The cultural repercussions of Harriet Beecher Stowe's novel, Uncle Tom's Cabin, are undeniable. Uncle Tom's Cabin became one of the most widely read and profoundly insightful books of the 19th century. Richard Yarborough noted that “Uncle Tom's Cabin was the epicenter of a massive cultural phenomenon, the tremors of which still affect black-white relations in the United States” (Levine, 524). As a novel that had such a significant impact on American perceptions of racial identity and character, one would hope that the truth would be presented. Instead, Stowe's remarkably influential novel was a racist romantic text, which reflected 19th-century white racial ideology. Uncle Tom's Cabin succeeded in generating sympathy for slaves and may have strengthened the abolitionist cause. But, ultimately, Stowe's portrayal of slaves paralleled the romantic racist ideas common in his era. Say no to plagiarism. Get a custom essay on "Why Violent Video Games Should Not Be Banned"?Get the original essayThe doctrine of romantic racism, as presented by George M. Fredrickson in his essay, Romantic Racism in the North, proposes that racial differences exist without an inherent hierarchy (Fredrickson, 430). In his essay, Fredrickson outlines various beliefs about the differences between blacks and whites. Caucasians, on the other hand, were portrayed, in romantic racist thought, as aggressive, domineering, and eager to conquer (Fredrickson, 431). The submissive black man was the portrait of the typical slave. Slaves were considered docile, gentle, loyal and childlike. Fredrickson goes on to describe Alexander Kinmont's views on the attributes of black people, consisting of "a lightness, a natural talent for music, and, above all, a willingness to serve" (Fredrickson, 435). This “willingness to serve,” this docility and servility were all virtues of true Christians. A Unitarian minister, James Freeman Clarke, said that blacks had “a strong religious tendency and a force of attachment which makes them capable of every kind of self-denial and self-denial” (Fredrickson, 436). Harriet Beecher Stowe lived in a time and place steeped in romantic racist thought. Kinmont expounded the doctrine of romantic racism in Cincinnati, Ohio, while Stowe resided in the city. Kinmont's influence on Stowe's racial perceptions, reflected in his writings, is undeniable. If one is wondering whether or not the novel is a racist romantic text, one need only look to Tom, the main character. Stowe portrayed Tom, the docile and pious slave, as an admirable and sympathetic character, willing to sacrifice everything for the common good, his faith and his master. Its features resemble those of romantic racist thought. Stowe's description of Tom as a strong, kind man who also possessed a "humble simplicity" (18) fits into the classic romantic racist characterization of black people as simple and childish. Tom refuses to run away upon hearing the news that he has been sold by Mr. Shelby into the cruel hands of Haley, an incorrigible slave trader. He chose not to flee for the sake of the rest of the slaves on the Shelby plantation and out of loyalty to his master. Tom's willingness to serve and his Christian virtue are depicted throughout the novel. To reassure his wife Chloe that everything will be okay, Tom says, “There will be the same God there, Chloe, as there is here” (Stowe, 81). Tom's faith in God and his docility do not waver even when he is betrayed by his master and taken from his family. Tom's passivity is due to his deep valuesreligious, which require him to love everyone and endure great suffering selflessly throughout his life. Stowe depicts the protagonist of his novel as a prototypical slave, following the precepts of romantic racism. Tom is humble, docile, faithful to his masters, a perfect Christian and submissive. His “willingness to serve” is demonstrated by the description of him “standing, wistfully surveying the multitude of faces that crowd around him, for the one he would like to call master” (Stowe, 289). The novel focuses on Tom's behavior and morals. Its virtues align with romantic racist beliefs. It is inevitable that this is a romantic racist text. Stowe remarks that "...of all the races on earth, none has received the Gospel with such eager docility as the African. The principle of trust and unconditional faith...is more native to this race than of any other...whose abundance has put to shame that of a higher and more skillful culture” (Stowe, 343). it shows a difference between whites and blacks without devaluing the personal qualities of either race The Caucasian characters in the novel also reflect romantic racist thinking Both Haley and Simon Legree possess the stereotypical characteristics attributed to men. White Haley, the slave trader who buys Tom from Mr. Shelby, is a harsh and ruthless man. He separates families without any display of emotion or sympathy and speaks of the deaths of slaves as part of business: “Wal, yes, it’s tolerable quickly, it’s dying; with the climate and one thing and another, they die in order to keep the market fairly vibrant” (Stowe, 86). This characterization of the white slave trader parallels the romantic racist depiction of white men as aggressive, dominant, and materialistic (Fredrickson, 431). Simon Legree plays the typical Caucasian man, as far as romantic racism is concerned. Legree is determined to assert his dominance over Tom. In one of the many confrontations between Legree and Tom, Legree angrily says, "I'm still going to come after you and bring you down..." (Stowe, 339). Legree longed to dominate Tom, but Tom's invincible faith and goodwill prevented the master from doing so. In order to assert his supremacy, Legree had to kill Tom – by having him beaten to death. The female characters in Uncle Tom's Cabin are also subject to romantic racist stereotypes. Aunt Chloe, Tom's wife, is depicted as a jovial cook who loves to serve. When readers meet this character, she is described as the typical "mom." Stowe describes Aunt Chloe as fat, black as blood, and that when company came to the house, it "awakened all the energies of her soul" (Stowe, 17). Another "Mommy" characteristic that Aunt Chloe possessed was that she was the controller of her household, as demonstrated by Mose and Pete's scolding: "Stop that, now, okay?" Better watch out for yourselves, or I'll take a pimple out of you. -hole down, when Master George is gone!" (Stow, 22 years old). The stereotype of the "mom" is not the only aspect of racism attributed to Aunt Chloe. She is also attributed with the trait of being " home-loving and affectionate” (Stowe, 82) In reference to Aunt Chloe's distraught reaction to her husband's fate, Stowe remarks: “In order to appreciate the sufferings of the negroes sold in the South, one must remember. that all the instinctive affections of this race are especially strong” (Stowe, 82). This is an incredibly romantic racist comment. Stowe says that the “instinctive affections”.