Autobiography, Frederick Douglass Provides Both Narrative Detail

¶ … autobiography, Frederick Douglass provides both narrative detail and philosophical analysis to paint his personal experiences. As a slave, Douglass owns unique insights into the living conditions, torture, and cruelty meted out to slaves in nineteenth century America. His real-life accounts pair perfectly with his subjectivity: the details support the analysis and vice-versa. Douglass weaves his philosophical stance with his detailed recounting to summarize his experiences, to offer further insight to the reader that complements the objective facts, and to convey his pain.

This excerpt details Douglass's years in captivity, chronicling information as early as his bastardized birth. Having a white father, and one who was probably one of his masters, Douglass's experiences are unique even for a slave. In retelling the story of his mother and the inhumane practice of wresting mother from child, Douglass need not provide any immediate analysis. Yet the author does offer critical insight into the extra malice reserved for the sons of white slave owners.

Viewed as a threat to the slave owner's wife as well as to other slaves, these mulattoes suffered even further barbarity. The facts are horrid enough to portray Douglass's experiences, but as a writer he also stylizes his facts into a moving, compelling portrait. His psychological pain is thus rendered with equal efficiency as his physical torments. When Douglass describes Captain Anthony, the reader is offered a bloody account of the ruthless, savage treatment of slaves. Douglass spares no details in retelling the stories of Mr.

Plummer, the overseer for Captain Anthony. The pleasure that Plummer received from beating the slaves sends shivers up the spine of any humane reader. This paragraph details an incident without requiring redundant philosophical analysis. Douglass's fluid writing style adequately conveys the emotions that accompany the experience of such masochism. He uses metaphor that borders dangerously close to reality: "It was the blood-stained gate, the entrance to the hell of slavery, through which I was about to pass," (p. 73).

Douglass then remarks that he wishes he could provide adequate words to communicate the harsh reality he describes. His admission of slavery's ultimate ineffability serves to drive home the unbelievable. Ironically, the facts are supported by an admission of their incomprehensibility. Torture comprises the next several paragraphs of the autobiography. Douglass tells Aunt Hester's story to further illustrate his life story. The imagery of Aunt Hester strung from a ceiling to be flogged is almost unbearable.

The horror is here unaccompanied by any attempt at opinion or analysis, for such would seem trite. As the young Douglass witnessed his Aunt's torture and feared for his own life, the reader can bear witness to Douglass's testimony to fully comprehend slavery's repercussions and realities. Mr. Severe, the aptly named overseer, feeds the narrative with explosive details of human brutality. But Douglass proceeds to quickly delve into an account of the social strata even among the slaves.

The Great House Farm was a place of privilege in an unprivileged world. Douglass's analysis of this phenomenon is necessary for the reader to understand deeper levels of existence under the confines of slavery. Douglass even offers political commentary here: "The same traits of character might be seen in Colonel Lloyd's slaves as are seen in the slaves of the political parties," (p. 76). That Douglass eventually went on to serve politicians makes clear his comprehension of the character of his chosen profession.

In his time, the publication of the autobiography coupled with his singular station in life bordered on taboo. His commentary is bold, brash, and brilliant. Finally, Douglass uses the motif of music to illuminate the emotional realities of slavery. His subjective experiences are echoed in his interpretation of slaves' songs, which he describes in detail not that the reader may appreciate the haunting melodies but to grasp the meanings behind the music.

The slaves "sang the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone," (p. 77). Music is elevated to metaphor in this section of the autobiography. This skillful mingling of fact and symbol underscores the inadequacy of plain words and facts. Douglass informs the reader that the slaves' songs were by no means joyful expressions or "evidence of their contentment," (p. 77). Rather, their music emerged from a place of utter pain.

Music was an outlet, a vehicle for expression of which there was no equal. Discussing music in this manner, Douglass invokes the reader's respect: "These songs would.