From Courage to Freedom: The Reality behind the SongLesson 1 of the Curriculum Unit — From Courage to Freedom: Frederick Douglass's 1845 AutobiographyIntroduction:One myth that Southern slave owners and proponents were happy to perpetuate was that of the slave happily singing from dawn to dusk as he worked in the fields, prepared meals in the kitchen, or maintained the upkeep of the plantation. (Interesting case in point from more recent times: Disney's 1946 Song of the South).In his autobiography, Douglass is quick to distinguish the myth from the reality. He uses incidents of cruelty that he witnessed along with songs of the slaves themselves—spirituals—to emphasize this distinction. Guiding Question:
Learning ObjectivesIn the process of completing this curriculum unit, students will be able to:
Preparing to Teach this Lesson
Suggested Activities:To prepare the students for reading an autobiography, ask them to think about their own growth and development up to their current age. Have them consider what have been the formative moments of their experience, at what age these moments occurred to them, and what the result of these moments have been. Also ask them to think about the ways in which they reflect upon their life histories: do any of them keep a journal or a blog? Do any write poems or songs that capture important times in their lives? If so, why do they feel a need to record their lives?Then hand out copies of the timeline of Douglass's life found at the link below. Ask the students to pencil in Douglass's age at each key moment and consider his life experiences in terms of their own thus far. To introduce them to the slave narrative, have the students read Andrews' introduction to the narrative. Have them state the characteristics of the slave narrative, the audience for which the narrative was intended, and the influence of the narratives.
Convincing the Audience: Preparing the Class for Douglass's RhetoricAlert students to the fact that Douglass is a great master of words; he'll never use a word or a phrase without having a persuasive intent. Ask students to list things that help convince them to try something, buy something, or believe something. You might ask students to think about commercials that they find persuasive. After they brainstorm, use the examples to explain that there are three kinds of proof for convincing arguments (described in the Persuasive Appeals overview via EDSITEment reviewed Silva Rhetoricae): As explained in Silva Rhetoricae's overview of Persuasive Appeals, Aristotle called such proof "intrinsic," meaning that it is rhetorically supported, as opposed to "extrinsic" proof, such as witnesses.Also review the terms imagery, irony, repetition, and connotative and denotative language with students. Chapter One: The Reality of Slave LifeRead this chapter aloud in class and allow as many students as possible to have a paragraph to read. While the chapter is being read aloud, students should listen and concentrate not only on Douglass's voice, but also on what aspects of slave life he is trying to convey. As they listen, each student should write down what aspects of slave life shocked them, surprised them, pained them. The students should try to put themselves in Douglass's place and imagine what he might have felt.Ask students to share their reactions. During class discussion, students might point out
Questions to ask the students include:
"He was a cruel man, hardened by a long life of slaveholding. He would at times seem to take great pleasure in whipping a slave. I have often been awakened at the dawn of day by the most heart-rending shrieks of an old aunt of mine, whom he used to tie up to a joist, and whip upon her naked back till she was literally covered with blood. No words, no tears, no prayers, from his gory victim, seemed to move his iron heart from its bloody purpose. The louder she screamed, the harder he whipped; and where the blood ran fastest, there he whipped the longest. He would whip her to make her scream, and whip her to make her hush; and not until overcome by fatigue, would he cease to swing the blood-clotted cowskin. I remember the first time I ever witnessed this horrible exhibition. I was quite a child, but I well remember it. I never shall forget it whilst I remember any thing. It was the first of a long series of such outrages, of which I was doomed to be a witness and a participant. It struck me with awful force. It was the blood-stained gate, the entrance to the hell of slavery, through which I was about to pass. It was a most terrible spectacle. I wish I could commit to paper the feelings with which I beheld it."What do all of the details add up to? Students might highlight the failure of slave owners to recognize slaves as human beings with human feelings and attachments, which has a dehumanizing effect not only on the slave but also the slave owner (an important theme for Douglass that is discussed in more detail in Lesson Two). Chapter Two: Spirituals, Myth, and the Reality Behind the SongIn chapter two of his narrative, Douglass notes the many deprivations slaves experienced, including lack of sufficient food, bedding, rest, and clothing. He also describes the home plantation of Captain Lloyd, his master's employer. Captain Lloyd's plantation was called the "Great House Farm" by all of the slaves, and the slaves viewed the Great House Farm as the most desirable place to live, work, or visit:"Few privileges were esteemed higher, by the slaves of the out-farms, than that of being selected to do errands at the Great House Farm. It was associated in their minds with greatness. A representative could not be prouder of his election to a seat in the American Congress, than a slave on one of the out-farms would be of his election to do errands at the Great House Farm." Questions:Think about the comparison Douglass makes between being elected to Congress and being chosen to run an errand at the Great House Farm. What is Douglass's tone? What is the point he is trying to make?The class should then read aloud the next paragraph in which Douglass introduces the spirituals, or songs, that the slaves would sing on their way to the Great House: "The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up, came out-if not in the word, in the sound;--and as frequently in the one as in the other. They would sometimes sing the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone. Into all of their songs they would manage to weave something of the Great House Farm. Especially would they do this, when leaving home. They would then sing most exultingly the following words:
"I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle, so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. . . To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,—and if he is not thus impressed, it will only be because 'there is no flesh in his obdurate heart."Finally, read aloud the last paragraph of chapter two which deals with the false romantic view of the spirituals and of the slaves singing them.
"I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion." Assessment:Students should choose one passage or paragraph from the first two chapters of Douglass's Narrative. Ask students to locate uses of ethos, pathos, or logos within the passage and write a brief response reviewing the effect of the persuasive appeal. Is it persuasive and why?Extending the Lesson:Interested in teaching more about spirituals? Use the EDSITEment lesson plan Spirituals, which explores how spirituals play a role in African-American history, from the Underground Railroad to the Civil Rights Movement.Have the class read the lyrics to "Many Thousand Go" as found in Thomas Wentworth Higginson's June 1867 Atlantic Monthly essay "Negro Spirituals," via EDSITEment-reviewed American Studies at UVA. Those familiar with Bob Dylan's "No More Auction Block for Me" will recognize the tune of "Many Thousand Go." The class may also like to listen to spirituals found at www.negrospirituals.com ; for example, "Heaven" or "Old Time Religion" in particular has the apparent joyousness that may have led some to believe that "singing, among slaves" was "evidence of their contentment and happiness." Next LessonReturn to the Curriculum Unit OverviewSelected EDSITEment WebsitesLibrary of Congress American Memory Project[http://memory.loc.gov/ammem/ammemhome.html]
[http://docsouth.unc.edu/]
[http://www.cr.nps.gov/museum/exhibits/douglass/]
Silva Rhetoricae Internet Public Library
[http://xroads.virginia.edu/]
Other InformationStandards Alignment
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