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9780393963038: Uncle Tom's Cabin: Authoritative Text, Backgrounds and Contents, Criticism
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Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.

Extrait :
Late in the afternoon of a chilly day in February, two gentlemen were sitting alone
over their wine, in a well-furnished dining parlor, in the town of P—, in Kentucky.
There were no servants present, and the gentlemen, with chairs closely
approaching, seemed to be discussing some subject with great earnestness.

For convenience sake, we have said, hitherto, two gentlemen. One of the parties,
however, when critically examined, did not seem, strictly speaking, to come under
the species. He was a short, thick-set man, with coarse, commonplace features, and
that swaggering air of pretension which marks a low man who is trying to elbow his
way upward in the world. He was much over-dressed, in a gaudy vest of many
colors, a blue neckerchief, bedropped gayly with yellow spots, and arranged with a
flaunting tie, quite in keeping with the general air of the man. His hands, large and
coarse, were plentifully bedecked with rings; and he wore a heavy gold
watch-chain, with a bundle of seals of portentous size, and a great variety of colors,
attached to it,—which, in the ardor of conversation, he was in the habit of
flourishing and jingling with evident satisfaction. His conversation was in free and
easy defiance of Murray's Grammar, and was garnished at convenient intervals with
various profane expressions, which not even the desire to be graphic in our account
shall induce us to transcribe.

His companion, Mr. Shelby, had the appearance of a gentleman; and the
arrangements of the house, and the general air of the housekeeping, indicated easy,
and even opulent circumstances. As we before stated, the two were in the midst of
an earnest conversation.

'That is the way I should arrange the matter,' said Mr. Shelby.

'I can't make trade that way—I positively can't, Mr. Shelby,' said the other, holding
up a glass of wine between his eye and the light.

'Why, the fact is, Haley, Tom is an uncommon fellow; he is certainly worth that sum
anywhere—steady, honest, capable, manages my whole farm like a clock.'

'You mean honest, as niggers go,' said Haley, helping himself to a glass of brandy.

'No; I mean, really, Tom is a good, steady, sensible, pious fellow. He got religion at
a camp-meeting, four years ago; and I believe he really did get it. I've trusted him,
since then, with everything I have,—money, house, horses,—and let him come and
go round the country; and I always found him true and square in everything.'

'Some folks don't believe there is pious niggers, Shelby,' said Haley, with a candid
flourish of his hand, 'but I do. I had a fellow, now, in this yer last lot I took to
Orleans—'twas as good as a meetin', now, really, to hear that critter pray; and he was
quite gentle and quiet like. He fetched me a good sum, too, for I bought him cheap
of a man that was 'bliged to sell out; so I realized six hundred on him. Yes, I consider
religion a valeyable thing in a nigger, when it's the genuine article, and no mistake.'

'Well, Tom's got the real article, if ever a fellow had,' rejoined the other. 'Why, last
fall, I let him go to Cincinnati alone, to do business for me, and bring home five
hundred dollars. 'Tom,' says I to him, 'I trust you, because I think you're a
Christian—'I know you wouldn't cheat.' Tom comes back, sure enough; I knew he
would. Some low fellows, they say, said to him—'Tom, why don't you make tracks
for Canada?' 'Ah, master trusted me, and I couldn't'—they told me about it. I am sorry
to part with Tom, I must say. You ought to let him cover the whole balance of the
debt; and you would, Haley, if you had any conscience.'

'Well, I've got just as much conscience as any man in business can afford to
keep,—just a little, you know, to swear by, as 'twere,' said the trader, jocularly; 'and
then, I'm ready to do anything in reason to 'blige friends; but this yer, you see, is a
leetle too hard on a fellow—a leetle too hard.' The trader sighed contemplatively, and
poured out some more brandy.

'Well, then, Haley, how will you trade?' said Mr. Shelby, after an uneasy interval of
silence.

'Well, haven't you a boy or gal that you could throw in with Tom?'

'Hum!—none that I could well spare; to tell the truth, it's only hard necessity makes
me willing to sell at all. I don't like parting with any of my hands, that's a fact.'

Here the door opened, and a small quadroon boy, between four and five years of
age, entered the room. There was something in his appearance remarkably beautiful
and engaging. His black hair, fine as floss silk, hung in glossy curls about his
round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked
out from beneath the rich, long lashes, as he peered curiously into the apartment. A
gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to
advantage the dark and rich style of his beauty; and a certain comic air of
assurance, blended with bashfulness, showed that he had been not unused to
being petted and noticed by his master.
Présentation de l'éditeur :
n Which the Reader Is Introduced to a Man of Humanity Late in the afternoon of a chilly day in February, two gentlemen were sitting alone over their wine, in a well-furnished dining parlor, in the town of P----, in Kentucky. There were no servants present, and the gentlemen, with chairs closely approaching, seemed to be discussing some subject with great earnestness. For convenience sake, we have said, hitherto, two _gentlemen_. One of the parties, however, when critically examined, did not seem, strictly speaking, to come under the species. He was a short, thick-set man, with coarse, commonplace features, and that swaggering air of pretension which marks a low man who is trying to elbow his way upward in the world. He was much over-dressed, in a gaudy vest of many colors, a blue neckerchief, bedropped gayly with yellow spots, and arranged with a flaunting tie, quite in keeping with the general air of the man. His hands, large and coarse, were plentifully bedecked with rings; and he wore a heavy gold watch-chain, with a bundle of seals of portentous size, and a great variety of colors, attached to it,--which, in the ardor of conversation, he was in the habit of flourishing and jingling with evident satisfaction. His conversation was in free and easy defiance of Murray’s Grammar,* and was garnished at convenient intervals with various profane expressions, which not even the desire to be graphic in our account shall induce us to transcribe.

Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.

  • ÉditeurWW Norton & Co
  • Date d'édition1993
  • ISBN 10 0393963039
  • ISBN 13 9780393963038
  • ReliureBroché
  • Nombre de pages608
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Description du livre Soft cover. Etat : New. Etat de la jaquette : New. Original illustrations are included, w/ additional illustrative material including slave advertisements, runaway slave posters & illustrations for the first British edition of "Uncle Tom's Cabin" by Britain's premier illustrator, George Cruikshank (illustrateur). 1st Edition. NEW First Edition (Orig. 1993) Eighth Printing (c. 2012): NEW gloss-laminated color-illus cover w/ sharp NEW edges & corners, EXCELLENT unblemished smooth-cut text-block exterior, NEW perfect binding w/ uncreased spine, PRISTINE interior printed w/ SPLENDID Clarity on EXCELLENT unblemished archival paper w/ SUPERB presentation of footnotes & other scholarly apparatus. * 5.06" x 8.32" x 1.14", 0.58 kg, xviii+588 (606) pp * ABOUT THE BOOK: ABOUT THE BOOK: In the 19th century "Uncle Tom's Cabin" sold more copies than any other book in the world except the Bible. It was quickly translated into 37 languages & has never gone out of print. The book had a far-reaching impact & deeply affected the national conscience of antebellum America. The NCE text is that of the 1852 book edition, published in 2-volumes by John P. Jewett & Company, Boston; original illustrations are included. Annotations are provided to assist the reader w/ obscure historical terms & biblical allusions. BACKGROUNDS & CONTEXTS includes a wealth of historical material relevant to slavery & abolitionism. Among the documents presented are Josiah Henson's 1849 slave narrative (named by Stowe as one of the sources for the novel); Solomon Northup's eyewitness account of an 1841 slave auction; Harriet Jacobs's narrative of her life as a 15-yr-old slave; 2 epistolary accounts by ex-slave & abolitionist William Wells Brown, which document events in "Uncle Tom's Cabin"; 2 crucial excerpts from Stowe's Key to "Uncle Tom's Cabin" which provide the real-life basis for characters & events in the novel; & accounts of Tom-Shows and the anti-Uncle Tom literature that sprang up in response to the novel's publication. Illustrative material includes slave advertisements, runaway slave posters, & illustrations for the first British edition of "Uncle Tom's Cabin" by Britain's premier illustrator, George Cruikshank, as well as popular illustrations from American editions of the novel. CRITICISM is arranged under two headings. "Nineteenth-Century Reviews and Reception" includes critiques by George Sand, William G. Allen & Ethiop (both from Frederick Douglass' Paper), George F. Holmes, & Paul Laurence Dunbar, among others. Twentieth-Century Criticism collects 5 of the best critical assessments of the novel's continuing impact on American society. W/ the exception of James Baldwin's groundbreaking essay, "Everybody's Protest Novel," the critical essays date from the years 1985 to 1992. Jane P. Tompkins investigates why the text was excluded from the canon for most of the 20th century. Robert S. Levine provides an overview of the text's popular reception & influence since publication, including current critical schools & critics. Hortense J. Spillers takes a textual/linguistic view in her comparison between Stowe & Ishmael Reed as "impression points in the literary imagination of slavery." And Christina Zwarg traces the influence Stowe's feminism had on her treatment of fatherhood & its effect on the home. A Chronology of Stowe's life & work & a Selected Bibliography are also included. * ABOUT THE EDITOR: ELIZABETH AMMONS is Professor of American Studies at Tufts University. She is the author of "Conflicting Stories: American Women Writers at the Turn of the Century" & "Edith Wharton's Argument w/America". She is the editor of the NCE of Edith Wharton's "The House of Mirth", & additional critical works. * ABOUT NORTON CRITICAL EDITIONS: Each Norton Critical Edition includes an authoritative text, contextual & source materials, & a wide range of interpretations--from contemporary perspectives to the most current critical theory--as well as a bibliography, &, in most cases, a chronology of the author's life & work. * SHIPPING: MNEMOSYNE carefully wraps, labels & custom-packages this fine book for FREE domestic shipment via USPS MEDIA MAIL or USPS PRIORITY MAIL for a below-cost additional fee & via Mandatory USPS PRIORITY INTERNATIONAL AIRMAIL to international destinations at our posted rates. N° de réf. du vendeur 009907

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