Archibald H. Grimke, William Lloyd Garrison the Abolitionist

[123] are chattels, and classed with “horses and other cattle,” and where the tortures of the whipping-post are in vigorous operation. Here was a message, which every slave, however ignorant and illiterate could read. His instinct would tell him, wherever he saw the pictured horror, that a friend, not an enemy, had drawn it, but for what purpose? What was the secret meaning, which he was to extract from a portrayal of his woes at once so real and terrible. Was it to be a man, to seize the knife, the torch, to slay and burn his way to the rights and estate of a man? Garrison had put no such bloody import into the cut. It was designed not to appeal to the passions of the slaves, but to the conscience of the North. But the South did not so read it, was incapable, in fact, of so reading it. What it saw was a shockingly realistic representation of the wrongs of the slaves, the immediate and inevitable effect of which upon the slaves would be to incite them to sedition, to acts of revenge. Living as the slaveholders were over mines of powder and dynamite, it is not to be marveled at that the first flash of danger filled them with apprehension and terror. The awful memories of San Domingo flamed red and dreadful against the dark background of every Southern plantation and slave community. In the “belly” of the Liberator's picture were many San Domingos. Extreme fear is the beginning of madness; it is, indeed, a kind of madness. The South was suddenly plunged into a state of extreme fear toward which the Liberator and “Walker's appeal” were hurrying it, by one of those strange accidents or coincidences of history.