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 In the words of Harriet Beecher Stowe’s contemporary, George Fitzhugh, a Southern writer about whom there is much said in Chapter 6, “To defend and justify mere negro slavery, and condemn other forms of slavery, is to give up expressly the whole cause of the South–for mulattoes, quadroons, and men with as white skins as any of us, may legally be, and in fact are, held in slavery in every State of the South.

The abolitionists well know this, for almost the whole interest of Mrs. Stowe’s Uncle Tom’s Cabin, arises from the fact, that a man and woman, with fair complexions, are held as slaves.” Up through 1861 no less than seventeen novels utilized a stereotype known as the “tragic mulatto.”

The heroes and heroines featured in these novels had light or white complexions and found themselves in such “tragic” situations as the surprise discovery of slave status, death before dishonor, or being sold into slavery. William Bedford Clark has studied this genre and states that a white-looking woman was most often the “tragic mulatto” in such stories.

This choice was absolutely intentional. “As students of this tradition note, the fact that the slave protagonist in such novels was to all appearances white and shared the characteristics of the typical white heroine of melodramatic romance helped address the arbitrary nature of racial distinctions in general and therefore short-circuited whatever racial biases the northern audience itself maintained.”

The Octoroon, a very popular play scheduled to be performed at Ford’s Theatre the night after Lincoln attended Our American Cousin there, shows that the “tragic mulatto” character had broad appeal and was not limited to novels. White readers and theatergoers were readily able to identify with white or nearly white characters and their oppression under slavery.

This explains the reason they were utilized instead of characters with darker complexions. There were two distinctly different ways of looking at white mulattoes–socially and physiologically. Socially, a white partus slave looked as white as any white person but was considered a black person because he or she had “one drop” of black blood from a distant black female ancestor who was a slave. Such was the case when Mr. C. was told,

“That’s not a white girl; she is a nigger, sir.” Physiologically speaking, however, white partus slaves were white people because all traits of their remote black ancestry had disappeared. The North saw these white slaves as whites. The South saw these white slaves as blacks. An 1857 issue of the Chicago Daily Tribune commented on racial classification in the South.

“The southern census takers, it is notorious, returned all persons as blacks who, were not more than half white. Those who possessed straight hair and Anglo-Saxon features they set down as mulattoes, many of whom were as white-skinned as their owners.”

The actual number of white mulatto slaves is unknowable because all shades from “one drop” to those showing some discernible degree of black admixture were classed together as mulattoes without any distinction as to color.

Travelers who spoke of white slaves in the South, advertisements for white runaway slaves, newspaper articles about white slaves, and light and white heroes and heroines in “tragic mulatto” fiction all served to validate that there were white people who were enslaved in the South. Disbelievers were shown, in the words of the newspaper article cited earlier, that “Slavery has no ‘prejudice against color.’