Of One Blood: Or, the Hidden Self

“None of the students associated together in the hive of men under the fostering care of the ‘benign mother’ knew aught of Reuel Briggs’s origin. It was rumored at first that he was of Italian birth, then they ‘guessed’ he was a Japanese, but whatever land claimed him as a son, all voted him a genius in his scientific studies, and much was expected of him at graduation. He had no money, for he was unsocial and shabby to the point of seediness, and apparently no relatives, for his correspondence was limited to the letters of editors of well-known local papers and magazines. Somehow he lived and paid his way in a third-rate lodging-house near Harvard square, at the expense of the dull intellects or the idle rich, with which a great university always teems, to whom Briggs acted as ‘coach,’ and by contributing scientific articles to magazines on the absorbing subject of spiritualistic phenomena.”

The passage describes the protagonist and hints at his biracial identity. Reuel’s light skin allows him to hide his Blackness from his peers and keep his origin a mystery. However, Reuel remains on the margins of society as his biracial identity intertwines with his class struggle. Despite being a gifted medical student, Reuel struggles to make ends meet. His financial troubles prove to be key for his character’s journey as he depends on Aubrey’s benefaction. His interest in spirituality is also established, indicating his interest in the inner self.

“Scarcely waiting for a silence, a female figure rose and came slowly to the edge of the platform and stood in the blaze of lights with hands modestly clasped before her. She was not in any way the preconceived idea of a Negro. Fair as the fairest woman in the hall, with wavy bands of chestnut hair, and great, melting eyes of brown, soft as those of childhood; a willowy figure of exquisite mould, clad in a sombre gown of black. There fell a voice upon the listening ear, in celestial showers of silver that passed all conceptions, all comparisons, all dreams; a voice beyond belief—a great soprano of unimaginable beauty, soaring heavenward in mighty intervals. […] All the horror, the degradation from which a race had been delivered were in the pleading strains of the singer’s voice.”

The first description of Dianthe establishes her similar appearance to Reuel and emphasizes her gift in music. Singing is an important element for Dianthe’s character as it is the only means by which she develops a voice. The expression of her emotional word through songs connects with the larger African American experience. Dianthe’s gift in music allows her to express the desires and troubles of her race and find a liberating outlet.

“He turned his head and saw a female figure just ahead of him in the path, coming toward him. He could not see her features distinctly, only the eyes—large, bright and dark. But their expression! Sorrowful, wistful—almost imploring—gazing straightforward, as if they saw nothing—like the eyes of a person entirely absorbed and not distinguishing one object from another. […] Suddenly she covered her face with her clasped hands, as if in uncontrollable grief. Moved by a mighty emotion, Briggs addressed the lonely figure: ‘You are in trouble, madam; may I help you?’ Briggs never knew how he survived the next shock. Slowly the hands were removed from the face and the moon gave a distinct view of the lovely features of the jubilee singer—Dianthe Lusk. She did not seem to look at Briggs, but straight before her, as she said in a low, clear, passionless voice: ‘You can help me, but not now; tomorrow.’”

The passage describes Dianthe’s second appearance as a vision to Reuel. Reuel’s visions of Dianthe signify their connection but also come to symbolize