# Dred, A Tale of the Great Dismal Swamp

Dred: A Tale of the Great Dismal Swamp is the second popular novel from American author Harriet Beecher Stowe. It was first published in two volumes by Phillips, Sampson and Company in 1856. Although it enjoyed better initial sales than her previous, and more famous, novel Uncle Tom's Cabin, it was ultimately less popular. Dred was of a more documentary nature than Uncle Tom's Cabin and thus lacked a character like Uncle Tom to evoke strong emotion from readers.
    Warning: template has been deprecated.
Dred;
A
Tale of the great dismal swamp.
by
harriet beecher stowe.
author of "Uncle Tom's Cabin."
"Away to the Dismal Swamp he speeds,— His path was rugged and sore, Through tangle juniper, beds of reeds, Through many a fen, where the serpent feeds, And man never trod before.
And, when on the earth he sunk to sleep, If slumber his eyelids knew, He lay where the deadly vine doth weep Its venomous tears, that nightly steep The flesh with blistering dew."
in two volumes.
vol. i.
boston;
philips, sampson, and company.
1856.
Entered according to Act of Congress, in the year 1856, by
harriet beecher stowe,
In the Clerk's Office of the District Court of the District of Massachusetts.
stereotyped by
hobart & robbins,
new england type and stereotype foundery,
boston
Preface.
The writer of this book has chosen, once more, a subject from the scenes and incidents of the slaveholding states.
The reason for such a choice is two-fold. First, in a merely artistic point of view, there is no ground, ancient or modern, whose vivid lights, gloomy shadows and grotesque groupings, afford to the novelist so wide a scope for the exercise of his powers. In the near vicinity of modern civilization of the most matter-of-fact kind, exist institutions which carry us back to the twilight of the feudal ages, with all their exciting possibilities of incident. Two nations, the types of two exactly opposite styles of existence, are here struggling; and from the intermingling of these two a third race has arisen, and the three are interlocked in wild an singular relations, that evolve every possible combination of romance.
Hence, if the writer's only object had been the production of a work of art, she would have felt justified in not turning aside from that mine whose inexhaustible stores have but begun to be developed.
But this object, however legitimate, was not the only nor the highest one. It is the moral bearings of the subject involved which have had the chief influence in its selection.
The issues presented by the great conflict between liberty and slavery do not grow less important from year to year. On the contrary, their interest increases with every step in the development of the nation career. Never has there been a crisis in the history of this nation so momentous as the present. If ever a ​nation was raised up by Divine Providence, and led forth upon a conspicuous stage, as if for the express purpose of solving a great moral problem in the sight of all mankind, it is this nation. God in his providence is now asking the American people, Is the system of slavery, as set forth in the American slave code, right? Is it so desirable , that you will directly establish it over broad regions, where, till now, you have solemnly forbidden it to enter? And this question the American people are about to answer. Under such circumstances the writer felt that no apology was needed for once more endeavoring to do something towards revealing to the people the true character of that system. If the people are to establish such a system, let them do it with their eyes open, with all the dreadful realities before them.
One liberty has been taken which demands acknowledgment in the outset. The writer has placed in the mouth of one of her leading characters a judicial decision of Judge Ruffin, of North Carolina, the boldness, clearness, and solemn eloquence of which have excited admiration both in the Old World and the New. The author having no personal acquaintance with that gentleman, the character to whome she attributes it is to be considered as created merely on a principle of artistic fitness.
To maintain the unity of the story, some anachronisms with regard to the time of the session of courts have been allowed; for works of fiction must sometimes use some liberties in the grouping of incidents.
But as mere cold art, unquickened by sympathy with the spirit of the age, is nothing, the author hopes that those who now are called to struggle for all that is noble in our laws and institutions may find in this book the response of a sympathizing heart.
contents
of volume I.
chapter i.
page
chapter ii.
chapter iii.
chapter iv.
chapter v.
chapter vi.
chapter vii.
chapter viii.
chapter ix.
chapter x.
chapter xi.
chapter xii.
chapter xiii.
chapter xiv.
chapter xv.
chapter xvi.
chapter xvii.
chapter xviii.
chapter xix.
chapter xx.
chapter xxi.
chapter xxii.
chapter xxiii.