Selection from Uncle Tom’s Cabin: A Digital Critical Edition: “Topsy”: Jewett “Million” Edition, 1852/53
Edited by Wesley Raabe and Les Harrison
View Page 91Full size in new window [column a]
CHAPTER
XIX.—Topsy. ¶ One morning,witness: National Era
CHAPTER XX. ¶ TOPSY. ¶ ONE morning,witness: Jewett, First Edition, 2 Vols. (1852)
CHAPTER XX. ¶ TOPSY. ¶ OONE morning,witness: Jewett, “Edition for the Million” (1852/1853)
CHAPTER XX. ¶ TOPSY. ¶ ONE morning, witness: Jewett, Illustrated Edition (1853)
CHAPTER XX. ¶ TOPSY. ¶ ONE morning,witness: Houghton, Osgood, New Edition (1879)
Note
Chapter Numbering
The National Era installment of the
“Topsy” chapter appeared on 6 November 1851. The chapter
is numbered XIX in the serial. The number XIX continues the chapter-number
sequence in the serial, but the previous installment, 23 October,
had an error in the sequence. Note that the previous week, 30 October,
is one in which no installment from Uncle Tom’s Cabin
is published in the Era.
On 23 October, the installment was labeled
“CHAPTER XVIII—Continued.”
A week earlier, 16 October, the serial installment had the same label,
“CHAPTER XVIII—Continued.”
But the 16 October installment also included a chapter break that is
labeled “CHAPTER XIX.—St.
Clare’s History and Opinions,” a chapter division that is unique
to the Era version of the text.
We infer that the 23 October chapter was numbered “18”
because a newspaper compositor failed to notice the mid-column introduction
of the new chapter named after St. Clare on 16 October.
Therefore, though the chapter number XIX for the Topsy chapter
continues the error from the previous installment,
it continues the number sequence that began
with Chapter XVIII on 23 October and continued for the remainder of
the serial run.
The error in number sequence is scarcely noticeable in the serial. When
the Jewett text was set into book form, Stowe or her publisher
may have decided to correct the error in the serial sequence by
creating new chapter divisions, especially as the two chapters labeled as Miss
Ophelia’s opinions (XVIII and XIX) close the first volume and
open the second volume of the Jewett first edition (1852).
The title of the previous chapter in the serial,
“St. Clare’s History and Opinions” is a more
apt description of the chapter’s content.
Though Miss Ophelia’s experiences are significant
in the first of these two companion chapters, St. Clare’s opinions dominate the second.
That chapter titles were not a significant concern in the Era
is illustrated by the long series of untitled chapters
between “Henrique” (20 Nov. 1851) and
“The Martyr” (11 Mar. 1852). All
later reprints follow the Jewett edition chapter numbers and divisions.
CHAPTER
XIX.—Topsy. ¶ One morning,witness: National Era
CHAPTER XX. ¶ TOPSY. ¶ ONE morning,witness: Jewett, First Edition, 2 Vols. (1852)
CHAPTER XX. ¶ TOPSY. ¶ OONE morning,witness: Jewett, “Edition for the Million” (1852/1853)
CHAPTER XX. ¶ TOPSY. ¶ ONE morning, witness: Jewett, Illustrated Edition (1853)
CHAPTER XX. ¶ TOPSY. ¶ ONE morning,witness: Houghton, Osgood, New Edition (1879)
Note
Chapter Numbering
The National Era installment of the
“Topsy” chapter appeared on 6 November 1851. The chapter
is numbered XIX in the serial. The number XIX continues the chapter-number
sequence in the serial, but the previous installment, 23 October,
had an error in the sequence. Note that the previous week, 30 October,
is one in which no installment from Uncle Tom’s Cabin
is published in the Era.
On 23 October, the installment was labeled
“CHAPTER XVIII—Continued.”
A week earlier, 16 October, the serial installment had the same label,
“CHAPTER XVIII—Continued.”
But the 16 October installment also included a chapter break that is
labeled “CHAPTER XIX.—St.
Clare’s History and Opinions,” a chapter division that is unique
to the Era version of the text.
We infer that the 23 October chapter was numbered “18”
because a newspaper compositor failed to notice the mid-column introduction
of the new chapter named after St. Clare on 16 October.
Therefore, though the chapter number XIX for the Topsy chapter
continues the error from the previous installment,
it continues the number sequence that began
with Chapter XVIII on 23 October and continued for the remainder of
the serial run.
The error in number sequence is scarcely noticeable in the serial. When
the Jewett text was set into book form, Stowe or her publisher
may have decided to correct the error in the serial sequence by
creating new chapter divisions, especially as the two chapters labeled as Miss
Ophelia’s opinions (XVIII and XIX) close the first volume and
open the second volume of the Jewett first edition (1852).
The title of the previous chapter in the serial,
“St. Clare’s History and Opinions” is a more
apt description of the chapter’s content.
Though Miss Ophelia’s experiences are significant
in the first of these two companion chapters, St. Clare’s opinions dominate the second.
That chapter titles were not a significant concern in the Era
is illustrated by the long series of untitled chapters
between “Henrique” (20 Nov. 1851) and
“The Martyr” (11 Mar. 1852). All
later reprints follow the Jewett edition chapter numbers and divisions.
ONE morning, while Miss Ophelia was busy in
some of her domestic cares, St. Clare’s voice was
heard, calling her, at the foot of the stairs.
some of her domestic cares, St. Clare’s voice was
heard, calling her, at the foot of the stairs.
“Come down here,
I ’ve something to
show you.”
down here, Cousin, I’ve
somethingwitness: National Era
down here, Cousin; I’ve
somethingwitness: Jewett, First Edition, 2 Vols. (1852)
down here, cousin; I’ve
somethingwitness: Jewett, “Edition for the Million” (1852/1853)
down here, cousin; I’ve
somethingwitness: Jewett, Illustrated Edition (1853)
down here, cousin; I’ve
somethingwitness: Houghton, Osgood, New Edition (1879)
Note
The word “Cousin,” when capitalized, suggests a formal title. Because
“Cousin” is not a formal title, the reader infers that the use of
capitalization highlights the teasing quality of Augustine St. Clare’s banter
with Miss Ophelia. In the National Era, St. Clare
only uses the upper-case form once in
this chapter, when he first calls Miss Ophelia so that he can exhibit Topsy for her.
In the two-volume Jewett edition (1852), St. Clare in this chapter uses the upper-case form
“Cousin” whenever he addresses Miss Ophelia,
which suggests that he continues to engage in teasing banter.
By contrast, in all subsequent editions, the Jewett “Million” (1852/53)
and “Illustrated” (1853) and the
Houghton Osgood “New Edition” (1879), St. Clare always addresses
Miss Ophelia with the lower-case form “cousin.”
If the text of the Era serial reflects the manuscript,
Stowe intended originally to open the chapter with St. Clare’s
teasing of Miss Ophelia and then to assume the generic lower-case form of address,
which implies greater sincerity in his later address to her. Either Stowe or a Jewett
compositor chose to capitalize all instances of “Cousin” in
the Jewett first edition. When the word is not capitalized,
it tones down the satiric quality and instead
emphasizes St. Clare’s genuine insistence that
Miss Ophelia’s criticism of slavery as a system is pointless
if not backed up with action.
show you.”
“What is it?” said Miss Ophelia, coming
down with her sewing in her hand.
down with her sewing in her hand.
“I ’ve made a purchase for your department,
—see here,” said St. Clare; and, with the word,
he pulled along a little negro girl, about eight or
nine years of age.
—see here,” said St. Clare; and, with the word,
he pulled along a little negro girl, about eight or
nine years of age.
She was one of the blackest of her race; and
her round, shining eyes, glittering as glass beads,
moved with quick and restless glances over every-
thing in the room. Her mouth, half open with
astonishment at the wonders of the new Mas’r’s
parlor, displayed a white and brilliant set of
teeth. Her woolly hair was braided in sundry
little tails, which stuck out in every direction.
The expression of her face was an odd mixture of
shrewdness and cunning, over which was oddly
drawn, like a kind of veil, an expression of the
most doleful gravity and solemnity. She was
dressed in a single filthy, ragged garment, made
of bagging; and stood with her hands demurely
folded before her. Altogether, there was some-
thing odd and goblin-like about her appearance,
—something, as Miss Ophelia afterwards said,
“so heathenish,” as to inspire that good lady
with utter dismay; and, turning to St. Clare, she
said,
her round, shining eyes, glittering as glass beads,
moved with quick and restless glances over every-
thing in the room. Her mouth, half open with
astonishment at the wonders of the new Mas’r’s
parlor, displayed a white and brilliant set of
teeth. Her woolly hair was braided in sundry
little tails, which stuck out in every direction.
The expression of her face was an odd mixture of
shrewdness and cunning, over which was oddly
drawn, like a kind of veil, an expression of the
most doleful gravity and solemnity. She was
dressed in a single filthy, ragged garment, made
of bagging; and stood with her hands demurely
folded before her. Altogether, there was some-
thing odd and goblin-like about her appearance,
—something, as Miss Ophelia afterwards said,
“so heathenish,” as to inspire that good lady
with utter dismay; and, turning to St. Clare, she
said,
“Augustine, what in the world have you
brought that thing here for?”
brought that thing here for?”
“For you to educate, to be sure, and train in
the way she should go. I thought she was rather
a funny specimen in the Jim Crow line. Here,
[column b] Topsy,” he added, giving a whistle, as a man
would to call the attention of a dog, “give us a
song, now, and show us some of your dancing.”
the way she should go. I thought she was rather
a funny specimen in the Jim Crow line. Here,
[column b] Topsy,” he added, giving a whistle, as a man
would to call the attention of a dog, “give us a
song, now, and show us some of your dancing.”
The black, glassy eyes glittered with a kind of
wicked drollery, and the thing struck up, in a
clear, shrill voice, an odd negro melody, to which
she kept time with her hands and feet, spinning
round, clapping her hands, knocking her knees
together, in a wild, fantastic sort of time, and
producing in her throat all those odd guttural
sounds which distinguish the native music of her
race; and, finally, turning a summerset or two,
and giving a prolonged closing note, as odd and
unearthly as that of the steam-whistle, she came
suddenly down on the carpet, and stood with her
hands folded, and a most sanctimonious expres-
sion of meekness and solemnity over her face,
only broken by the cunning glances which she
shot askance from the corners of her eyes.
wicked drollery, and the thing struck up, in a
clear, shrill voice, an odd negro melody, to which
she kept time with her hands and feet, spinning
round, clapping her hands, knocking her knees
together, in a wild, fantastic sort of time, and
producing in her throat all those odd guttural
sounds which distinguish the native music of her
race; and, finally, turning a summerset or two,
and giving a prolonged closing note, as odd and
unearthly as that of the steam-whistle, she came
suddenly down on the carpet, and stood with her
hands folded, and a most sanctimonious expres-
sion of meekness and solemnity over her face,
only broken by the cunning glances which she
shot askance from the corners of her eyes.
Miss Ophelia stood silent, perfectly paralyzed
with amazement.
with amazement.
St. Clare, like a mischievous fellow as he was,
appeared to enjoy her astonishment; and, ad-
dressing the child again, said,
appeared to enjoy her astonishment; and, ad-
dressing the child again, said,
“Topsy, this is your new mistress.
going to give you up to her; see now that you
behave yourself.”
new mistress. I’m going
towitness: National Era
new mistress. I’m going
towitness: Jewett, First Edition, 2 Vols. (1852)
new mistress. I am going towitness: Jewett, “Edition for the Million” (1852/1853)
new mistress. I’m going
towitness: Jewett, Illustrated Edition (1853)
new mistress. I’m going
towitness: Houghton, Osgood, New Edition (1879)
Note
The phrase “I am” in the Jewett “Million” edition (1852/53)
is presumably an inadvertent compositorial expansion of Stowe’s preferred
contraction.
going to give you up to her; see now that you
behave yourself.”
“Yes,
said Topsy, with sanctimonious
gravity, her wicked eyes twinkling as she spoke.
yourself.” ¶ “Yes, mass’r,” said Topsywitness: National Era
yourself.” ¶ “Yes, Mas’r,” said Topsy,witness: Jewett, First Edition, 2 Vols. (1852)
yourself.” ¶ “Yes, Mas’r,” said Topsy,witness: Jewett, “Edition for the Million” (1852/1853)
yourself.” ¶ “Yes, mas’r,” said Topsy,witness: Jewett, Illustrated Edition (1853)
yourself.” ¶ “Yes, Mas’r,” said Topsy,witness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
the lower-case form “mass’r” predominates, which reflects
the practice of lower-case “masser” in Stowe’s manuscript.
The Jewett two-volume (1852) and “Million”
editions (1852/53) use consistently the capitalized “Mas’r.”
In the Jewett “Illustrated Edition” (1853), an uncapitalized form
of the word appears, “mas’r.” The “Illustrated”
edition retains the dialect apostrophe of the two-volume
and the “Million” editions, but its
form “mas’r,” like its form “missis,”
may imply that the title of master within slavery is an unlawful convention that
should not be honored with capitalization.
For the two-volume and “Million”
editions, the printer George C. Rand or publisher Jewett may
have imposed—and Stowe may have accepted—the
conventional capitalization of this word form, perhaps so that the
Jewett editions could appeal to a broader audience
than the Era’s anti-slavery readers.
Stowe presumably sought to return the Jewett “Illustrated Edition”
word to a form closer to the manuscript and serial practice.
If the more select audiences of the work in
an anti-slavery newspaper and the “Illustrated”
edition are expected to be more sympathetic to the anti-slavery cause,
such readers may appreciate the subtle insinuation that linguistic
conventions that are associated with courtesy
support the perpetuation of slavery as an
unlawful system. The Houghton Osgood
“New Edition” (1879) follows the practice of the
two-volume Jewett edition. Also see variant dialect forms of missis.
gravity, her wicked eyes twinkling as she spoke.
“You ’re going to be good, Topsy, you under-
stand,” said St. Clare.
stand,” said St. Clare.
St. Clare. ¶ “Oh yes,
mass’r,” said Topsy,witness: National Era
St. Clare. ¶ “O yes,
Mas’r,” said Topsy,witness: Jewett, First Edition, 2 Vols. (1852)
St. Clare. ¶ “O yes,
Mas’r,” said Topsy,witness: Jewett, “Edition for the Million” (1852/1853)
St. Clare. ¶ “O, yes,
mas’r,” said Topsy,witness: Jewett, Illustrated Edition (1853)
St. Clare. ¶ “O, yes,
Mas’r,” said Topsy,witness: Houghton, Osgood, New Edition (1879)
Note
The form “Oh” is more common in the National
Era serial and in Stowe’s surviving manuscript
pages. The form “O” is the printer’s conventional spelling
that predominates in the three Jewett editions. The Houghton Osgood
“New Edition” (1879) follows the practice of the first Jewett edition (1852).
twinkle, her hands still devoutly folded.
“Now, Augustine, what upon earth is this
for?” said Miss Ophelia. “Your house is so full
of these little plagues now, that a body can’t set
down their foot without treading on ’em. I get
up in the
asleep behind
the door, and see one black head poking out from
under the table, one lying on the door-mat,—and
they are mopping and
and grinning be-
tween all the railings, and tumbling over the
kitchen floor! What on earth did you want to
bring this one for?”
for?” said Miss Ophelia. “Your house is so full
of these little plagues now, that a body can’t set
down their foot without treading on ’em. I get
up in the
morning, and I find
onewitness: National Era
morning, and [omit] find onewitness: Jewett, First Edition, 2 Vols. (1852)
morning, and [omit] find onewitness: Jewett, “Edition for the Million” (1852/1853)
morning, and [omit] find onewitness: Jewett, Illustrated Edition (1853)
morning, and [omit] find onewitness: Houghton, Osgood, New Edition (1879)
Note
In this sentence of multiple parallel clauses, parts of clauses are dropped
out when clauses of similar form are repeated.
As the manuscript section is not extant, and as reason that
“I” was retained or dropped is indifferent, the author,
the printer George C. Rand’s compositor, or
a Jewett proofreader may be responsible for the alteration.
the door, and see one black head poking out from
under the table, one lying on the door-mat,—and
they are mopping and
mopping and moving and
grinningwitness: National Era
mopping and mowing and
grinningwitness: Jewett, First Edition, 2 Vols. (1852)
mopping and mowing and
grinningwitness: Jewett, “Edition for the Million” (1852/1853)
mopping, and mowing, and
grinningwitness: Jewett, Illustrated Edition (1853)
mopping and mowing and
grinningwitness: Houghton, Osgood, New Edition (1879)
Note
According to the Oxford English Dictionary, the phrase
“mopping and mowing” refers to grimacing and making
faces. The National Era serial form
“moving” may represent an effort to avoid repetition
of sense with the word “grinning.” But it is more likely that the newspaper
serial form is an error that originates in the authorial manuscript
or the serial typesetting, which is corrected
in all subsequent editions.
tween all the railings, and tumbling over the
kitchen floor! What on earth did you want to
bring this one for?”
“For you to educate—did n’t I tell you?
You ’re always preaching about educating. I
thought I would make you a present of a fresh-
caught specimen, and let you try your hand on
her, and bring her up in the way she should go.”
You ’re always preaching about educating. I
thought I would make you a present of a fresh-
caught specimen, and let you try your hand on
her, and bring her up in the way she should go.”
“I don’t want her, I am sure;—I have more
to do with ’em now than I want to.”
to do with ’em now than I want to.”
“That ’s
get up a
and get some poor missionary to
spend all his days among just such heathen. But
let me see one of you that would take one into
your house with you, and take the labor of their
conversion on yourselves! No; when it comes to
that, they are dirty and disagreeable, and it ’s too
much care, and so on.”
to.” ¶ “That’s
you, Christians all
over—you’ll get up witness: National Era
to.” ¶ “That’s
you Christians, all
over!—you’ll get up witness: Jewett, First Edition, 2 Vols. (1852)
to.” ¶ “That’s
you Christians, all
over!—you’ll get up witness: Jewett, “Edition for the Million” (1852/1853)
to.” ¶ “That’s
you Christians, all
over!—you’ll get up witness: Jewett, Illustrated Edition (1853)
to.” ¶ “That’s you Christians, all
over!—you’ll get up witness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial, a comma follows
“you,” and no exclamation mark precedes the em dash after
“over.” The newspaper form
suggests that Augustine St. Clare implies a
fault in Miss Ophelia’s Christianity: the form of
“Christians” is an aspect that she wears, with
an emphasis on outer appearance. The reading is inferred based on
voice inflection that the rhetorical style
of pointing permits.
In the Jewett editions, two-volume (1852),
“Million” (1852/53), and “Illustrated” (1853), and
in the Houghton Osgood “New Edition” (1879),
all of which use syntactic
punctuation, St. Clare labels Miss Ophelia a representative Christian, and
the exclamation mark emphasizes his act of labeling.
get up a
up a Society, and getwitness: National Era
up a society, and getwitness: Jewett, First Edition, 2 Vols. (1852)
up a society, and getwitness: Jewett, “Edition for the Million” (1852/1853)
up a society, and getwitness: Jewett, Illustrated Edition (1853)
up a society, and getwitness: Houghton, Osgood, New Edition (1879)
Note
Capitalization of Society
The capital “S” of Society in National
Era may refer to a particular beneficent society. Regardless of whether capitalized,
Harriet Beecher Stowe’s word is ambiguous, but capitalization may suggest a
group that serial readers would associate with membership
in a national anti-slavery society. To join a
Society is to participate in recognized anti-slavery activism, which
the subscribers to the
Era would hardly consider radical. To join a generic and lower-case
society, by contrast, could include beneficent activities of a local or limited scope,
a form of political activism that St. Clare may dismiss as ineffective.
Stowe’s father Lyman Beecher actively promoted the Cincinnati
Colonization Society, a branch of the American
Colonization Society, which encouraged conciliation with advocates
of slavery and hoped to limit the social
disruption of anti-slavery activism. During the Lane Seminary Debates of 1834,
Beecher’s moderation was repudiated by Theodore Weld and his fellow students.
Weld and the Lane Students approved the more radical policies of William Lloyd Garrison
and the American Anti-Slavery Society, which advocated immediate emancipation.
See Joan D. Hedrick, Harriet Beecher Stowe: A Life
(New York: Oxford University Press, 1994), 102–05; Thomas D. Matijasic,
“The African Colonization Movement and Ohio’s Protestant Community”
Phylon 46 (1985): 20.
spend all his days among just such heathen. But
let me see one of you that would take one into
your house with you, and take the labor of their
conversion on yourselves! No; when it comes to
that, they are dirty and disagreeable, and it ’s too
much care, and so on.”
“Augustine, you know I did n’t think of it in
that light,” said Miss Ophelia, evidently soften-
ing. “Well, it might be a real missionary work,”
said she, looking rather more favorably on the
child.
that light,” said Miss Ophelia, evidently soften-
ing. “Well, it might be a real missionary work,”
said she, looking rather more favorably on the
child.
St. Clare had touched the right string. Miss
Ophelia’s conscientiousness was ever on the alert.
“But,” she added, “I really did n’t see the need
of buying this one;—there are enough, now, in
your house, to take all my time and skill.”
Ophelia’s conscientiousness was ever on the alert.
“But,” she added, “I really did n’t see the need
of buying this one;—there are enough, now, in
your house, to take all my time and skill.”
“Well, then,
said St. Clare, drawing
her aside, “I ought to beg your pardon for my
good-for-nothing speeches. You are so good, after
all, that there ’s no sense in them. Why, the fact
View Page 92
Full size in new window [column a] is, this concern belonged to a couple of drunken
creatures that keep a low restaurant that I have
to pass by every day, and I was tired of hearing
her screaming, and them beating and swearing at
her. She looked bright and funny, too, as if
something might be made of her;—so I bought
her, and I ’ll give her to you. Try, now, and give
her a good orthodox New England bringing up, and
see what it ’ll make of her. You know I have n’t
any gift that way; but I ’d like you to try.”
“Well, then, cousin,” said St.witness: National Era
“Well, then, Cousin,” said St.witness: Jewett, First Edition, 2 Vols. (1852)
“Well, then, cousin,” said St.witness: Jewett, “Edition for the Million” (1852/1853)
“Well, then, cousin,” said St.witness: Jewett, Illustrated Edition (1853)
“Well, then, cousin,” said St.witness: Houghton, Osgood, New Edition (1879)
Note
The word “Cousin,” when capitalized, suggests a formal title. Because
“Cousin” is not a formal title, the reader infers that the use of
capitalization highlights the teasing quality of Augustine St. Clare’s banter
with Miss Ophelia. In the National Era, St. Clare
only uses the upper-case form once in
this chapter, when he first calls Miss Ophelia so that he can exhibit Topsy for her.
In the two-volume Jewett edition (1852), St. Clare in this chapter uses the upper-case form
“Cousin” whenever he addresses Miss Ophelia,
which suggests that he continues to engage in teasing banter.
By contrast, in all subsequent editions, the Jewett “Million” (1852/53)
and “Illustrated” (1853) and the
Houghton Osgood “New Edition” (1879), St. Clare always addresses
Miss Ophelia with the lower-case form “cousin.”
If the text of the Era serial reflects the manuscript,
Stowe intended originally to open the chapter with St. Clare’s
teasing of Miss Ophelia and then to assume the generic lower-case form of address,
which implies greater sincerity in his later address to her. Either Stowe or a Jewett
compositor chose to capitalize all instances of “Cousin” in
the Jewett first edition. When the word is not capitalized,
it tones down the satiric quality and instead
emphasizes St. Clare’s genuine insistence that
Miss Ophelia’s criticism of slavery as a system is pointless
if not backed up with action.
her aside, “I ought to beg your pardon for my
good-for-nothing speeches. You are so good, after
all, that there ’s no sense in them. Why, the fact
View Page 92Full size in new window [column a] is, this concern belonged to a couple of drunken
creatures that keep a low restaurant that I have
to pass by every day, and I was tired of hearing
her screaming, and them beating and swearing at
her. She looked bright and funny, too, as if
something might be made of her;—so I bought
her, and I ’ll give her to you. Try, now, and give
her a good orthodox New England bringing up, and
see what it ’ll make of her. You know I have n’t
any gift that way; but I ’d like you to try.”
“Well, I ’ll do what I can,” said Miss Ophe-
lia; and she approached her new subject very
much as a person might be supposed to approach
a black spider, supposing them to have benevo-
lent designs toward it.
lia; and she approached her new subject very
much as a person might be supposed to approach
a black spider, supposing them to have benevo-
lent designs toward it.
“She ’s dreadfully dirty, and half naked,” she
said.
said.
“Well, take her down stairs, and make some
of them clean and clothe her up.”
of them clean and clothe her up.”
Miss Ophelia carried her to the kitchen re-
gions.
gions.
“Don’t see what
St. Clare wants of
’nother nigger!” said Dinah, surveying the new
arrival with no friendly air. “Won’t have her
round under my feet, I know!”
see what mass’r St.
Clarewitness: National Era
see what Mas’r St.
Clarewitness: Jewett, First Edition, 2 Vols. (1852)
see what Mas’r St.
Clarewitness: Jewett, “Edition for the Million” (1852/1853)
see what Mas’r St.
Clarewitness: Jewett, Illustrated Edition (1853)
see what Mas’r St.
Clarewitness: Houghton, Osgood, New Edition (1879)
Note
The capitalized form “Mas’r,” which
typically appears in the Jewett two-volume (1852)
and “Million” edition (1852/53) and the
Houghton Osgood “New Edition” (1879), is
in this instance retained in the “Illustrated Edition” (1853).
The National Era serial has its
usual lower-case form “mass’r,” which follows the
capitalization practice of the surviving manuscript pages.
Since the “Illustrated Edition” generally
has the form “mas’r,”
Dinah’s use of the capitalized form may
represent a compositor’s oversight. However,
Dinah in these words notes her disapproval of her master Augustine St. Clare’s
purchase of Topsy. To readers accustomed with the usual capitalization practice in
this edition, Dinah’s word form could suggest that
she adopts deliberately the most sycophantic form of address
to soften her critique of St. Clare’s act.
Also see variant dialect forms of master and missis.
’nother nigger!” said Dinah, surveying the new
arrival with no friendly air. “Won’t have her
round under my feet, I know!”
“Pah!” said Rosa and Jane, with supreme
disgust; “let her keep out of our way! What
in the world
wanted another of these low
niggers for, I can’t see!”
disgust; “let her keep out of our way! What
in the world
the world mass’r wanted
anotherwitness: National Era
the world Mas’r wanted
anotherwitness: Jewett, First Edition, 2 Vols. (1852)
the world Mas’r wanted
anotherwitness: Jewett, “Edition for the Million” (1852/1853)
the world mas’r wanted
anotherwitness: Jewett, Illustrated Edition (1853)
the world Mas’r wanted
anotherwitness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
the lower-case form “mass’r” predominates, which reflects
the practice of lower-case “masser” in Stowe’s manuscript.
The Jewett two-volume (1852) and “Million”
editions (1852/53) use consistently the capitalized “Mas’r.”
In the Jewett “Illustrated Edition” (1853), an uncapitalized form
of the word appears, “mas’r.” The “Illustrated”
edition retains the dialect apostrophe of the two-volume
and the “Million” editions, but its
form “mas’r,” like its form “missis,”
may imply that the title of master within slavery is an unlawful convention that
should not be honored with capitalization.
For the two-volume and “Million”
editions, the printer George C. Rand or publisher Jewett may
have imposed—and Stowe may have accepted—the
conventional capitalization of this word form, perhaps so that the
Jewett editions could appeal to a broader audience
than the Era’s anti-slavery readers.
Stowe presumably sought to return the Jewett “Illustrated Edition”
word to a form closer to the manuscript and serial practice.
If the more select audiences of the work in
an anti-slavery newspaper and the “Illustrated”
edition are expected to be more sympathetic to the anti-slavery cause,
such readers may appreciate the subtle insinuation that linguistic
conventions that are associated with courtesy
support the perpetuation of slavery as an
unlawful system. The Houghton Osgood
“New Edition” (1879) follows the practice of the
two-volume Jewett edition. Also see variant dialect forms of missis.
niggers for, I can’t see!”
“You go long! No more nigger dan you be,
Miss Rosa,” said Dinah, who felt this last re-
mark a reflection on herself. “You seem to tink
yourself white folks. You
nerry one, black
nor white. I ’d like to be one or turrer.”
Miss Rosa,” said Dinah, who felt this last re-
mark a reflection on herself. “You seem to tink
yourself white folks. You
folks. You aint nerry one,witness: National Era
folks. You an’t nerry
one,witness: Jewett, First Edition, 2 Vols. (1852)
folks. You an’t nerry
one,witness: Jewett, “Edition for the Million” (1852/1853)
folks. You an’t nerry
one,witness: Jewett, Illustrated Edition (1853)
folks. You an’t nerry
one,witness: Houghton, Osgood, New Edition (1879)
Note
The National Era serial reflects Stowe’s
manuscript preference for “aint,” which publisher John P. Jewett
normalized to “an’t” in the two-volume (1852),
“Million” (1852/53), and “Illustrated” (1853) editions.
The Houghton Osgood “New Edition” (1879) continued the practice.
The form “aint” implies a pejorative difference in class,
region, or race. The form “an’t”
also departs from conventional English, but the form is less pejorative and emphasizes
instead pronunciation. The execution of dialect is defensible for mid-century
standards of consistency for spelling but
faulty by standards of the late nineteenth
or the early twentieth century.
nor white. I ’d like to be one or turrer.”
Miss Ophelia saw that there was nobody in the
camp that would undertake to oversee the cleans-
ing and dressing of the new arrival; and so she
was forced to do it herself, with some very ungra-
cious and reluctant assistance from Jane.
camp that would undertake to oversee the cleans-
ing and dressing of the new arrival; and so she
was forced to do it herself, with some very ungra-
cious and reluctant assistance from Jane.
It is not for ears polite to hear the particulars
of the first toilet of a neglected, abused child. In
fact, in this world, multitudes must live and die
in a state that it would be too great a shock to
the nerves of their fellow-mortals even to hear
described. Miss Ophelia had a good, strong,
practical deal of resolution; and she went through
all the disgusting details with heroic thorough-
ness, though, it must be confessed, with no very
gracious air,—for endurance was the utmost to
which her principles could bring her. When
she saw, on the back and shoulders of the child,
great welts and calloused spots, ineffaceable
marks of the system under which she had grown
up thus far, her heart became pitiful within her.
of the first toilet of a neglected, abused child. In
fact, in this world, multitudes must live and die
in a state that it would be too great a shock to
the nerves of their fellow-mortals even to hear
described. Miss Ophelia had a good, strong,
practical deal of resolution; and she went through
all the disgusting details with heroic thorough-
ness, though, it must be confessed, with no very
gracious air,—for endurance was the utmost to
which her principles could bring her. When
she saw, on the back and shoulders of the child,
great welts and calloused spots, ineffaceable
marks of the system under which she had grown
up thus far, her heart became pitiful within her.
“See there!” said Jane, pointing to the marks,
“don’t that show she ’s a limb? We ’ll have
fine works with her, I reckon. I hate these nig-
ger young ’uns! so disgusting! I wonder that
would buy her!”
“don’t that show she ’s a limb? We ’ll have
fine works with her, I reckon. I hate these nig-
ger young ’uns! so disgusting! I wonder that
wonder that mass’r would
buywitness: National Era
wonder that Mas’r would
buywitness: Jewett, First Edition, 2 Vols. (1852)
wonder that Mas’r would
buywitness: Jewett, “Edition for the Million” (1852/1853)
wonder that mas’r would
buywitness: Jewett, Illustrated Edition (1853)
wonder that Mas’r would
buywitness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
the lower-case form “mass’r” predominates, which reflects
the practice of lower-case “masser” in Stowe’s manuscript.
The Jewett two-volume (1852) and “Million”
editions (1852/53) use consistently the capitalized “Mas’r.”
In the Jewett “Illustrated Edition” (1853), an uncapitalized form
of the word appears, “mas’r.” The “Illustrated”
edition retains the dialect apostrophe of the two-volume
and the “Million” editions, but its
form “mas’r,” like its form “missis,”
may imply that the title of master within slavery is an unlawful convention that
should not be honored with capitalization.
For the two-volume and “Million”
editions, the printer George C. Rand or publisher Jewett may
have imposed—and Stowe may have accepted—the
conventional capitalization of this word form, perhaps so that the
Jewett editions could appeal to a broader audience
than the Era’s anti-slavery readers.
Stowe presumably sought to return the Jewett “Illustrated Edition”
word to a form closer to the manuscript and serial practice.
If the more select audiences of the work in
an anti-slavery newspaper and the “Illustrated”
edition are expected to be more sympathetic to the anti-slavery cause,
such readers may appreciate the subtle insinuation that linguistic
conventions that are associated with courtesy
support the perpetuation of slavery as an
unlawful system. The Houghton Osgood
“New Edition” (1879) follows the practice of the
two-volume Jewett edition. Also see variant dialect forms of missis.
The “young un” alluded to heard all these
comments with the subdued and doleful air which
seemed habitual to her, only scanning, with a
keen and furtive glance of her flickering eyes, the
ornaments which Jane wore in her ears. When
arrayed at last in a suit of decent and whole
clothing, her hair cropped short to her head, Miss
Ophelia, with some satisfaction, said she looked
more Christian-like than she did, and in her own
mind began to mature some plans for her instruc-
tion.
comments with the subdued and doleful air which
seemed habitual to her, only scanning, with a
keen and furtive glance of her flickering eyes, the
ornaments which Jane wore in her ears. When
arrayed at last in a suit of decent and whole
clothing, her hair cropped short to her head, Miss
Ophelia, with some satisfaction, said she looked
more Christian-like than she did, and in her own
mind began to mature some plans for her instruc-
tion.
Sitting down before her, she began to question
her.
her.
“How old are you, Topsy?”
[column b]
“Dun no, Missis,” said the image, with a grin
that showed all her teeth.
that showed all her teeth.
“Don’t know how old you are? Did n’t any-
body ever tell you? Who was your mother?”
body ever tell you? Who was your mother?”
“Never had none!” said the child, with an-
other grin.
other grin.
“Never had any mother? What do you mean?
Where were you born?”
Where were you born?”
“Never was born!” persisted Topsy, with an-
other grin, that looked so goblin-like, that, if Miss
Ophelia had been at all nervous, she might have
fancied that she had got hold of some sooty gnome
from the land of Diablerie; but Miss Ophelia
was not nervous, but plain and business-like, and
she said, with some sternness,
other grin, that looked so goblin-like, that, if Miss
Ophelia had been at all nervous, she might have
fancied that she had got hold of some sooty gnome
from the land of Diablerie; but Miss Ophelia
was not nervous, but plain and business-like, and
she said, with some sternness,
“You must n’t answer me in that way, child;
I ’m not playing with you. Tell me where you
were born, and who your father and mother
were.”
I ’m not playing with you. Tell me where you
were born, and who your father and mother
were.”
“Never was born,” reiterated the creature,
more emphatically; “never had no father nor
mother, nor nothin’. I was raised by a specula-
tor, with lots of others. Old Aunt Sue used to
take car on us.”
more emphatically; “never had no father nor
mother, nor nothin’. I was raised by a specula-
tor, with lots of others. Old Aunt Sue used to
take car on us.”
The child was evidently sincere; and Jane,
breaking into a short laugh, said,
breaking into a short laugh, said,
short laugh, said— ¶
“Laws, missis, there’s heapswitness: National Era
short laugh, said, ¶
“Laws, Missis, there’s heapswitness: Jewett, First Edition, 2 Vols. (1852)
short laugh, said, ¶
“Laws, Missis, there’s heapswitness: Jewett, “Edition for the Million” (1852/1853)
short laugh, said,— ¶
“Laws, missis, there’s heaps witness: Jewett, Illustrated Edition (1853)
short laugh, said,— ¶
“Laws, Missis, there’s heapswitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
lators buys ’em up cheap, when they ’s little, and
gets ’em raised for market.”
“How long have you lived with your master
and mistress?”
and mistress?”
“Dun no,
“Dun no, missis.” ¶ “Is itwitness: National Era
“Dun no, Missis.” ¶ “Is itwitness: Jewett, First Edition, 2 Vols. (1852)
“Dun no, Missis.” ¶ “Is itwitness: Jewett, “Edition for the Million” (1852/1853)
“Dun no, missis.” ¶ “Is itwitness: Jewett, Illustrated Edition (1853)
“Dun no, missis.” ¶ “Is itwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
“Is it a year, or more, or less?”
“Dun no, Missis.”
“Laws,
those low negroes,—they
can’t tell; they don’t know anything about time,”
said Jane; “they don’t know what a year is;
they don’t know their own ages.”
“Laws, missis, those
lowwitness: National Era
“Laws, Missis, those
lowwitness: Jewett, First Edition, 2 Vols. (1852)
“Laws, Missis, those
lowwitness: Jewett, “Edition for the Million” (1852/1853)
“Laws, missis, those
lowwitness: Jewett, Illustrated Edition (1853)
“Laws, Missis, those
lowwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
can’t tell; they don’t know anything about time,”
said Jane; “they don’t know what a year is;
they don’t know their own ages.”
“Have you ever heard anything about God,
Topsy?”
Topsy?”
The child looked bewildered, but grinned as
usual.
usual.
“Do you know who made you?”
“Nobody, as I knows on,” said the child, with
a short laugh.
a short laugh.
The idea appeared to amuse her considerably;
for her eyes twinkled, and she added,
for her eyes twinkled, and she added,
“I spect I grow’d. Don’t think nobody never
made me.”
made me.”
“Do you know how to sew?” said Miss Ophe-
lia, who thought she would turn her inquiries to
something more tangible.
lia, who thought she would turn her inquiries to
something more tangible.
“No,
tangible. ¶ “No, missis.” ¶ “What canwitness: National Era
tangible. ¶ “No, Missis.” ¶ “What canwitness: Jewett, First Edition, 2 Vols. (1852)
tangible. ¶ “No, Missis.” ¶ “What canwitness: Jewett, “Edition for the Million” (1852/1853)
tangible. ¶ “No, missis.”¶ “What canwitness: Jewett, Illustrated Edition (1853)
tangible. ¶ “No, Missis.” ¶ “What canwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
“What can you do?—what did you do for
your master and mistress?”
your master and mistress?”
“Fetch water, and wash dishes, and rub knives,
and wait on folks.”
and wait on folks.”
“Were they good to you?”
“Spect they was,” said the child, scanning
Miss Ophelia cunningly.
Miss Ophelia cunningly.
Miss Ophelia rose from this encouraging collo-
quy; St. Clare was leaning over the back of her
chair.
quy; St. Clare was leaning over the back of her
chair.
“You find virgin soil there,
put in
your own ideas,—you won’t find many to pull
up.”
soil there, cousin; put inwitness: National Era
soil there, Cousin; put inwitness: Jewett, First Edition, 2 Vols. (1852)
soil there, cousin; put inwitness: Jewett, “Edition for the Million” (1852/1853)
soil there, cousin; put inwitness: Jewett, Illustrated Edition (1853)
soil there, cousin; put inwitness: Houghton, Osgood, New Edition (1879)
Note
The word “Cousin,” when capitalized, suggests a formal title. Because
“Cousin” is not a formal title, the reader infers that the use of
capitalization highlights the teasing quality of Augustine St. Clare’s banter
with Miss Ophelia. In the National Era, St. Clare
only uses the upper-case form once in
this chapter, when he first calls Miss Ophelia so that he can exhibit Topsy for her.
In the two-volume Jewett edition (1852), St. Clare in this chapter uses the upper-case form
“Cousin” whenever he addresses Miss Ophelia,
which suggests that he continues to engage in teasing banter.
By contrast, in all subsequent editions, the Jewett “Million” (1852/53)
and “Illustrated” (1853) and the
Houghton Osgood “New Edition” (1879), St. Clare always addresses
Miss Ophelia with the lower-case form “cousin.”
If the text of the Era serial reflects the manuscript,
Stowe intended originally to open the chapter with St. Clare’s
teasing of Miss Ophelia and then to assume the generic lower-case form of address,
which implies greater sincerity in his later address to her. Either Stowe or a Jewett
compositor chose to capitalize all instances of “Cousin” in
the Jewett first edition. When the word is not capitalized,
it tones down the satiric quality and instead
emphasizes St. Clare’s genuine insistence that
Miss Ophelia’s criticism of slavery as a system is pointless
if not backed up with action.
your own ideas,—you won’t find many to pull
up.”
Miss Ophelia’s ideas of education, like all her
other ideas, were very set and definite; and of
the kind that prevailed in New England a century
ago, and which are still preserved in some very
retired and unsophisticated parts, where there
are no railroads. As nearly as could be expressed,
they could be comprised in very few words: To
View Page 93
Full size in new window [column a] teach them to mind when they were spoken to;
to teach them the catechism, sewing, and read-
ing; and to whip them if they told lies. And
though, of course, in the flood of light that is
now poured on education, these are left far away
in the rear, yet it is an undisputed fact that our
grandmothers raised some tolerably fair men and
women under this régime, as many of us can re-
member and testify. At all events, Miss Ophelia
knew of nothing else to do; and, therefore, ap-
plied her mind to her heathen with the best dili-
gence she could command.
other ideas, were very set and definite; and of
the kind that prevailed in New England a century
ago, and which are still preserved in some very
retired and unsophisticated parts, where there
are no railroads. As nearly as could be expressed,
they could be comprised in very few words: To
View Page 93Full size in new window [column a] teach them to mind when they were spoken to;
to teach them the catechism, sewing, and read-
ing; and to whip them if they told lies. And
though, of course, in the flood of light that is
now poured on education, these are left far away
in the rear, yet it is an undisputed fact that our
grandmothers raised some tolerably fair men and
women under this régime, as many of us can re-
member and testify. At all events, Miss Ophelia
knew of nothing else to do; and, therefore, ap-
plied her mind to her heathen with the best dili-
gence she could command.
The child was announced and considered in the
family as Miss Ophelia’s girl; and, as she was
looked upon with no gracious eye in the kitchen,
Miss Ophelia resolved to confine her sphere of
operation and instruction chiefly to her own
chamber. With a self-sacrifice which some of
our readers will appreciate, she resolved, instead
of comfortably making her own bed, sweeping and
dusting her own chamber,—which she had hith-
erto done, in utter scorn of all offers of help from
the chambermaid of the establishment,—to con-
demn herself to the martyrdom of instructing Top-
sy to perform these operations,—ah, woe the day!
Did any of our readers ever do the same, they
will appreciate the amount of her self-sacrifice.
family as Miss Ophelia’s girl; and, as she was
looked upon with no gracious eye in the kitchen,
Miss Ophelia resolved to confine her sphere of
operation and instruction chiefly to her own
chamber. With a self-sacrifice which some of
our readers will appreciate, she resolved, instead
of comfortably making her own bed, sweeping and
dusting her own chamber,—which she had hith-
erto done, in utter scorn of all offers of help from
the chambermaid of the establishment,—to con-
demn herself to the martyrdom of instructing Top-
sy to perform these operations,—ah, woe the day!
Did any of our readers ever do the same, they
will appreciate the amount of her self-sacrifice.
Miss Ophelia began with Topsy by taking her
into her chamber, the first morning, and solemnly
commencing a course of instruction in the art and
mystery of bed-making.
into her chamber, the first morning, and solemnly
commencing a course of instruction in the art and
mystery of bed-making.
Behold, then, Topsy, washed and shorn of all
the little braided tails wherein her heart had de-
lighted, arrayed in a clean gown, with well-
starched apron, standing reverently before Miss
Ophelia, with an expression of solemnity well
befitting a funeral.
the little braided tails wherein her heart had de-
lighted, arrayed in a clean gown, with well-
starched apron, standing reverently before Miss
Ophelia, with an expression of solemnity well
befitting a funeral.
“Now, Topsy, I ’m going to show you just
how my bed is to be made. I am very particular
about my bed. You must learn exactly how to
do it.”
how my bed is to be made. I am very particular
about my bed. You must learn exactly how to
do it.”
“Yes, ma’am,” says Topsy, with a deep sigh,
and a face of woful earnestness.
and a face of woful earnestness.
“Now, Topsy, look here;—this is the hem of
the sheet,—this is the right side of the sheet,
and this is the wrong;—will you remember?”
the sheet,—this is the right side of the sheet,
and this is the wrong;—will you remember?”
“Yes, ma’am,” says Topsy, with another
sigh.
sigh.
“Well, now, the under sheet you must bring
over the bolster,—so,—and tuck it clear down
under the
nice and smooth,—so,—do
you see?”
over the bolster,—so,—and tuck it clear down
under the
under the matrass nice andwitness: National Era
under the mattress nice andwitness: Jewett, First Edition, 2 Vols. (1852)
under the mattress nice andwitness: Jewett, “Edition for the Million” (1852/1853)
under the mattress nice andwitness: Jewett, Illustrated Edition (1853)
under the mattress nice andwitness: Houghton, Osgood, New Edition (1879)
Note
An American Spelling, Or an Error
In the National Era serial, the spelling “matrass” may be an error for “matress,” which Noah Webster in his American Dictionary of the English Language (1830) considered the “more correct spelling.” The spelling “mattrass” (with two t’s) was an acceptable alternative to “mattress.” While Stowe may use antiquated spelling “matrass,” with its loss of a “t” as an inflection from Webster, to comment on Miss Ophelia’s old-fashioned notions, it is not Stowe’s preferred spelling. In chapter 39 (Era, chap. 38 [11 Mar. 1852]) Stowe uses the typical spelling in plural “mattresses.” Therefore, the Era serial spelling is probably a typesetting error.you see?”
“Yes, ma’am,” said Topsy, with profound
attention.
attention.
“But the upper sheet,” said Miss Ophelia,
“must be brought down in this way, and tucked
under firm and smooth at the foot,—so,—the
narrow hem at the foot.”
“must be brought down in this way, and tucked
under firm and smooth at the foot,—so,—the
narrow hem at the foot.”
“Yes, ma’am,” said Topsy, as before;—but
we will add, what Miss Ophelia did not see, that,
during the time when the good lady’s back was
turned, in the zeal of her manipulations, the
young disciple had contrived to snatch a pair of
gloves and a ribbon, which she had adroitly
slipped into her sleeves, and stood with her hands
dutifully folded, as before.
we will add, what Miss Ophelia did not see, that,
during the time when the good lady’s back was
turned, in the zeal of her manipulations, the
young disciple had contrived to snatch a pair of
gloves and a ribbon, which she had adroitly
slipped into her sleeves, and stood with her hands
dutifully folded, as before.
“Now, Topsy, let ’s see you do this,” said
Miss Ophelia, pulling off the clothes, and seating
herself.
Miss Ophelia, pulling off the clothes, and seating
herself.
Topsy, with great gravity and adroitness, went
through the exercise completely to Miss Ophelia’s
satisfaction; smoothing the sheets, patting out
every wrinkle, and exhibiting, through the whole
[column b] process, a gravity and seriousness with which her
instructress was greatly edified. By an unlucky
slip, however, a fluttering fragment of the ribbon
hung out of one of her sleeves, just as she was
finishing, and caught Miss Ophelia’s attention.
Instantly she pounced upon it. “What ’s this?
You naughty, wicked child,—you ’ve been steal-
ing this!”
through the exercise completely to Miss Ophelia’s
satisfaction; smoothing the sheets, patting out
every wrinkle, and exhibiting, through the whole
[column b] process, a gravity and seriousness with which her
instructress was greatly edified. By an unlucky
slip, however, a fluttering fragment of the ribbon
hung out of one of her sleeves, just as she was
finishing, and caught Miss Ophelia’s attention.
Instantly she pounced upon it. “What ’s this?
You naughty, wicked child,—you ’ve been steal-
ing this!”
The ribbon was pulled out of Topsy’s own
sleeve, yet was she not in the least disconcerted;
she only looked at it with an air of the most sur-
prised and unconscious innocence.
sleeve, yet was she not in the least disconcerted;
she only looked at it with an air of the most sur-
prised and unconscious innocence.
“Laws! why, that ar ’s Miss Feely’s ribbon,
an’t it? How could it a got caught in my
sleeve?”
an’t it? How could it a got caught in my
sleeve?”
“Topsy, you naughty girl, don’t you tell me a
lie,—you stole that ribbon!”
lie,—you stole that ribbon!”
“Missis, I
for ’t, I did n’t;—never seed
it till
yer blessed minit.”
“Missis, I declar
for’t Iwitness: National Era
“Missis, I declar
for’t Iwitness: Jewett, First Edition, 2 Vols. (1852)
“Missis, I declar
for’t Iwitness: Jewett, “Edition for the Million” (1852/1853)
“Missis, I declare
for’t, Iwitness: Jewett, Illustrated Edition (1853)
“Missis, I declar
for’t Iwitness: Houghton, Osgood, New Edition (1879)
Note
In the Jewett “Illustrated Edition” (1853) Topsy’s dialect form
“declar” is corrected to “declare”; “dis yer”
to “this yer”; “swarin” to “swarin’ ”;
and “de time” to “the time.” The Jewett
“Illustrated Edition” has fewer dialect word forms and greater use of
apostrophes to indicate omitted letters, to an extent that suggests
systematic alteration. By comparison with the other editions, the use of typical English
word forms rather than dialect may reflect the influence of Miss Ophelia’s
training. Stowe or her publisher may have altered
the dialect practice for the more select audience of the “Illustrated Edition”
to suggest the efficacy of educational reform efforts.
it till
it till dis yer blessedwitness: National Era
it till dis yer blessedwitness: Jewett, First Edition, 2 Vols. (1852)
it till dis yer blessedwitness: Jewett, “Edition for the Million” (1852/1853)
it till this yer blessedwitness: Jewett, Illustrated Edition (1853)
it till dis yer blessedwitness: Houghton, Osgood, New Edition (1879)
Note
In the Jewett “Illustrated Edition” (1853) Topsy’s dialect form
“declar” is corrected to “declare”; “dis yer”
to “this yer”; “swarin” to “swarin’ ”;
and “de time” to “the time.” The Jewett
“Illustrated Edition” has fewer dialect word forms and greater use of
apostrophes to indicate omitted letters, to an extent that suggests
systematic alteration. By comparison with the other editions, the use of typical English
word forms rather than dialect may reflect the influence of Miss Ophelia’s
training. Stowe or her publisher may have altered
the dialect practice for the more select audience of the “Illustrated Edition”
to suggest the efficacy of educational reform efforts.
“Topsy,” said Miss Ophelia, “don’t you know
it ’s wicked to tell lies?”
it ’s wicked to tell lies?”
“I never tells no lies, Miss Feely,” said Topsy,
with virtuous gravity; “it ’s jist the truth I ’ve
been a
else.”
with virtuous gravity; “it ’s jist the truth I ’ve
been a
a tellin now—and aint
nothin else.”witness: National Era
a tellin now, and an’t
nothin else.”witness: Jewett, First Edition, 2 Vols. (1852)
a tellin now, and an’t
nothin else.” witness: Jewett, “Edition for the Million” (1852/1853)
a tellin’ now, and
an’t nothin’ else.” witness: Jewett, Illustrated Edition (1853)
a tellin’ now, and
an’t nothin’ else.” witness: Houghton, Osgood, New Edition (1879)
Note
In the Jewett “Illustrated Edition” (1853) Topsy’s dialect form
“declar” is corrected to “declare”; “dis yer”
to “this yer”; “swarin” to “swarin’ ”;
and “de time” to “the time.” The Jewett
“Illustrated Edition” has fewer dialect word forms and greater use of
apostrophes to indicate omitted letters, to an extent that suggests
systematic alteration. By comparison with the other editions, the use of typical English
word forms rather than dialect may reflect the influence of Miss Ophelia’s
training. Stowe or her publisher may have altered
the dialect practice for the more select audience of the “Illustrated Edition”
to suggest the efficacy of educational reform efforts.
“Topsy, I shall have to whip you, if you tell
lies so.”
lies so.”
lies so.” ¶
“Law, missis, if you’switness: National Era
lies so.” ¶
“Laws, Missis, if you’switness: Jewett, First Edition, 2 Vols. (1852)
lies so.” ¶
“Laws, Missis, if you’switness: Jewett, “Edition for the Million” (1852/1853)
lies so.” ¶
“Laws, missis, if you’switness: Jewett, Illustrated Edition (1853)
lies so.” ¶
“Laws, Missis, if you’switness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
could n’t say no other way,” said Topsy, begin-
ning to blubber. “I never seed dat ar,—it must
a got caught in my sleeve. Miss Feely must have
left it on the bed, and it got caught in the clothes,
and so got in my sleeve.”
Miss Ophelia was so indignant at the barefaced
lie, that she caught the child and shook her.
lie, that she caught the child and shook her.
“Don’t you tell me that again!”
The shake brought the gloves on to the floor,
from the other sleeve.
from the other sleeve.
“There, you!” said Miss Ophelia, “will you
tell me now you did n’t steal the ribbon?”
tell me now you did n’t steal the ribbon?”
Topsy now confessed to the gloves, but still
persisted in denying the ribbon.
persisted in denying the ribbon.
“Now, Topsy,” said Miss Ophelia, “if you ’ll
confess all about it, I won’t whip you this time.”
Thus adjured, Topsy confessed to the ribbon and
gloves, with woful protestations of penitence.
confess all about it, I won’t whip you this time.”
Thus adjured, Topsy confessed to the ribbon and
gloves, with woful protestations of penitence.
“Well, now, tell me. I know you must have
taken other things since you have been in the
house, for I let you run about all day yesterday.
Now, tell me if you took anything, and I shan’t
whip you.”
taken other things since you have been in the
house, for I let you run about all day yesterday.
Now, tell me if you took anything, and I shan’t
whip you.”
“Laws,
I took Miss Eva’s red thing
she wars on her neck.”
you.” ¶ “Laws, missis, I tookwitness: National Era
you.” ¶ “Laws, Missis! I tookwitness: Jewett, First Edition, 2 Vols. (1852)
you.” ¶ “Laws, Missis! I tookwitness: Jewett, “Edition for the Million” (1852/1853)
you.” ¶ “Laws, missis! I tookwitness: Jewett, Illustrated Edition (1853)
you.” ¶ “Laws, Missis! I tookwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
she wars on her neck.”
“You did, you naughty child!—Well, what
else?”
else?”
“I took Rosa’s yer-rings,—them red ones.”
“Go bring them to me this minute, both of
’em.”
’em.”
“Laws,
I can’t,—they ’s burnt
up!”
’em.” ¶ “Laws,
missis, I
can’t—they’switness: National Era
Laws, Missis! I
can’t,—they’s witness: Jewett, First Edition, 2 Vols. (1852)
Laws, Missis! I
can’t,—they’switness: Jewett, “Edition for the Million” (1852/1853)
Laws, missis! I
can’t,—they’switness: Jewett, Illustrated Edition (1853)
Laws, Missis! I
can’t,—they’switness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
up!”
“Burnt up!—what a story! Go get ’em, or
I ’ll whip you.”
I ’ll whip you.”
Topsy, with loud protestations, and tears, and
groans, declared that she could not. “They ’s
burnt up,—they was.”
groans, declared that she could not. “They ’s
burnt up,—they was.”
“What did you burn ’em up for?” said Miss
Ophelia.
Ophelia.
“Cause I ’s wicked,—I is. I ’s mighty wicked,
anyhow. I can’t help it.”
anyhow. I can’t help it.”
Just at this moment, Eva came innocently into
the room, with the identical coral necklace on her
neck.
the room, with the identical coral necklace on her
neck.
“Why, Eva, where did you get your necklace?”
said Miss
said Miss
said Miss Ophelia. ¶
“Get it?witness: National Era
said Miss Ophelia. ¶
“Get it?witness: Jewett, First Edition, 2 Vols. (1852)
said Miss Ophelia.” ¶ “Get it?witness: Jewett, Illustrated Edition (1853)
said Miss Ophelia. ¶
“Get it?witness: Jewett, “Edition for the Million” (1852/1853)
said Miss Ophelia. ¶
“Get it?witness: Houghton, Osgood, New Edition (1879)
Note
The closing quotation mark in the Jewett “Illustrated
Edition” (1853) is an error
View Page 94Full size in new window [column a]
“Get it? Why, I ’ve had it on all day,” said
Eva.
Eva.
“Did you have it on yesterday?”
“Yes; and what is funny, Aunty, I had it on
all night. I forgot to take it off when I went to
bed.”
all night. I forgot to take it off when I went to
bed.”
Miss Ophelia looked perfectly bewildered; the
more so, as Rosa, at that instant, came into the
room, with a basket of newly-ironed linen poised
on her head, and the coral ear-drops shaking in
her ears!
more so, as Rosa, at that instant, came into the
room, with a basket of newly-ironed linen poised
on her head, and the coral ear-drops shaking in
her ears!
“I ’m sure I can’t tell anything what to do
with such a child!” she said, in despair. “What
in the world did you tell me you took those things
for, Topsy?”
with such a child!” she said, in despair. “What
in the world did you tell me you took those things
for, Topsy?”
“Why,
said I must ’fess; and I could n’t
think of
else to ’fess,” said Topsy, rubbing
her eyes.
Topsy?” ¶ “Why, missis said Iwitness: National Era
Topsy?” ¶ “Why, Missis said Iwitness: Jewett, First Edition, 2 Vols. (1852)
Topsy?” ¶ “Why, Missis said Iwitness: Jewett, “Edition for the Million” (1852/1853)
Topsy?” ¶ “Why, missis said Iwitness: Jewett, Illustrated Edition (1853)
Topsy?” ¶ “Why, Missis said Iwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
think of
think of nothin else towitness: National Era
think of nothin’ else
towitness: Jewett, First Edition, 2 Vols. (1852)
think of nothin else towitness: Jewett, “Edition for the Million” (1852/1853)
think of nothin’ else
towitness: Jewett, Illustrated Edition (1853)
think of nothin’ else
towitness: Houghton, Osgood, New Edition (1879)
her eyes.
“But, of course, I did n’t want you to confess
things you did n’t do,” said Miss Ophelia;
“that ’s telling a lie, just as much as the
other.”
things you did n’t do,” said Miss Ophelia;
“that ’s telling a lie, just as much as the
other.”
“Laws, now, is it?” said Topsy, with an air
of innocent wonder.
of innocent wonder.
“La, there
any such thing as truth in that
limb,” said Rosa, looking indignantly at Topsy.
“If I was
St. Clare, I ’d whip her till the
blood run. I would,—I ’d let her catch it!”
“La, there aint any
suchwitness: National Era
“La, there an’t any suchwitness: Jewett, First Edition, 2 Vols. (1852)
“La, there an’t any suchwitness: Jewett, “Edition for the Million” (1852/1853)
“La, there an’t any suchwitness: Jewett, Illustrated Edition (1853)
“La, there an’t any suchwitness: Houghton, Osgood, New Edition (1879)
Note
The National Era serial reflects Stowe’s
manuscript preference for “aint,” which publisher John P. Jewett
normalized to “an’t” in the two-volume (1852),
“Million” (1852/53), and “Illustrated” (1853) editions.
The Houghton Osgood “New Edition” (1879) continued the practice.
The form “aint” implies a pejorative difference in class,
region, or race. The form “an’t”
also departs from conventional English, but the form is less pejorative and emphasizes
instead pronunciation. The execution of dialect is defensible for mid-century
standards of consistency for spelling but
faulty by standards of the late nineteenth
or the early twentieth century.
limb,” said Rosa, looking indignantly at Topsy.
“If I was
I was mass’r St.
Clare,witness: National Era
I was Mas’r St.
Clare,witness: Jewett, First Edition, 2 Vols. (1852)
I was Mas’r St.
Clare,witness: Jewett, “Edition for the Million” (1852/1853)
I was Mas’r St.
Clare,witness: Jewett, Illustrated Edition (1853)
I was Mas’r St.
Clare,witness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
the lower-case form “mass’r” predominates, which reflects
the practice of lower-case “masser” in Stowe’s manuscript.
The Jewett two-volume (1852) and “Million”
editions (1852/53) use consistently the capitalized “Mas’r.”
In the Jewett “Illustrated Edition” (1853), an uncapitalized form
of the word appears, “mas’r.” The “Illustrated”
edition retains the dialect apostrophe of the two-volume
and the “Million” editions, but its
form “mas’r,” like its form “missis,”
may imply that the title of master within slavery is an unlawful convention that
should not be honored with capitalization.
For the two-volume and “Million”
editions, the printer George C. Rand or publisher Jewett may
have imposed—and Stowe may have accepted—the
conventional capitalization of this word form, perhaps so that the
Jewett editions could appeal to a broader audience
than the Era’s anti-slavery readers.
Stowe presumably sought to return the Jewett “Illustrated Edition”
word to a form closer to the manuscript and serial practice.
If the more select audiences of the work in
an anti-slavery newspaper and the “Illustrated”
edition are expected to be more sympathetic to the anti-slavery cause,
such readers may appreciate the subtle insinuation that linguistic
conventions that are associated with courtesy
support the perpetuation of slavery as an
unlawful system. The Houghton Osgood
“New Edition” (1879) follows the practice of the
two-volume Jewett edition. Also see variant dialect forms of missis.
blood run. I would,—I ’d let her catch it!”
“No, no, Rosa,” said Eva, with an air of com-
mand, which the child could assume at times;
“you must n’t talk so, Rosa. I can’t bear to hear
it.”
mand, which the child could assume at times;
“you must n’t talk so, Rosa. I can’t bear to hear
it.”
“La sakes! Miss Eva, you ’s so good, you don’t
know nothing how to get along with niggers.
There ’s no way but to cut ’em well up, I tell ye.”
know nothing how to get along with niggers.
There ’s no way but to cut ’em well up, I tell ye.”
“Rosa!” said Eva, “hush! Don’t you say
another word of that sort!” and the eye of the
child flashed, and her cheek deepened its color.
another word of that sort!” and the eye of the
child flashed, and her cheek deepened its color.
Rosa was cowed in a moment.
“Miss Eva has got the St. Clare blood in her,
that ’s plain. She can
just like her papa,” she said, as she passed out
of the room.
that ’s plain. She can
She can speak for all the world
just likewitness: National Era
She can speak, for all the world,
just likewitness: Jewett, First Edition, 2 Vols. (1852)
She can speak, for all the world,
just likewitness: Jewett, “Edition for the Million” (1852/1853)
She can speak, for all the world,
just likewitness: Jewett, Illustrated Edition (1853)
She can speak, for all the world,
just likewitness: Houghton, Osgood, New Edition (1879)
Note
Eva as Representative Child: To Speak for the World
In the National Era serial, Evangeline St. Clare speaks on the
world’s behalf. In later editions, commas set off
the phrase “for all the world.”
At this moment, Eva censures Rosa’s claim that
African Americans can only be managed with recourse to violence.
The revised form in book editions, “She can
speak, for all the world, just like her papa,”
changes dramatically the sense of the statement.
The world, instead of speaking through Eva, is called
upon to witness the extraordinary character of this
child. The insertion of these commas should probably be attributed to
one of George C. Rand’s compositors or to a
John P. Jewett’s proofreader. And while the alteration is in keeping
with a more general effort to conform more closely to norms for syntactic punctuation,
the textual alteration also mythologizes Eva as a model for others.
In chapter 19 (Era chap. 18 [23 Oct. 1851]), Augustine
St. Clare uses the same phrase, set off by
commas, when he refers to his own father and to Miss Ophelia’s
Vermont father as duplicates of one another. Eva’s sympathy
for enslaved African Americans derives in part from
her father’s influence.
just like her papa,” she said, as she passed out
of the room.
Eva stood looking at Topsy.
There stood the two children, representatives
of two extremes of society. The fair, high-bred
child, with her golden head, her deep eyes, her
spiritual, noble brow, and prince-like movements;
and her black, keen, subtle, cringing, yet acute
neighbor. They stood the representatives of their
races. The Saxon, born of ages of cultivation,
command, education, physical and moral emi-
nence; the Afric, born of ages of oppression,
submission, ignorance, toil, and vice!
of two extremes of society. The fair, high-bred
child, with her golden head, her deep eyes, her
spiritual, noble brow, and prince-like movements;
and her black, keen, subtle, cringing, yet acute
neighbor. They stood the representatives of their
races. The Saxon, born of ages of cultivation,
command, education, physical and moral emi-
nence; the Afric, born of ages of oppression,
submission, ignorance, toil, and vice!
Something, perhaps, of such thoughts struggled
through Eva ’s mind. But a child’s thoughts are
rather dim, undefined instincts; and in Eva’s
noble nature many such were yearning and work-
ing, for which she had no power of utterance.
When Miss Ophelia expatiated on Topsy’s
naughty, wicked conduct, the child looked per-
plexed and sorrowful, but said, sweetly,
through Eva ’s mind. But a child’s thoughts are
rather dim, undefined instincts; and in Eva’s
noble nature many such were yearning and work-
ing, for which she had no power of utterance.
When Miss Ophelia expatiated on Topsy’s
naughty, wicked conduct, the child looked per-
plexed and sorrowful, but said, sweetly,
“Poor Topsy, why need you steal? You ’re
going to be taken good care of, now. I ’m sure
I ’d rather give you anything of mine, than have
you steal it.”
going to be taken good care of, now. I ’m sure
I ’d rather give you anything of mine, than have
you steal it.”
It was the first word of kindness the child had
ever heard in her life; and the sweet tone and
manner struck strangely on the wild, rude heart,
and a sparkle of something like a tear shone in
the keen, round, glittering eye; but it was fol-
lowed by the short laugh and habitual grin.
No! the ear that
never heard anything but
[column b] abuse is strangely incredulous of anything so
heavenly as kindness; and Topsy only thought
Eva’s speech something funny and inexplicable,
—she did not believe it.
ever heard in her life; and the sweet tone and
manner struck strangely on the wild, rude heart,
and a sparkle of something like a tear shone in
the keen, round, glittering eye; but it was fol-
lowed by the short laugh and habitual grin.
No! the ear that
ear that had never heardwitness: National Era
ear that has never heardwitness: Jewett, First Edition, 2 Vols. (1852)
ear that has never heardwitness: Jewett, “Edition for the Million” (1852/1853)
ear that has never heardwitness: Jewett, Illustrated Edition (1853)
ear that has never heardwitness: Houghton, Osgood, New Edition (1879)
Note
Topsy as a Unique Child or as a Representative Slave Child
If the word is “had,” the National Era
form, Topsy is singular to this work and a unique individual. As Topsy also
participates in the “wench” stereotype
of minstrelsy drama, the serial form asserts that Topsy as a unique individual
transcends the stereotype that roots her in the tradition of a dramatic stock character.
If the word is “has,” the version of all book forms,
Topsy represents the neglected slave children still
in bondage. She is a propagandistic reminder
that slavery permits the abuse of defenseless children.
[column b] abuse is strangely incredulous of anything so
heavenly as kindness; and Topsy only thought
Eva’s speech something funny and inexplicable,
—she did not believe it.
But what was to be done with Topsy? Miss
Ophelia found the case a puzzler; her rules for
bringing up did n’t seem to apply. She thought
she would take time to think of it; and, by the
way of gaining time, and in hopes of some indef-
inite moral virtues supposed to be inherent in
dark closets, Miss Ophelia shut Topsy up in one
till she had arranged her ideas further on the
subject.
Ophelia found the case a puzzler; her rules for
bringing up did n’t seem to apply. She thought
she would take time to think of it; and, by the
way of gaining time, and in hopes of some indef-
inite moral virtues supposed to be inherent in
dark closets, Miss Ophelia shut Topsy up in one
till she had arranged her ideas further on the
subject.
“I don’t see,” said Miss Ophelia to St. Clare,
“how I ’m going to manage that child, without
whipping her.”
“how I ’m going to manage that child, without
whipping her.”
“Well, whip her, then, to your heart’s content;
I ’ll give you full power to do what you like.”
I ’ll give you full power to do what you like.”
“Children always have to be whipped,” said
Miss Ophelia; “I never heard of bringing them
up without.”
Miss Ophelia; “I never heard of bringing them
up without.”
“O, well, certainly,” said St. Clare: “do as
you think best. Only I ’ll make one suggestion:
I ’ve seen this child whipped with a poker,
knocked down with the shovel or tongs, which-
ever came handiest, &c.; and, seeing that she is
used to that style of operation, I think your
whippings will have to be pretty energetic, to
make much impression.”
you think best. Only I ’ll make one suggestion:
I ’ve seen this child whipped with a poker,
knocked down with the shovel or tongs, which-
ever came handiest, &c.; and, seeing that she is
used to that style of operation, I think your
whippings will have to be pretty energetic, to
make much impression.”
“What is to be done with her, then?” said
Miss Ophelia.
Miss Ophelia.
“You have started a serious question,” said
St. Clare; “I wish you ’d answer it. What is
to be done with a human being that can be gov-
erned only by the lash,—that fails,—it ’s a very
common state of things down here!”
St. Clare; “I wish you ’d answer it. What is
to be done with a human being that can be gov-
erned only by the lash,—that fails,—it ’s a very
common state of things down here!”
“I ’m sure I don’t know; I never saw such a
child as this.”
child as this.”
“Such children are very common among us,
and such men and women, too. How are they to
be governed?” said St. Clare.
and such men and women, too. How are they to
be governed?” said St. Clare.
“I ’m sure it ’s more than I can say,” said
Miss Ophelia.
Miss Ophelia.
“Or I either,” said St. Clare. “The horrid
cruelties and outrages that once
a while find
their way into the papers,—such cases as Prue’s,
for example,—what do they come from? In
many cases, it is a gradual hardening process on
both sides,—the owner growing more and more
cruel, as the servant more and more callous.
Whipping and abuse are like laudanum; you
have to double the dose as the sensibilities de-
cline. I saw this very early when I became an
owner; and I resolved never to begin, because I
did not know when I should stop,—and I re-
solved, at least, to protect my own moral nature.
The consequence is, that my servants act like
spoiled children; but I think that better than for
us both to be brutalized together. You have
talked a great deal about our responsibilities in
educating,
I really wanted you to try
with one child, who is a specimen of thousands
among us.”
cruelties and outrages that once
that once and a whilewitness: National Era
that once and a whilewitness: Jewett, First Edition, 2 Vols. (1852)
that once in a whilewitness: Jewett, “Edition for the Million” (1852/1853)
that once and a whilewitness: Jewett, Illustrated Edition (1853)
that once in a whilewitness: Houghton, Osgood, New Edition (1879)
Note
The phrase “once and a while,” though deprecated in
modern usage manuals, was used elsewhere by Stowe and appears to reflect her
preference. The
National Era serial, the Jewett two-volume (1852) and the
“Illustrated Edition” (1853) use the less familiar form.
The phrase “once in a while” was more
common, but the alteration to the more familiar phrase in the
Jewett “Million” edition (1852/53) and
the Houghton Osgood “New Edition” (1879) is more
likely to reflect a compositor’s or
proofreader’s preference than authorial correction.
their way into the papers,—such cases as Prue’s,
for example,—what do they come from? In
many cases, it is a gradual hardening process on
both sides,—the owner growing more and more
cruel, as the servant more and more callous.
Whipping and abuse are like laudanum; you
have to double the dose as the sensibilities de-
cline. I saw this very early when I became an
owner; and I resolved never to begin, because I
did not know when I should stop,—and I re-
solved, at least, to protect my own moral nature.
The consequence is, that my servants act like
spoiled children; but I think that better than for
us both to be brutalized together. You have
talked a great deal about our responsibilities in
educating,
in educating, cousin. I
reallywitness: National Era
in educating, Cousin. I
reallywitness: Jewett, First Edition, 2 Vols. (1852)
in educating, cousin. I
reallywitness: Jewett, “Edition for the Million” (1852/1853)
in educating, cousin. I
reallywitness: Jewett, Illustrated Edition (1853)
in educating, cousin. I reallywitness: Houghton, Osgood, New Edition (1879)
Note
The word “Cousin,” when capitalized, suggests a formal title. Because
“Cousin” is not a formal title, the reader infers that the use of
capitalization highlights the teasing quality of Augustine St. Clare’s banter
with Miss Ophelia. In the National Era, St. Clare
only uses the upper-case form once in
this chapter, when he first calls Miss Ophelia so that he can exhibit Topsy for her.
In the two-volume Jewett edition (1852), St. Clare in this chapter uses the upper-case form
“Cousin” whenever he addresses Miss Ophelia,
which suggests that he continues to engage in teasing banter.
By contrast, in all subsequent editions, the Jewett “Million” (1852/53)
and “Illustrated” (1853) and the
Houghton Osgood “New Edition” (1879), St. Clare always addresses
Miss Ophelia with the lower-case form “cousin.”
If the text of the Era serial reflects the manuscript,
Stowe intended originally to open the chapter with St. Clare’s
teasing of Miss Ophelia and then to assume the generic lower-case form of address,
which implies greater sincerity in his later address to her. Either Stowe or a Jewett
compositor chose to capitalize all instances of “Cousin” in
the Jewett first edition. When the word is not capitalized,
it tones down the satiric quality and instead
emphasizes St. Clare’s genuine insistence that
Miss Ophelia’s criticism of slavery as a system is pointless
if not backed up with action.
with one child, who is a specimen of thousands
among us.”
“It is your system makes such children,” said
Miss Ophelia.
Miss Ophelia.
“I know it; but they are made,—they exist,
and what is to be done with them?”
and what is to be done with them?”
“Well, I can’t say I thank you for the experi-
ment. But, then, as it appears to be a duty, I
shall persevere and try, and do the best I can,”
said Miss Ophelia; and Miss Ophelia, after this,
did labor, with a commendable degree of zeal and
energy, on her new subject. She instituted regu-
View Page 95
Full size in new window[column a]lar hours and employments for her, and undertook
to teach her to read and to sew.
ment. But, then, as it appears to be a duty, I
shall persevere and try, and do the best I can,”
said Miss Ophelia; and Miss Ophelia, after this,
did labor, with a commendable degree of zeal and
energy, on her new subject. She instituted regu-
View Page 95Full size in new window[column a]lar hours and employments for her, and undertook
to teach her to read and to sew.
In the former
the child was quick enough.
She learned her letters as if by magic, and was
very soon able to read plain reading; but the
sewing was a more difficult matter. The creature
was as lithe as a cat, and as active as a monkey,
and the confinement of sewing was her abomina-
tion; so she broke her needles, threw them slyly
out of windows, or down in chinks of the walls;
she tangled, broke, and dirtied her thread, or,
with a sly movement, would throw a spool away
altogether. Her motions were almost as quick as
those of a practised conjurer, and her command
of her face quite as great; and though Miss
Ophelia could not help feeling that so many
accidents could not possibly happen in succes-
sion, yet she could not, without a watchfulness
which would leave her no time for anything else,
detect her.
the former act, the childwitness: National Era
the former art, the childwitness: Jewett, First Edition, 2 Vols. (1852)
the former art, the childwitness: Jewett, “Edition for the Million” (1852/1853)
the former art the childwitness: Jewett, Illustrated Edition (1853)
the former art, the childwitness: Houghton, Osgood, New Edition (1879)
Note
Reading as “Act” or “Art”
If Topsy’s reading is an “act,” the National Era form,
the meaning of a text is manifest in reading. If Topsy’s reading is an “art,”
the form in all three Jewett editions and the Houghton Osgood “New Edition”
(1879), to arrive at meaning while reading demands active interpretation.
The alteration site highlights the tension in Stowe’s work
between a transparent message that is available to all
readers, including children and the lowly, and the more complex messages
that are accessible only to sophisticated readers.
Soon Miss Ophelia will claim that Topsy, like all children, cannot be expected
to understand the catechism passages that she repeats, but Topsy illustrates
that she is a skeptical reader.
At multiple points in the novel, Stowe condemns artful reading.
For example, see chapter 14 (11 Sep. 1851) on Tom’s reading of
Scripture, where the text before him is
“evidently true and divine.” Tom’s reading is contrasted to
Cicero’s, which demands detailed study and the consultation of
translations and annotations. Stowe’s most
direct critique of artful reading is confined to one version of the text,
in chapter 12 of the Era (28 Aug. 1851).
There Stowe ’s narrator rebukes sophisticated readers,
whom she designates satirically as a “philosophic friend,”
whose reading of Christian scripture is informed by Ralph
Waldo Emerson’s Essays
(1847) and Thomas Carlyle’s
Critical and Miscellaneous Essays (1838). She contrasts
such readers to Uncle Tom, who seeks consolation by reciting scripture to himself.
The satirical passage on Carlyle and Emerson was omitted for all editions
after the Era. The
alteration of this word “act” may be in parallel to the earlier
revision.
The recognition of this tension between plain and artful reading
might be pressed further, to apply also to Stowe’s novel as a whole.
To highlight textual alteration is itself a particular type of reading,
which claims, contrary to Stowe’s advisory against
Cicero’s practice, that the analysis of
textual complexity is an “art” with the potential to
enrich the plain “act” of reading.
She learned her letters as if by magic, and was
very soon able to read plain reading; but the
sewing was a more difficult matter. The creature
was as lithe as a cat, and as active as a monkey,
and the confinement of sewing was her abomina-
tion; so she broke her needles, threw them slyly
out of windows, or down in chinks of the walls;
she tangled, broke, and dirtied her thread, or,
with a sly movement, would throw a spool away
altogether. Her motions were almost as quick as
those of a practised conjurer, and her command
of her face quite as great; and though Miss
Ophelia could not help feeling that so many
accidents could not possibly happen in succes-
sion, yet she could not, without a watchfulness
which would leave her no time for anything else,
detect her.
Topsy was soon a noted character in the
establishment. Her talent for every species of
drollery, grimace, and mimicry,—for dancing,
tumbling, climbing, singing, whistling, imitating
every sound that hit her fancy,—seemed inex-
haustible. In her play-hours, she invariably had
every child in the establishment at her heels,
open-mouthed with admiration and wonder,—
not excepting Miss Eva, who appeared to be
fascinated by her wild diablerie, as a dove is
sometimes charmed by a glittering serpent. Miss
Ophelia was uneasy that Eva should fancy Topsy’s
society so much, and implored St. Clare to for-
bid it.
establishment. Her talent for every species of
drollery, grimace, and mimicry,—for dancing,
tumbling, climbing, singing, whistling, imitating
every sound that hit her fancy,—seemed inex-
haustible. In her play-hours, she invariably had
every child in the establishment at her heels,
open-mouthed with admiration and wonder,—
not excepting Miss Eva, who appeared to be
fascinated by her wild diablerie, as a dove is
sometimes charmed by a glittering serpent. Miss
Ophelia was uneasy that Eva should fancy Topsy’s
society so much, and implored St. Clare to for-
bid it.
“Poh! let the child alone,” said St. Clare.
“Topsy will do her good.”
“Topsy will do her good.”
“But so depraved a child,—are you not afraid
she will teach her some mischief?”
she will teach her some mischief?”
“She can’t teach her mischief; she might
teach it to some children, but evil rolls off Eva’s
mind like dew off a cabbage-leaf,—not a drop
sinks in.”
teach it to some children, but evil rolls off Eva’s
mind like dew off a cabbage-leaf,—not a drop
sinks in.”
“Don’t be too sure,” said Miss Ophelia. “I
know I ’d never let a child of mine play with
Topsy.”
know I ’d never let a child of mine play with
Topsy.”
“Well, your children need n’t,” said St. Clare,
“but mine may; if Eva could have been spoiled,
it would have been done years ago.”
“but mine may; if Eva could have been spoiled,
it would have been done years ago.”
Topsy was at first despised and contemned by
the upper servants. They soon found reason to
alter their opinion. It was very soon discovered
that whoever cast an indignity on Topsy was sure
to meet with some inconvenient accident shortly
after;—either a pair of ear-rings or some cher-
ished trinket would be missing, or an article of
dress would be suddenly found utterly ruined, or
the person would stumble accidentally into a pail
of hot water, or a libation of dirty slop would un-
accountably deluge them from above when in full
gala dress;—and on all these occasions, when
investigation was made, there was nobody found
to stand sponsor for the indignity. Topsy was
cited, and had up before all the domestic judica-
tories, time and again; but always sustained her
examinations with most edifying innocence and
gravity of appearance. Nobody in the world
ever doubted who did the things; but not a scrap
of any direct evidence could be found to establish
the suppositions, and Miss Ophelia was too just
to feel at liberty to proceed to any lengths with-
out it.
the upper servants. They soon found reason to
alter their opinion. It was very soon discovered
that whoever cast an indignity on Topsy was sure
to meet with some inconvenient accident shortly
after;—either a pair of ear-rings or some cher-
ished trinket would be missing, or an article of
dress would be suddenly found utterly ruined, or
the person would stumble accidentally into a pail
of hot water, or a libation of dirty slop would un-
accountably deluge them from above when in full
gala dress;—and on all these occasions, when
investigation was made, there was nobody found
to stand sponsor for the indignity. Topsy was
cited, and had up before all the domestic judica-
tories, time and again; but always sustained her
examinations with most edifying innocence and
gravity of appearance. Nobody in the world
ever doubted who did the things; but not a scrap
of any direct evidence could be found to establish
the suppositions, and Miss Ophelia was too just
to feel at liberty to proceed to any lengths with-
out it.
The mischiefs done were always so nicely
timed, also, as further to shelter the aggressor.
[column b] Thus, the times for revenge on Rosa and Jane,
the two chamber-maids, were always chosen in
those seasons when (as not unfrequently hap-
pened) they were in disgrace with their mistress,
when any complaint from them would of course
meet with no sympathy. In short, Topsy soon
made the household understand the propriety of
letting her alone; and she was let alone accord-
ingly.
timed, also, as further to shelter the aggressor.
[column b] Thus, the times for revenge on Rosa and Jane,
the two chamber-maids, were always chosen in
those seasons when (as not unfrequently hap-
pened) they were in disgrace with their mistress,
when any complaint from them would of course
meet with no sympathy. In short, Topsy soon
made the household understand the propriety of
letting her alone; and she was let alone accord-
ingly.
Topsy was smart and energetic in all manual
operations, learning everything that was taught
her with surprising quickness. With a few les-
sons, she had learned to do the proprieties of Miss
Ophelia’s chamber in a way with which even that
particular lady could find no fault. Mortal hands
could not lay spread smoother, adjust pillows
more accurately, sweep and dust and arrange
more perfectly, than Topsy, when she chose,—
but she did n’t very often choose. If Miss Ophe-
lia, after three or four days of careful and patient
supervision, was so sanguine as to suppose that
Topsy had at last fallen into her way, could do
without overlooking, and so go off and busy her-
self about something else, Topsy would hold a
perfect carnival of confusion, for some one or two
hours. Instead of making the bed, she would
amuse herself with pulling off the pillow-cases,
butting her woolly head among the pillows, till it
would sometimes be grotesquely ornamented with
feathers sticking out in various directions; she
would climb the posts, and hang head downward
from the tops; flourish the sheets and spreads all
over the apartment; dress the bolster up in Miss
Ophelia’s night-clothes, and enact various scenic
performances with that,—singing and whistling,
and making grimaces at herself in the looking-
glass; in short, as Miss Ophelia phrased it,
“raising Cain” generally.
operations, learning everything that was taught
her with surprising quickness. With a few les-
sons, she had learned to do the proprieties of Miss
Ophelia’s chamber in a way with which even that
particular lady could find no fault. Mortal hands
could not lay spread smoother, adjust pillows
more accurately, sweep and dust and arrange
more perfectly, than Topsy, when she chose,—
but she did n’t very often choose. If Miss Ophe-
lia, after three or four days of careful and patient
supervision, was so sanguine as to suppose that
Topsy had at last fallen into her way, could do
without overlooking, and so go off and busy her-
self about something else, Topsy would hold a
perfect carnival of confusion, for some one or two
hours. Instead of making the bed, she would
amuse herself with pulling off the pillow-cases,
butting her woolly head among the pillows, till it
would sometimes be grotesquely ornamented with
feathers sticking out in various directions; she
would climb the posts, and hang head downward
from the tops; flourish the sheets and spreads all
over the apartment; dress the bolster up in Miss
Ophelia’s night-clothes, and enact various scenic
performances with that,—singing and whistling,
and making grimaces at herself in the looking-
glass; in short, as Miss Ophelia phrased it,
“raising Cain” generally.
On one occasion, Miss Ophelia found Topsy
with her very best scarlet India Canton crape
shawl wound round her head for a turban, going
on with her rehearsals before the glass in great
style,—Miss Ophelia having, with carelessness
most unheard of in her, left the key for once in
her drawer.
with her very best scarlet India Canton crape
shawl wound round her head for a turban, going
on with her rehearsals before the glass in great
style,—Miss Ophelia having, with carelessness
most unheard of in her, left the key for once in
her drawer.
“Topsy!” she would say, when at the end of
all patience, “what does make you act so?”
all patience, “what does make you act so?”
act so?” ¶
“Dunno, missis—I spects cause
I’s so witness: National Era
act so?” ¶
“Dunno, Missis,—I spects cause
I’s so witness: Jewett, First Edition, 2 Vols. (1852)
act so?” ¶
“Dunno, Missis,—I spects cause
I’s so witness: Jewett, “Edition for the Million” (1852/1853)
act so?” ¶
“Dun no, missis,—I spects cause
I’s so witness: Jewett, Illustrated Edition (1853)
act so?” ¶
“Dunno, Missis,—I spects
’cause I’s so witness: Houghton, Osgood, New Edition (1879)
Note
In this famous line, Topsy asserts that her quality of being wicked
explains her sinful behavior, lying.
She also reflects Miss Ophelia’s opinion and recycles the term
“wicked” that Miss Ophelia had used to refer to her
act of stealing the ribbon. Miss Ophelia implies that
Topsy’s innate wickedness explains her stealing, and Topsy
adapts to the suggestion by repeating it back to Miss Ophelia. The variant capitalization
forms may inflect subtly the quality of their relationship. If the term
“Missis” is capitalized, which it is
in the Jewett two-volume (1852) and “Million” (1852/53) edition
and the Houghton Osgood “New Edition” (1879),
Topsy’s ability to adapt to conventional expectations may be implied.
If “missis” is not capitalized, the form of the National Era
serial and the Jewett “Illustrated Edition” (1853), Topsy may resist conventional
expectations. However, the reader’s perception of Topsy’s resistance
by this form of capitalization would inflect the reading of the entire chapter
because it conforms to the general practice of capitalization in these
editions.
Based on the surviving manuscript pages, Era
serial and the “Illustrated Edition” (1853), Stowe for the word
“missis” probably preferred the lower-case form. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is an unwarranted convention. In
the two-volume (1852) and “Million” (1852/53) edition
and the “New Edition” (1879),
the publisher may have imposed—and Stowe may have
accepted—the conventional form. The choice may depend on audience.
If readers of work in the Era and
select readers of the “Illustrated
Edition” are more sympathetic to the anti-slavery cause, they may be more likely
to appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see dialect forms of master.
The apostrophe in “ ’cause,” which appears in
the Houghton Osgood “New Edition” (1879), is probably a
compositor’s alteration without authorial authority.
wicked!”
“I don’t know anything what I shall do with
you, Topsy.”
you, Topsy.”
“Law,
you must whip me; my old
allers whipped me. I
used to work-
in’ unless I gets whipped.”
Topsy.” ¶ “Law, missis, you mustwitness: National Era
Topsy.” ¶ “Law, Missis, you mustwitness: Jewett, First Edition, 2 Vols. (1852)
Topsy.” ¶ “Law, Missis, you mustwitness: Jewett, “Edition for the Million” (1852/1853)
Topsy.” ¶ “Law, missis, you mustwitness: Jewett, Illustrated Edition (1853)
Topsy.” ¶ “Law, Missis, you mustwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
my old missis allers whippedwitness: National Era
my old Missis allers whippedwitness: Jewett, First Edition, 2 Vols. (1852)
my old Missis allers whippedwitness: Jewett, “Edition for the Million” (1852/1853)
my old missis allers whippedwitness: Jewett, Illustrated Edition (1853)
my old Missis allers whippedwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
me. I aint used towitness: National Era
me. I an’t used towitness: Jewett, First Edition, 2 Vols. (1852)
me. I an’t used towitness: Jewett, “Edition for the Million” (1852/1853)
me. I an’t used towitness: Jewett, Illustrated Edition (1853)
me. I an’t used towitness: Houghton, Osgood, New Edition (1879)
Note
The National Era serial reflects Stowe’s
manuscript preference for “aint,” which publisher John P. Jewett
normalized to “an’t” in the two-volume (1852),
“Million” (1852/53), and “Illustrated” (1853) editions.
The Houghton Osgood “New Edition” (1879) continued the practice.
The form “aint” implies a pejorative difference in class,
region, or race. The form “an’t”
also departs from conventional English, but the form is less pejorative and emphasizes
instead pronunciation. The execution of dialect is defensible for mid-century
standards of consistency for spelling but
faulty by standards of the late nineteenth
or the early twentieth century.
in’ unless I gets whipped.”
“Why, Topsy, I don’t want to whip you.
You can do well, if you ’ve a mind to; what is
the reason you won’t?”
You can do well, if you ’ve a mind to; what is
the reason you won’t?”
“Laws,
I ’s used to whippin’; I spects
it ’s good for me.”
won’t?” ¶ “Laws,
missis, I’s usedwitness: National Era
won’t?” ¶ “Laws,
Missis, I’s usedwitness: Jewett, First Edition, 2 Vols. (1852)
won’t?” ¶ “Laws,
Missis, I’s usedwitness: Jewett, “Edition for the Million” (1852/1853)
won’t?” ¶ “Laws,
missis, I’s usedwitness: Jewett, Illustrated Edition (1853)
won’t?” ¶ “Laws,
Missis, I’s usedwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
it ’s good for me.”
Miss Ophelia tried the recipe, and Topsy in-
variably made a terrible commotion, screaming,
groaning and imploring, though half an hour
afterwards, when roosted on some projection of
the balcony, and surrounded by a flock of admir-
ing “young uns,” she would express the utmost
contempt of the whole affair.
variably made a terrible commotion, screaming,
groaning and imploring, though half an hour
afterwards, when roosted on some projection of
the balcony, and surrounded by a flock of admir-
ing “young uns,” she would express the utmost
contempt of the whole affair.
whole affair. ¶
“La, Miss Feelywitness: National Era
whole affair. ¶
“Law, Miss Feelywitness: Jewett, First Edition, 2 Vols. (1852)
whole affair. ¶
“Law, Miss Feelywitness: Jewett, “Edition for the Million” (1852/1853)
whole affair. ¶
“Law, Miss Feelywitness: Jewett, Illustrated Edition (1853)
whole affair. ¶
“Law, Miss Feelywitness: Houghton, Osgood, New Edition (1879)
Note
Both interjections, “La” and “Law,”
are common, and the distinction does not appear to be systematic in the
National Era serial. However,
the interjection “La” is a seemingly meaningless interjection
whereas the pronunciation “Law” in the Jewett
two-volume (1852), “Million” (1852/53), and “Illustrated” (1853)
editions and the Houghton Osgood “New Edition” could imply that whipping
is tolerated in part on the basis of legal statute.
Topsy, by suggesting a connection between law and
cruelty, may provide in her pronunciation another reminder that slavery is
both unlawful and cruel.
skeeter, her whippins! Oughter see how old
Mas’r made the flesh fly; old Mas’r know’d
how!”
Topsy always made great capital of her own
sins and enormities, evidently considering them
as something peculiarly distinguishing.
sins and enormities, evidently considering them
as something peculiarly distinguishing.
View Page 96Full size in new window [column a]
peculiarly distinguishing. ¶
“La, you niggers,”witness: National Era
peculiarly distinguishing. ¶
“Law, you niggers,”witness: Jewett, First Edition, 2 Vols. (1852)
peculiarly distinguishing. ¶
“Law, you niggers,”witness: Jewett, “Edition for the Million” (1852/1853)
peculiarly distinguishing. ¶
“Law, you niggers,”witness: Jewett, Illustrated Edition (1853)
peculiarly distinguishing. ¶
“Law, you niggers,”witness: Houghton, Osgood, New Edition (1879)
Note
Both interjections, “La” and “Law,”
are common, and the distinction does not appear to be systematic in the
National Era serial. However,
the interjection “La” in the serial is a seemingly meaningless interjection
whereas the pronunciation “Law” the Jewett
two-volume (1852) and “Million” (1852/53) and “Illustrated” (1853)
editions and the Houghton Osgood “New Edition” (1879)
could imply that “you niggers”
are defined as “sinners” in part on the basis of legal statute.
Topsy, by suggesting a connection between law and
sin, may provide in her pronunciation another subtle reminder that slavery is
both unlawful and sinful.
of her auditors, “does you know you ’s all sin-
ners? Well, you is—everybody is. White
folks is sinners too,—Miss Feely says so; but I
spects niggers is the biggest ones; but Lor! ye
an’t any on ye up to me. I ’s so awful wicked
there can’t nobody do
nobody do nothin with me.witness: National Era
nobody do nothin’ with
me.witness: Jewett, First Edition, 2 Vols. (1852)
nobody do nothin’ with
me.witness: Jewett, “Edition for the Million” (1852/1853)
nobody do nothin’ with
me.witness: Jewett, Illustrated Edition (1853)
nobody do nothin’ with
me.witness: Houghton, Osgood, New Edition (1879)
Note
The form “nothin” reflects the typical
National Era serial practice, which has fewer apostrophes to indicate
elided letters. The serial form is closer to Stowe’s manuscript
practice. Also see the form “declar” or “declare.”
to keep old
keep old missis a swarin witness: National Era
keep old Missis a
swarin’ witness: Jewett, First Edition, 2 Vols. (1852)
keep old Missis a
swarin’ witness: Jewett, “Edition for the Million” (1852/1853)
keep old Missis a
swarin’ witness: Jewett, Illustrated Edition (1853)
keep old Missis a swarin’
witness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
missis a swarin at mewitness: National Era
missis a swarin at mewitness: Jewett, First Edition, 2 Vols. (1852)
missis a swarin at mewitness: Jewett, “Edition for the Million” (1852/1853)
missis a swarin’ at
mewitness: Jewett, Illustrated Edition (1853)
missis a swarin at mewitness: Houghton, Osgood, New Edition (1879)
Note
In the Jewett “Illustrated Edition” (1853) Topsy’s dialect form
“declar” is corrected to “declare”; “dis yer”
to “this yer”; “swarin” to “swarin’ ”;
and “de time” to “the time.” The Jewett
“Illustrated Edition” has fewer dialect word forms and greater use of
apostrophes to indicate omitted letters, to an extent that suggests
systematic alteration. By comparison with the other editions, the use of typical English
word forms rather than dialect may reflect the influence of Miss Ophelia’s
training. Stowe or her publisher may have altered
the dialect practice for the more select audience of the “Illustrated Edition”
to suggest the efficacy of educational reform efforts.
me half de time. Iwitness: National Era
me half de time. Iwitness: Jewett, First Edition, 2 Vols. (1852)
me half de time. Iwitness: Jewett, “Edition for the Million” (1852/1853)
me half the time. Iwitness: Jewett, Illustrated Edition (1853)
me half de time. Iwitness: Houghton, Osgood, New Edition (1879)
Note
In the Jewett “Illustrated Edition” (1853) Topsy’s dialect form
“declar” is corrected to “declare”; “dis yer”
to “this yer”; “swarin” to “swarin’ ”;
and “de time” to “the time.” The Jewett
“Illustrated Edition” has fewer dialect word forms and greater use of
apostrophes to indicate omitted letters, to an extent that suggests
systematic alteration. By comparison with the other editions, the use of typical English
word forms rather than dialect may reflect the influence of Miss Ophelia’s
training. Stowe or her publisher may have altered
the dialect practice for the more select audience of the “Illustrated Edition”
to suggest the efficacy of educational reform efforts.
I spects I ’s the wickedest
the wickedest critter in thewitness: National Era
the wickedest critter in thewitness: Jewett, First Edition, 2 Vols. (1852)
the wickedest critter in thewitness: Jewett, “Edition for the Million” (1852/1853)
the wickedest critter in thewitness: Jewett, Illustrated Edition (1853)
the wickedest crittur in thewitness: Houghton, Osgood, New Edition (1879)
Note
Both forms, “critter” and “crittur,”
are common in all published versions. The form “critter”
is more frequent in the National Era and
the Jewett two-volume (1852), “Million” (1852/53),
and “Illustrated” (1853) editions.
The spelling “crittur” predominates in the Houghton Osgood “New
Edition” (1879).
and Topsy would cut a summerset, and come up
brisk and shining on to a higher perch, and evi-
dently plume herself on the distinction.
plume herself on the distinction.
Miss Ophelia busied herselfwitness: National Era
Miss Ophelia busied herselfwitness: National Era
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Jewett, First Edition, 2 Vols. (1852)
Miss Ophelia busied herselfwitness: Jewett, First Edition, 2 Vols. (1852)
plume herself on the distinction.
“But I ’s boun’ to go to heaven, for all that, though,” she said, one day, after an exposé of this kind.
“Why, how ’s that, Tops?” said her master, who had been listening, quite amused.
“Why, Miss Feely ’s boun’ to go, any way; so they ’ll have me thar. Laws! Miss Feely ’s so curous they won’t none of ’em know how to wait on her.”
Miss Ophelia busied herselfwitness: Jewett, “Edition for the Million” (1852/1853)
“But I ’s boun’ to go to heaven, for all that, though,” she said, one day, after an exposé of this kind.
“Why, how ’s that, Tops?” said her master, who had been listening, quite amused.
“Why, Miss Feely ’s boun’ to go, any way; so they ’ll have me thar. Laws! Miss Feely ’s so curous they won’t none of ’em know how to wait on her.”
Miss Ophelia busied herselfwitness: Jewett, “Edition for the Million” (1852/1853)
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Jewett, Illustrated Edition (1853)
Miss Ophelia busied herselfwitness: Jewett, Illustrated Edition (1853)
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Houghton, Osgood, New Edition (1879)
Miss Ophelia busied herselfwitness: Houghton, Osgood, New Edition (1879)
Note
Topsy’s Plan for Heaven
This brief exchange between St. Clare and Topsy is present only in
the Jewett “Million” (1852/53) edition. Because
the exchange echoes other instances of faulty theological doctrine in the novel, it must be
authorial even though it does not appear
in the earlier National Era installment,
inthe Jewett first (1852) and “Illustrated” (1853) editions,
or in the Hougton Osgood “New Edition ” (1879).
One infers, then, that Stowe prepared this revised text for the benefit of
a particular audience, those who could afford the cheapest edition and might succumb
to the seductive hope that the Christian afterlife of the servant
depends on the piety of the mistress.
Though her theological doctrine is faulty, Topsy, perhaps unwittingly, critiques
Ophelia’s emphasis on procedure and rules rather than love.
Topsy appears to believe that Miss Ophelia is bound for a Christian heaven,
but Topsy assumes also that Miss Ophelia’s heaven would include a servant
like herself who is capable of performing duties to Miss Ophelia’s satisfaction.
Topsy joins two previous characters in the text who appear to hold a delusive
hope in a theologically doubtful plan for heaven, Mr. Shelby and the slave trader Haley.
Shelby’s delusion is that he might gain heaven by his
wife’s “superabundance of qualities to which he had no
particular pretension” (chap. 1; Era, 5 Jun. 1851),
and the slave trader
Haley leavens his cruelty with humanity to
gain “a better chance for comin’ in the kingdom at
last” (chap. 8; Era, 17 Jul. 1851).
If hers is not a case of obvious self-delusion,
Cassy also later in the novel will express a hope that
“it can’t be that the Lord will lay sin to
our account” (chap. 34; Era, chap. 33, 12 Feb. 1852).
Topsy thus joins a range of characters
in the novel who hope to avoid damnation but rely on doubtful theological grounds.
The inclusion of Topsy’s Plan for Heaven in the “Million” edition
suggests that Stowe thought Topsy’s sentiments uniquely suited for an audience
lower on the social scale. But if these readers
recognize Topsy’s self-delusion, Stowe warns
that Topsy has personal responsibility for her own salvation and
cannot pass that responsibility to her mistress.
Topsy’s plan also echoes the doctrine of obedience
that some slaveholders preached to slaves.
In Stowe’s Christian doctrine, everyone has personal
responsibility to achieve salvation, even a slave.
Topsy’s image of herself in heaven may comment on George
Aiken’s adaptation of the novel which ended, famously, with a
grand tableau “representing Eva in heaven, amid clouds and a halo
of glory, welcomed by angelic choirs, and accompanied by Uncle Tom and St.
Clare.” Stowe also included a revised version of this passage in
an adaptation for dramatic reading, The Christian Slave,
A Drama. Founded on a Portion of Uncle Tom’s
Cabin. Dramatized by Harriet Beecher Stowe, Expressly for the Readings of
Mrs. Mary E. Webb (Boston: Phillips, Sampson, 1855), p. 42.
plume herself on the distinction.
Miss Ophelia busied herselfwitness: National Era
Miss Ophelia busied herselfwitness: National Era
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Jewett, First Edition, 2 Vols. (1852)
Miss Ophelia busied herselfwitness: Jewett, First Edition, 2 Vols. (1852)
plume herself on the distinction.
“But I ’s boun’ to go to heaven, for all that, though,” she said, one day, after an exposé of this kind.
“Why, how ’s that, Tops?” said her master, who had been listening, quite amused.
“Why, Miss Feely ’s boun’ to go, any way; so they ’ll have me thar. Laws! Miss Feely ’s so curous they won’t none of ’em know how to wait on her.”
Miss Ophelia busied herselfwitness: Jewett, “Edition for the Million” (1852/1853)
“But I ’s boun’ to go to heaven, for all that, though,” she said, one day, after an exposé of this kind.
“Why, how ’s that, Tops?” said her master, who had been listening, quite amused.
“Why, Miss Feely ’s boun’ to go, any way; so they ’ll have me thar. Laws! Miss Feely ’s so curous they won’t none of ’em know how to wait on her.”
Miss Ophelia busied herselfwitness: Jewett, “Edition for the Million” (1852/1853)
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Jewett, Illustrated Edition (1853)
Miss Ophelia busied herselfwitness: Jewett, Illustrated Edition (1853)
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Houghton, Osgood, New Edition (1879)
Miss Ophelia busied herselfwitness: Houghton, Osgood, New Edition (1879)
Note
Topsy’s Plan for Heaven
This brief exchange between St. Clare and Topsy is present only in
the Jewett “Million” (1852/53) edition. Because
the exchange echoes other instances of faulty theological doctrine in the novel, it must be
authorial even though it does not appear
in the earlier National Era installment,
inthe Jewett first (1852) and “Illustrated” (1853) editions,
or in the Hougton Osgood “New Edition ” (1879).
One infers, then, that Stowe prepared this revised text for the benefit of
a particular audience, those who could afford the cheapest edition and might succumb
to the seductive hope that the Christian afterlife of the servant
depends on the piety of the mistress.
Though her theological doctrine is faulty, Topsy, perhaps unwittingly, critiques
Ophelia’s emphasis on procedure and rules rather than love.
Topsy appears to believe that Miss Ophelia is bound for a Christian heaven,
but Topsy assumes also that Miss Ophelia’s heaven would include a servant
like herself who is capable of performing duties to Miss Ophelia’s satisfaction.
Topsy joins two previous characters in the text who appear to hold a delusive
hope in a theologically doubtful plan for heaven, Mr. Shelby and the slave trader Haley.
Shelby’s delusion is that he might gain heaven by his
wife’s “superabundance of qualities to which he had no
particular pretension” (chap. 1; Era, 5 Jun. 1851),
and the slave trader
Haley leavens his cruelty with humanity to
gain “a better chance for comin’ in the kingdom at
last” (chap. 8; Era, 17 Jul. 1851).
If hers is not a case of obvious self-delusion,
Cassy also later in the novel will express a hope that
“it can’t be that the Lord will lay sin to
our account” (chap. 34; Era, chap. 33, 12 Feb. 1852).
Topsy thus joins a range of characters
in the novel who hope to avoid damnation but rely on doubtful theological grounds.
The inclusion of Topsy’s Plan for Heaven in the “Million” edition
suggests that Stowe thought Topsy’s sentiments uniquely suited for an audience
lower on the social scale. But if these readers
recognize Topsy’s self-delusion, Stowe warns
that Topsy has personal responsibility for her own salvation and
cannot pass that responsibility to her mistress.
Topsy’s plan also echoes the doctrine of obedience
that some slaveholders preached to slaves.
In Stowe’s Christian doctrine, everyone has personal
responsibility to achieve salvation, even a slave.
Topsy’s image of herself in heaven may comment on George
Aiken’s adaptation of the novel which ended, famously, with a
grand tableau “representing Eva in heaven, amid clouds and a halo
of glory, welcomed by angelic choirs, and accompanied by Uncle Tom and St.
Clare.” Stowe also included a revised version of this passage in
an adaptation for dramatic reading, The Christian Slave,
A Drama. Founded on a Portion of Uncle Tom’s
Cabin. Dramatized by Harriet Beecher Stowe, Expressly for the Readings of
Mrs. Mary E. Webb (Boston: Phillips, Sampson, 1855), p. 42.
plume herself on the distinction.
Miss Ophelia busied herselfwitness: National Era
Miss Ophelia busied herselfwitness: National Era
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Jewett, First Edition, 2 Vols. (1852)
Miss Ophelia busied herselfwitness: Jewett, First Edition, 2 Vols. (1852)
plume herself on the distinction.
“But I ’s boun’ to go to heaven, for all that, though,” she said, one day, after an exposé of this kind.
“Why, how ’s that, Tops?” said her master, who had been listening, quite amused.
“Why, Miss Feely ’s boun’ to go, any way; so they ’ll have me thar. Laws! Miss Feely ’s so curous they won’t none of ’em know how to wait on her.”
Miss Ophelia busied herselfwitness: Jewett, “Edition for the Million” (1852/1853)
“But I ’s boun’ to go to heaven, for all that, though,” she said, one day, after an exposé of this kind.
“Why, how ’s that, Tops?” said her master, who had been listening, quite amused.
“Why, Miss Feely ’s boun’ to go, any way; so they ’ll have me thar. Laws! Miss Feely ’s so curous they won’t none of ’em know how to wait on her.”
Miss Ophelia busied herselfwitness: Jewett, “Edition for the Million” (1852/1853)
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Jewett, Illustrated Edition (1853)
Miss Ophelia busied herselfwitness: Jewett, Illustrated Edition (1853)
plume herself on the distinction.
Miss Ophelia busied herselfwitness: Houghton, Osgood, New Edition (1879)
Miss Ophelia busied herselfwitness: Houghton, Osgood, New Edition (1879)
Note
Topsy’s Plan for Heaven
This brief exchange between St. Clare and Topsy is present only in
the Jewett “Million” (1852/53) edition. Because
the exchange echoes other instances of faulty theological doctrine in the novel, it must be
authorial even though it does not appear
in the earlier National Era installment,
inthe Jewett first (1852) and “Illustrated” (1853) editions,
or in the Hougton Osgood “New Edition ” (1879).
One infers, then, that Stowe prepared this revised text for the benefit of
a particular audience, those who could afford the cheapest edition and might succumb
to the seductive hope that the Christian afterlife of the servant
depends on the piety of the mistress.
Though her theological doctrine is faulty, Topsy, perhaps unwittingly, critiques
Ophelia’s emphasis on procedure and rules rather than love.
Topsy appears to believe that Miss Ophelia is bound for a Christian heaven,
but Topsy assumes also that Miss Ophelia’s heaven would include a servant
like herself who is capable of performing duties to Miss Ophelia’s satisfaction.
Topsy joins two previous characters in the text who appear to hold a delusive
hope in a theologically doubtful plan for heaven, Mr. Shelby and the slave trader Haley.
Shelby’s delusion is that he might gain heaven by his
wife’s “superabundance of qualities to which he had no
particular pretension” (chap. 1; Era, 5 Jun. 1851),
and the slave trader
Haley leavens his cruelty with humanity to
gain “a better chance for comin’ in the kingdom at
last” (chap. 8; Era, 17 Jul. 1851).
If hers is not a case of obvious self-delusion,
Cassy also later in the novel will express a hope that
“it can’t be that the Lord will lay sin to
our account” (chap. 34; Era, chap. 33, 12 Feb. 1852).
Topsy thus joins a range of characters
in the novel who hope to avoid damnation but rely on doubtful theological grounds.
The inclusion of Topsy’s Plan for Heaven in the “Million” edition
suggests that Stowe thought Topsy’s sentiments uniquely suited for an audience
lower on the social scale. But if these readers
recognize Topsy’s self-delusion, Stowe warns
that Topsy has personal responsibility for her own salvation and
cannot pass that responsibility to her mistress.
Topsy’s plan also echoes the doctrine of obedience
that some slaveholders preached to slaves.
In Stowe’s Christian doctrine, everyone has personal
responsibility to achieve salvation, even a slave.
Topsy’s image of herself in heaven may comment on George
Aiken’s adaptation of the novel which ended, famously, with a
grand tableau “representing Eva in heaven, amid clouds and a halo
of glory, welcomed by angelic choirs, and accompanied by Uncle Tom and St.
Clare.” Stowe also included a revised version of this passage in
an adaptation for dramatic reading, The Christian Slave,
A Drama. Founded on a Portion of Uncle Tom’s
Cabin. Dramatized by Harriet Beecher Stowe, Expressly for the Readings of
Mrs. Mary E. Webb (Boston: Phillips, Sampson, 1855), p. 42.
Miss Ophelia busied herself very earnestly on
Sundays, teaching Topsy the catechism. Topsy
had an uncommon verbal memory, and committed
with a fluency that greatly encouraged her in-
structress.
Sundays, teaching Topsy the catechism. Topsy
had an uncommon verbal memory, and committed
with a fluency that greatly encouraged her in-
structress.
“What good do you expect it is going to do
her?” said St. Clare.
her?” said St. Clare.
“Why, it always has done children good.
It ’s what children always have to learn, you
know,” said Miss Ophelia.
It ’s what children always have to learn, you
know,” said Miss Ophelia.
“Understand it or not,” said St. Clare.
“O, children never understand it at the time;
but, after they are grown up, it ’ll come to them.”
but, after they are grown up, it ’ll come to them.”
“Mine has n’t come to me yet,” said St. Clare,
“though I ’ll bear testimony that you put it into
me pretty thoroughly, when I was a boy.”
“though I ’ll bear testimony that you put it into
me pretty thoroughly, when I was a boy.”
“Ah, you were always good at learning,
Augustine. I used to have great hopes of you,”
said Miss Ophelia.
Augustine. I used to have great hopes of you,”
said Miss Ophelia.
“Well, have n’t you now?” said St. Clare.
“I wish you were as good as you were when
you were a boy, Augustine.”
you were a boy, Augustine.”
“So do I, that ’s a fact,
said St.
Clare. “Well, go ahead and catechize Topsy;
may be you ’ll make out something yet.”
a fact, cousin,” said
St.witness: National Era
a fact, Cousin,” said
St.witness: Jewett, First Edition, 2 Vols. (1852)
a fact, cousin,” said
St.witness: Jewett, “Edition for the Million” (1852/1853)
a fact, cousin,” said
St.witness: Jewett, Illustrated Edition (1853)
a fact, cousin,” said
St.witness: Houghton, Osgood, New Edition (1879)
Note
The word “Cousin,” when capitalized, suggests a formal title. Because
“Cousin” is not a formal title, the reader infers that the use of
capitalization highlights the teasing quality of Augustine St. Clare’s banter
with Miss Ophelia. In the National Era, St. Clare
only uses the upper-case form once in
this chapter, when he first calls Miss Ophelia so that he can exhibit Topsy for her.
In the two-volume Jewett edition (1852), St. Clare in this chapter uses the upper-case form
“Cousin” whenever he addresses Miss Ophelia,
which suggests that he continues to engage in teasing banter.
By contrast, in all subsequent editions, the Jewett “Million” (1852/53)
and “Illustrated” (1853) and the
Houghton Osgood “New Edition” (1879), St. Clare always addresses
Miss Ophelia with the lower-case form “cousin.”
If the text of the Era serial reflects the manuscript,
Stowe intended originally to open the chapter with St. Clare’s
teasing of Miss Ophelia and then to assume the generic lower-case form of address,
which implies greater sincerity in his later address to her. Either Stowe or a Jewett
compositor chose to capitalize all instances of “Cousin” in
the Jewett first edition. When the word is not capitalized,
it tones down the satiric quality and instead
emphasizes St. Clare’s genuine insistence that
Miss Ophelia’s criticism of slavery as a system is pointless
if not backed up with action.
Clare. “Well, go ahead and catechize Topsy;
may be you ’ll make out something yet.”
Topsy, who had stood like a black statue dur-
ing this discussion,
decently folded,
now, at a signal from Miss Ophelia, went on:
ing this discussion,
discussion, with her hands
decentlywitness: National Era
discussion, with [omit] hands decently folded witness: Jewett, First Edition, 2 Vols. (1852)
discussion, with [omit] hands decently folded witness: Jewett, “Edition for the Million” (1852/1853)
discussion, with [omit] hands decently folded witness: Jewett, Illustrated Edition (1853)
discussion, with [omit] hands decently folded witness: Houghton, Osgood, New Edition (1879)
Note
The phrase “with hands decently folded,”
the form in the Jewett first (1852) and all subsequent editions,
suggests greater agency on Topsy’s part. The placement of “her” in phrase
“with her hands” diminishes Topsy’s agency and
increases the prominence of the observer. The emphasis for this
form is Miss Ophelia’s astonishment. As Stowe emphasizes Topsy’s
agency, the National Era serial form is probably
an authorial revision or a compositor’s error.
now, at a signal from Miss Ophelia, went on:
“Our first parents, being left to the freedom
of their own will, fell from the state wherein
they were created.”
of their own will, fell from the state wherein
they were created.”
Topsy’s eyes twinkled, and she looked inquir-
ingly.
ingly.
“What is it, Topsy?” said Miss Ophelia.
“Please,
was dat ar
Kintuck?”
Ophelia. ¶ “Please, missis, was datwitness: National Era
Ophelia. ¶ “Please, Missis, was datwitness: Jewett, First Edition, 2 Vols. (1852)
Ophelia. ¶ “Please, Missis, was datwitness: Jewett, “Edition for the Million” (1852/1853)
Ophelia. ¶ “Please, missis, was datwitness: Jewett, Illustrated Edition (1853)
Ophelia. ¶ “Please, Missis, was datwitness: Houghton, Osgood, New Edition (1879)
Note
In the surviving manuscript pages, the National Era
serial, and the Jewett “Illustrated Edition” (1853),
the lower-case form “missis” is predominant. A
lower-case form may indicate that the title “Missis,” like
“Mas’r,” is a convention of courtesy that should be questioned. In the
Jewett two-volume (1852) and “Million” editions (1852/53)
and the Houghton Osgood “New Edition” (1879), the
publisher or printer may have imposed—and Stowe may have
accepted—the conventional forms. The choice in capitalization may reflect
judgment about the audience of each publication form.
If the select readers of the work in
the anti-slavery Era newspaper and
the “Illustrated Edition” are anticipated
to be more sympathetic to the anti-slavery cause, the lower-case form
could suggest that the upper-case title is unwarranted.
Sympathetic readers may
appreciate the subtle insinuation that courtesy contributes to the
support of slavery as an unlawful system. Also see the dialect forms of master.
dat ar State
Kintuck?” ¶ “Whatwitness: National Era
dat ar state
Kintuck?” ¶ “Whatwitness: Jewett, First Edition, 2 Vols. (1852)
dat ar state
Kintuck?” ¶ “Whatwitness: Jewett, “Edition for the Million” (1852/1853)
dat ar state
Kintuck?” ¶ “Whatwitness: Jewett, Illustrated Edition (1853)
dat ar state
Kintuck?” ¶ “Whatwitness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
“State,” “North” and
“South” are typically capitalized. Because Era editor
Gamaliel Bailey in his editorials drew a strong distinction
between Slave Power and the Free States, the serial audience
may have been more sympathetic to a sharper distinction between designations
for region and for state. The lower-case form in all three Jewett editions lessened
sectional distinctions. The capitalized form for
“State” would also have appealed to antebellum supporters
of state’s rights and slavery, but Stowe would not have advocated such a
distinction.
“What
Topsy?”
Kintuck?” ¶ “What State, Topsy?” ¶
“Datwitness: National Era
Kintuck?” ¶ “What state, Topsy?” ¶
“Datwitness: Jewett, First Edition, 2 Vols. (1852)
Kintuck?” ¶ “What state, Topsy?” ¶
“Datwitness: Jewett, “Edition for the Million” (1852/1853)
Kintuck?” ¶ “What state, Topsy?” ¶
“Datwitness: Jewett, Illustrated Edition (1853)
Kintuck?” ¶ “What state, Topsy?” ¶
“Datwitness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
“State,” “North” and
“South” are typically capitalized. Because Era editor
Gamaliel Bailey in his editorials drew a strong distinction
between Slave Power and the Free States, the serial audience
may have been more sympathetic to a sharper distinction between designations
for region and for state. The lower-case form in all three Jewett editions lessened
sectional distinctions. The capitalized form for
“State” would also have appealed to antebellum supporters
of state’s rights and slavery, but Stowe would not have advocated such a
distinction.
“Dat state dey fell out of. I used to hear
tell how we came down from Kintuck.”
to hear mass’r tell
howwitness: National Era
to hear Mas’r tell
howwitness: Jewett, First Edition, 2 Vols. (1852)
to hear Mas’r tell
howwitness: Jewett, “Edition for the Million” (1852/1853)
to hear mas’r tell
howwitness: Jewett, Illustrated Edition (1853)
to hear Mas’r tell
howwitness: Houghton, Osgood, New Edition (1879)
Note
In the National Era serial,
the lower-case form “mass’r” predominates, which reflects
the practice of lower-case “masser” in Stowe’s manuscript.
The Jewett two-volume (1852) and “Million”
editions (1852/53) use consistently the capitalized “Mas’r.”
In the Jewett “Illustrated Edition” (1853), an uncapitalized form
of the word appears, “mas’r.” The “Illustrated”
edition retains the dialect apostrophe of the two-volume
and the “Million” editions, but its
form “mas’r,” like its form “missis,”
may imply that the title of master within slavery is an unlawful convention that
should not be honored with capitalization.
For the two-volume and “Million”
editions, the printer George C. Rand or publisher Jewett may
have imposed—and Stowe may have accepted—the
conventional capitalization of this word form, perhaps so that the
Jewett editions could appeal to a broader audience
than the Era’s anti-slavery readers.
Stowe presumably sought to return the Jewett “Illustrated Edition”
word to a form closer to the manuscript and serial practice.
If the more select audiences of the work in
an anti-slavery newspaper and the “Illustrated”
edition are expected to be more sympathetic to the anti-slavery cause,
such readers may appreciate the subtle insinuation that linguistic
conventions that are associated with courtesy
support the perpetuation of slavery as an
unlawful system. The Houghton Osgood
“New Edition” (1879) follows the practice of the
two-volume Jewett edition. Also see variant dialect forms of missis.
St. Clare laughed.
“You ’ll have to give her a meaning, or she ’ll
make one,” said he. “There seems to be a
theory of emigration suggested there.”
make one,” said he. “There seems to be a
theory of emigration suggested there.”
“O! Augustine, be still,” said Miss Ophelia;
“how can I do anything, if you will be laugh-
ing?”
“how can I do anything, if you will be laugh-
ing?”
“Well, I won’t disturb the exercises again, on
my honor;” and St. Clare took his paper into
the parlor, and sat down, till Topsy had finished
her recitations. They were all very well, only
that now and then she would oddly transpose
some important words, and persist in the mistake,
in spite of every effort to the contrary; and St.
[column b] Clare, after all his promises of goodness, took a
wicked pleasure in these mistakes, calling Topsy
to him whenever he had a mind to amuse himself,
and getting her to repeat the offending passages,
in spite of Miss Ophelia’s remonstrances.
my honor;” and St. Clare took his paper into
the parlor, and sat down, till Topsy had finished
her recitations. They were all very well, only
that now and then she would oddly transpose
some important words, and persist in the mistake,
in spite of every effort to the contrary; and St.
[column b] Clare, after all his promises of goodness, took a
wicked pleasure in these mistakes, calling Topsy
to him whenever he had a mind to amuse himself,
and getting her to repeat the offending passages,
in spite of Miss Ophelia’s remonstrances.
“How do you think I can do anything with
the child, if you will go on so, Augustine?” she
would say.
the child, if you will go on so, Augustine?” she
would say.
“Well, it is too bad,—I won’t again; but I
do like to hear the droll little image stumble over
those big words!”
do like to hear the droll little image stumble over
those big words!”
“But you confirm her in the wrong way.”
“What ’s the odds? One word is as good as
another to her.”
another to her.”
“You wanted me to bring her up right; and
you ought to remember she is a reasonable crea-
ture, and be careful of your influence over her.”
you ought to remember she is a reasonable crea-
ture, and be careful of your influence over her.”
“O, dismal! so I ought; but, as Topsy herself
says, ‘I ’s so wicked!’”
says, ‘I ’s so wicked!’”
In very much this way Topsy’s training pro-
ceeded, for a year or two,—Miss Ophelia worry-
ing herself, from day to day, with her, as a kind
of chronic plague, to whose inflictions she became,
in time, as accustomed as persons sometimes do
to the neuralgia or sick head-ache.
ceeded, for a year or two,—Miss Ophelia worry-
ing herself, from day to day, with her, as a kind
of chronic plague, to whose inflictions she became,
in time, as accustomed as persons sometimes do
to the neuralgia or sick head-ache.
St. Clare took the same kind of amusement in
the child that a man might in the tricks of a par-
rot or a pointer. Topsy, whenever her sins
brought her into disgrace in other quarters,
always took refuge behind his chair; and St.
Clare, in one way or other, would make peace
for her. From him she got many a stray picay-
une, which she laid out in nuts and candies, and
distributed, with careless generosity, to all the
children in the family; for Topsy, to do her jus-
tice, was good-natured and liberal, and only
spiteful in self-defence. She is fairly introduced
into our corps de ballet, and will figure, from time
to time, in her turn, with other performers.
the child that a man might in the tricks of a par-
rot or a pointer. Topsy, whenever her sins
brought her into disgrace in other quarters,
always took refuge behind his chair; and St.
Clare, in one way or other, would make peace
for her. From him she got many a stray picay-
une, which she laid out in nuts and candies, and
distributed, with careless generosity, to all the
children in the family; for Topsy, to do her jus-
tice, was good-natured and liberal, and only
spiteful in self-defence. She is fairly introduced
into our corps de ballet, and will figure, from time
to time, in her turn, with other performers.
—————
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