clare stalls at writing Tom’s free papers and dies

IV. Their unintentional effects on Uncle Tom

A. Mr. Shelby separates Tom from his family

B. St. Clare dies and Simon Legree buys Tom

Uncle Tom and Eva St. Clare can be considered as saintly martyrs. Explain how each fits this description with regard to slavery and religion, referring to examples from the book.

I. Thesis Statement: Uncle Tom and Eva.

(The entire section is 508 words.)

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Uncle Tom's Cabin Homework Help Questions

Historians typically say that Harriet Beecher Stowe’s novel Uncle Tom’s Cabin had a tremendous impact on the North. Abraham Lincoln supposedly greeted her by saying, “So you’re the little.

Both reacted powerfully, but they reacted quite differently. The South criticized the book, especially supporters of slavery. Many people wrote letters, and some even wrote entire books answering.

Uncle Tom’s Cabin was important because it helped to bring on the Civil War. President Lincoln is supposed to have said (though this is probably apocryphal) to Harriet Beecher Stowe “So.

The overarching lesson Stowe wanted to convey in her novel is that even under the best of conditions, slavery was an evil institution. People in her time often justified slavery with the argument.

President Abraham Lincoln, upon meeting the author of Uncle Tom’s Cabin in 1862, is alleged to have said to Harriet Beecher Stowe, “So you’re the little woman who wrote the book that started.

Stowe, Harriet Beecher Uncle Tom's Cabin; or, Life among the Lowly – Essay

Harriet Beecher Stowe

Introduction

(Nineteenth-Century Literary Criticism)

Harriet Beecher Stowe Uncle Tom’s Cabin; or, Life among the Lowly

The following entry presents criticism of Stowe’s novel Uncle Tom’s Cabin; or, Life among the Lowly (1852).

Uncle Tom’s Cabin, the book that Abraham Lincoln reportedly claimed started the Civil War, was one of the most widely read and profoundly influential works of the nineteenth century. Its anti-slavery message, in direct response to the Fugitive Slave Act of 1850, provoked unprecedented levels of critical disagreement throughout the North and South, serving as a catalyst for sectional conflict. Following the war and the end of slavery, the novel—and its numerous stage adaptations—continued to serve as a focal point for discussions of race in America well into the twentieth century. While usually recognized for its historical contributions, Uncle Tom’s Cabin has also played an important role in shaping American literature and is noted for its influence on many prominent writers, ranging from Sarah Orne Jewett to Richard Wright and Ishmael Reed.

When the first installment of Uncle Tom’s Cabin appeared in the abolitionist magazine The National Era in June 1851, Stowe had a modest reputation as a writer of didactic fiction, having published The Mayflower, a collection of sentimental short stories and sketches. The daughter of a prominent Presbyterian theologian, her income garnered from writing supplemented her preacher husband’s paltry salary. Stowe often claimed that the writing of her most famous work was aided by the hand of God, tracing its inspiration to a Brunswick communion service in which she tried to imagine the death of a pious slave at the hands of a white master. Following the tremendous success of the novel, Stowe published A Key to Uncle Tom’s Cabin (1853), in which she defended the novel against Southern critiques. Although she continued to write prolifically for several more years, none of her later works achieved the success of her first novel.

Plot and Major Characters

Uncle Tom’s Cabin chronicles the life and death of the title character, a black slave known for his reliability and Christian virtue. Beset by financial problems, Mr. Shelby, a Kentucky plantation owner, is forced to sell Tom and Harry, the young son of Eliza, Mrs. Shelby’s slave, to a trader. Eliza, however, flees with her son, jumping from one ice floe to another across the Ohio River and narrowly escaping the pursuing slave dealer and his dogs. Later she is reunited with her husband, George Harris, a highly intelligent escaped slave, in the home of a Quaker family; with the help of the Underground Railroad, they eventually secure their freedom in Canada. While aboard a ship destined for a New Orleans slave market, Tom saves the life of a young girl named Eva, who later convinces her father, Augustine St. Clare, to purchase her heroic rescuer and friend. Tom quickly gains the affection of everyone on the plantation. He forms a close bond with little Eva, who befriends a young, unmanageable slave girl named Topsy before becoming ill and dying. Tom also discusses Christianity with St. Clare, who promises to set him free but is killed in a brawl, enabling Mrs. St. Clare to sell him to the cruel and sadistic Simon Legree, a plantation owner from the North. Intending to make Tom overseer of the other slaves, Legree orders him to flog a sick, weak woman for not working hard enough. After refusing, Tom himself is beaten by Legree’s two black henchmen, Sambo and Quimbo. Legree’s mistress, Cassy, a refined quadroon whose daughter had been torn from her and sold into slavery, attends to Tom’s injuries and tries to enlist his help in murdering their master. But Tom, a model of Christian forgiveness, refuses and convinces her to abort her plan. Later, when Cassy and her daughter, Emmeline, pretend to escape by hiding in the attic that Legree believes to be haunted, Tom refuses to reveal their whereabouts and is again severely beaten. Two days later, after George Shelby, the son of Tom’s first master, returns to buy him back, Tom dies with words of Christ’s love on his lips. Shortly after Tom’s death, Cassy and Emmeline finally make their escape, eventually joining the Harrises in Canada, where it is revealed that Eliza is Cassy’s lost daughter.

Stowe wrote the novel for the specific purpose of ending slavery, but her portrayal of domestic values and her characterization of African Americans has continued to interest critics long after emancipation. The novel, as several commentators have observed, casts the “peculiar institution” as a crime against home, family, and true Christian values. Not only is slavery shown destroying familial relationships and morality within the slave community, it is depicted as a threat to the homes of all Americans, in both the South and the North. Many modern readers, however, have found in her antislavery arguments a critique against “masculine” values of individualism, competition, and the marketplace—and a concomitant affirmation of “feminine” values of community, love, and domesticity. Interpretations of Stowe’s portrayal of Tom have also undergone considerable revision. While many contemporary readers identified him as a model of Christian virtue, modern readers have often viewed him as a symbol of African-American subordination to white authority.

Some of the most hotly contested debates in American literary history have surrounded Stowe’s monumental work. In the antebellum years, the controversy focused primarily on her antislavery arguments and her depiction of the South. The first American book to sell more than a million copies, Uncle Tom’s Cabin was well received in the North, despite the arguments of some abolitionists who felt she was too lenient; however, Southern reviewers accused her of slander, and dozens of “anti-Tom” novels soon appeared. After the Civil War, white critics in the North and South, for the most part, came to agree with Stowe’s position on slavery, but many took issue with her presentation of African-American characters, claiming that they were depicted in too positive a manner. In the post-World War II years, however, the opposite view prevailed. Reviewers such as African-American novelist James Baldwin found in Stowe’s portrayal of Tom a negative stereotype of servility and impotence. While “Uncle Tom” has remained a pejorative term, several scholars since the mid-1980s have vigorously defended both the political message and the artistic merit of the novel. Largely through the efforts of feminist and historically based critics who have focused on Stowe’s attention to the domestic culture of her nineteenth-century female audience, Uncle Tom’s Cabin has once again become the subject of serious academic study.

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David Levin (essay date 1971)

(Nineteenth-Century Literary Criticism)

SOURCE: “American Fiction as Historical Evidence: Reflections on Uncle Tom’s Cabin,” in Forms of Uncertainty: Essays in Historical Criticism, University Press of Virginia, 1992, pp. 249-59.

[In the excerpt that follows, originally from an essay published in 1971, Levin addresses Stowe’s treatment of various social issues in Uncle Tom’s Cabin from a historical perspective, concluding that Stowe should be commended for her often-overlooked, complex intellectual statement.]

The historical document known as Uncle Tom’s Cabin illustrates a truth that has been known to American historians ever since Washington Irving published Knickerbocker’s.

(The entire section is 3743 words.)

Get Free Access to this Uncle Tom's Cabin Study Guide

Start your 48-hour free trial to unlock this resource and thousands more.

Get Better Grades

Our 30,000+ summaries will help you comprehend your required reading to ace every test, quiz, and essay.

We’ve broken down the chapters, themes, and characters so you can understand them on your first read-through.

Access Everything From Anywhere

We have everything you need in one place, even if you’re on the go. Download our handy iOS app for free.

Ernest Cassara (essay date 1973)

(Nineteenth-Century Literary Criticism)

SOURCE: “The Rehabilitation of Uncle Tom: Significant Themes in Mrs. Stowe’s Antislavery Novel,” in CLA Journal, Vol. XVII, No. 2, December, 1973, pp. 230-40.

[In the excerpt that follows, Cassara outlines the features that make Tom a heroic figure, in contrast to those who view him as the obsequious character from which the pejorative term “Uncle Tom” has derived.]

The expression “Uncle Tom” in the context of today’s racial tensions has come to stand for a servile, cringing, hypocritical Negro who is willing to accommodate to the white power structure and to a less-than-equal place in American society. The melodramatic stage adaptation of Uncle Tom’s Cabin by.

(The entire section is 4087 words.)

Get Free Access to this Uncle Tom's Cabin Study Guide

Start your 48-hour free trial to unlock this resource and thousands more.

Elizabeth Amnions (essay date 1977)

(Nineteenth-Century Literary Criticism)

SOURCE: “Heroines in Uncle Tom’s Cabin,” in American Literature, Vol. XLIX, No. 2, May, 1977, pp. 161-79.

[In the following excerpt, Ammons discusses various feminist themes in Uncle Tom’s Cabin, suggesting that Stowe replaces masculine values with feminine and maternal ones.]

Late in me nineteenth century Harriet Beecher Stowe announced mat God wrote Uncle Tom’s Cabin (1852). The novel by then seemed too monumental even to its author to have been imagined by one woman. Earlier in her life, in contrast, Stowe had no doubt mat she wrote the subversive book or mat she was inspired to write it, despite marital and household irritations.

(The entire section is 6642 words.)

Cushing Strout (essay date 1981)

(Nineteenth-Century Literary Criticism)

SOURCE: “Uncle Tom’s Cabin and the Portent of Millennium,” in The Veracious Imagination: Essays on American History, Literature, and Biography, Wesleyan University Press, 1981, pp. 59-69.

[In the following excerpt, Strout examines the nineteenth-century theological traditions that informed the writing of Uncle Tom’s Cabin, defending Stowe against modernist critics who accuse her of racism.]

“Everybody’s Protest Novel,” James Baldwin called it in 1949, in order to condemn it and its descendants. Looking at it through the eyes of a modern Negro, he found it a hysterically moralistic melodrama of stereotypes with a cast of genteel mulattoes and quadroons.

(The entire section is 3904 words.)

Leslie Fiedler (essay date 1982)

(Nineteenth-Century Literary Criticism)

SOURCE: “Home as Heaven, Home as Hell: Uncle Tom’s Canon,” in Rewriting the Dream: Reflections on the Changing American Literary Canon, edited by W. M.; Verhoeven, Rodopi, 1992, pp. 22-42.

[An American critic, novelist, short story writer, essayist, poet, and editor, Fiedler is a commentator on American literature who has generated a great deal of controversy. Using primarily Marxist and Freudian perspectives, he attempts to uncover the origins of modern literature and show how myth is used in literature today. In the excerpt that follows, from an essay originally published in 1982, Fiedler discusses the myth of marriage and parenthood shared by Stowe’s female audience, examining its role.

(The entire section is 6825 words.)

Walter Benn Michaels (essay date 1983)

(Nineteenth-Century Literary Criticism)

SOURCE: “Romance and Real Estate,” in The Gold Standard and the Logic of Naturalism: American Literature at the Turn of the Century, University of California Press, 1987, pp. 85-112.

[In the following excerpt from an essay originally published in 1983, Michaels examines the economic themes of Uncle Tom’s Cabin, focusing on the role of slavery in the marketplace.]

. . . . The conjunction of death and secure property has its place in [Uncle Tom’s Cabin, a text] intended not as a romance but, in its author’s words [in A Key to Uncle Tom’s Cabin, 1853], as a “representation . . . of real incidents, of actions really performed, of.

(The entire section is 1386 words.)

Kristen Herzog (essay date 1983)

(Nineteenth-Century Literary Criticism)

SOURCE: “Harriet Beecher Stowe’s Uncle Tom’s Cabin: Women and Blacks Revolutionizing Society,” in Women, Ethnics, and Exotics: Images of Power in Mid-Nineteenth-Century American Fiction, The University of Tennessee Press, Knoxville, 1983, pp. 102-20.

[In the excerpt that follows, Herzog discusses the women and African-American characters in Uncle Tom’s Cabin, focusing on their role in the author’s vision of a new religious and political order.]

A well-known social history of the nineteenth-century South [William R. Taylor’s Cavalier and Yankee] features a chapter entitled “Women and Negroes: One and Inseparable.” Certainly women and blacks in the.

(The entire section is 7249 words.)

Minrose C. Gwin (essay date 1985)

(Nineteenth-Century Literary Criticism)

SOURCE: “A Lie More Palatable than the Truth’: Fictional Sisterhood in a Fictional South,” in Black and White Women of the Old South: The Peculiar Sisterhood in American Literature, The University of Tennessee Press, Knoxville, 1985, pp. 19-43.

[In the following excerpt, Gwin discusses the relationships between white and black female characters in Uncle Tom’s Cabin, emphasizing the strength of these bonds against the threat of slavery.]

In Uncle Tom’s Cabin, where slavery is linked to the male sphere, the bonds between white and black women not only provide succor but can generate enormous power against that sphere. The bonds between Mrs. Shelby.

(The entire section is 4867 words.)

George Goodin (essay date 1985)

(Nineteenth-Century Literary Criticism)

SOURCE: “The Virtuous Victim: Les Misérables, Billy Budd, The Power and the Glory, Uncle Tom’s Cabin,” in The Poetics of Protest: Literary Form and Political Implication in the Victim-of-Society Novel, Southern Illinois University Press, 1985, pp. 51-86.

[In the following excerpt, Goodin discusses the characterization of Tom and the ending of the novel in relation to themes of resistance and community.]

As [Stowes] title ought to suggest, [Uncle Tom’s Cabin] is largely the story of a community. According to Stowe’s 1878 essay “The Story of Uncle Tom’s Cabin” the novel’s animus was the Fugitive Slave Law of 1850, which required even.

(The entire section is 1410 words.)

Jane Tompkins (essay date 1985)

(Nineteenth-Century Literary Criticism)

SOURCE: “Sentimental Power: Uncle Tom’s Cabin and the Politics of Literary History,” in Sensational Designs: The Cultural Work of American Fiction, 1790-1860, Oxford University Press, Inc., 1985, pp. 122-46.

[In the following excerpt, Tompkins defends the value of Uncle Tom’s Cabin as a work of sentimental fiction, discussing Stowe’s attention to nineteenth-century women’s culture and her vision of social reform.]

[The] popular domestic novel of the nineteenth century represents a monumental effort to reorganize culture from the woman’s point of view; that this body of work is remarkable for its intellectual complexity, ambition, and resourcefulness; and.

(The entire section is 8369 words.)

Jean Fagan Yellin (essay date 1986)

(Nineteenth-Century Literary Criticism)

SOURCE: “Doing It Herself: Uncle Tom’s Cabin and Woman’s Role in the Slavery Crisis,” in New Essays on “Uncle Tom’s Cabin, “ edited by Eric J. Sundquist, Cambridge University Press, 1986, pp. 85-105.

[In the following essay, Yellin discusses the influence of mid-nineteenth-century feminist thought on the writing of Uncle Tom’s Cabin, emphasizing the roles that Angelina E. Grimké and Catharine Beecher had on the creation of Stowe’s female characters.]

The trembling earth, the low-murmuring thunders, already admonish us of our danger; and if females can exert any saving influence in this emergency, it is time for them to awake.

(The entire section is 7492 words.)

Stephen J. DeCanio (essay date 1990)

(Nineteenth-Century Literary Criticism)

SOURCE: “Uncle Tom’s Cabin: A Reappraisal,” in The Centennial Review, Vol. XXXIV, No. 4, Fall, 1990, pp. 587-93.

[In the following excerpt, DeCanio examines the philosophical questions underlying Uncle Tom’s Cabin, suggesting that Stowe’s treatment of religion and faith has as much relevance for a modern audience as her commentary on gender and ethnicity..]

Uncle Tom’s Cabin, the main work for which Harriet Beecher Stowe is now remembered, is enjoying a rebirth. With the received “canon” of American literature under attack as elitist, racist, and sexist, it is not surprising that an authentic anti-slavery novel, written by a.

(The entire section is 2012 words.)

Stephen Railton (essay date 1991)

(Nineteenth-Century Literary Criticism)

SOURCE: “Mothers, Husbands, and an Uncle: Stowe’s Uncle Tom’s Cabin, “ in Authorship and Audience: Literary Performance in the American Renaissance, Princeton University Press, 1991, pp. 74-89.

[In the following excerpt, Railton focuses on Stowe’s relationship to her audience, contending that Uncle Tom’s Cabin is both a radical novel of social protest and a conventional recording of genteel Victorian preconceptions.]

There are still two good reasons to read Uncle Tom’s Cabin: for its radicalism, and for its conventionality. As a novel of social protest, it generates so much passion within its own pages that, although the particular evil it.

(The entire section is 7453 words.)

Winfried Fluck (essay date 1992)

(Nineteenth-Century Literary Criticism)

SOURCE: “The Power and Failure of Representation in Harriet Beecher Stowe’s Uncle Tom’s Cabin, “ in New Literary History, Vol. 23, No. 2, Spring, 1992, pp. 319-38.

[In the following excerpt, Fluck examines Uncle Tom’s Cabin in terms of various definitions of sentimentalism, discussing both its cultural importance and its aesthetic limitations.]

Reacting against a long history of neglect, current revisionist studies of American literature have drawn our attention to Harriet Beecher Stowe’s Uncle Tom’s Cabin as an especially rich and powerful example of sentimentality in the novel. Such attempts to make sense of materials which critics drawing.

(The entire section is 7667 words.)

Jennifer L. Jenkins (essay date 1992)

(Nineteenth-Century Literary Criticism)

SOURCE: “Failed Mothers and Fallen Houses: The Crisis of Domesticity in Uncle Tom’s Cabin, “ in ESQ: A Journal of the American Renaissance, Vol. 38, No. 2, Second Quarter, 1992, pp. 161-87.

[In the following excerpt, Jenkins examines race, sexuality, and motherhood in Uncle Tom’s Cabin, tracing what she contends is the collapse of Stowe’s domestic plot.]

So this is the little lady who made this big war.

Harriet Beecher Stowe viewed slavery primarily as a domestic issue. From her childbed she thought of it, at her kitchen table she wrote of it, and her novel.

(The entire section is 7564 words.)

Further Reading

(Nineteenth-Century Literary Criticism)

Crozier, Alice C. “Uncle Tom’s Cabin; or, History in the Making.” In her The Novels of Harriet Beecher Stowe, pp. 3-33. New York: Oxford, 1969.

A broad analysis of themes, characters, and nineteenth-century culture that addresses the novel as a historically accurate “picture of Southern society.”

Furnas, J. C. Goodbye to Uncle Tom. New York: Sloane, 1956, 435 p.

Condemns the novel for inaccurate and condescending portrayals of African Americans that have fostered the growth of twentieth-century racial stereotypes.

(The entire section is 865 words.)

Uncle Tom's Cabin Homework Help Questions

Historians typically say that Harriet Beecher Stowe’s novel Uncle Tom’s Cabin had a tremendous impact on the North. Abraham Lincoln supposedly greeted her by saying, “So you’re the little.

Both reacted powerfully, but they reacted quite differently. The South criticized the book, especially supporters of slavery. Many people wrote letters, and some even wrote entire books answering.

Uncle Tom’s Cabin was important because it helped to bring on the Civil War. President Lincoln is supposed to have said (though this is probably apocryphal) to Harriet Beecher Stowe “So.

The overarching lesson Stowe wanted to convey in her novel is that even under the best of conditions, slavery was an evil institution. People in her time often justified slavery with the argument.

President Abraham Lincoln, upon meeting the author of Uncle Tom’s Cabin in 1862, is alleged to have said to Harriet Beecher Stowe, “So you’re the little woman who wrote the book that started.

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