Ed Piacentino, Seeds of Rebellion in Plantation Fiction: Victor Séjour's "The Mulatto"

"The Mulatto" features a frame narrator, a white man who functions as a sympathetic and tolerant sounding board to whom Antoine, an old man still presumably a slave and the story's embedded narrator, freely recounts a harrowing narrative of his friend Georges, a mulatto slave whose master is also his biological father.3 It is Georges's master-father, Alfred, against whom Georges directs retributive justice, killing him for allowing Georges's wife to be put to death for spurning Alfred's sexual advances. After poisoning Alfred's wife, Georges beheads his master with an ax and then takes his own life upon discovering that he has murdered his own father. Séjour's tragic narrative reveals that the slave, like his master, has succumbed to evil as his depravity stems from the corrupting effects of slavery.

Séjour's character, Antoine, a proud, imposing, elderly slave raconteur, creates a narrative that exposes the psychological tensions and physical violence brought about by the violation of the humanity of black slaves and which affects slave owners as well as their bondpersons. Antoine comfortably and confidently addresses a nameless white listener, an individual about whom he feels no rigid class or race barriers. Moreover, this man, who serves as the frame narrator, gives us Antoine's story of Georges apparently as it was told to him, an uncensored, melodramatic tale of the tragedy spawned by slavery, with his primary focus being on the victims of its inhumanities. Antoine's story of Georges, which evokes sympathy for the innocent black slave characters suffering under white oppression, exemplifies racial melodrama, anticipating the form that Linda Williams examines in Playing the Race Card: Melodramas in Black and White, From Uncle Tom to O. J. Simpson. Williams, who views melodrama as typifying "popular American narrative . . . when it seeks to engage with moral questions," notes that the "moral legibility" of actions within racial melodramas depends upon the representation of victimized innocents who acquire virtue through suffering, a script intended to evoke the social consciences and emotions of readers (12, 17).

In Antoine's embedded narrative, the master Alfred is depicted as a vain, hideous and merciless villain and the slaves whom he exploits physically and emotionally—Laïsa, Georges's mother; Georges, his unacknowledged son; and Zelia, Georges's wife—all become lost innocents, unnecessary victims of the white man. As Antoine begins to talk, prefacing the story, it becomes clear that he can vent his discontent and outrage blatantly and speak honestly to the authorial narrator, even to the extent of adopting a cynically editorializing voice and using ideological discourse. In his encounter with this white man, Antoine's effectiveness as a functional mouthpiece and as a credible and reliable character is not diminished by such annoyances as dialect and and humiliatingly submissive behavior in his encounter with this white man, especially for today's readers who are knowledgeable of black portraiture in nineteenth-century American white-authored texts such as John Pendleton Kennedy's Swallow Barn (1832), William Gilmore Simms's The Yemassee (1835), and Joel Chandler Harris's Uncle Remus tales. Antoine preserves his dignity, consequently escaping reduction to a stereotype. After shaking hands with the white man, who treats him with dignity, Antoine receives a reaffirmation, an invitation to voice his stark, bitter recollections of the dehumanizing effects of slavery. Antoine's monologue begins with an undiluted tirade precipitated by his thoughts of the story he is about to tell of the ill-fated Georges and his master-father:

"But you know, do you not, that a negro's as vile as a dog; society rejects him; men detest him; the laws curse him. . . . Yes, he's a most unhappy being, who hasn’t even the consolation of always being virtuous. . . . He may be born good, noble, and generous; God may grant him a great and loyal soul; but despite all that, he often goes to his grave with bloodstained hands, and a heart hungering after yet more vengeance. For how many times has seen the dreams of his youth destroyed? How many times has experience taught him that his good deeds count for nothing, and that he should love neither his wife nor his son; for one day the former will be seduced by the master, and his own flesh and blood will be sold and transported away despite his despair. What, then, can you expect him to become? Shall he smash his skull against the paving stones? Shall he kill his torturer? Or do you believe the human heart can find a way to bear such misfortune?"

"You'd have to be mad to believe that," he continued, heatedly. "If he continues to live it can only be for vengeance; for soon he shall rise. . . and, from the day he shakes off his servility, the master would do better to have a starving tiger raging beside him than to meet that man face to face." (354)