{"id":14393,"date":"2014-01-23T19:29:43","date_gmt":"2014-01-23T19:29:43","guid":{"rendered":"http:\/\/173.230.141.246\/dcc\/wpdemo\/?p=14393"},"modified":"2025-07-08T20:48:26","modified_gmt":"2025-07-08T20:48:26","slug":"the-american-renaissance-in-context","status":"publish","type":"post","link":"https:\/\/dcc.newberry.org\/?p=14393","title":{"rendered":"The American Renaissance in Context"},"content":{"rendered":"\n<div class=\"wp-block-getwid-tabs\" data-active-tab=\"0\"><ul class=\"wp-block-getwid-tabs__nav-links\"><\/ul>\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Essay<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h4 class=\"wp-block-heading\">Introduction<\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_262439\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"762\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-1024x762.jpg\" alt=\"\" class=\"wp-image-13437\" style=\"width:367px;height:272px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-1024x762.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-300x223.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-scaled-600x447.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-768x572.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-1536x1143.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Picture-for-Philanthropists-2048x1525.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_262439\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Picture for Philanthropists,&#8221; in <em>Etchings of a Whaling Cruise<\/em> (1846).<\/a> See full excerpt below.<\/figcaption><\/figure>\n\n\n\n<p>In 1941, when Harvard scholar F. O. Matthiessen published <em>American Renaissance: Art and Expression in the Age of Emerson and Whitman<\/em>, he defined the canon for the period that many regard as the most important in American literary history. Matthiessen argued that, from 1850 to 1855, five writers developed a distinctively American literature\u2014\u201ca literature for our democracy\u201d\u2014of extraordinary philosophical and aesthetic merit. The writers that Matthiessen chose were Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, Herman Melville, and Walt Whitman. The books that he chose include <em>Representative Men<\/em>, <em>Walden<\/em>, <em>The Scarlet Letter<\/em>, <em>Moby-Dick<\/em>, and <em>Leaves of Grass<\/em>, most of which still feature prominently on high school and college reading lists. These writers had come to be admired during the nearly 100 years that passed between 1850 and 1941. But Matthiessen was the first to trace their influences on one another, to produce an in-depth study of the 1850\u20131855 works, and to declare this half-decade a distinct period in American literary history.<\/p>\n\n\n\n<figure class=\"wp-block-pullquote\"><blockquote><p><strong>How did a handful of writers in New England and New York come to represent the literature of the entire nation?<\/strong><\/p><\/blockquote><\/figure>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_589794\"><img decoding=\"async\" width=\"699\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-699x1024.jpg\" alt=\"\" class=\"wp-image-13434\" style=\"width:304px;height:445px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-699x1024.jpg 699w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-300x440.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-600x880.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-205x300.jpg 205w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-768x1126.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-1048x1536.jpg 1048w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper.jpg 1393w\" sizes=\"(max-width: 699px) 100vw, 699px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_589794\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;The Little Pauper&#8221; in <em>Fern Leaves from Fanny&#8217;s Port-folio<\/em> (1853). <\/a>See full excerpt below.<\/figcaption><\/figure>\n\n\n\n<p>Matthiessen opened up rich terrain that many critics have explored in the decades since he published American Renaissance. His work also invited numerous questions and challenges, many of them related to the process and effects of forming a canon. Were there no women writers or writers of color who produced works of comparable merit? How did a handful of writers in New England and New York come to represent the literature of the entire nation? What is missed when works are studied in isolation from their historical and cultural context?<\/p>\n\n\n\n<p>The following digital collection explores the wider, literary context for the canonical works of the American Renaissance. Matthiessen acknowledged that none of the works he discussed in his book were widely read at the time of their publication. The selection of texts below provides an introduction to popular literary culture around 1850 and suggests some of the ways that canonical writers engaged that culture.<\/p>\n\n\n\n<p><em>Essential Questions<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>What was the literary context in which canonical American Renaissance writers wrote and published?<\/li>\n\n\n\n<li>What kinds of literature were popular in the mid-nineteenth-century United States?<\/li>\n\n\n\n<li>How did now-canonical writers engage or respond to popular literary forms?<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Publishing Transcendentalism<\/h4>\n\n\n\n<p>Students today may associate mid-nineteenth-century American literature most strongly with Transcendentalism, the philosophy espoused by Ralph Waldo Emerson, Henry David Thoreau, and numerous other New England intellectuals. In works such as Nature and Walden as well as on the lecture circuit, Transcendentalists criticized Americans\u2019 social and religious conformity and materialism. They valued individual intellectual and spiritual growth, or \u201cself-culture,\u201d and located God within the individual soul and within nature. Yet, while these and other ideas became associated with the Transcendentalists, their philosophy was and remains difficult to define. They did not produce a unified doctrine and were, in fact, known to disagree a great deal with each other. They were also notorious for writing and speaking in language that others found unintelligible. Their obscure style and unconventional ideas meant that, even as they developed an influential intellectual movement, Transcendentalists were not popular among nineteenth-century readers and often had trouble getting their works published.<\/p>\n\n\n\n<p>In 1840 Emerson, Margaret Fuller, and George Ripley addressed this situation by founding a journal to promote Transcendentalist thought. It was called <em>The Dial: A Magazine for Literature, Philosophy, and Religion<\/em>. As Ripley declared in a prospectus that accompanied the first issue, the journal would publish writers committed to \u201cthe love of intellectual freedom, and the hope of social progress; who are united by sympathy of spirit, not by agreement in speculation; whose faith is in Divine Providence, rather than in human prescription; whose hearts are more in the future than in the past; and who trust the living soul rather than the dead letter.\u201d<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_336670\" target=\"_blank\">Selection: Margaret Fuller, Ralph Waldo Emerson, and George Ripley, &#8220;The Editors to the Reader,&#8221; in <em>The Dial: A Magazine for Literature, Philosophy, and Religion<\/em>, 2-4 (1840).<\/a><\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"605\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13444\" data-id=\"13444\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-605x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-605x1024.jpg 605w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-scaled-300x508.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-scaled-600x1015.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-177x300.jpg 177w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-768x1299.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-908x1536.jpg 908w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-1210x2048.jpg 1210w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-scaled.jpg 1513w\" sizes=\"(max-width: 605px) 100vw, 605px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">The Dial, edited by Margaret Fuller and Ralph Waldo Emerson, Cover (1840)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"611\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16902\" data-id=\"16902\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-611x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-611x1024.jpg 611w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-scaled-300x503.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-scaled-600x1005.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-179x300.jpg 179w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-768x1286.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-917x1536.jpg 917w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-1223x2048.jpg 1223w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p2_mod-scaled.jpg 1528w\" sizes=\"(max-width: 611px) 100vw, 611px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Margaret Fuller, Ralph Waldo Emerson, George Ripley, &#8220;The Editors to the Reader,&#8221; The Dial, 2 (1840)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"627\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16903\" data-id=\"16903\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-627x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-627x1024.jpg 627w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-scaled-300x490.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-scaled-600x980.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-184x300.jpg 184w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-768x1255.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-940x1536.jpg 940w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-1253x2048.jpg 1253w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p3_mod-scaled.jpg 1567w\" sizes=\"(max-width: 627px) 100vw, 627px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Margaret Fuller, Ralph Waldo Emerson, George Ripley, &#8220;The Editors to the Reader,&#8221; The Dial, 3 (1840)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"619\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16901\" data-id=\"16901\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-619x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-619x1024.jpg 619w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-scaled-300x496.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-scaled-600x992.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-181x300.jpg 181w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-768x1270.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-929x1536.jpg 929w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-1239x2048.jpg 1239w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/The-Dial_1840_p4-scaled.jpg 1548w\" sizes=\"(max-width: 619px) 100vw, 619px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Margaret Fuller, Ralph Waldo Emerson, George Ripley, &#8220;The Editors to the Reader,&#8221; The Dial, 4 (1840)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p>Emerson, Fuller, and Ripley embarked on publishing the <em>Dial<\/em> at a time when American print culture had exploded. Scholar Robert Michael Ruehl notes that there were over 1,500 magazines in print in 1840. Many of these magazines opened and folded within a few years or even months and the <em>Dial<\/em>\u2019s four-year life\u2014it closed in 1844\u2014represents a respectable run. The excerpts below are from the letter from the editors that appeared in the first issue. Fuller drafted the letter, then saw it largely rewritten by Emerson.<\/p>\n\n\n\n<p><em>Questions to Consider<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>What is the \u201crevolution\u201d that the <em>Dial<\/em>\u2019s editors believe they see taking place in New England? Who is participating in this revolution? What does this paragraph suggest about the kind of audience the editors hoped to find for the <em>Dial<\/em>?<\/li>\n\n\n\n<li>What should literature and a literary journal be, according to the <em>Dial<\/em>\u2019s editors? How will their essays differ from standard criticism?<\/li>\n\n\n\n<li>What do these writers mean by \u201clife\u201d and \u201cthe living soul\u201d in this letter and the quote from Ripley\u2019s prospectus above?<\/li>\n\n\n\n<li>Why did Emerson, Fuller, and Ripley decide to name their journal after a sundial? (Note: the <em>gnomon<\/em> is the pin or blade on the face of the sundial that casts a shadow and indicates the hour.)<\/li>\n<\/ol>\n\n\n\n<h4 class=\"wp-block-heading\">Sensational Literature<\/h4>\n\n\n\n<p>George Lippard\u2019s works probably occupy the opposite pole from abstract, spiritual, Transcendentalist writing. His expos\u00e9s of crime and corruption among the urban elite were vivid, sensational works, very much mired in the material world. Lippard possessed what critic David S. Reynolds has called a \u201cradical-democrat sensibility.\u201d He was harshly critical of economic inequality and the unjust treatment of women and of workers in nineteenth-century America. From 1842 until his death in 1852, at the age of 31, he wrote feverishly, producing roughly one million words a year in novels, lectures, and essays for Philadelphia\u2019s penny newspapers. Lippard often attacked \u201crespectable\u201d Philadelphians, such as businessmen, politicians, and clergymen, accusing them of participating in a lurid underworld of gambling, prostitution, rape, and murder. His work was controversial\u2014many editors considered him libelous and obscene\u2014but it was enormously popular. His novel <em>The Quaker City: Or, the Monks of Monk-Hall<\/em> sold more copies than any novel before <em>Uncle Tom\u2019s Cabin<\/em>: 60,000 in 1845, the year it was published, and 10,000 each year for the decade that followed.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"https:\/\/archive.org\/details\/nby_516225\" target=\"_blank\" rel=\"noreferrer noopener\">Selection: George Lippard, <em>The Quaker City: Or, the Monks of Monk-Hall: A Romance of Philadelphia Life, Mystery, and Crime<\/em>, 16, 41-43, 72-73 (1845).<\/a><\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"604\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13443\" data-id=\"13443\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-604x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-604x1024.jpg 604w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-scaled-300x509.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-scaled-600x1017.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-177x300.jpg 177w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-768x1302.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-906x1536.jpg 906w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-1208x2048.jpg 1208w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-scaled.jpg 1510w\" sizes=\"(max-width: 604px) 100vw, 604px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, Title page (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"765\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16895\" data-id=\"16895\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-1024x765.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-1024x765.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-300x224.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-scaled-600x448.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-768x574.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-1536x1148.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_frontispieces-2048x1530.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, Frontispieces (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"591\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16896\" data-id=\"16896\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-591x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-591x1024.jpg 591w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-scaled-300x520.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-scaled-600x1039.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-173x300.jpg 173w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-768x1330.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-887x1536.jpg 887w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-1183x2048.jpg 1183w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p16_mod-scaled.jpg 1478w\" sizes=\"(max-width: 591px) 100vw, 591px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, 16 (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"608\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16897\" data-id=\"16897\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-608x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-608x1024.jpg 608w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-scaled-300x505.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-scaled-600x1011.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-178x300.jpg 178w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-768x1293.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-912x1536.jpg 912w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-1216x2048.jpg 1216w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p41_mod-scaled.jpg 1520w\" sizes=\"(max-width: 608px) 100vw, 608px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, 41 (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"592\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16894\" data-id=\"16894\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-592x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-592x1024.jpg 592w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-scaled-300x519.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-scaled-600x1039.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-173x300.jpg 173w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-768x1329.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-888x1536.jpg 888w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-1184x2048.jpg 1184w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p42-scaled.jpg 1479w\" sizes=\"(max-width: 592px) 100vw, 592px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, 42 (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"603\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16899\" data-id=\"16899\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-603x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-603x1024.jpg 603w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-scaled-300x509.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-scaled-600x1018.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-177x300.jpg 177w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-768x1303.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-905x1536.jpg 905w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-1207x2048.jpg 1207w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p43_mod-scaled.jpg 1509w\" sizes=\"(max-width: 603px) 100vw, 603px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, 43 (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"591\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16900\" data-id=\"16900\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-591x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-591x1024.jpg 591w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-scaled-300x520.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-scaled-600x1040.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-173x300.jpg 173w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-768x1331.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-886x1536.jpg 886w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-1182x2048.jpg 1182w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p72_mod-scaled.jpg 1477w\" sizes=\"(max-width: 591px) 100vw, 591px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, 72 (1845)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"609\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16898\" data-id=\"16898\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-609x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-609x1024.jpg 609w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-scaled-300x504.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-scaled-600x1008.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-179x300.jpg 179w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-768x1290.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-914x1536.jpg 914w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-1219x2048.jpg 1219w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Lippard_Quaker_City_p73_mod_CORRECT-scaled.jpg 1524w\" sizes=\"(max-width: 609px) 100vw, 609px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Lippard, The Quaker City, 73 (1845)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p><em>Quaker City<\/em> centers on events at Monk-hall, a secret club in the heart of the city, over the course of three days. It weaves together several main plots. The excerpts in this section portray Mary Arlington, a merchant\u2019s daughter, who elopes with Gustavus Lorrimer under the promise of marriage. Lorrimer takes her to Monk-hall and rapes her. Mary\u2019s brother Byrnewood then murders Lorrimer in revenge. (Reynolds notes that the plot is loosely based on an 1843 scandal in which a Philadelphia man was acquitted of murdering his sister\u2019s seducer.)<\/p>\n\n\n\n<p><em>Questions to Consider<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Examine the title page and frontispieces to <em>Quaker City<\/em>. How do they introduce the novel and picture the Mary\/Byrnewood\/Lorrimer plot?<\/li>\n\n\n\n<li>How does Lippard portray Mary in these passages? What beliefs does he express about the nature of women, men, and sexuality?<\/li>\n\n\n\n<li>The chapter on Monk-hall traces the obscure history of the mansion, from its obscure origins\u2014its construction by an unknown \u201cwealthy foreigner\u201d sometime before the Revolution\u2014to its mysterious existence in Philadelphia in 1845. How has the city changed in the roughly 60 years since the Revolution? How is an institution like Monk-hall, a site of countless crimes, able to exist in mid-nineteenth-century Philadelphia? What does its existence say about the city?<\/li>\n\n\n\n<li>What is the tone of this writing? What makes it \u201csensational\u201d? Why do you think it was so popular and so controversial? Do you think his writing would promote social reform, as he seemed to intend? In what ways?<\/li>\n\n\n\n<li>How would you compare Lippard\u2019s style to the language of the Transcendental and sentimental works elsewhere in this collection?<\/li>\n<\/ol>\n\n\n\n<h4 class=\"wp-block-heading\">Sentimental Literature<\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_705107-5\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"805\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-1024x805.jpg\" alt=\"\" class=\"wp-image-13439\" style=\"width:348px;height:273px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-1024x805.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-300x236.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-scaled-600x472.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-768x604.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-1536x1208.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-2048x1611.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_705107-5\" target=\"_blank\" rel=\"noreferrer noopener\">George Cruikshank, Title Page, in <em>Uncle Tom\u2019s Cabin<\/em> (1852)<\/a><\/figcaption><\/figure>\n\n\n\n<p>The most widely read authors of the 1850s were not men, such as Hawthorne and Melville, associated with the canon of American Renaissance literature or even the sensational George Lippard, who died in 1852. Instead, they were women writers such as Harriet Beecher Stowe and Fanny Fern. While Hawthorne\u2019s <em>The Scarlet Letter<\/em> sold fewer than 12,000 copies in the 1850s, Stowe\u2019s <em>Uncle Tom\u2019s Cabin<\/em> sold over 300,000 in six years, \u201cmore copies than any book in the world except the Bible,\u201d according to critics Susan Belasco Smith and Elizabeth Ammons. Fern\u2019s <em>Fern Leaves from Fanny\u2019s Port-Folio<\/em>, a collection of her periodical essays and fiction, sold 70,000 copies in the United States and 29,000 in England within a year of its publication in 1853. Hawthorne famously complained to his publisher, \u201cAmerica is now wholly given over to a d\u2014d mob of scribbling women, and I should have no chance of success while the public is occupied with their trash.\u201d (Smith notes that he later amended that blanket indictment, writing that he had \u201cenjoyed [Fern\u2019s novel Ruth Hall] a good deal\u201d and did \u201cadmire her.\u201d)<\/p>\n\n\n\n<p>Critics often characterize literature by Stowe, Fern, and other women as \u201csentimental,\u201d meaning that it addressed women readers, featured female protagonists, and explored romantic and familial relationships. But sentimental literature reached many male readers as well and certainly had a good deal to say about men\u2019s role in family and society. Furthermore, sentimental writers often had broad ambitions for promoting social and political reform. <em>Uncle Tom\u2019s Cabin<\/em> with its powerful antislavery message is only the most obvious example of these ambitions.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Selection: George Cruikshank&#8217;s illustrations in <em>Uncle Tom&#8217;s Cabin<\/em> (1852): <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_705107-3\" target=\"_blank\">&#8220;Maternal Desperation,&#8221;<\/a>  <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_705107-4\" target=\"_blank\">&#8220;Eliza Crosses the Ohio on the Floating Ice,&#8221;<\/a> and <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_705107\" target=\"_blank\">&#8220;The Separation of the Mother and Child&#8221;<\/a>.<\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"767\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13431\" data-id=\"13431\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-767x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-767x1024.jpg 767w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-scaled-300x401.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-scaled-600x801.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-225x300.jpg 225w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-768x1026.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-1150x1536.jpg 1150w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-1534x2048.jpg 1534w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-scaled.jpg 1917w\" sizes=\"(max-width: 767px) 100vw, 767px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Cruikshank, &#8220;Maternal Desperation,&#8221; in Uncle Tom&#8217;s Cabin (1852)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13433\" data-id=\"13433\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-1024x681.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-1024x681.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-300x199.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-scaled-600x399.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-768x511.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-1536x1021.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-2048x1361.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Cruikshank, &#8220;Eliza Crosses the Ohio,&#8221; in Uncle Tom&#8217;s Cabin (1852)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"403\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13335\" data-id=\"13335\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Cruikshank-The-Separation-of-Mother-and-Child.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Cruikshank-The-Separation-of-Mother-and-Child.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Cruikshank-The-Separation-of-Mother-and-Child-300x202.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">George Cruikshank, &#8220;The Separation of Mother and Child&#8221; in Uncle Tom&#8217;s Cabin (1852)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p>What unifies sentimental literature is the idea that virtue and justice come into the world through changes in people\u2019s hearts and the operation of sympathy. At the end of <em>Uncle Tom\u2019s Cabin<\/em>, Stowe asks, \u201cBut, what can any individual do [about slavery]? \u2026 They can see to it that they feel right. An atmosphere of sympathetic influence encircles every human being; and the man or woman who feels strongly, healthily and justly, on the great interests of humanity, is a constant benefactor to the human race.\u201d Social reform begins as something like an individual conversion experience, an emotional and spiritual experience of sympathy for another, that leads to a deeper understanding of truth and justice. Sentimental literature itself, with its strong didactic (or instructive) currents, attempts to bring such conversions about in readers.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_589794-2\"><img loading=\"lazy\" decoding=\"async\" width=\"659\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-659x1024.jpg\" alt=\"\" class=\"wp-image-13435\" style=\"width:309px;height:480px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-659x1024.jpg 659w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-300x466.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-600x933.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-193x300.jpg 193w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-768x1194.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-988x1536.jpg 988w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-1317x2048.jpg 1317w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty.jpg 1320w\" sizes=\"(max-width: 659px) 100vw, 659px\" \/><\/a><figcaption class=\"wp-element-caption\"><a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_589794-2\" target=\"_blank\">&#8220;Our Hatty,&#8221; from <em>Fern Leaves from Fanny&#8217;s Port-folio<\/em> (1853)<\/a><\/figcaption><\/figure>\n\n\n\n<p>Consistent with this view, the figure of the redemptive child is a common trope in sentimental literature. As literary critic Jane P. Tompkins has observed, these characters evoke the life of Christ: \u201cthey enact a philosophy in which the pure and powerless die to save the powerful and corrupt, and thereby show themselves more powerful than those they save.\u201d Fern\u2019s Lily and Stowe\u2019s Little Eva offer examples of such characters, who bring redemption, or spiritual salvation, to others. (Uncle Tom himself is also a figure of Christ-like virtue and suffering.)<\/p>\n\n\n\n<p>The documents in this section include illustrations and captions from the first London edition of <em>Uncle Tom\u2019s Cabin<\/em>, published in 1852, the same year as the first U.S. edition. These illustrations by the celebrated English artist and caricaturist, George Cruikshank, suggest the novel\u2019s immediate, international appeal\u2014critic Jo-Ann Morgan notes that 14 different versions of the novel appeared in England that year alone. Compare them to illustrations from the <a rel=\"noopener noreferrer\" target=\"_blank\" href=\"http:\/\/173.230.141.246\/dcc\/admin\/collections\/literature-of-the-american-civil-war#literature-of-emancipation\">first U.S. edition<\/a> and popular <a rel=\"noopener noreferrer\" target=\"_blank\" href=\"http:\/\/173.230.141.246\/dcc\/items\/elizas-flight-a-scene-from-uncle-toms-cabin--2\">sheet music<\/a>.<\/p>\n\n\n\n<p>Fern\u2019s <em>Fern Leaves<\/em> includes fiction, poetry, and essays that she had previously published in magazines and newspapers, as well as illustrations. The name Fanny Fern was a pseudonym adopted by Sara Payson Willis Farrington.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Selection: Fanny Fern, <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_589794-3\" target=\"_blank\">&#8220;Woman&#8221;<\/a> and <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_589794-4\" target=\"_blank\">&#8220;The Transplanted Lilly,&#8221;<\/a> in <em>Fern Leaves from Fanny&#8217;s Port-Folio<\/em>, 133-134, 254-256 (1853).<\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16908\" data-id=\"16908\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-640x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-640x1024.jpg 640w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-300x480.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-600x959.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-188x300.jpg 188w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-768x1228.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-961x1536.jpg 961w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page-1281x2048.jpg 1281w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_title-page.jpg 1351w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, Fern Leaves from Fanny&#8217;s Port-folio, Title page (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"622\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13442\" data-id=\"13442\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-622x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-622x1024.jpg 622w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-scaled-300x494.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-scaled-600x988.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-182x300.jpg 182w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-768x1265.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-932x1536.jpg 932w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-1243x2048.jpg 1243w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_frontispiece-scaled.jpg 1554w\" sizes=\"(max-width: 622px) 100vw, 622px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, Fern Leaves from Fanny&#8217;s Port-folio, Frontispiece (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"641\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16889\" data-id=\"16889\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-641x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-641x1024.jpg 641w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-300x479.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-600x958.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-188x300.jpg 188w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-768x1227.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-962x1536.jpg 962w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7-1282x2048.jpg 1282w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_table-of-contents_p7.jpg 1385w\" sizes=\"(max-width: 641px) 100vw, 641px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, Fern Leaves from Fanny&#8217;s Port-folio, Table of Contents (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"630\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13436\" data-id=\"13436\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-630x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-630x1024.jpg 630w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-300x488.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-600x975.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-185x300.jpg 185w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-768x1249.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-945x1536.jpg 945w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133-1260x2048.jpg 1260w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Woman_p133.jpg 1344w\" sizes=\"(max-width: 630px) 100vw, 630px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, &#8220;Woman,&#8221; in Fern Leaves from Fanny&#8217;s Port-folio, 133 (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16890\" data-id=\"16890\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-650x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-650x1024.jpg 650w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-300x473.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-600x946.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-190x300.jpg 190w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-768x1211.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-974x1536.jpg 974w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134-1299x2048.jpg 1299w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_Woman_p134.jpg 1407w\" sizes=\"(max-width: 650px) 100vw, 650px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, &#8220;Woman,&#8221; in Fern Leaves from Fanny&#8217;s Port-folio, 134 (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"624\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16891\" data-id=\"16891\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-624x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-624x1024.jpg 624w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-300x493.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-600x985.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-183x300.jpg 183w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-768x1261.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-935x1536.jpg 935w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-1247x2048.jpg 1247w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod.jpg 1294w\" sizes=\"(max-width: 624px) 100vw, 624px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, &#8220;The Transplanted Lilly,&#8221; in Fern Leaves from Fanny&#8217;s Port-folio, 254 (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"670\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16892\" data-id=\"16892\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-670x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-670x1024.jpg 670w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-300x458.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-600x917.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-196x300.jpg 196w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-768x1174.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-1005x1536.jpg 1005w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255-1340x2048.jpg 1340w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p255.jpg 1369w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, &#8220;The Transplanted Lilly,&#8221; in Fern Leaves from Fanny&#8217;s Port-folio, 255 (1853)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"666\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16893\" data-id=\"16893\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-666x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-666x1024.jpg 666w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-300x461.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-600x922.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-195x300.jpg 195w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-768x1180.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-1000x1536.jpg 1000w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256-1333x2048.jpg 1333w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p256.jpg 1398w\" sizes=\"(max-width: 666px) 100vw, 666px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Fanny Fern, &#8220;The Transplanted Lilly,&#8221; in Fern Leaves from Fanny&#8217;s Port-folio, 256 (1853)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p><em>Questions to Consider<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Examine the illustrations and captions from <em>Uncle Tom\u2019s Cabin<\/em>. They portray scenes in which slave women go to extraordinary lengths to save their children from slavery. Why do you think Stowe included so many scenes showing strong maternal devotion? How would these scenes contribute to the novel\u2019s antislavery message?<\/li>\n\n\n\n<li>Fern\u2019s story, \u201cThe Transplanted Lily,\u201d moves quickly from Lily\u2019s adoption by Mrs.&nbsp;Gray, a wealthy society woman, to their lives together, to Lily\u2019s death. What does Mrs.&nbsp;Gray learn from Lily? What does the narrator mean by \u201cLily\u2019s mission now is over\u201d?<\/li>\n\n\n\n<li>Fern\u2019s story can be so concise and efficient, in part, because its readers would have recognized its conventions. Why do you think nineteenth-century readers found such stories so appealing? Do you find the story moving? Why or why not?<\/li>\n\n\n\n<li>Examine the illustrations from Fern Leaves (<a href=\"https:\/\/archive.org\/details\/nby_589794\" target=\"_blank\" rel=\"noreferrer noopener\">including the one in the Introduction<\/a>). How do they portray girls and women? How do they complement the written text?<\/li>\n\n\n\n<li>What is the message of Fern\u2019s essay \u201cWoman\u201d? Who does she criticize in this piece? How would you characterize the essay\u2019s tone? How does this essay differ from or resemble the voice and message of \u201cTransplanted Lily\u201d?<\/li>\n\n\n\n<li>Compare these works to Hawthorne\u2019s novels and short fiction. What are the relationships between them? How does Hawthorne adopt, revise, or repudiate the sort of sentimental conventions that you see in Stowe\u2019s and Fern\u2019s writing?<\/li>\n<\/ol>\n\n\n\n<h4 class=\"wp-block-heading\">Moby-Dick in Context<\/h4>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><a href=\"https:\/\/archive.org\/details\/nby_262439-2\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"744\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-1024x744.jpg\" alt=\"\" class=\"wp-image-13438\" style=\"width:301px;height:218px\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-1024x744.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-300x218.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-scaled-600x436.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-768x558.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-1536x1116.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Life-in-the-Forecastle_opp-p214-2048x1488.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_262439-2\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Life in the Forecastle,&#8221; in Etchings of a Whaling Cruise (1846)<\/a><\/figcaption><\/figure>\n\n\n\n<p>Herman Melville published relatively popular sea adventures, such as <em>Typee<\/em> and <em>Omoo<\/em>, in the 1840s before he wrote <em>Moby-Dick<\/em>. He also reviewed J. Ross Browne\u2019s <em>Etchings of a Whaling Cruise<\/em> in the March 1847 issue of the Literary World, suggesting it may have been one of his sources for <em>Moby-Dick<\/em>, which he published in 1851, and, less directly, for Billy Budd (1891). Browne\u2019s book was one of several first-person, nineteenth-century narratives to portray the experiences of sailors and whalemen. Melville began this review whimsically, observing, \u201cFrom time immemorial many fine things have been said and sung of the sea. The days have been, when sailors were considered veritable mermen; and the ocean itself as the peculiar theatre of the romantic and wonderful.\u201d He proceeded to lament the \u201cmany plain, matter-of-fact details\u201d included in works like Browne\u2019s, which robbed \u201csaltwater\u201d of its \u201cpoetry.\u201d That said, Melville found much to praise in the rawness and truthfulness of Browne\u2019s narrative.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><a href=\"https:\/\/archive.org\/details\/nby_262439-3\" target=\"_blank\" rel=\"noreferrer noopener\">Selection: J. Ross Browne, <em>Etchings of a Whaling Cruise: With Notes of a Sojourn on the Island of Zanzibar: And a Brief History of the Whale Fishery, in its Past and Present Condition<\/em>, &#8220;Cutting in and Trying Out,&#8221; 220-224 (1846).<\/a><\/h5>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"622\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16887\" data-id=\"16887\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-622x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-622x1024.jpg 622w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-scaled-300x494.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-scaled-600x988.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-182x300.jpg 182w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-768x1265.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-933x1536.jpg 933w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-1244x2048.jpg 1244w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_title-page-scaled.jpg 1555w\" sizes=\"(max-width: 622px) 100vw, 622px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">J. Ross Browne, Etchings of a Whaling Cruise, title page (1846)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"654\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13445\" data-id=\"13445\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-1024x654.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-1024x654.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-300x192.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-scaled-600x383.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-768x491.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-1536x981.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-2048x1308.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">&#8220;Cutting in and Trying Out&#8221; in Etchings of a Whaling Cruise (1846)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"627\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16882\" data-id=\"16882\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-627x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-627x1024.jpg 627w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-scaled-300x490.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-scaled-600x980.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-184x300.jpg 184w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-768x1254.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-941x1536.jpg 941w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-1255x2048.jpg 1255w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p220_mod-scaled.jpg 1568w\" sizes=\"(max-width: 627px) 100vw, 627px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">J. Ross Browne, Etchings of a Whaling Cruise, 220 (1846)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"625\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16883\" data-id=\"16883\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-625x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-625x1024.jpg 625w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-300x492.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-600x984.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-183x300.jpg 183w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-768x1259.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-937x1536.jpg 937w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221-1249x2048.jpg 1249w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p221.jpg 1545w\" sizes=\"(max-width: 625px) 100vw, 625px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">J. Ross Browne, Etchings of a Whaling Cruise, 221 (1846)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"627\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16884\" data-id=\"16884\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-627x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-627x1024.jpg 627w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-scaled-300x490.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-scaled-600x980.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-184x300.jpg 184w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-768x1255.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-940x1536.jpg 940w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-1253x2048.jpg 1253w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p222-scaled.jpg 1567w\" sizes=\"(max-width: 627px) 100vw, 627px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">J. Ross Browne, Etchings of a Whaling Cruise, 222 (1846)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"635\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16885\" data-id=\"16885\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-635x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-635x1024.jpg 635w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-300x484.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-600x968.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-186x300.jpg 186w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-768x1239.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-952x1536.jpg 952w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223-1269x2048.jpg 1269w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p223.jpg 1566w\" sizes=\"(max-width: 635px) 100vw, 635px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">J. Ross Browne, Etchings of a Whaling Cruise, 223 (1846)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"617\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16886\" data-id=\"16886\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-617x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-617x1024.jpg 617w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-scaled-300x498.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-scaled-600x995.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-181x300.jpg 181w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-768x1274.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-926x1536.jpg 926w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-1235x2048.jpg 1235w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Browne_Etchings_p224-scaled.jpg 1543w\" sizes=\"(max-width: 617px) 100vw, 617px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">J. Ross Browne, Etchings of a Whaling Cruise, 224 (1846)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p>Excerpts from a two-part review of <em>Moby-Dick<\/em> appear below. This review by Melville\u2019s friend Evert A. Duyckinck is one of the more generous reviews the novel received. It appeared in the New York\u2013based magazine <em>Literary World<\/em>.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Selection: Evert A. Duyckinck, <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_754871-2\" target=\"_blank\">&#8220;Melville&#8217;s Moby-Dick, or The Whale,&#8221;<\/a> and <a rel=\"noreferrer noopener\" href=\"https:\/\/archive.org\/details\/nby_754871\" target=\"_blank\">&#8220;Melville&#8217;s Moby-Dick, or The Whale. Second Notice,&#8221;<\/a> in <em>Literary World<\/em> (1851).<\/h5>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"727\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13441\" data-id=\"13441\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-727x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-727x1024.jpg 727w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-scaled-300x422.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-scaled-600x845.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-213x300.jpg 213w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-768x1081.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-1091x1536.jpg 1091w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-1455x2048.jpg 1455w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-scaled.jpg 1818w\" sizes=\"(max-width: 727px) 100vw, 727px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Evert A. Duychinck, &#8220;Melville&#8217;s Moby-Dick, or The Whale,&#8221; in The Literary World (1851)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"702\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-13440\" data-id=\"13440\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-702x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-702x1024.jpg 702w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-scaled-300x438.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-scaled-600x875.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-206x300.jpg 206w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-768x1120.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-1053x1536.jpg 1053w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-1404x2048.jpg 1404w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-scaled.jpg 1755w\" sizes=\"(max-width: 702px) 100vw, 702px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Evert A. Duyckinck, &#8220;Melville&#8217;s Moby-Dick, or The Whale, Second Notice&#8221; in The Literary World, 403 (1851)<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"711\" height=\"1024\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-16904\" data-id=\"16904\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-711x1024.jpg\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-711x1024.jpg 711w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-scaled-300x432.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-scaled-600x864.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-208x300.jpg 208w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-768x1106.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-1067x1536.jpg 1067w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-1422x2048.jpg 1422w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Duyckinck_Melvilles-Moby-Dick_p404_mod-scaled.jpg 1778w\" sizes=\"(max-width: 711px) 100vw, 711px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Evert A. Duyckinck, &#8220;Melville&#8217;s Moby-Dick, or The Whale, Second Notice&#8221; in The Literary World, 404 (1851)<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<p><em>Questions to Consider<\/em><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Examine the illustrations and excerpt from Browne\u2019s <em>Etchings<\/em> <a href=\"https:\/\/archive.org\/details\/nby_262439\" target=\"_blank\" rel=\"noreferrer noopener\">(including the one pictured in the Introduction)<\/a>. How does Browne portray life on a whale ship? In what ways do these scenes resonate with or differ from scenes in <em>Moby-Dick<\/em> or any of Melville\u2019s other stories of life on board ship?<\/li>\n\n\n\n<li>Duyckinck begins his review of <em>Moby-Dick<\/em> with an account of a whale-hunt, reported in the newspapers, that he believes is the basis for Melville\u2019s narrative. How does Melville draw on this reported whaling episode in <em>Moby-Dick<\/em>? Why might he choose to embed this news story in his novel?<\/li>\n\n\n\n<li>On what grounds does Duyckinck criticize or praise <em>Moby-Dick<\/em>? Do you agree with his assessment? Why or why not? How would you approach <em>Moby-Dick<\/em> differently if you read it, as Duyckinck does, before it became known as a great American novel?<\/li>\n<\/ol>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Sources<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h2 class=\"wp-block-heading\">Popular Literary Culture <\/h2>\n\n\n\n<p>The selection below provides an introduction to popular literary culture around 1850 and suggests some of the ways that canonical writers engaged that culture.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_336670\/The-Dial_1840_title-page.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-605x1024.jpg\" alt=\"Cover of the first issue of the Dial, the Transcendentalist magazine edited by Margaret Fuller and Ralph Waldo Emerson.\" class=\"wp-image-13444\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-605x1024.jpg 605w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-scaled-300x508.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-scaled-600x1015.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-177x300.jpg 177w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-768x1299.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-908x1536.jpg 908w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-1210x2048.jpg 1210w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/The-Dial_1840_title-page-scaled.jpg 1513w\" sizes=\"(max-width: 605px) 100vw, 605px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_336670\/The-Dial_1840_title-page.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Dial<\/em>, edited by Margaret Fuller and Ralph Waldo Emerson, Cover (1840)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_754871\/Duyckinck_Melvilles-Moby-Dick_p403_mod.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"702\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-702x1024.jpg\" alt=\"The second part of a review written by Melville\u2019s friend Evert A. Duyckinck.\" class=\"wp-image-13440\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-702x1024.jpg 702w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-scaled-300x438.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-scaled-600x875.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-206x300.jpg 206w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-768x1120.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-1053x1536.jpg 1053w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-1404x2048.jpg 1404w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p403_mod-scaled.jpg 1755w\" sizes=\"(max-width: 702px) 100vw, 702px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_754871\/Duyckinck_Melvilles-Moby-Dick_p403_mod.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Evert A. Duyckinck, &#8220;Melville&#8217;s Moby-Dick, or The Whale, Second Notice&#8221;<em> The Literary World<\/em>, 403 (1851)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_754871-2\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"727\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-727x1024.jpg\" alt=\"Page of text. Melville\u2019s friend Evert A. Duyckinck wrote one of the more generous reviews that Moby-Dick received at the time it was published.\" class=\"wp-image-13441\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-727x1024.jpg 727w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-scaled-300x422.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-scaled-600x845.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-213x300.jpg 213w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-768x1081.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-1091x1536.jpg 1091w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-1455x2048.jpg 1455w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Duyckinck_Melvilles-Moby-Dick_p381_mod-scaled.jpg 1818w\" sizes=\"(max-width: 727px) 100vw, 727px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_754871-2\" target=\"_blank\" rel=\"noreferrer noopener\">Evert A. Duychinck, &#8220;Melville&#8217;s Moby-Dick, or The Whale,&#8221; <em>The Literary World<\/em> (1851)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_262439-3\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"654\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-1024x654.jpg\" alt=\"Frontispiece to a first-person account of life on a whaling ship. Image of a ship with a gigantic whale beside it. \" class=\"wp-image-13445\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-1024x654.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-300x192.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-scaled-600x383.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-768x491.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-1536x981.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece-2048x1308.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_262439-3\/Browne_Etchings_Cutting-In-_-Trying-Out_frontispiece.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Cutting in and Trying Out&#8221; <em>Etchings of a Whaling Cruise <\/em>(1846)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Types of Literature <\/h2>\n\n\n\n<p><strong>Sentimental literature<\/strong> emphasized emotion, virtue, and moral uplift, often centered on domestic life and the suffering of women to inspire empathy and reform. <strong>Sensational literature<\/strong>, by contrast, focused on shocking plots, crime, and scandal to provoke excitement and challenge social norms, often appealing to mass audiences through serialized storytelling.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_589794-2\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"659\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-659x1024.jpg\" alt=\"An illustration of two females from Fanny Fern\u2019s bestselling collection of stories and essays.\" class=\"wp-image-13435\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-659x1024.jpg 659w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-300x466.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-600x933.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-193x300.jpg 193w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-768x1194.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-988x1536.jpg 988w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty-1317x2048.jpg 1317w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty.jpg 1320w\" sizes=\"(max-width: 659px) 100vw, 659px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_589794-2\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Our Hatty,&#8221;<em> Fern Leaves from Fanny&#8217;s Port-folio<\/em> (1853)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_589794\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"699\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-699x1024.jpg\" alt=\"Two females standing on a street. The smaller one holding a basket. \" class=\"wp-image-13434\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-699x1024.jpg 699w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-300x440.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-600x880.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-205x300.jpg 205w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-768x1126.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper-1048x1536.jpg 1048w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Little-Pauper.jpg 1393w\" sizes=\"(max-width: 699px) 100vw, 699px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_589794\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;The Little Pauper&#8221; <em>Fern Leaves from Fanny&#8217;s Port-folio <\/em>(1853)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_705107-3\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"767\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-767x1024.jpg\" alt=\"The slave trader Haley tells the story of this woman, who chose to drown herself and her baby, rather than see the child sold.\" class=\"wp-image-13431\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-767x1024.jpg 767w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-scaled-300x401.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-scaled-600x801.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-225x300.jpg 225w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-768x1026.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-1150x1536.jpg 1150w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-1534x2048.jpg 1534w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Maternal-Desperation-Uncle-Tom-London-scaled.jpg 1917w\" sizes=\"(max-width: 767px) 100vw, 767px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_705107-3\" target=\"_blank\" rel=\"noreferrer noopener\">George Cruikshank, &#8220;Maternal Desperation,&#8221; <em>Uncle Tom&#8217;s Cabin<\/em> (1852)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_705107-4\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-1024x681.jpg\" alt=\"This illustration portrays one of the most famous scenes from Stowe\u2019s novel: with slave catchers at her heels, Eliza flees Kentucky to prevent her baby from being sold away to a different master.\" class=\"wp-image-13433\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-1024x681.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-300x199.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-scaled-600x399.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-768x511.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-1536x1021.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Eliza-Crosses-Uncle-Tom-London-2048x1361.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_705107-4\" target=\"_blank\" rel=\"noreferrer noopener\">George Cruikshank, &#8220;Eliza Crosses the Ohio,&#8221; <em>Uncle Tom&#8217;s Cabin <\/em>(1852)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_705107-5\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"805\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-1024x805.jpg\" alt=\"The frontispiece of a London edition of Uncle Tom\u2019s Cabin shows Little Eva expressing her love for Topsy, \u201ca poor, abused child\u201d and slave. Eva\u2019s demonstration of love converts Topsy to Christianity and helps Topsy\u2019s white mistress overcome her racism.\" class=\"wp-image-13439\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-1024x805.jpg 1024w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-300x236.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-scaled-600x472.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-768x604.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-1536x1208.jpg 1536w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Stowe-Uncle-Tom-London-frontis-title-2048x1611.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_705107-5\" target=\"_blank\" rel=\"noreferrer noopener\">George Cruikshank, Title Page, <em>Uncle Tom\u2019s Cabin<\/em> (1852)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/archive.org\/details\/nby_705107\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"403\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Cruikshank-The-Separation-of-Mother-and-Child.jpg\" alt=\"This illustration depicts a mother and child torn away from one another at a slave auction.\" class=\"wp-image-13335\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Cruikshank-The-Separation-of-Mother-and-Child.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Cruikshank-The-Separation-of-Mother-and-Child-300x202.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_705107\" target=\"_blank\" rel=\"noreferrer noopener\">George Cruikshank, &#8220;The Separation of Mother and Child&#8221; <em>Uncle Tom&#8217;s Cabin <\/em>(1852)<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_516225\/Lippard_Quaker_City_title-page.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"604\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-604x1024.jpg\" alt=\"George Lippard\u2019s bestselling novel, Quaker City, exposed crime and corruption among Philadelphia\u2019s elite.\" class=\"wp-image-13443\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-604x1024.jpg 604w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-scaled-300x509.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-scaled-600x1017.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-177x300.jpg 177w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-768x1302.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-906x1536.jpg 906w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-1208x2048.jpg 1208w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Lippard_Quaker_City_title-page-scaled.jpg 1510w\" sizes=\"(max-width: 604px) 100vw, 604px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_516225\/Lippard_Quaker_City_title-page.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">George Lippard, <em>The Quaker City<\/em>, Title page (1845)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/archive.org\/details\/nby_589794-4\/Fern_Fern-Leaves_p256.jpg\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"624\" height=\"1024\" src=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-624x1024.jpg\" alt=\"Page of text. \" class=\"wp-image-16891\" srcset=\"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-624x1024.jpg 624w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-300x493.jpg 300w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-600x985.jpg 600w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-183x300.jpg 183w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-768x1261.jpg 768w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-935x1536.jpg 935w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod-1247x2048.jpg 1247w, https:\/\/dcc.newberry.org\/wp-content\/uploads\/2021\/03\/Fern_Fern-Leaves_p254_mod.jpg 1294w\" sizes=\"(max-width: 624px) 100vw, 624px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/nby_589794-4\/Fern_Fern-Leaves_p256.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Fanny Fern, &#8220;The Transplanted Lilly,&#8221; <em>Fern Leaves from Fanny&#8217;s Port-folio<\/em>, 254 (1853)<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-getwid-tabs__nav-link\"><span class=\"wp-block-getwid-tabs__title-wrapper\"><a href=\"#\"><span class=\"wp-block-getwid-tabs__title\">Further Reading<\/span><\/a><\/span><\/div><div class=\"wp-block-getwid-tabs__tab-content-wrapper\"><div class=\"wp-block-getwid-tabs__tab-content\">\n<h4 class=\"wp-block-heading\">Further Reading<\/h4>\n\n\n\n<p>Ammons, Elizabeth. Preface. In <em>Uncle Tom\u2019s Cabin<\/em>. By Harriet Beecher Stowe. New York: W.W. Norton, 1994.<\/p>\n\n\n\n<p>Gura, Philip F. <em>Transcendentalism: A History<\/em>. New York: Hill and Wang, 2007.<\/p>\n\n\n\n<p>Matthiessen, F. O. <em>American Renaissance: Art and Expression in the Age of Emerson and Whitman<\/em>. New York: Oxford University Press, 1941.<\/p>\n\n\n\n<p>Melville, Herman. <em>Moby-Dick<\/em>. Edited by Harrison Hayford and Hershel Parker. New York: W.W. Norton, 1967.<\/p>\n\n\n\n<p>Morgan, Jo-Ann. <a target=\"_blank\" href=\"http:\/\/utc.iath.virginia.edu\/interpret\/exhibits\/morgan\/morgan.html\" rel=\"noopener noreferrer\">Illustrating <em>Uncle Tom\u2019s Cabin<\/em><\/a>. 2007.<\/p>\n\n\n\n<p>Morgan, Jo-Ann. <em>Uncle Tom\u2019s Cabin as Visual Culture<\/em>. Columbia, MO: University of Missouri Press, 2007.<\/p>\n\n\n\n<p>Reynolds, David S. Introduction. In <em>The Quaker City or, the Monks of Monk Hall: A Romance of Philadelphia Life, Mystery, and Crime<\/em>. By George Lippard. Boston: University of Massachusetts Press, 1995.<\/p>\n\n\n\n<p>Ruehl, Robert Michael. \u201cTranscendental Disseminations: How a Movement Spread Its Ideas.\u201d <a target=\"_blank\" href=\"http:\/\/transcendentalism-legacy.tamu.edu\/roots\/legacy\/dissemination.html\" rel=\"noopener noreferrer\">American Transcendentalism Web<\/a> 2011.<\/p>\n\n\n\n<p>Smith, Susan Belasco. Introduction. In <em>Ruth Hall: A Domestic Tale of the Present Time<\/em>. By Fanny Fern. New York: Penguin, 1997.<\/p>\n\n\n\n<p>Tompkins, Jane. \u201cSentimental Power: Uncle Tom\u2019s Cabin and the Politics of Literary History.\u201d In <em>Uncle Tom\u2019s Cabin<\/em>. By Harriet Beecher Stowe. New York: W.W. Norton, 1994. 501\u2013523.<\/p>\n\n\n\n<p>Woodlief, Ann. \u201cThe Dial: A Magazine for Literature, Philosophy, and Religion. History.\u201d <a target=\"_blank\" href=\"http:\/\/transcendentalism-legacy.tamu.edu\/ideas\/dialhistory.html\" rel=\"noopener noreferrer\">American Transcendentalism Web<\/a>.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>What was the literary context in which American Renaissance writers wrote and published? How did now-canonical writers respond to popular literary forms?<\/p>\n","protected":false},"author":1,"featured_media":13435,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[83,164],"tags":[168,165],"class_list":["post-14393","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-19th-century","category-collection-essays","tag-literature","tag-us-history"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"acf":[],"jetpack_featured_media_url":"https:\/\/dcc.newberry.org\/wp-content\/uploads\/2020\/08\/Fern_Fern-Leaves_Our-Hatty.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/14393","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14393"}],"version-history":[{"count":11,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/14393\/revisions"}],"predecessor-version":[{"id":24393,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/posts\/14393\/revisions\/24393"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=\/wp\/v2\/media\/13435"}],"wp:attachment":[{"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14393"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14393"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dcc.newberry.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}