The Double Mental Life of Frederick Douglass as Described in His Narrative a powerful tool. Douglass is consumed by seemingly contradictory roles. His literacy and eloquence propel him outside the group he is trying to represent. He must therefore shape his character and his narrative voice in a state of constant duality. This duality is located in the space between his life as a slave and his free life, his ignorance and his education, his history and his purpose. He must communicate an authentic slave life in order to be considered a representative of the slave community. But to appeal to his white audience, he must maintain this authenticity despite the intellectual growth that will distinguish him from his fellow slaves. The separation of the group is both dangerous for its legitimacy and necessary for its observation. Douglass must be detached from his history as a slave without losing his connection with it. It also connects with its white audience while remaining an obviously distinct entity. He simultaneously tells a story, acts as a protagonist, and makes an argument. It embraces this complex voice by establishing a narrator stuck between two very distinct realms. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay It is crucial to note that Douglass's narrative is a tool in this struggle for freedom, and so he is certainly invested in making it compelling. The narrative voice he adopts responds to this task. He takes care to create a particular mentality that makes him both authentic in his portrayal of a slave's life and qualified to earn readers' respect. His position as both observer and participant is carefully cultivated until the reader is convinced that he has a distinct perspective: he can experience and analyze at the same time. Douglass skillfully separates himself from the slaves and identifies with them in his life story. He will refer to slaves like himself as "Colonel Lloyd's slaves", and a few lines earlier he had referred to his own position as a slave as "my stay on Colonel Lloyd's plantation" (2011). This is an example of a subtle swing in the narrator's voice, as Douglass occupies the role of both visitor and participant. He cultivates this double voice from the beginning of his Story. Early in his life, even though he was still a slave, he often referred to "slaves" as if he were outside of that group. An example of this observational quality is found in the section on slave songs, “to which [he traces his] first scintillating conception of the dehumanizing character of slavery” (2006). Douglass lets his non-slave readers experience this glimmer by aligning his point of view with theirs. He is an innocent observer impressed by something completely unknown. This childhood perspective is therefore a useful tool, because it connects Douglass to his audience by paralleling their state of innocence. He separates himself from his fellow slaves without losing his quality as an authentic member of their community. His language constructs a state of floating somewhere above or outside the group of which he is actually part: “They would make the old dense woods, miles around, resonate with their wild songs, revealing at the same time the most great joy and the deepest sadness. . They composed and sang as they went, without consulting time or melody. (2005). Douglass clearly excludes himself from this group with the repeated “they.” His separation seems completely natural because he is a child among adults. Observation is itsnatural state in this phase. The exaggeration of phrases such as "for miles around", "greatest joy" and "deepest sadness" sets the necessary tone for childish revelation. Not only does it realistically separate itself to observe and tell, it separates itself by means of the perspective most accessible to the wide-eyed white reader's point of view. Although the naive voice is useful in familiarizing oneself with one's audience, Douglass carefully prevents readers from assuming too much familiarity. He must remain in the space squarely between slave and non-slave to adequately represent one group and win the ear of the other. Moments after adopting his position as an innocent outside observer, Douglass will include himself in the group he is watching. Now, unlike his audience, he is “inside the circle; so that [he] neither saw nor heard as those outside might see and hear” (2006). This disclaimer hits several important aspects of Dougless's task. He explicitly states that his experience is exclusive and somehow mysterious to bring out the authenticity in his voice. He defines the distinct realms of the “inside” and “outside” of the slave experience to emphasize his particular status as a person straddling two worlds. Despite the fact that he separated himself from those who were part of this "circle" to adequately recount their actions and strengthen the appeal of his argument, he easily returns to the circle to become protagonist and representative. This back and forth between “inside” and “outside” is a constant and vital aspect of the story. He constantly strives to tell a good story and make a good point. Douglass's distinctive inner/outer voice not only applies to his role as a slave, but also suggests his status among his readers. The white readership constitutes a category as distinct and exclusive as the “circle” of slaves. And his role within this new group is just as singular and unique. His eloquence and education align him with the culture he speaks to. As the voice of childhood had echoed in their gaze, the establishment of an intellectual life serves to qualify an analyzing mind. Once again, it supports the story and the argument doubly. His intellectual dynamism is an important force in the development of his character. Reading and learning become necessary for Douglass's survival, which he suggests by often comparing them to food. He describes trading real bread from a young age for reading lessons, which he considers “the most precious bread of knowledge” (2017). Later, Douglass states that the Liberator newspaper "became my meat and drink" (2053). He is a man who thirsts for education. The intensity of his desire explains the path traveled, once again authenticating the story of his life. It infuses a political message into humanity by showing us the motivations and experiences of its protagonist. Throughout the Narrative, Douglass emphasizes that the spirit must be freed before the slave can be free. His life is essentially about implementing this theory. We read the proof even as we understand the concept, experiencing duality again. Douglass's intellectual pursuits also serve to nuance his theories by reminding us that he is a learned orator despite his beginnings as a slave. Much like the typical college diploma displayed on an office wall, proof of one's education is intended to trigger an increased level of respect for one's ideas. Douglass understands that this unique mental life makes him not just an observer, but a leader. It rises above the.

Essay / The Double Mental Life of Frederick Douglass as Described in His Narrative a powerful tool. Douglass is consumed by seemingly contradictory roles. His literacy and eloquence propel him outside the group he is trying to represent. He must therefore shape his character and his narrative voice in a state of constant duality. This duality is located in the space between his life as a slave and his free life, his ignorance and his education, his history and his purpose. He must communicate an authentic slave life in order to be considered a representative of the slave community. But to appeal to his white audience, he must maintain this authenticity despite the intellectual growth that will distinguish him from his fellow slaves. The separation of the group is both dangerous for its legitimacy and necessary for its observation. Douglass must be detached from his history as a slave without losing his connection with it. It also connects with its white audience while remaining an obviously distinct entity. He simultaneously tells a story, acts as a protagonist, and makes an argument. It embraces this complex voice by establishing a narrator stuck between two very distinct realms. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay It is crucial to note that Douglass's narrative is a tool in this struggle for freedom, and so he is certainly invested in making it compelling. The narrative voice he adopts responds to this task. He takes care to create a particular mentality that makes him both authentic in his portrayal of a slave's life and qualified to earn readers' respect. His position as both observer and participant is carefully cultivated until the reader is convinced that he has a distinct perspective: he can experience and analyze at the same time. Douglass skillfully separates himself from the slaves and identifies with them in his life story. He will refer to slaves like himself as "Colonel Lloyd's slaves", and a few lines earlier he had referred to his own position as a slave as "my stay on Colonel Lloyd's plantation" (2011). This is an example of a subtle swing in the narrator's voice, as Douglass occupies the role of both visitor and participant. He cultivates this double voice from the beginning of his Story. Early in his life, even though he was still a slave, he often referred to "slaves" as if he were outside of that group. An example of this observational quality is found in the section on slave songs, “to which [he traces his] first scintillating conception of the dehumanizing character of slavery” (2006). Douglass lets his non-slave readers experience this glimmer by aligning his point of view with theirs. He is an innocent observer impressed by something completely unknown. This childhood perspective is therefore a useful tool, because it connects Douglass to his audience by paralleling their state of innocence. He separates himself from his fellow slaves without losing his quality as an authentic member of their community. His language constructs a state of floating somewhere above or outside the group of which he is actually part: “They would make the old dense woods, miles around, resonate with their wild songs, revealing at the same time the most great joy and the deepest sadness. . They composed and sang as they went, without consulting time or melody. (2005). Douglass clearly excludes himself from this group with the repeated “they.” His separation seems completely natural because he is a child among adults. Observation is itsnatural state in this phase. The exaggeration of phrases such as "for miles around", "greatest joy" and "deepest sadness" sets the necessary tone for childish revelation. Not only does it realistically separate itself to observe and tell, it separates itself by means of the perspective most accessible to the wide-eyed white reader's point of view. Although the naive voice is useful in familiarizing oneself with one's audience, Douglass carefully prevents readers from assuming too much familiarity. He must remain in the space squarely between slave and non-slave to adequately represent one group and win the ear of the other. Moments after adopting his position as an innocent outside observer, Douglass will include himself in the group he is watching. Now, unlike his audience, he is “inside the circle; so that [he] neither saw nor heard as those outside might see and hear” (2006). This disclaimer hits several important aspects of Dougless's task. He explicitly states that his experience is exclusive and somehow mysterious to bring out the authenticity in his voice. He defines the distinct realms of the “inside” and “outside” of the slave experience to emphasize his particular status as a person straddling two worlds. Despite the fact that he separated himself from those who were part of this "circle" to adequately recount their actions and strengthen the appeal of his argument, he easily returns to the circle to become protagonist and representative. This back and forth between “inside” and “outside” is a constant and vital aspect of the story. He constantly strives to tell a good story and make a good point. Douglass's distinctive inner/outer voice not only applies to his role as a slave, but also suggests his status among his readers. The white readership constitutes a category as distinct and exclusive as the “circle” of slaves. And his role within this new group is just as singular and unique. His eloquence and education align him with the culture he speaks to. As the voice of childhood had echoed in their gaze, the establishment of an intellectual life serves to qualify an analyzing mind. Once again, it supports the story and the argument doubly. His intellectual dynamism is an important force in the development of his character. Reading and learning become necessary for Douglass's survival, which he suggests by often comparing them to food. He describes trading real bread from a young age for reading lessons, which he considers “the most precious bread of knowledge” (2017). Later, Douglass states that the Liberator newspaper "became my meat and drink" (2053). He is a man who thirsts for education. The intensity of his desire explains the path traveled, once again authenticating the story of his life. It infuses a political message into humanity by showing us the motivations and experiences of its protagonist. Throughout the Narrative, Douglass emphasizes that the spirit must be freed before the slave can be free. His life is essentially about implementing this theory. We read the proof even as we understand the concept, experiencing duality again. Douglass's intellectual pursuits also serve to nuance his theories by reminding us that he is a learned orator despite his beginnings as a slave. Much like the typical college diploma displayed on an office wall, proof of one's education is intended to trigger an increased level of respect for one's ideas. Douglass understands that this unique mental life makes him not just an observer, but a leader. It rises above the.

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