"For years, my master had done his utmost to pollute my mind with foul images, and to destroy the pure principles inculcated by my grandmother, and the good mistress of my childhood"
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Jacobs compresses years of sexual predation into the language of moral contamination, a move that’s both strategic and devastating. “Pollute my mind” and “foul images” don’t just signal personal distress; they translate coercion into the era’s most legible vocabulary of injury. In a 19th-century culture that treated female “purity” as both virtue and currency, Jacobs shows how slavery weaponized that code: the “master” isn’t merely violating a body, he’s staging an assault on consciousness, trying to colonize what she sees, thinks, and believes about herself.
The phrase “done his utmost” implies persistence and entitlement, the slow grind of harassment normalized as routine. Jacobs also refuses the sentimental escape hatch that enslavers sometimes granted themselves by claiming desire as romance. Her diction makes it clear: this is not courtship, it’s a deliberate campaign “to destroy” principles. The target is her interior life, the part of her that might remain hers.
Then she tightens the contrast by invoking two women: “my grandmother” and “the good mistress of my childhood.” That pairing is loaded. It locates Jacobs’s moral formation in female care across racial lines, while underscoring how quickly “mistress” can flip from benevolent memory to the brutal reality of “master.” The subtext is a grim indictment of a system that forces enslaved girls to defend their virtue without the protections that virtue was supposed to confer. Jacobs is not pleading for respectability; she’s exposing how slavery makes respectability a trap.
The phrase “done his utmost” implies persistence and entitlement, the slow grind of harassment normalized as routine. Jacobs also refuses the sentimental escape hatch that enslavers sometimes granted themselves by claiming desire as romance. Her diction makes it clear: this is not courtship, it’s a deliberate campaign “to destroy” principles. The target is her interior life, the part of her that might remain hers.
Then she tightens the contrast by invoking two women: “my grandmother” and “the good mistress of my childhood.” That pairing is loaded. It locates Jacobs’s moral formation in female care across racial lines, while underscoring how quickly “mistress” can flip from benevolent memory to the brutal reality of “master.” The subtext is a grim indictment of a system that forces enslaved girls to defend their virtue without the protections that virtue was supposed to confer. Jacobs is not pleading for respectability; she’s exposing how slavery makes respectability a trap.
Quote Details
| Topic | Human Rights |
|---|---|
| Source | Harriet A. Jacobs, Incidents in the Life of a Slave Girl, Written by Herself (1861). Full text (public domain) — passage appears in Jacobs's autobiographical narrative describing her master's attempts to corrupt her. |
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