The name at the bottom is Olaudah Equiano (oh lah oo day eck wee ah no). See his Interesting Narrative here.
Note the full Latin: partus sequitur ventrem (“that which is brought forth follows the womb”). Here’s an excerpt by an essay by Camille Nelson:
See American Husbandry
This painting is part of an exhibition by Lilli Bernard which opened on Apr. 26 at MoAD. We should compare this image against Delacroix’s Liberty Leading the People on Tuesday.
For those interested, I found a PBS documentary on slavery in the British Colonies and the United States. The first episode is interesting because it demonstrates that initially at least “the color line” was not operative in the way that it would become. For the most part indentured or “transported” whites and enslaved Blacks worked and lived in bondage together. The primary difference, of course, was that white prisoners and indentures were not subject to the principle of partus sequitur ventrum– i.e., that “the child shall follow the condition of the mother”.
Don’t forget to consult the pdf in the reading schedule of enslaved people of African descent. These images are a form of biography that we should consider in relation to Nat Turner, Frederick Douglass, and Solomon Northup.
If your name appears below OR FALLS ALPHABETICALLY BETWEEN THE TWO NAMES then the chapters listed are your responsibility. See the last post for HUM470 for the details of the assignment. Due date: Oct. 1. Any questions? Please address them to this post.
1. Ali- Barnett: Chapters 1-6
2. Bingham-Bullard: Chapters 6-11
3. Chen-Copetti: Chapters 11-16
4. Daryanani- Fetsch: Chapters 16-21
5. Gaza-Huiberts: Chs. 21-26
6. Kline-Nakamura: Chs. 26-31
7. Nourse-Roberts: Chs. 31-36
8. Sarginson-Tisell: Chs. 36-41
PSV– (the child shall follow the condition of the mother) was “the first statutory provision on status [to be] adopted by Virginia in 1662: ‘all children borne in this country shall be held bond or free only on the condition of the mother'” (Morris 43). This, in distinction to English common law concerning bastardy which maintained that it was the father who determined the status of children.
Incidents is not historiography. Nor is it fiction, though certain of its elements have been fictionalized– such as names– and other of its details suppressed. Yet like both history- and fiction-writing, Incidents depends for its power on narrative conventions– the use of formal literary elements. One distinction we can make immediately is the difference between story and plot. The story is ‘what happened.’ The plot is the order of those events. We should pay attention to the overall structure of the text, particularly those points when HJ deviates from a straight chronological account. What happens at these moments in the text? What is their content and their function?
We can use the basic vocabulary of literary criticism to assess Incidents (ex. plot, character, setting). We can play close attention to apparent gaps in the text. What is not mentioned? What questions does the text leave unanswered?
Today’s group assignment:
There are 41 chapters in this text. Groups will take 6 chapters each. They will produce a thumbnail synopsis of their chapters, noting deviations from strict linear chronology. In the process the groups should think about the formal elements used to create HJ/LB as an autobiographical subject and how this textually-created personal identity is connected to a larger, more collective identity. Were does the text position its readers? HJ’s view is fundamentally subjective, yet there are places in the text where a wider view, one that extends beyond her immediate perceptions, is engaged. Think about themes, repeated phrases, patterns, and gaps.