I suspect that many readers coming to Douglass’s Narrative of the Life of Frederick Douglass, an American Slave: Written by Himself (the full title) for the first time encounter some confusion regarding his beginning. The question arises: where does this text really begin? Once you get to the opening paragraph of chapter 1, one of several beginnings (as I see it, at least), the one where Douglass begins to narrate, we learn right away that Douglass has his own questions about where he begins. So it is a complicated issue from the start. To use a word from a critical thesis I will be presenting to you this week (William Andrews), the problem of beginnings is performed. Rhetorically, from the beginning we see the complications of ethos, pathos, and logos for the slave narrator. I am proposing that we can read Douglass’s narrative as an essay as well; and so we can focus in on these complications for the essay. A particular rhetorical element of Douglass’s early form of creative nonfiction we can focus on is immersion (see keywords). The question I will ask initially: in what ways does Douglass immerse the reader in his narrative, his essay? The question we can work towards for the end of our reading: what’s the purpose of this immersion?
What is Douglass attempting (essaying) to do through this essay? The primary rhetorical focus seems obvious: an argument to persuade his audience–literally, the audience in the abolitionist meetings where he begins to speak–of the evils of slavery. But we see from the beginnings, and throughout the text, that the narrative is more complicated than that.
Some links for further thinking and reading into the visual elements of Douglass’s text. We spoke of enargia–the rhetorical term for vivid description. This text uses and explores the significance of the visual in ways that can help us think about the rhetoric of race in the context of the essay.
Digital scans of the original text of the Narrative published in 1845–including the title page and frontispiece portrait–are available here. You can begin to work your way into some of the significant beginnings, before you get to Douglass’s opening words, “I was born…” In particular, you can see the portrait of the author, left out of our edition but included in the original.
The Zealy daguerreotypes are images made in 1850 by J.T. Zealy for Harvard scientist Agassiz: for supposedly scientific, visual evidence of the inferiority of the slave. [link here] It is worth thinking about and imagining these images when reading Douglass’s narrative and considering what significance his portrait might have in the narrative.
Perhaps the most famous and widely-circulated image of a slave was this one from the 1860s, showing the marks of slavery on the back. Douglass himself (we learn in his 1855 text) was introduced at abolitionist meetings as a graduate of the peculiar institution, with his diploma on his back.
Douglass also desires to become an autobiographical author, a self-made, representative American man, a man worthy of his own book, in the tradition that extends from Ben Franklin to his contemporary, the writer Ralph Waldo Emerson. So, one should also have in mind the kind of images that readers would associate and expect to find of Franklin or Emerson.
In 1855, Douglass published a revised and expanded version of his slave narrative titled My Bondage and My Freedom. The frontispiece from that book is quite distinctive. What is the difference ten years later? By the way, a bit later in this course, once we get to Rankine’s Don’t Let Me Be Lonely and Momaday’s The Names, we will explore more directly the question of images in autobiography, as well as the idea of autobiographical nonfiction as documentary. We can begin to think about that with Douglass.