Clotel

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Clotel; or, the President's Daughter
Brown Clotel 1853.jpg
Title page, first edition
Author William Wells Brown
LanguageEnglish
Genre Novel
Publisher Partridge & Oakey
Publication date
1853
Publication placeUnited Kingdom
Media typePrint
OCLC 52765888
813/.4 22
LC Class PS1139.B9 C53 2004
Text Clotel; or, the President's Daughter at Project Gutenberg

Clotel; or, The President's Daughter: A Narrative of Slave Life in the United States is an 1853 novel by United States author and playwright William Wells Brown about Clotel and her sister, fictional slave daughters of Thomas Jefferson. Brown, who escaped from slavery in 1834 at the age of 20, published the book in London. He was staying after a lecture tour to evade possible recapture due to the 1850 Fugitive Slave Act. Set in the early nineteenth century, it is considered the first novel published by an African American [1] [2] and is set in the United States. Three additional versions were published through 1867.

Contents

The novel explores slavery's destructive effects on African-American families, the difficult lives of American mulattoes or mixed-race people, and the "degraded and immoral condition of the relation of master and slave in the United States of America." [3] Featuring an enslaved mixed-race woman named Currer and her daughters Althesa and Clotel, fathered by Thomas Jefferson, it is considered a tragic mulatto story. The women's relatively comfortable lives end after Jefferson's death. They confront many hardships, with the women taking heroic action to preserve their families.

Background

The novel played with known 19th-century reports that Thomas Jefferson had an intimate relationship with his slave Sally Hemings and fathered several children with her. [4] Of mixed race and described as nearly white, she was believed to be the half sister of Jefferson's wife, Martha Wayles Skelton Jefferson, the youngest of six children by her father John Wayles with his slave Betty Hemings. Members of the large Hemings family were among more than 100 slaves inherited by Martha and Thomas Jefferson after her father's death. Martha died when Jefferson was 40 and he never remarried.

Although Jefferson never responded to the rumors, some historians believe that his freeing of the four Hemings children as they came of age is significant: he may have let Beverly (a male) and certainly let his sister Harriet Hemings "escape" in 1822 from Monticello, and freed two by his will in 1826, although he was heavily in debt. His daughter gave Hemings "her time" (meaning that she freed her), so she may have been able to live freely in Charlottesville with her two youngest sons, Madison and Eston Hemings, for the rest of her life. Except for three other Hemings men whom Jefferson freed in his will, the rest of his 130 slaves were sold in 1827. A 1998 DNA study confirmed a match between the Jefferson male line and Eston Hemings' direct male descendant. [4] Based on this and the body of historic evidence, most Jeffersonian scholars have come to accept that Jefferson did father Hemings's children over an extended period of time.

As an escaped slave, due to the Fugitive Slave Act of 1850, William Wells Brown was at risk in the United States. While in England on a lecture tour in 1849, he decided to stay there with his two daughters after the Fugitive Slave Act was passed in 1850, as he was at risk of being taken by slave catchers. [5] He published Clotel in 1853 in London; it was the first novel published by an African American. [1] [2] In 1854 a British couple purchased freedom for Brown, and he returned with his daughters to the US.

Plot summary

This, reader, is an unvarnished narrative of one doomed by the laws of the Southern States to be a slave. It tells not only its own story of grief, but speaks of a thousand wrongs and woes beside, which never see the light; all the more bitter and dreadful, because no help can relieve, no sympathy can mitigate, and no hope can cheer.

—Narrator of Clotel, Page 199. [6]
Frontispiece to the 1853 publication, engraving entitled: THE DEATH OF CLOTEL. 1853 Brown Clotel The Death of Clotel.png
Frontispiece to the 1853 publication, engraving entitled: THE DEATH OF CLOTEL.

The narrative of Clotel plays with history by relating the "perilous antebellum adventures" of a young mixed-race slave Currer and her two light-skinned daughters fathered by Thomas Jefferson. Because the mother is a slave, according to partus sequitur ventrem, which Virginia adopted into law in 1662, her daughters are born into slavery. The book includes "several sub-plots" related to other slaves, religion and anti-slavery. [8] Currer, described as "a bright mulatto" (meaning light-skinned) gives birth to two "near white" daughters: Clotel and Althesa. [9]

After the death of Jefferson, Currer and her daughters are sold as slaves. [9] Horatio Green, a white man, purchases Clotel and takes her as a common-law wife. They cannot legally marry under state laws against miscegenation.

Her mother Currer and sister Althesa remain "in a slave gang." Currer is eventually purchased by Mr. Peck, a preacher. She is enslaved until she dies from yellow fever, [9] shortly before Peck's daughter was preparing to emancipate her.

Althesa marries her white master, Henry Morton, a Northerner, by passing as a white woman. They have daughters Jane and Ellen, who are educated. Although supporting abolition, Morton fails to manumit Althesa and their daughters. After Althesa and Morton both die, their daughters are enslaved. [9] Ellen commits suicide to escape sexual enslavement, and Jane dies in slavery from heartbreak. [10]

Green and Clotel have a daughter Mary, also mixed race of course, and majority white. When Green becomes ambitious and involved in local politics, he abandons his relationship with Clotel and Mary. He marries "a white woman who forces him to sell Clotel and enslave his child." [10]

Clotel is sold to a planter in Vicksburg, Mississippi. There she meets William, another slave, and they plan a bold escape. Dressing as a white man, Clotel is accompanied by William acting as her slave; they travel and gain freedom by reaching the free state of Ohio. (This is based on the tactics of the 1849 escape by Ellen Craft and William Craft). William continues his flight to Canada (an estimated 30,000 fugitive slaves reached there by 1852). [11] Clotel returns to Virginia to try to free her daughter Mary. After being captured in Richmond, Clotel is taken to Washington, DC for sale at its slave market. She escapes and is pursued through the city by slave catchers. Surrounded by them on the Long Bridge, she commits suicide by jumping to her death in the Potomac River. [12]

Thus died Clotel, the daughter of Thomas Jefferson, a president of the United States.

—Narrator of Clotel, Page 182 [13]

Mary is forced to work as a domestic slave for her father Horatio Green and his white wife. She arranges to trade places in prison with her lover, the slave George. He escapes to Canada. Sold to a slave trader, Mary is purchased by a French man who takes her to Europe. [12] [14] Ten years later, after the Frenchman's death, George and Mary reunite by chance in Dunkirk, France. The novel ends with their marriage. [12]

Primary characters

Critical reception

The novel has been extensively studied in the late 20th and early 21st century. Kirkpatrick writes that Clotel demonstrates the "pervasive, recurring victimization of black women under slavery. Even individuals of mixed-race status who attempt to pass as white nevertheless suffer horrifically." [16] It exposes "the insidious intersection of economic gain and political ambition—represented by founding fathers such as Jefferson and Horatio Green." It is a "scathing, sarcastic, comprehensive critique of slavery in the American South, race prejudice in the American North, and religious hypocrisy in the American nation as a whole." [5] The novel and the title "walk a precarious line between oral history, written history, and artistic license." [8] Mitchell said that Brown emphasized romantic conventions, dramatic incident and a political view in his novel. [17]

Recent scholars have also analyzed Clotel for its representations of gender and race. Sherrard-Johnson notes that Brown portrayed both the "tragic central characters " and the "heroic figures" as mulattoes with Angloid features, similar to his own appearance. [18] She thinks he uses the cases of "nearly white" slaves to gain sympathy for his characters. She notes that he borrowed elements from the abolitionist Lydia Maria Child's plot in her short story, "The Quadroons" (1842). He also incorporated notable elements of recent events, such as the escape of the Crafts, and the freedom suit court case of Salome, an enslaved woman in Louisiana who claimed to be an immigrant born in Germany.

Martha Cutter notes that Brown portrayed his women characters generally as passive victims of slavery and as representations of True Women and the cult of domesticity, which were emphasized at the time for women. They are not portrayed as wanting or seeking freedom, but as existing through love and suffering. Cutter asks, if Mary could free George, why did she not free herself? [14] Although Brown published three later versions of Clotel, he did not seriously change this characterization of the African-American women. Slave women such as Ellen Craft were known to have escaped slavery, but Brown did not portray such women fully achieving freedom. [14]

Mitchell, in contrast, believes that Brown portrays his women as acting heroically: she notes that Clotel escapes and goes back to Virginia to rescue her daughter, and more than one escape is described. She thinks he emphasizes adventure for the sake of character development. Even after heroic action, Brown's women are subject to the suffering of slavery. He emphasizes its evil of illegitimacy, and the arbitrary breakup of families. [19]

Influence

In addition to being the first novel published by an African American, Clotel became a model that influenced many other nineteenth-century African-American writers. [2] It is the first instance of an African-American writer "to dramatize the underlying hypocrisy of democratic principles in the face of African American slavery." [7]

Through Clotel, Brown introduces into African-American literature the "tragic mulatto" character. [20] [21] Such characters, representing the historical reality of hundreds of thousands of mixed-race people, many of them slaves, were further developed by "Webb, Wilson, Chesnutt, Johnson, and other novelists", writing primarily after the American Civil War. [20]

Style

According to Brown in its preface, he wrote Clotel as a polemic narrative [21] against slavery, written for a British audience:

If the incidents set forth in the following pages should add anything new to the information already given to the Public through similar publications, and should thereby aid in bringing British influence to bear upon American slavery, the main object for which this work was written will have been accomplished.

—Preface, Page 47 [22]

It is also considered a propagandistic narrative, in that Brown leveraged "sentimentality, melodrama, contrived plots, [and] newspaper articles" as devices "to damage the 'peculiar institution' [23] of slavery." [24]

Chapters predominantly open "with an epigraph underscoring the romance’s urgent message: 'chattel slavery in America undermines the entire social condition of man.' [25] " [26]

Clotel is told through the use of a "third-person limited omniscient narrator." The narrator is "morally didactic and consistently ironic." The narrative is fragmented, in that it "combines fact, fiction, and external literary sources." [7] It presents the reader with a structure that is episodic and is informed by "legends, myths, music, and concrete eye-witness accounts of the fugitive slaves themselves." It also "draws on antislavery lectures and techniques," such as "abolitionist verse and fiction, newspaper stories and ads, legislative reports, public addresses, private letters, and personal anecdotes." [27]

See also

Related Research Articles

The slave narrative is a type of literary genre involving the (written) autobiographical accounts of enslaved persons, particularly Africans enslaved in the Americas, though many other examples exist. Over six thousand such narratives are estimated to exist; about 150 narratives were published as separate books or pamphlets. In the United States during the Great Depression (1930s), more than 2,300 additional oral histories on life during slavery were collected by writers sponsored and published by the Works Progress Administration, a New Deal program. Most of the 26 audio-recorded interviews are held by the Library of Congress.

Sarah "Sally" Hemings was a female enslaved person with one-quarter African ancestry who was enslaved by president of the United States Thomas Jefferson, one of many he inherited from his father-in-law, John Wayles.

<span class="mw-page-title-main">Children of the plantation</span> Mixed race children of slave women and white men, often via rape

"Children of the plantation" is a euphemism used to refer to people with ancestry tracing back to the time of slavery in the United States in which the offspring was born to black African female slaves in the context of the trans-Atlantic slave trade and Non-Black men, usually the slave's owner, one of the owner's relatives, or the plantation overseer. These children were often considered to be the property of the slave owner and were often subjected to the same treatment as other slaves on the plantation. Many of these children were born into slavery and had no legal rights, as they were not recognized as the legitimate children of their fathers. The men who fathered these children often used their power and authority to force themselves upon the black females who were under their control.

African American literature is the body of literature produced in the United States by writers of African descent. It begins with the works of such late 18th-century writers as Phillis Wheatley. Before the high point of enslaved people narratives, African American literature was dominated by autobiographical spiritual narratives. The genre known as slave narratives in the 19th century were accounts by people who had generally escaped from slavery, about their journeys to freedom and ways they claimed their lives. The Harlem Renaissance of the 1920s was a great period of flowering in literature and the arts, influenced both by writers who came North in the Great Migration and those who were immigrants from Jamaica and other Caribbean islands. African American writers have been recognized by the highest awards, including the Nobel Prize given to Toni Morrison in 1993. Among the themes and issues explored in this literature are the role of African Americans within the larger American society, African American culture, racism, slavery, and social equality. African-American writing has tended to incorporate oral forms, such as spirituals, sermons, gospel music, blues, or rap.

<span class="mw-page-title-main">William Wells Brown</span> African-American abolitionist (c. 1814 – 1884)

William Wells Brown was an American abolitionist, novelist, playwright, and historian. Born into slavery near Mount Sterling, Kentucky, Brown escaped to Ohio in 1834 at the age of 19. He settled in Boston, Massachusetts, where he worked for abolitionist causes and became a prolific writer. While working for abolition, Brown also supported causes including: temperance, women's suffrage, pacifism, prison reform, and an anti-tobacco movement. His novel Clotel (1853), considered the first novel written by an African American, was published in London, England, where he resided at the time. It was later published in the United States.

<span class="mw-page-title-main">Margaret Garner</span> United States fugitive slave

Margaret Garner, called "Peggy", was an enslaved African American woman who killed her own daughter and intended to kill her other three children and herself rather than be forced back into slavery. Garner and her family had escaped enslavement in January 1856 by traveling across the frozen Ohio River to Cincinnati, but they were apprehended by U.S. Marshals acting under the Fugitive Slave Act of 1850. Garner's defense attorney, John Jolliffe, moved to have her tried for murder in Ohio, to be able to get a trial in a free state and to challenge the Fugitive Slave Law. Garner's story was the inspiration for the novel Beloved (1987) by Nobel Prize-winning author Toni Morrison and its subsequent adaptation into a film of the same name starring Oprah Winfrey (1998).

<i>Partus sequitur ventrem</i> Former legal doctrine of slavery by birth

Partus sequitur ventrem was a legal doctrine passed in colonial Virginia in 1662 and other English crown colonies in the Americas which defined the legal status of children born there; the doctrine mandated that children of enslaved mothers would inherit the legal status of their mothers. As such, children of enslaved women would be born into slavery. The legal doctrine of partus sequitur ventrem was derived from Roman civil law, specifically the portions concerning slavery and personal property (chattels), as well as the common law of personal property; analogous legislation existed in other civilizations including Medieval Egypt in Africa and Korea in Asia.

<span class="mw-page-title-main">Madison Hemings</span> American freed slave (1805–1877)

Madison Hemings was the son of Sally Hemings and Thomas Jefferson. He was the third of Sally Hemings’ four children to survive to adulthood. Born into slavery, according to partus sequitur ventrem, Hemings grew up on Jefferson's Monticello plantation, where his mother was also enslaved. After some light duties as a young boy, Hemings became a carpenter and fine woodwork apprentice at around age 14 and worked in the joiner's shop until he was about 21. He learned to play the violin and was able to earn money by growing cabbages. Jefferson died in 1826, after which Sally Hemings was "given her time" by Jefferson's surviving daughter Martha Jefferson Randolph.

Living in a wide range of circumstances and possessing the intersecting identity of both black and female, enslaved women of African descent had nuanced experiences of slavery. Historian Deborah Gray White explains that "the uniqueness of the African-American female's situation is that she stands at the crossroads of two of the most well-developed ideologies in America, that regarding women and that regarding the Negro." Beginning as early on in enslavement as the voyage on the Middle Passage, enslaved women received different treatment due to their gender. In regard to physical labor and hardship, enslaved women received similar treatment to their male counterparts, but they also frequently experienced sexual abuse at the hand of their enslavers who used stereotypes of black women's hypersexuality as justification.

Mary Hemings Bell was born into slavery, most likely in Charles City County, Virginia, as the oldest child of Elizabeth Hemings, a mixed-race slave held by John Wayles. After the death of Wayles in 1773, Elizabeth, Mary, and her family were inherited by Thomas Jefferson, the husband of Martha Wayles Skelton, a daughter of Wayles, and all moved to Monticello.

Elizabeth Hemings was a female slave of mixed-ethnicity in colonial Virginia. With her owner, planter John Wayles, she had six children, including Sally Hemings. These children were three-quarters white, and, following the condition of their mother, they were considered slaves from birth; they were half-siblings to Wayles's daughter, Martha Jefferson. After Wayles died, the Hemings family and some 120 other slaves were inherited, along with 11,000 acres and £4,000 debt, as part of his estate by his daughter Martha and her husband Thomas Jefferson.

Thomas Jefferson, the third president of the United States, owned more than 600 slaves during his adult life. Jefferson freed two slaves while he lived, and five others were freed after his death, including two of his children from his relationship with his slave Sally Hemings. His other two children with Hemings were allowed to escape without pursuit. After his death, the rest of the slaves were sold to pay off his estate's debts.

Harriet Hemings was born into slavery at Monticello, the home of Thomas Jefferson, third President of the United States, in the first year of his presidency. Most historians believe her father was Jefferson, who is now believed to have fathered, with his slave Sally Hemings, four children who survived to adulthood.

<span class="mw-page-title-main">History of slavery in Virginia</span>

Slavery in Virginia began with the capture and enslavement of Native Americans during the early days of the English Colony of Virginia and through the late eighteenth century. They primarily worked in tobacco fields. Africans were first brought to colonial Virginia in 1619, when 20 Africans from present-day Angola arrived in Virginia aboard the ship The White Lion.

<span class="mw-page-title-main">Treatment of slaves in the United States</span>

The treatment of slaves in the United States often included sexual abuse and rape, the denial of education, and punishments like whippings. Families were often split up by the sale of one or more members, usually never to see or hear of each other again.

<span class="mw-page-title-main">White slave propaganda</span> American abolitionist propaganda using white-looking slaves

White slave propaganda was a kind of publicity, especially photograph and woodcuts, and also novels, articles, and popular lectures, about slaves who were biracial or white in appearance. Their examples were used during and prior to the American Civil War to further the abolitionist cause and to raise money for the education of former slaves.

Edith Hern Fossett (1787–1854) was an African American chef who for much of her life was enslaved by Thomas Jefferson before being freed. Three generations of her family, the Herns, worked in Jefferson's fields, performed domestic and leadership duties, and made tools. Like Hern, they also took care of children. She cared for Harriet Hemings, the daughter of Sally Hemings, at Thomas Jefferson's Monticello plantation when she was a girl.

Since his death, Founding Father and third U.S. president Thomas Jefferson has been an iconic American figure depicted in many forms. Jefferson has often been portrayed by Hollywood, and has been depicted in a wide range of forms including alternative timelines, animation, documentary, small cameos, and fictionalized interpretations.

References

  1. 1 2 duCille p. 443
  2. 1 2 3 Gabler-Hover p. 248
  3. Brown p. 82
  4. 1 2 Castronovo p. 442
  5. 1 2 Fabi p. 11
  6. Brown p. 199
  7. 1 2 3 Gabler-Hover p. 249
  8. 1 2 Sherrard-Johnson p. 206
  9. 1 2 3 4 Cutter p. 149
  10. 1 2 Cutter p. 149-150
  11. Drew, "Preface"
  12. 1 2 3 duCille p. 444
  13. Brown p. 182
  14. 1 2 3 Cutter p. 150
  15. Mitchell p. 8
  16. Kirkpatrick
  17. Mitchell p. 7
  18. Sherrard-Johnson p. 207
  19. Mitchell pp. 10–11
  20. 1 2 Bell p. 42
  21. 1 2 Mitchell p. 9
  22. Brown p. 47
  23. Brown p. 176
  24. Mitchell p. 11
  25. Brown p. 84
  26. Bell p. 39
  27. Bell p. 40

Sources