"The secrets of slavery are concealed like those of the Inquisition"
About this Quote
Jacobs lands this line like a lit match in a dark room: slavery, she argues, doesn’t merely brutalize people; it perfects a system for hiding its own brutality. By likening American slavery to the Inquisition, she reaches for an institution that even her 19th-century readers could comfortably condemn as fanatic, secretive, and morally grotesque. That comparison isn’t casual name-calling. It’s a strategic theft of moral consensus. If the Inquisition is shorthand for torture conducted behind closed doors and justified by sanctimony, then slavery must be understood the same way: not as a regrettable economic arrangement but as a regime of surveillance, coercion, and punishment that depends on invisibility.
The subtext is aimed at Northern innocence. Jacobs is warning that polite society’s picture of slavery is curated propaganda, and that the most damning evidence is structurally hard to access. She’s also pointing to a gendered dimension that many abolitionist arguments sidestepped. In her narrative, the “secrets” include sexual exploitation, domestic captivity, and the psychological warfare of being owned in spaces that look, from the outside, like ordinary households. The plantation and the parlor share a wall.
Context matters: Jacobs wrote as an escaped enslaved woman addressing an audience that could choose disbelief as a comfort. The Inquisition analogy functions as a rhetorical crowbar, prying open the reader’s imagination where firsthand testimony might otherwise be dismissed as exceptional or impolite. It’s a demand: stop asking for nicer proof of a system designed to erase its own receipts.
The subtext is aimed at Northern innocence. Jacobs is warning that polite society’s picture of slavery is curated propaganda, and that the most damning evidence is structurally hard to access. She’s also pointing to a gendered dimension that many abolitionist arguments sidestepped. In her narrative, the “secrets” include sexual exploitation, domestic captivity, and the psychological warfare of being owned in spaces that look, from the outside, like ordinary households. The plantation and the parlor share a wall.
Context matters: Jacobs wrote as an escaped enslaved woman addressing an audience that could choose disbelief as a comfort. The Inquisition analogy functions as a rhetorical crowbar, prying open the reader’s imagination where firsthand testimony might otherwise be dismissed as exceptional or impolite. It’s a demand: stop asking for nicer proof of a system designed to erase its own receipts.
Quote Details
| Topic | Human Rights |
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