historical comprehension
historical interpretation
historical research
information gathering
reading literary texts
critical analysis
literary interpretation
critical thinking
working with primary documents
Internet skills
The Narrative of William W. Brown, An American Slave (1847), along with the Narrative of the Life of Frederick Douglass (1845), set the pattern for the slave narrative, one of the most widely-read genres of 19th-century American literature and an important influence within the African American literary tradition.. To help students recognize the complex nature of the slave narrative and its combination of varied literary traditions and devices, this lesson explores Brown's work from a variety of perspectives. Students first consider the narrative as a historical record, examining episodes that describe the conditions Brown lived through as a slave. Next, they examine it as a work of literature, investigating the rhetorical techniques Brown uses to shape his experiences into a story. Third, students consider the work's political dimension, weighing the arguments that Brown presents as an abolitionist spokesman and the degree to which his narrative should be treated as political rhetoric. Finally, students approach the narrative as an autobiography, a work of self-actualization in which Brown charts a spiritual as well as a literal journey to freedom. To conclude the lesson, students produce an essay explaining how Brown's narrative challenged the prejudices of readers in his own time and how it challenges prejudices today.
Guiding Questions
What role did the slave narrative have both in historical and in literary
traditions?
How did William Brown’s narrative contribute to the abolitionist
movement?
Learning Objectives
After completing this lesson, students will be able to:
Describe the slave narrative and its importance in the abolitionist movement
Gain experience in working with the slave narrative as a resource for historical
study
Evaluate the slave narrative as a work of literature
Examine the slave narrative and other documents in the context of political
controversy as an argument for abolition
Explore themes of self-actualization and spiritual freedom within the slave
narrative
Background Information for the Teacher
Background on the slave narrative and its
place in American literature, is provided in "An
Introduction to the Slave Narrative," by William L. Andrews, which is available
through EDSITEment at the Documenting
The American South website. Slave narratives were widely-read in
the decades before the Civil War and instrumental in building support among
white Americans for the abolition of slavery. Although at one time discredited
as sensationalistic in their portrayal of slavery, slave narratives have been
recognized since the 1970s as an invaluable source of firsthand information
about the experience of African Americans in slavery and the community they
forged for themselves amid relentless oppression.
In addition, slave narratives have been increasingly studied as a formative
part of the African American literary tradition, lending a distinct voice to
our national myth of the individual's quest for freedom and self-fulfillment,
which echoes in 20th century classics like The Autobiography of Malcolm
X and in the work of novelists like Toni Morrison, Ishmael Reed, and Ernest
J. Gaines. For additional background students might consult The Slave's
Narrative, edited by Charles T. Davis and Henry Louis Gates, Jr. (New York:
Oxford University Press, 1989).
The Narrative
of the Life of William W. Brown, An American Slave, available through
EDSITEment at the Documenting the American
South website, was first published in 1847, only two years after the pioneering
Narrative of the Life of Frederick Douglass, and is perhaps the most accessible
example of the slave narrative genre for modern readers. The Documenting
the American South website also provides a brief profile of Brown’s
career in "About William Wells Brown". Following the period described
in his narrative, Brown became a celebrated lecturer in the anti-slavery movement
both in the United States and in Great Britain, where he lived from 1849 to
1854, in part to avoid re-enslavement under the Fugitive Slave Law of 1850.
While in England, Brown wrote Clotel, one of the first novels published
by an African American, and following his return to the United States he went
on to become a leading black American literary figure of the mid-19th century,
acclaimed as a poet, novelist, playwright, and historian of African American
culture.
Preparing to Teach this Lesson
Review the lesson plan and the websites used throughout. Locate and bookmark
suggested materials and websites. Download and print out documents you will
use and duplicate copies as necessary for student viewing.
Students can access the primary source materials and some of the activity
materials via the EDSITEment
LaunchPad.
NOTE:Though considerably more temperate in its picture
of slavery than many examples of the genre, the Narrative of
William W. Brown contains language that, while inoffensive in
his day, can be disturbing to modern readers, and portrays many scenes of
shocking brutality. Educators should review this text before introducing it
to students and may wish to consider presenting only excerpts in order to
avoid these difficult aspects of Brown's story.
Introduce students to the background information for the slave narrative and
the life of William Brown, as detailed in the “Background” section,
above. Ask students to read the Narrative of the Life of William W. Brown,
available as an electronic text via the EDSITEment-reviewed Documenting
the American South.
If possible, prior to assigning the reading to students, ask them what they
know about slave life in the 19th century. Write their thoughts on the board
and refer back to these ideas during class discussion after students read through
Brown’s narrative. As students read, have them consider it first as an
eyewitness report on the historic realities of slavery. Instructors might also
considering splitting these questions between groups (according to the categories
listed below), bringing these groups back together for reports and class discussion.
Life as a Slave: What incidents does Brown offer as characteristic
of the slave's life? How does he describe the slave's duties? What does he
tell us about the slave's family and circle of friends?
Master and Slave Relationship: Much of Brown's narrative
portrays the harsh treatment of slaves by their masters. Have students find
incidents in which the relationship between slave and slaveholder is more
complex, revealing an element of understanding on both sides. How do these
glimpses of relationships between slave and master reflect on those episodes
which exhibit the slaveholder's cruelty?
Resistance to Slavery: Have students focus also on evidence
of resistance to slavery in Brown's narrative. Call attention to the story
of the slave Randall that closes Brown's first chapter (pages 16-19 in the
electronic text), and to episodes in which Brown himself offers resistance,
such as his snowball battle with a group of white boys (Chapter 3, page 28)
and his repeated attempts to escape (Chapter 2, page 21; Chapter 7, pages
65-68; and Chapter 10, pages 89-93). How do these incidents add to our understanding
of slave life?
Have students summarize the information Brown provides about slavery by discussing the facts they found surprising. You might also consider assigning, or having students read in class, the brief article, “What was Life Like Under Slavery?”, available via the EDSITEment-reviewed website Digital History. Have students compare these thoughts to those they shared about their knowledge of slavery prior to reading Brown.. What other sorts of documentary materials besides slave narratives might students seek out to gain a complete picture of slave life?
Next, invite students to consider Brown's narrative as a work of literature,
a story in which he uses literary devices to shape his material and achieve
specific effects. For students, the clearest evidence of Brown's literary intentions
may be the passages of verse that he includes in his narrative, most often to
mark a moment of intense emotion. Help students analyze how Brown creates the
most famous of these moments in his story, the episode in which he is separated
forever from his mother (Chapter 9, pages 77-79). Ask students to reread this
section (aloud, if appropriate to your class) and ask them to note stylistic
changes or enhancements to the passage.
Students might note, for example, how he prepares for the scene, building suspense
by shifting from his matter-of-fact style into a more melodramatic manner:
The boat was not quite ready to commence running, and therefore I had
to remain with Mr. Willi. But during this time, I had to undergo a trial for
which I was entirely unprepared. My mother, who had been in jail since her
return until the present time, was now about being carried to New Orleans,
to die on a cotton, sugar, or rice plantation!
Students might comment on some other aspects of Brown's artistry in presenting
this scene: for example, the conventional phrases that trigger an emotional
response ("too deep for tears," "fell upon my knees," "I
thought myself to blame"); the religious sentiments that elevate his mother's
parting words; the impending approach of the slaveholder Mansfield which heightens
the suspense; the desperate urgency of his mother's plea that he seek his own
freedom; her final words, which he hears after the slaveholder has driven him
away and which he describes as a "shriek," suggesting the voice of
a soul being carried to its doom.
Ask students:
How do these literary touches reflect on Brown's claim that his story is
true?
Students might explore the idea that, while events may be dramatized, the emotions
they express -- and evoke in a reader -- can be authentic.Have students cite
other passages in Brown's narrative that reveal his artistry, and have them
evaluate his skill in characterization (e.g., his portrayal of the slave trader
Walker) and plotting (e.g., his shift from an episodic to a more continuous
narrative style as his story approaches its goal). Students may notice that
Brown devotes little attention to description: what does his mother look like?
what does St. Louis look like? Does this add to or detract from his narrative?
Why or why not?
Remind students that Brown wrote his narrative in connection with his employment
by the Massachusetts Anti-Slavery Society as a spokesman for abolitionism. For
a brief introduction to the abolitionist movement, guide students to Digital
History’s brief articles “Abolition”
and “Who
were the abolitionists?” (with several more articles on various aspects
of the The
Origins and Nature of New World Slavery and the Antislavery
Movement available, depending on the time available and the historical depth
desired.
To contextualize the sometimes vehement rhetorical strategies on both sides,
have students visit the Gallery
of Abolitionist and Anti-Abolitionist Images at the EDSITEment-reviewed
Uncle Tom’s Cabin & American
Culture website. Using our
interactive tool, students can review images from the time and debate whether
or not the imagesrepresent support for or against abolition. Using evidence
from the images, students then should write a brief response (2-3 lines) as
to why they think the image is pro- or anti-abolition.
If the technology (Flash and/or enough computers) is not available for students
to use the interactive exercise, you might instead have students, using the
NARA
Teaching with Documents Worksheets, review an image either individually
or in groups and examine the image as a historical document.
Prepare students that many of these images are in fact racist (since some reflect
the popular opinion at the time that African-Americans were not equal to whites).
Remind students that sometimes historical and literary investigations force
us to encounter difficult facts about our collective history – just as
we also encounter images of heroism and courage.
Within the context of this exploration of abolitionism, return to Brown’s
text and ask students:
How does Brown’s story, and the way in which he presents it, serve
the cause of abolitionism?
Which episodes seem calculated to shock a white reader into an abhorrence
of slavery? Look back at Brown's opening chapters. What is the first impression
of slavery and slaveholders that he provides here? How does his emphasis on
physical abuse support the abolitionist cause?
Look also at Brown's portrayal of slaveholders, in particular his comments
on their piety. What does he say about his master's sudden enthusiasm for
prayer and church-going (Chapter 4, pages 36-38)? About the family prayers
of those who captured him on his first attempt at freedom (Chapter 8, page
71)? About the auctioneer's cry that a slave "has got religion"
(Chapter 9, pages 82-83)? How would these moral attacks help persuade a white
reader to oppose slavery?
Conclude this lesson by asking students to consider Brown's narrative as an
autobiography in which he charts a quest not only for freedom but also for self-identity.
What follows below are several avenues of inquiry that teachers may want to
pursue with students:
How does Brown's character develop through the events of his narrative?
Have students compare their impression of him in these episodes: when he is
treed by a pack of bloodhounds after his first escape attempt (Chapter 2,
pages 21-22); when he dupes a free black man into taking a whipping intended
for him (Chapter 5, pages 52-57); when he objects to his master's plan to
sell him and takes the opportunity to make a second escape attempt (Chapter
7, pages 62-64); when he parries the efforts of his last master's wife to
have him marry and turns her plan to his advantage in plotting his final escape
(Chapter 9, pages 84-86, and Chapter 10, pages 89-90). In what respect does
Brown evolve from a passive observer into an active protagonist through episodes
like these?
A turning-point in this narrative development, and a key element in the
evolution of Brown's character, comes in Chapter 11 (pages 96-98) as he travels
toward freedom and asks himself, "What should be my name?" Have
students explain the significance Brown sees in his choice of a name. How
does this choice affect his sense of self-identity? What does his decision
to reclaim the name "William" and reject the name "Sanford"
indicate about his growing sense of independence?
Soon after this decision, Brown meets the man who finally secures his freedom
by helping him along his way and by completing his name. "Since thee
has got out of slavery," this old Quaker tells him, "thee has become
a man, and men always have two names" (page 103). How does Brown's addition
of this man's name to his own complete his sense of self-identity? Is it significant
that he names himself after a white man? Is it significant that instead of
just two names he takes three?
Brown ends his narrative with the story of an attempt to kidnap a fugitive
slave family living in Canada that was foiled by a courageous band of African
Americans living in Buffalo, who rode to their rescue (pages 109-124). What
does this final episode add to our sense of Brown's character? Does he acquire
the stature of hero by taking part in this "fight for human freedom"?
And what does this episode add to Brown's argument for the abolition of slavery?
Assessment
Using the NARA
Document Analysis Worksheets available at the EDSITEment-reviewed National
Archives website, have students, individually or in groups, explore other
documentary materials detailing life as a slave at one of the following EDSITEment-reviewed
websites:
After they examine one of these historical documents, ask students to
share their findings and discuss the nature of documenting slavery. What
does it mean to be a historical document? How do different kinds of documents
shape a receivers viewpoint?
Have students summarize Brown's arguments for the abolition of slavery in
an outline. Then discuss whether, as an earlier generation of scholars believed,
Brown's political agenda renders his narrative unreliable as a historical
document. Why or why not?
Remind students that one purpose of the slave narrative was to dispel the
prejudiced belief that African Americans are not equal to whites in intellect
or ability, not fully deserving of freedom and human rights. How did Brown's
narrative, which combines artistry, argument, authenticity, and the autobiography
of a self-created individual, challenge the prejudices of its white readers?
Have students explore this question in an essay.
Extending the Lesson
There are many other slave narratives available through
EDSITEment at the Documenting
the American South website, including narratives written by ex-slaves
in the years following the Civil War. Students might read Booker T. Washington's
famous Up
From Slavery to see how the slave narrative genre changes when the
immediate political pressures that helped shape Brown's work are removed.
(At the Documenting
the American South website homepage, click on "North American Slave Narratives,"
then click "Collection of Electronic Texts." Scroll down to "Washington, Booker
T." and select "Up From Slavery.")
Students might also compare Brown's written narrative
to some of the oral narratives of slave times collected by Work Progress Administration
archivists during the Great Depression, many of which are accessible through
EDSITEment in the "American Life Histories" collection at the
American Memory Project website. (At the website's homepage, click "Browse,"
then scroll down and click "Life Histories" to enter the collection. Click
"Search
by Keywords" and type the word "slave" into the search engine to retrieve
a list of relevant oral histories.)
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