A Comparative Analysis of the Theme of National Identity in Oloudah Equiano's Narrative of the Life of Harriet Beecher Stowe's Oloudah Equiano's and Uncle Tom's Cabin the formation of a national identity in which minorities must justify their rights reasonably and quietly, while white citizens can defend their rights or causes as frankly as they wish. This, at best, amounts, in Stowe's case, to white Americans dramatically appropriating the struggle of well-intentioned African Americans. The American national identity is one in which white “Americans” speak for a subjugated culture, rather than it being acceptable for members of that culture to speak for themselves. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Stowe's appropriation of the slave experience breaks convention as it overtly relies on emotional appeal for the sake of decrying the evils of slavery. Equiano, on the other hand, avoids sentimentality or whimsy almost as if this discredits his thesis as an African-American writer lobbying for freedom. One of the most distinctive features of Equiano's Account of Life is its disturbing apologetic nature. From the heights of the narration, Equiano "justifies" his story with a completely unnecessary degree of humility. In fact, he dedicates the entire first paragraph to an explanation: the book was written at the request of his friends, it will not offer the narrative of a "saint or hero" (355), it does not wish to attract personal attention or garner sympathy, and that his sufferings were small compared to those of many others. Equiano writes not as if he is trying to reveal the nature of cruelty, but as if he is analyzing the costs and benefits of slavery to demonstrate the “reasonableness” of freedom. Stowe, on the other hand, uses decadent storytelling tactics to create a decidedly imaginative story. The scene in which Eliza must wade through “floating ice cakes” is dramatized almost as if the slave struggle would make good entertainment for white readers. In contrast to Stowe, Equiano's language is surprisingly cold. While Stowe goes out of his way to dramatize, Equiano goes out of his way not to. In describing his separation from his sister as a child he even writes that the episode left him in an “indescribable state” (358). This type of language downplays his struggle and contributes to the humble, reasonable image he is projecting. Equiano often tells us that he felt distressed, but he doesn't show it. We don't feel as much as we understand. In Equiano's case, the slave use of emotions would only attract criticism and be considered manipulation or exaggeration. If Stowe were to passionately describe that same “state” in Uncle Tom's Cabin, it would probably be well received; the writing comes from an inherently "respectable" source that doesn't need to seem level-headed or kind to maintain credibility. Stowe's use of vernacular spelling in his dialogue is extremely humanizing compared to Equiano, but this may be for some of the wrong reasons. While Stowe humanizes his characters, he also protects them deeply. The slaves in his novel are sweet and good-natured, like Uncle Tom, but they are also designed to be pitiful like children. Stowe created a novel in which he allowed supporters of slavery to pity slaves, but not necessarily recognize them as capable, equal adults. Equiano, on the other hand,he writes from the first-person perspective of exactly that: a capable and equal human being. Not surprisingly, one of these representations was more appealing to racists than the other. The fact in itself that it was Stowe's novel rather than Equiano's that started the Civil War is evidence of a distorted national identity. It wasn't the first-person accounts of slavery that moved the nation; it was a fictionalized account of a white woman. These works are part of a growing national identity that privileges the validity of the white voice often even regardless of substance. In both works there are figures of non-abusive or even benevolent slave owners. Equiano, for example, wrote that one of his teachers "possessed a very amiable disposition and character, and was very charitable and humane." And one of his owners does everything to save him from danger. Equiano makes clear, however, that his circumstances are relatively exceptional. Equiano describes their cruelty, then explains why treating slaves humanely is truly in the best interests of slave owners. In both cases this may be partially strategic in the context of American national identity: both Stowe and Equiano were attempting to expose the disadvantages of slavery, but a certain degree of courtship was necessary to influence their white audiences. If they depicted slave owners as monsters, they would infuriate their audience and lose their voice. It is arguable, however, that Stowe included “good” slave owners because she, being white, lived a life that allowed her the privilege of seeing the good in everyone. The Shelbys are supposed to have personal relationships with their slaves and care for them tenderly, but ultimately continue to cash them in as property when things get tough. This plot detail addresses the fact that even under the best of circumstances, under "good" masters, slavery produces betrayal, and no slave owner can avoid the basic reality of their capitalization on another human being. Stowe and Equiano both recognize the value that Christianity has in national identity. and its necessary relevance in an abolitionist piece. Stowe highlights this symbolically, particularly Eve's death in ch. XVII. Stowe manipulates history to expose false Christian morality and the role it plays in slavery. Stowe makes Eve a martyr and in doing so symbolizes how slavery is destroying true moral Christianity. The death of this child presents white Americans with the looming question of whether or not there is room for slavery in honest Christianity. God is not supposed to see colors, and Christian morality indicates that one should “do unto others as you would have them do unto you.” Eva is given to piety and as a child is intrinsically innocent. She is the stereotypical “director of truth” of the story. This has played an important role in appealing to (and questioning) the foundation of American identity, which has traditionally been Christianity. Both Stowe and Equiano make this point; even the slaves are Christians. This challenges that comfortable national identity: How can both a slave owner and a slave be true Christians at the same time? Equiano addresses Christianity rather casually throughout his narrative, but still directly ensures that the audience knows his faith. Equiano seems to include Christianity in his narrative as if he knows it is a requirement of credibility. This concept of the “reasonable” Christian slave is obviously problematic because it still serves the standards of the oppressor rather than the needs of the oppressed. Equiano also reminds us that in Africa his.

Topic > A Comparative Analysis of the Theme of National Identity in Oloudah Equiano's Narrative of the Life of Harriet Beecher Stowe's Oloudah Equiano's and Uncle Tom's Cabin the formation of a national identity in which minorities must justify their rights reasonably and quietly, while white citizens can defend their rights or causes as frankly as they wish. This, at best, amounts, in Stowe's case, to white Americans dramatically appropriating the struggle of well-intentioned African Americans. The American national identity is one in which white “Americans” speak for a subjugated culture, rather than it being acceptable for members of that culture to speak for themselves. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Stowe's appropriation of the slave experience breaks convention as it overtly relies on emotional appeal for the sake of decrying the evils of slavery. Equiano, on the other hand, avoids sentimentality or whimsy almost as if this discredits his thesis as an African-American writer lobbying for freedom. One of the most distinctive features of Equiano's Account of Life is its disturbing apologetic nature. From the heights of the narration, Equiano "justifies" his story with a completely unnecessary degree of humility. In fact, he dedicates the entire first paragraph to an explanation: the book was written at the request of his friends, it will not offer the narrative of a "saint or hero" (355), it does not wish to attract personal attention or garner sympathy, and that his sufferings were small compared to those of many others. Equiano writes not as if he is trying to reveal the nature of cruelty, but as if he is analyzing the costs and benefits of slavery to demonstrate the “reasonableness” of freedom. Stowe, on the other hand, uses decadent storytelling tactics to create a decidedly imaginative story. The scene in which Eliza must wade through “floating ice cakes” is dramatized almost as if the slave struggle would make good entertainment for white readers. In contrast to Stowe, Equiano's language is surprisingly cold. While Stowe goes out of his way to dramatize, Equiano goes out of his way not to. In describing his separation from his sister as a child he even writes that the episode left him in an “indescribable state” (358). This type of language downplays his struggle and contributes to the humble, reasonable image he is projecting. Equiano often tells us that he felt distressed, but he doesn't show it. We don't feel as much as we understand. In Equiano's case, the slave use of emotions would only attract criticism and be considered manipulation or exaggeration. If Stowe were to passionately describe that same “state” in Uncle Tom's Cabin, it would probably be well received; the writing comes from an inherently "respectable" source that doesn't need to seem level-headed or kind to maintain credibility. Stowe's use of vernacular spelling in his dialogue is extremely humanizing compared to Equiano, but this may be for some of the wrong reasons. While Stowe humanizes his characters, he also protects them deeply. The slaves in his novel are sweet and good-natured, like Uncle Tom, but they are also designed to be pitiful like children. Stowe created a novel in which he allowed supporters of slavery to pity slaves, but not necessarily recognize them as capable, equal adults. Equiano, on the other hand,he writes from the first-person perspective of exactly that: a capable and equal human being. Not surprisingly, one of these representations was more appealing to racists than the other. The fact in itself that it was Stowe's novel rather than Equiano's that started the Civil War is evidence of a distorted national identity. It wasn't the first-person accounts of slavery that moved the nation; it was a fictionalized account of a white woman. These works are part of a growing national identity that privileges the validity of the white voice often even regardless of substance. In both works there are figures of non-abusive or even benevolent slave owners. Equiano, for example, wrote that one of his teachers "possessed a very amiable disposition and character, and was very charitable and humane." And one of his owners does everything to save him from danger. Equiano makes clear, however, that his circumstances are relatively exceptional. Equiano describes their cruelty, then explains why treating slaves humanely is truly in the best interests of slave owners. In both cases this may be partially strategic in the context of American national identity: both Stowe and Equiano were attempting to expose the disadvantages of slavery, but a certain degree of courtship was necessary to influence their white audiences. If they depicted slave owners as monsters, they would infuriate their audience and lose their voice. It is arguable, however, that Stowe included “good” slave owners because she, being white, lived a life that allowed her the privilege of seeing the good in everyone. The Shelbys are supposed to have personal relationships with their slaves and care for them tenderly, but ultimately continue to cash them in as property when things get tough. This plot detail addresses the fact that even under the best of circumstances, under "good" masters, slavery produces betrayal, and no slave owner can avoid the basic reality of their capitalization on another human being. Stowe and Equiano both recognize the value that Christianity has in national identity. and its necessary relevance in an abolitionist piece. Stowe highlights this symbolically, particularly Eve's death in ch. XVII. Stowe manipulates history to expose false Christian morality and the role it plays in slavery. Stowe makes Eve a martyr and in doing so symbolizes how slavery is destroying true moral Christianity. The death of this child presents white Americans with the looming question of whether or not there is room for slavery in honest Christianity. God is not supposed to see colors, and Christian morality indicates that one should “do unto others as you would have them do unto you.” Eva is given to piety and as a child is intrinsically innocent. She is the stereotypical “director of truth” of the story. This has played an important role in appealing to (and questioning) the foundation of American identity, which has traditionally been Christianity. Both Stowe and Equiano make this point; even the slaves are Christians. This challenges that comfortable national identity: How can both a slave owner and a slave be true Christians at the same time? Equiano addresses Christianity rather casually throughout his narrative, but still directly ensures that the audience knows his faith. Equiano seems to include Christianity in his narrative as if he knows it is a requirement of credibility. This concept of the “reasonable” Christian slave is obviously problematic because it still serves the standards of the oppressor rather than the needs of the oppressed. Equiano also reminds us that in Africa his.