Definition of Imagery
In Chapter 2, the narrator uses vivid imagery and a metaphor to describe George Harris's reaction after he is removed from his job at the factory:
He folded his arms, tightly pressed in his lips, but a whole volcano of bitter feelings burned in his bosom, and sent streams of fire through his veins. He breathed short, and his large dark eyes flashed like live coals; and he might have broken out into some dangerous ebullition, had not the kindly manufacturer touched him on the arm, and said, in a low tone—“Give way, George; go with him for the present. We’ll try to help you, yet."
In Chapter 4, the narrator uses imagery to provide readers with a description of Tom's cabin, noting that it is "a small log building" near the main house that has a garden full of "strawberries, raspberries, and a variety of fruits and vegetables, flourished under tending." The passage continues:
Unlock with LitCharts A+The whole front of it was covered by a large scarlet bignonia and a native multiflora rose, which, entwisting and interlacing, left scarce a vestige of the rough logs to be seen. Here, also, in summer, various brilliant annuals, such as marigolds, petunias, four-o’clocks, found an indulgent corner in which to unfold their splendors, and were the delight and pride of Aunt Chloe’s heart.
In Chapter 7, the narrator uses vivid imagery to describe Eliza the night she and her son escape the Shelby plantation:
Unlock with LitCharts A+The frosty ground creaked beneath her feet, and she trembled at the sound; every quaking leaf and fluttering shadow sent the blood backward to her heart, and quickened her footsteps. She wondered within herself at the strength that seemed to become upon her; for she felt the weight of her boy as if it had been a feather, and every flutter of fear seemed to increase the supernatural power that bore her on, while from her pale lips burst forth, in frequent ejaculations, the prayer to a Friend above—"Lord, help! Lord, save me!
In Chapter 7, the narrator uses imagery when describing Eliza’s leap over the half-frozen Ohio River, a necessary stop on her journey to Canada:
Unlock with LitCharts A+The huge green fragment of ice on which she alighted pitched and creaked as her weight came on it, but she staid there not a moment. With wild cries and desperate energy she leaped to another and still another cake – stumbling – leaping – slipping – springing upwards again! her shoes are gone – her stockings cut from her feet – while blood marked every step; but she saw nothing, felt nothing, till dimly, as in a dream, she saw the Ohio side, and a man helping her up the bank.
In Chapter 12, the narrator uses vivid imagery to emphasize the enthralling beauty of La Belle Rivière, the boat the slaves are shackled to:
Unlock with LitCharts A+La Belle Rivière, as brave and beautiful a boat as ever walked the waters of her namesake river, was floating gayly down the stream, under a brilliant sky, the stripes and stars of free America waving and fluttering overhead; the guards crowded with well-dressed ladies and gentlemen walking and enjoying the delightful day. All was full of life, buoyant and rejoicing;—all but Haley’s gang, who were stored, with other freight, on the lower deck, and who, somehow, did not seem to appreciate their various privileges, as they sat in a knot, talking to each other in low tones.
In Chapter 32, the narrator uses imagery to describe the Legree plantation:
Unlock with LitCharts A+The house had been large and handsome. It was built in a manner common at the South; a wide verandah of two stories running round every part of the house, into which every outer door opened, the lower tier being supported by brick pillars. But the place looked desolate and uncomfortable; some windows stopped up with boards, some with shattered panes, and shutters hanging by a single hinge,—all telling of coarse neglect and discomfort. Bits of board, straw, old decayed barrels and boxes, garnished the ground in all directions; [...].
Beecher Stowe uses vivid imagery and figurative language to emphasize and foreshadow Tom's death throughout Chapter 40, which is fittingly titled "The Martyr." In the passage below, note how Beecher Stowe uses simile to underscore Uncle Tom’s intense emotions once he hears he is to be murdered:
Unlock with LitCharts A+The savage words none of them reached that ear!—a higher voice there was saying, “Fear not them that kill the body, and, after that, have no more that they can do.” Nerve and bone of that poor man’s body vibrated to those words, as if touched by the finger of God; and he felt the strength of a thousand souls in one. As he passed along, the trees and bushes, the huts of his servitude, the whole scene of his degradation, seemed to whirl by him as the landscape by the rushing car.
In Chapter 4, the narrator uses imagery to provide readers with a description of Tom's cabin, noting that it is "a small log building" near the main house that has a garden full of "strawberries, raspberries, and a variety of fruits and vegetables, flourished under tending." The passage continues:
Unlock with LitCharts A+The whole front of it was covered by a large scarlet bignonia and a native multiflora rose, which, entwisting and interlacing, left scarce a vestige of the rough logs to be seen. Here, also, in summer, various brilliant annuals, such as marigolds, petunias, four-o’clocks, found an indulgent corner in which to unfold their splendors, and were the delight and pride of Aunt Chloe’s heart.