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mùlù ·zuòpǐn: 《tānɡ mǔ shū shū de xiǎo wū Uncle Tom's Cabin》 ·yuèdòu《tānɡ mǔ shū shū de xiǎo wū Uncle Tom's Cabin》 ·tóng míng diàn yǐng ·xiǎo shuō bèi jǐng ·xiǎo shuō de qǐ yuán ·fā biǎo yǔ chū bǎn ·qíng jié gài yào ·zhù yào rén wù ·zhù tí ·fēng gé ·duì xiǎo shuō de fǎn yìng ·kè bǎn yìn xiàng de chǎn shēng yǔ pǔ jí ·fǎn tānɡ mǔ wén xué ·xì jù gǎi biān ·píng jià ·shū lù ·yīngwénjièshì ·bāo hán cí ·gèngduōjiéguǒ... tānɡ mǔ shū shū de xiǎo wū Uncle Tom's Cabin zuòzhě: sī tuō fū rén Harriet Beecher Stowe yuèdòu《tānɡ mǔ shū shū de xiǎo wū Uncle Tom's Cabin》!!! 　　《 tānɡ mǔ shū shū de xiǎo wū 》 zhè běn shū kě yǐ shuō shì yǐn fā liǎo měi guó nán běi zhàn zhēng de xiǎo shuō， shì měi guó dì yī bù jù yòu xiān míng mín zhù qīng xiàng de zuò pǐn , shì měi guó wén xué shǐ shàng yī gè zhòng yào wén xué liú pài héng héng fèi nú wén xué de dài biǎo zuò , wéi měi guó wén xué diàn dìng liǎo dì yī kuài xiàn shí zhù yì jī shí。 　　 　　《 tānɡ mǔ shū shū de xiǎo wū 》 - zuò pǐn jiǎn jiè 　　 　　 zuò zhě：（ měi guó） hǎi ruì tè · bǐ chè · sī tuō fū rén（ 1811-1869 nián） 　　 lèi xíng： xiǎo shuō 　　 chéng shū shí jiān： 1852 nián 　　《 tānɡ mǔ shū shū de xiǎo wū 》 - zuò zhě jiǎn jiè 　　 　　《 tānɡ mǔ shū shū de xiǎo wū 》 bǐ chè · sī tuō fū rén 　　 bǐ chè · sī tuō fū rén chū shēng yú měi guó kāng niè dí gé zhōu yī gè zhèng tǒng díkǎ 'ěr wén jiào pài de mù shī jiā tíng， yòu nián shí qī jí kāi shǐ jiē shòu jī dū jiào jiào yù， zōng jiào diǎn jí hé sī gè tè、 bài lún、 dí gèng sī、 kù bǎi děng wén xué dà jiā de zhù zuò bàn zhe tā dù guò liǎo qīng shàonián shí dài。 qīng nián shí tā dāng guò zhōng xué jiào shī， suí hòu jià gěi liǎo yī wèi shén xué yuàn de jiào yuán。 20 suì shí， tā quán jiā bān wǎng xīn xīn nà tí shì， cóng cǐ zài nà lǐ zhù liǎo 18 nián。 tā de jiā yǔ xù nú de cūn zhuāng zhǐ yòu yī hé zhī gé， yòu jī huì jiē chù yī xiē táo wáng de nú lì。 tā de gē gē céng zài bō shì dùn jiào táng fā biǎo guò jī liè de fèi nú yǎn jiǎng， lìng yī wèi gē gē zé zài bù lǔ kè lín jiào táng jǔ xíng “ tè shū de hēi nú pāi mài ”， ràng hēi nú huò dé zì yóu。 1850 nián tā lái dào kěn tǎ jī zhōu de yī gè zhòngzhí yuán， cóng cǐ liǎo jiě dào hēi nú bēi cǎn de shēng huó， tā jué dìng bǎ zì jǐ 'ěr wén mù dǔ de shì shí dū xiě chū lái。 　　 　　 zhè bù xiǎo shuō shǒu xiān yú 1852 nián zài《 mín zú shí dài》 kān wù shàng liánzǎi， lì jí yǐn qǐ qiáng liè de fǎn xiǎng， shòu dào rén men wú yǔ lún bǐ de huān yíng。 tóng shí， zhè bù xiǎo shuō zài 19 shì jì 50 nián dài de měi guó， zhèng shì làng màn zhù yì zhàn wén xué zhù liú de shí hòu， tā de fā biǎo duì měi guó wén xué xiàng xiàn shí zhù yì fā zhǎn chǎn shēng liǎo shēn kè de yǐng xiǎng。 　　 　　 tuī jiàn yuè dú bǎn běn： pú lóng děng yì， sān lián shū diàn chū bǎn。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 - nèi róng jīng yào 　　 　　 tānɡ mǔ shì kěn tǎ jī zhōu zhuāng yuán zhù xiè 'ěr bǐ jiā de yī gè hēi nú， yīn wéi tā wéi rén zhōng shí、 dé lì， qiě duì rén yǒu 'ài、 lè yú bāng zhù rén， shēn shòu zhuāng yuán zhù yī jiā hé qí tā nú lì de xǐ 'ài， yóu qí shì xiè 'ěr bǐ de 'ér zǐ qiáo zhì shàoye fēi cháng xǐ huān tā， chēng tā wéi tānɡ mǔ shū shū。 tānɡ mǔ shū shū de xiǎo wū shì yī jiān mù tóu fáng zǐ， wū lǐ guà zhe jǐ fú shèng jīng gù shì chā tú， tā de qī zǐ kè luò yī shěn shěn shì zhuāng yuán de chú niàn， tā men yòu sān gè hái zǐ。 　　 　　 xiè 'ěr bǐ zài gǔ piào shì chǎng shàng tóu jī shī bài， wèile hái zhài， jué dìng bǎ liǎng gè nú lì mài diào。 yī gè shì tānɡ mǔ， lìng yī gè shì hēi bái hùn xuè zhǒng nǚ nú yī lì suō de 'ér zǐ hā lì。 　　 　　 yī lì suō bù shì yī gè fǔ shǒu tiē 'ěr sǐ xīn tā dì tīng zhù rén bǎi bù de nú lì， dāng tā 'ǒu rán tīng dào zhù rén yào mài diào tānɡ mǔ hé zì jǐ de 'ér zǐ hā lì hòu， jiù jué dìng táo páo。 lín zǒu qián tā lái dào tānɡ mǔ shū shū de xiǎo wū gào sù tā yī qiē。 tānɡ mǔ shū shū xiǎng dào， rú guǒ tā yī táo zǒu， bié de nú lì jiù huì zāo dào bèi mài de mìng yùn， zhù rén yě yào sàng shī suǒ yòu de chǎn yè。 tā jué dìng liú xià lái， nìngyuàn zì jǐ rěn shòu yī qiē tòng kǔ。 yī lì suō dài zhe hái zǐ qí jì bān dì táo tuō nú lì fàn zǐ de zhuī bǔ， lái dào bīng hé duì 'àn de zì yóu zhōu， zài nà lǐ yǔ huò dé fèi nú zǔ zhì bāng zhù 'ér táo tuō de zhàng fū huì hé， yī jiā rén táo wǎng jiā ná dà， chéng wéi liǎo zì yóu rén。 　　 　　 tānɡ mǔ bèi zhuǎn mài dào xīn 'ào 'ěr liáng， zài qián wǎng zhòngzhí yuán de chuán shàng， tā jiù liǎo yī gè xiǎo gū niàn yī wá。 yī wá de fù qīn shèng · kè lāi chū yú gǎn jī jiāng tānɡ mǔ mǎi liǎo guò lái， dāng zuò zì jǐ jiā de chē fū。 tānɡ mǔ hé yī wá jiàn lì liǎo gǎn qíng。 liǎng nián hòu yī wá tū rán bìng sǐ。 shèng · kè lāi jué dìng 'àn zhào nǚ 'ér shēng qián de yuàn wàng jiě fàng tānɡ mǔ hé qí tā hēi nú。 kě shì tā hái méi yòu lái dé jí bàn tuǒ jiě fàng de fǎ lǜ shǒu xù， jiù zài yī cì yì wài shì gù zhōng sǐ qù。 shèng · kè lāi de qī zǐ wèi zūn cóng zhàng fū hé nǚ 'ér de yí yuàn， fǎn 'ér jiāng suǒ yòu hēi nú sòng qù pāi mài。 　　 　　 xīn zhù rén lāi gé lì shì gè mián huā zhòngzhí yuán zhù， fēi cháng cán bào。 tānɡ mǔ rěn shòu zhe zhè fēi rén de zhé mó， mò mò dì fèng xíng zhe zuò yī gè zhèng zhí rén de yuán zé， jiāng zì jǐ de nèi xīn fèng xiàn gěi yǒng héng de shàng dì。 tā xié zhù liǎng gè nǚ nú táo páo， dàn zì jǐ réng rán liú xià lái， hé qí tā kě lián de hēi nú zài yī qǐ。 lāi gé lì bào tiào rú léi， bǎ tānɡ mǔ kǔn bǎng qǐ lái， biān dǎ dé pí kāi ròu zhàn， sǐ qù huó lái。 tānɡ mǔ zhī dào shēng mìng de zuì hòu shí kè jí jiāng lái lín， tā shuō：“ wǒ shénme dōuzhī dào， lǎo yé， dàn shì wǒ shénme yě bù néng shuō， wǒ nìngyuàn sǐ！” 　　 　　 liǎng tiān hòu， tā guò qù de zhù rén de 'ér zǐ qiáo zhì · xiè 'ěr bǐ gǎn lái shú mǎi tānɡ mǔ。 dàn shì yǐ jīng tài wǎn liǎo， tānɡ mǔ zài mí liú zhī jì duì qiáo zhì shàoye lù chū liǎo kuān wèi de xiào róng， lí kāi liǎo rén shì。 qiáo zhì bǎ tānɡ mǔ zàng zài yī gè xiǎo qiū shàng， tā guì zài tānɡ mǔ de fén tóu shuō：“ wǒ xiàng nǐ qǐ shì， cóng xiàn zài qǐ， wǒ yuàn jìn wǒ de yī qiē lì liàng， bǎ kě zǔ zhòu de nú lì zhì dù cóng wǒ men de guó tǔ shàng xiāo miè diào。” 　　 　　 huí dào jiā xiāng kěn tǎ jī hòu， qiáo zhì jiù yǐ tānɡ mǔ dà shū de míng yì jiě fàng liǎo tā míng xià de suǒ yòu hēi nú， bìng duì tā men shuō：“ nǐ men měi cì kàn jiàn tānɡ mǔ dà shū de xiǎo wū， jiù yīnggāi lián xiǎng qǐ nǐ men de zì yóu。” 　　《 tānɡ mǔ shū shū de xiǎo wū 》 - zhuān jiā diǎn píng 　　 　　1862 nián de mǒu rì， yóuchāi gěi sī tuō fū rén sòng lái liǎo yī fēng mò shēng de xìn， zhè shì yī fēng lái zì bái gōng de xìn。 qǔ chū liǎo xìn， dǎ kāi xìn jiān， tā xiān qù kàn mò wěi de qiān míng， lín kěn， shì lín kěn zǒng tǒng má？ tā jiǎn zhí nán yǐ xiāng xìn zì jǐ huì shōu dào zǒng tǒng de xìn。 lín kěn zǒng tǒng yāo qǐng tā dào bái gōng qù， zǒng tǒng shuō：“ wǒ mendōu xiǎng tīng tīng nǐ shì zěn yàng xiě liǎo nà bù dǎo zhì yīcháng wěi dà zhàn zhēng de shū。” sī tuō fū rén de shǒu yòu xiē chàn dǒu liǎo， yǎn lèi dùn shí yǒng liǎo chū lái。 duì yī gè qián chéng dì xìn yǎng shàng dì de jiā tíng zhù fù lái shuō， tā cóng lái méi yòu xiǎng guò yào huò qǔ zǒng tǒng jiē jiàn zhè yàng de róng yù， tā zhǐ shì xiǎng bǎ zì jǐ suǒ yòu jiàn dào de yī qiēdōu xiě chū lái ràng dà jiā liǎo jiě。 　　 　　 lín kěn zǒng tǒng suǒ wèi de nà běn“ dǎo zhì yīcháng wěi dà zhàn zhēng de shū” shì《 tānɡ mǔ shū shū de xiǎo wū 》。 kě yǐ háo bù yóu yù dì shuō， zhè běn xiǎo shuō què shì dǎo zhì liǎo yīcháng zhàn zhēng， zhè zài shì jiè wén huà shǐ shàng shì bù duō jiàn de。 　　 　　1852 nián 6 yuè qǐ， zhè bù《 tānɡ mǔ shū shū de xiǎo wū 》 kāi shǐ zài huá shèng dùn yī jiā zhōu kān shàng liánzǎi， yǐn qǐ liǎo hōng dòng。 xiǎo shuō chū bǎn jǐn dì yī nián jiù zài guó nèi yìn liǎo 100 duō bǎn， xiāo liǎo 30 duō wàn cè。 tā hái xiǎng bù dào zhè bù zuò pǐn huì gěi tā de zǔ guó dài lái shénme。 dāng shí lín kěn zhèng lǐng dǎo zhe hàn wèi měi guó tǒng yī de nán běi zhàn zhēng， fēi cháng xū yào bái rén xiōng dì hé hēi rén xiōng dì tuán jié qǐ lái。 zài zhè jué dìng měi guó tǒng yī de guān jiàn de lì shǐ shí kè，《 tānɡ mǔ shū shū de xiǎo wū 》 bǐ rèn hé jūn lìng hé zhèng fǔ wén jiàn chǎn shēng de zuò yòng dū gèng yòu lì。 dàn shì， tā de zuò pǐn yě bèi zhǐ zé wéi“ wāi qū shì shí”。 sī tuō fū rén zhè shí shēn gǎn shè huì duō me fù zá， tā kàn qīng liǎo nà xiē zhǐ zé tā de rén shì dài biǎo nán fāng nú lì zhù lì yì de shì lì。 dàn tā hái cóng wèi xiǎng guò， shàn liáng huì zāo dào jiān ruì de fǎn duì。 xiàn zài tā de fǎn duì zhě men zhōng yú bǎ tā zào jiù chéng yī gè zhàn shì， yī gè shòu dào lín kěn jiāng jūn zàn shǎng de zhàn shì。 wèile huí dá nà xiē duì tā de fēinàn hé wū miè， sī tuō fū rén yǒng gǎn dì xiě chū《 guān yú 〈 tānɡ mǔ shū shū de xiǎo wū 〉 de shuō míng》， gōng bù liǎo xiě zuò de bèi jǐng cái liào、 wén jiàn、 yì shì、 tán huà jì yào děng děng， yú shì shì jiè kàn dào， zhè bù xiǎo shuō yuán běn jiù shì gēn jù xiāng dāng zhēn shí de gù shì xiě de。 nà shí kè tā méi yòu xiǎng dào， zì jǐ huì zài jué dìng zǔ guó tǒng yī de nán běi zhàn zhēng zhōng， yòng yī zhī“ shàng dì zhī bǐ”， yǔ lín kěn jiāng jūn lǐng dǎo de jūn tuán chéng wéi tóng yī gè zhàn háo lǐ de zhàn yǒu。 tā de zuò pǐn shǐ tóu rù lín kěn jiāng jūn bù duì de hēi rén bù duàn zēng duō， shì shí shàng， tā de zuò pǐn bù jǐn dài biǎo hēi nú lì yì， yě dài biǎo měi guó bái rén lì yì。 tā de zuò pǐn kuò dà liǎo lín kěn jiāng jūn“ zhèng yì zhī shī” de zhàn dǒu lì。 nà chǎng zhàn zhēng shèng lì liǎo。 nà shí kè tā hái xiǎng bù dào， yòu yī tiān měi guó zhù míng zuò jiā chá 'ěr sī · sà mǔ nà huì zhè yàng xiě dào：“ yào shì méi yòu sī tuō fū rén de《 tānɡ mǔ shū shū de xiǎo wū 》， lín kěn yě jiù bù kě néng dāng xuǎn wéi měi guó zǒng tǒng。” měi guó de tǒng yī dé dào gǒng gù， měi guó de guó lì zì lín kěn hòu dé dào xùn sù fā zhǎn， yǐ zhì zài 20 shì jì shēn kè dì yǐng xiǎng liǎo zhěng gè shì jiè， nà lǐ miàn yòu sī tuō fū rén zài“ lì shǐ guān tóu” de jié chū láo dòng。 tā de zuò pǐn bù jǐn yǐng xiǎng liǎo měi guó， yě fēng bào bān dì yǐng xiǎng liǎo lā dīng měi zhōu hēi nú de jiě fàng， bìng piào yáng guò hǎi chuán biàn 'ōu zhōu， yī gè duō shì jì yǐ lái yī zhí shì rén men fǎn duì zhǒng zú qí shì de yòu lì wǔ qì。 　　 　　《 tānɡ mǔ shū shū de xiǎo wū 》 yī gè nián lǎo de nú lì bèi qiāng shā 　　 zhè bù xiǎo shuō kě yǐ shuō shì měi guó fǎn duì xù nú zhì de xuān yán shū， píng lùn jiè rèn wéi běn shū zài qǐ fā mín zhòng de fǎn nú lì zhì qíng xù shàng qǐ liǎo zhòng dà zuò yòng， bèi shì wéi měi guó nèi zhàn de qǐ yīn zhī yī。 duì yú měi guó nán běi zhàn zhēng， yóu qí shì běi fāng de shèng lì qǐ dào liǎo jù dà de zuò yòng， suǒ yǐ， dāng zǒng tǒng lín kěn zài jiē jiàn sī tuō fū rén shí， chēng tā wéi“ xiě liǎo yī běn shū 'ér niàng chéng zhè chǎng dà zhàn de xiǎo fù rén”。 tóng shí，《 tānɡ mǔ shū shū de xiǎo wū 》 bèi yì chéng 20 duō zhǒng wén zì zài guó wài chū bǎn， wéi měi guó jí shì jiè fàn wéi nèi de fèi nú yùn dòng tí gōng liǎo yú lùn shàng de zhī chí。 dàn shì， zhè bù xiǎo shuō yě yòu tā de bù zú zhī chù， jí xuān yáng chōu xiàng de jī dū jiào yì， jí yǐ dé bào yuàn、 nì lái shùn shòu de“ tānɡ mǔ shū shū zhù yì”。 　　 　　 měi guó tú shū guǎn xié huì qián zhù xí zài hào rú yān hǎi de tú shū zhòngxuǎn chū liǎo“ yǐng xiǎng shì jiè lì shǐ de 16 běn shū”， zhè 16 běn shū zhōng zhǐ yòu yī běn shì nǚ zǐ xiě de， zhè jiù shì sī tuō fū rén xiě de《 tānɡ mǔ shū shū de xiǎo wū 》。 　　 　　《 tānɡ mǔ shū shū de xiǎo wū 》 shì yī bù xiàn shí zhù yì jié zuò， zhè bù xiǎo shuō bù jú dú jù jiàng xīn， cǎi yòng chuān chā lún xù de fāng shì， yán zhe liǎng tiáo píng xíng xiàn suǒ miáo shù liǎo liǎng gè hēi nú bù tóng de zāo yù， sù zào liǎo zhōng chéng yǒu shàn dàn nì lái shùn shòu de tānɡ mǔ hé yǒng yú kàng zhēng de yī lì suō fū fù děng diǎn xíng xíng xiàng， bìng tōng guò rén wù hé chǎng jǐng miáo huì xiǎn shì liǎo yī gè shí qī de měi guó shè huì shēng huó miàn mào。《 tānɡ mǔ shū shū de xiǎo wū 》 jì miáo xiě liǎo bù tóng biǎo xiàn hé xìng gé de hēi nú， yě miáo xiě liǎo bù tóng lèi xíng de nú lì zhù zuǐ liǎn。 zuò wéi yī běn wén xué zuò pǐn， měi guó zhù míng shī rén hēng lì · lǎng fèi luó shuō tā shì“ wén xué shǐ shàng zuì wěi dà de shèng lì”。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 - miào yǔ jiā jù 　　 　　 shì jiè shàng méi yòu yī jiàn duì suǒ yòu réndōu bù lì de shì qíng。 　　 　　 shì jiè shàng yòu zhè yàng yī xiē yòu fú de rén： tā men bǎ zì jǐ de tòng kǔ huà zuò liǎo tā rén de xìng fú； tā men yì rán mái zàng liǎo zì jǐ rén shēng de xī jì， què ràng zhī biàn chéng zhǒng zǐ， cháng chū liǎo xiān huā hé fēn fāng， wèile gū kǔ de rén yī zhì chuāngshāng。 　　Uncle Tom's Cabin; or, Life Among the Lowly is an anti-slavery novel by American author Harriet Beecher Stowe. Published in 1852, the novel had a profound effect on attitudes toward African Americans and slavery in the United States, so much in the latter case that the novel intensified the sectional conflict leading to the American Civil War. 　　 　　Stowe, a Connecticut-born preacher at the Hartford Female Academy and an active abolitionist, focused the novel on the character of Uncle Tom, a long-suffering black slave around whom the stories of other characters—both fellow slaves and slave owners—revolve. The sentimental novel depicts the reality of slavery while also asserting that Christian love can overcome something as destructive as enslavement of fellow human beings. 　　 　　Uncle Tom's Cabin was the best-selling novel of the 19th century, and the second best-selling book of that century, following the Bible. It is credited with helping fuel the abolitionist cause in the 1850s. In the first year after it was published, 300,000 copies of the book were sold in the United States alone. The book's impact was so great that when Abraham Lincoln met Stowe at the start of the Civil War, Lincoln is often quoted as having declared, "So this is the little lady who made this big war." 　　 　　The book, and even more the plays it inspired, also helped create a number of stereotypes about black people, many of which endure to this day. These include the affectionate, dark-skinned "mammy"; the "pickaninny" stereotype of black children; and the Uncle Tom, or dutiful, long-suffering servant faithful to his white master or mistress. In recent years, the negative associations with Uncle Tom's Cabin have, to an extent, overshadowed the historical impact of the book as a "vital antislavery tool." 　　 　　References for the novel 　　An engraving of Harriet Beecher Stowe from 1872, based on an oil painting by Alonzo Chappel. 　　 　　Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, wrote the novel as a response to the 1850 passage of the second Fugitive Slave Act (which punished those who aided runaway slaves and diminished the rights of fugitives as well as freed blacks[citation needed]). Much of the book was composed in Brunswick, Maine, where her husband, Calvin Ellis Stowe, taught at his alma mater, Bowdoin College. 　　 　　Stowe was partly inspired to create Uncle Tom's Cabin by the autobiography of Josiah Henson, a black slave who lived and worked on a 3,700 acre (15 km²) tobacco plantation in North Bethesda, Maryland owned by Isaac Riley. Henson escaped slavery in 1830 by fleeing to the Province of Upper Canada (now Ontario), where he helped other fugitive slaves arrive and become self-sufficient, and where he wrote his memoirs. Stowe eventually acknowledged that Henson's writings inspired Uncle Tom's Cabin. When Stowe's work became a best-seller, Henson republished his memoirs as The Memoirs of Uncle Tom, and traveled extensively in the United States and Europe. Stowe's novel lent its name to Henson's home—Uncle Tom's Cabin Historic Site, near Dresden, Ontario—which since the 1940s has been a museum. The actual cabin where Henson lived while he was a slave still exists in Montgomery County, Maryland. It is now a part of National Park Service National Underground Railroad Network to Freedom program. 　　 　　American Slavery As It Is: Testimony of a Thousand Witnesses, a volume co-authored by Theodore Dwight Weld and the Grimké sisters, is also a source of some of the novel's content. Stowe also said she based the novel on a number of interviews with escaped slaves during the time when Stowe was living in Cincinnati, Ohio, across the Ohio River from Kentucky, a slave state. In Cincinnati the Underground Railroad had local abolitionist sympathizers and was active in efforts to help runaway slaves on their escape route from the South. 　　 　　Stowe mentioned a number of the inspirations and sources for her novel in A Key to Uncle Tom's Cabin (1853). This non-fiction book was intended to verify Stowe's claims about slavery. However, later research indicated that Stowe did not actually read many of the book's cited works until after the publication of her novel. 　　Publication 　　 　　Uncle Tom's Cabin first appeared as a 40-week serial in National Era, an abolitionist periodical, starting with the June 5, 1851 issue. Because of the story's popularity, the publisher John Jewett contacted Stowe about turning the serial into a book. While Stowe questioned if anyone would read Uncle Tom's Cabin in book form, she eventually consented to the request. 　　Fullpage illustration by Hammatt Billings for Uncle Tom's Cabin (First Edition: Boston: John P. Jewett and Company, 1852). The engraving shows Eliza telling Uncle Tom that she has been sold and is running away to save her child. 　　 　　Convinced the book would be popular, Jewett made the unusual decision (for that time) to have six fullpage illustrations by Hammatt Billings engraved for the first printing. Published in book form on March 20, 1852, the novel soon sold out its complete print run. A number of other editions were soon printed (including a deluxe edition in 1853, featuring 117 illustrations by Billings). 　　 　　In the first year of publication, 300,000 copies of Uncle Tom's Cabin were sold. The book was translated into all major languages, and eventually became the second best-selling book after the Bible. A number of the early editions carried an introduction by Rev James Sherman, a Congregational minister in London noted for his abolitionist views. 　　 　　Uncle Tom's Cabin sold equally well in Britain, with the first London edition appearing in May 1852 and selling 200,000 copies. In a few years over 1.5 million copies of the book were in circulation in Britain, although most of these were pirated copies (a similar situation occurred in the United States). 　　Plot summary 　　Eliza escapes with her son, Tom sold "down the river" 　　 　　The book opens with a Kentucky farmer named Arthur Shelby facing the loss of his farm because of debts. Even though he and his wife, Emily Shelby, believe that they have a benevolent relationship with their slaves, Shelby decides to raise the needed funds by selling two of them—Uncle Tom, a middle-aged man with a wife and children, and Harry, the son of Emily Shelby’s maid Eliza—to a slave trader. Emily Shelby hates the idea of doing this because she had promised her maid that her child would never be sold; Emily's son, George Shelby, hates to see Tom go because he sees the man as his friend and mentor. 　　Simon Legree assaulting Uncle Tom. 　　 　　When Eliza overhears Mr. and Mrs. Shelby discussing plans to sell Tom and Harry, Eliza determines to run away with her son. The novel states that Eliza made this decision because she fears losing her only surviving child (she had already miscarried two children). Eliza departs that night, leaving a note of apology to her mistress. 　　 　　While all of this is happening, Uncle Tom is sold and placed on a riverboat, which sets sail down the Mississippi River. While on board, Tom meets and befriends a young white girl named Eva. When Eva falls into the river, Tom saves her. In gratitude, Eva's father, Augustine St. Clare, buys Tom from the slave trader and takes him with the family to their home in New Orleans. During this time, Tom and Eva begin to relate to one another because of the deep Christian faith they both share. 　　Eliza's family hunted, Tom's life with St. Clare 　　 　　During Eliza's escape, she meets up with her husband George Harris, who had run away previously. They decide to attempt to reach Canada. However, they are now being tracked by a slave hunter named Tom Loker. Eventually Loker and his men trap Eliza and her family, causing George to shoot Loker. Worried that Loker may die, Eliza convinces George to bring the slave hunter to a nearby Quaker settlement for medical treatment. 　　 　　Back in New Orleans, St. Clare debates slavery with his Northern cousin Ophelia who, while opposing slavery, is prejudiced against black people. St. Clare, however, believes he is not biased, even though he is a slave owner. In an attempt to show Ophelia that her views on blacks are wrong, St. Clare purchases Topsy, a young black slave. St. Clare then asks Ophelia to educate her. 　　 　　After Tom has lived with the St. Clares for two years, Eva grows very ill. Before she dies she experiences a vision of heaven, which she shares with the people around her. As a result of her death and vision, the other characters resolve to change their lives, with Ophelia promising to throw off her personal prejudices against blacks, Topsy saying she will better herself, and St. Clare pledging to free Uncle Tom. 　　Tom sold to Simon Legree 　　Fullpage illustration by Hammatt Billings for Uncle Tom's Cabin (First Edition: Boston: John P. Jewett and Company, 1852). Cassy, another of Legree's slaves, is shown ministering to Uncle Tom after his whipping. 　　 　　Before St. Clare can follow through on his pledge, however, he dies after being stabbed while entering a New Orleans tavern. His wife reneges on her late husband's vow and sells Tom at auction to a vicious plantation owner named Simon Legree. Legree (a transplanted northerner) takes Tom to rural Louisiana, where Tom meets Legree's other slaves, including Emmeline (whom Legree purchased at the same time). Legree begins to hate Tom when Tom refuses Legree's order to whip his fellow slave. Legree beats Tom viciously, and resolves to crush his new slave's faith in God. Despite Legree's cruelty, however, Tom refuses to stop reading his Bible and comforting the other slaves as best he can. While at the plantation, Tom meets Cassy, another of Legree's slaves. Cassy was previously separated from her son and daughter when they were sold; unable to endure the pain of seeing another child sold, she killed her third child. 　　 　　At this point Tom Loker returns to the story. Loker has changed as the result of being healed by the Quakers. George, Eliza, and Harry have also obtained their freedom after crossing into Canada. In Louisiana, Uncle Tom almost succumbs to hopelessness, as his faith in God is tested by the hardships of the plantation. However, he has two visions, one of Jesus and one of Eva, which renew his resolve to remain a faithful Christian, even unto death. He encourages Cassy to escape, which she does, taking Emmeline with her. When Tom refuses to tell Legree where Cassy and Emmeline have gone, Legree orders his overseers to kill Tom. As Tom is dying, he forgives the overseers who savagely beat him. Humbled by the character of the man they have killed, both men become Christians. Very shortly before Tom's death, George Shelby (Arthur Shelby's son) arrives to buy Tom’s freedom, but finds he is too late. 　　Final section 　　 　　On their boat ride to freedom, Cassy and Emmeline meet George Harris' sister and accompany her to Canada. Once there, Cassy discovers that Eliza is her long-lost daughter who was sold as a child. Now that their family is together again, they travel to France and eventually Liberia, the African nation created for former American slaves. There they meet Cassy's long-lost son. George Shelby returns to the Kentucky farm and frees all his slaves. George tells them to remember Tom's sacrifice and his belief in the true meaning of Christianity. 　　Major characters in Uncle Tom's Cabin 　　Uncle Tom 　　Illustration of Tom and Eva by Hammatt Billings for the 1853 deluxe edition of Uncle Tom's Cabin. 　　 　　Uncle Tom, the title character, was initially seen as a noble, long-suffering Christian slave. In more recent years, however, his name has become an epithet directed towards African-Americans who are accused of selling out to whites (for more on this, see the creation and popularization of stereotypes section). Stowe intended Tom to be a "noble hero" and praiseworthy person. Throughout the book, far from allowing himself to be exploited, Tom stands up for his beliefs and is grudgingly admired even by his enemies. 　　Eliza 　　 　　A slave (personal maid to Mrs. Shelby), she escapes to the North with her five-year old son Harry after he is sold to Mr. Haley. Her husband, George, eventually finds Eliza and Harry in Ohio, and emigrates with them to Canada, then France and finally Liberia. 　　 　　The character Eliza was inspired by an account given at Lane Theological Seminary in Cincinnati by John Rankin to Stowe's husband Calvin, a professor at the school. According to Rankin, in February, 1838 a young slave woman had escaped across the frozen Ohio River to the town of Ripley with her child in her arms and stayed at his house on her way further north. 　　Eva 　　 　　Eva, whose real name is Evangeline St. Clare, is the daughter of Augustine St. Clare. Eva enters the narrative when Uncle Tom is traveling via steamship to New Orleans to be sold, and he rescues the 5 or 6 year-old girl from drowning. Eva begs her father to buy Tom, and he becomes the head coachman at the St. Clare plantation. He spends most of his time with the angelic Eva, however. 　　 　　Eva constantly talks about love and forgiveness, even convincing the dour slave girl Topsy that she deserves love. She even touches the heart of her sour aunt, Ophelia. 　　 　　Eventually Eva falls terminally ill. Before dying, she gives a lock of her hair to each of the slaves, telling them that they must become Christians so that they may see each other in Heaven. On her deathbed, she convinces her father to free Tom, but because of circumstances the promise never materializes. 　　 　　A similar character, also named Little Eva, later appeared in the children's novel Little Eva: The Flower of the South by Philip J. Cozans (although this ironically was an anti-Tom novel). To a certain degree, the Little Eva portrayed by Cozans could be the same Eva introduced by Stowe. 　　Simon Legree 　　 　　A cruel slave owner—a Northerner by birth—whose name has become synonymous with greed. His goal is to demoralize Tom and break him of his religious faith; he eventually beats Tom to death out of frustration for his slave's unbreakable belief in God. The novel reveals that, as a young man, he had abandoned his sickly mother for a life at sea, and ignored her letter to see her one last time at her deathbed. He sexually exploits Cassie, who despises him, and later sets his designs on Emmeline. 　　Other characters 　　 　　There are a number of secondary and minor characters in Uncle Tom's Cabin. Among the more notable are: 　　 　　 * Arthur Shelby, Tom's master in Kentucky. Shelby is characterized as a "kind" slaveowner and a stereotypical Southern gentleman. 　　 * Emily Shelby, Arthur Shelby's wife. A deeply religious woman who strives to be a kind and moral influence upon her slaves. She is appalled when her husband sells his slaves with a slave trader. As a woman, she has no legal way to stop this, as all property belongs to her husband. 　　 * George Shelby, Arthur and Emily's son, who sees Tom as a "friend" and as the perfect Christian. 　　 * Augustine St. Clare, Tom's second owner and father of Eva. Of the slaveowners in the novel, the most sympathetic character. St. Clare is complex, often sarcastic, with a ready wit. After a rocky courtship he marries a woman he grows to hold in contempt, though he is too polite to let it show. St. Clare recognizes the evil in chattel slavery, but is not willing to relinquish the wealth it brings him. After his daughter's death he becomes more sincere in his religious thoughts, and starts to read the Bible to Tom. He plans on finally taking action against slavery by freeing his slaves, but his good intentions ultimately come to nothing. 　　 * Topsy, A "ragamuffin" young slave girl. When asked if she knows who made her, she professes ignorance of both God and a mother, saying "I s'pect I growed. Don't think nobody never made me." She is transformed by Little Eva's love. During the early-to-mid 1900s, several doll manufacturers created Topsy and Topsy-type dolls. The phrase "growed like Topsy" (later "grew like Topsy"; now somewhat archaic) passed into the English language, originally with the specific meaning of unplanned growth, later sometimes just meaning enormous growth. 　　 * Miss Ophelia, is Augustine St. Clare's pious, hard-working, abolitionist cousin from Vermont. She displays the ambiguities towards African-Americans felt by many Northerners at the time. She argues against the institution of slavery yet, at least initially, feels repulsed by the slaves as individuals. 　　 　　Major themes 　　"The fugitives are safe in a free land." Illustration by Hammatt Billings for Uncle Tom's Cabin, First Edition. The image shows George Harris, Eliza, Harry, and Mrs. Smyth after they escape to freedom. 　　 　　Uncle Tom's Cabin is dominated by a single theme: the evil and immorality of slavery. While Stowe weaves other subthemes throughout her text, such as the moral authority of motherhood and the redeeming possibilities offered by Christianity, she emphasizes the connections between these and the horrors of slavery. Stowe pushed home her theme of the immorality of slavery on almost every page of the novel, sometimes even changing the story's voice so she could give a "homily" on the destructive nature of slavery (such as when a white woman on the steamboat carrying Tom further south states, "The most dreadful part of slavery, to my mind, is its outrages of feelings and affections—the separating of families, for example."). One way Stowe showed the evil of slavery was how this "peculiar institution" forcibly separated families from each other. 　　 　　Because Stowe saw motherhood as the "ethical and structural model for all of American life," and also believed that only women had the moral authority to save the United States from the demon of slavery, another major theme of Uncle Tom's Cabin is the moral power and sanctity of women. Through characters like Eliza, who escapes from slavery to save her young son (and eventually reunites her entire family), or Little Eva, who is seen as the "ideal Christian", Stowe shows how she believed women could save those around them from even the worst injustices. While later critics have noted that Stowe's female characters are often domestic clichés instead of realistic women, Stowe's novel "reaffirmed the importance of women's influence" and helped pave the way for the women's rights movement in the following decades. 　　 　　Stowe's puritanical religious beliefs show up in the novel's final, over-arching theme, which is the exploration of the nature of Christianity and how she feels Christian theology is fundamentally incompatible with slavery. This theme is most evident when Tom urges St. Clare to "look away to Jesus" after the death of St. Clare's beloved daughter Eva. After Tom dies, George Shelby eulogizes Tom by saying, "What a thing it is to be a Christian." Because Christian themes play such a large role in Uncle Tom's Cabin—and because of Stowe's frequent use of direct authorial interjections on religion and faith—the novel often takes the "form of a sermon." 　　Style 　　Eliza crossing the icy river, in an 1881 theater poster 　　 　　Uncle Tom's Cabin is written in the sentimental and melodramatic style common to 19th century sentimental novels and domestic fiction (also called women's fiction). These genres were the most popular novels of Stowe's time and tended to feature female main characters and a writing style which evoked a reader's sympathy and emotion. Even though Stowe's novel differs from other sentimental novels by focusing on a large theme like slavery and by having a man as the main character, she still set out to elicit certain strong feelings from her readers (such as making them cry at the death of Little Eva). The power in this type of writing can be seen in the reaction of contemporary readers. Georgiana May, a friend of Stowe's, wrote a letter to the author stating that, "I was up last night long after one o'clock, reading and finishing Uncle Tom's Cabin. I could not leave it any more than I could have left a dying child." Another reader is described as obsessing on the book at all hours and having considered renaming her daughter Eva. Evidently the death of Little Eva affected a lot of people at that time, because in 1852 alone 300 baby girls in Boston were given that name. 　　 　　Despite this positive reaction from readers, for decades literary critics dismissed the style found in Uncle Tom's Cabin and other sentimental novels because these books were written by women and so prominently featured, "women's sloppy emotions." One literary critic said that had the novel not been about slavery, "it would be just another sentimental novel," while another described the book as "primarily a derivative piece of hack work." In The Literary History of the United States, George F. Whicher called Uncle Tom's Cabin "Sunday-school fiction", full of "broadly conceived melodrama, humor, and pathos." 　　 　　However, in 1985 Jane Tompkins changed this view of Uncle Tom's Cabin with her book In Sensational Designs: The Cultural Work of American Fiction. Tompkins praised the style so many other critics had dismissed, writing that sentimental novels showed how women's emotions had the power to change the world for the better. She also said that the popular domestic novels of the 19th century, including Uncle Tom's Cabin, were remarkable for their "intellectual complexity, ambition, and resourcefulness"; and that Uncle Tom's Cabin offers a "critique of American society far more devastating than any delivered by better-known critics such as Hawthorne and Melville." 　　Reactions to the novel 　　 　　Uncle Tom's Cabin has exerted an influence equaled by few other novels in history. Upon publication, Uncle Tom's Cabin ignited a firestorm of protest from defenders of slavery (who created a number of books in response to the novel) while the book elicited praise from abolitionists. As a best-seller, the novel heavily influenced later protest literature. 　　Contemporary and world reaction 　　 　　Immediately upon publication, Uncle Tom's Cabin outraged people in the American South. The novel was also roundly criticized by slavery supporters. 　　 　　Acclaimed Southern novelist William Gilmore Simms declared the work utterly false, while others called the novel criminal and slanderous. Reactions ranged from a bookseller in Mobile, Alabama who was forced to leave town for selling the novel to threatening letters sent to Stowe herself (including a package containing a slave's severed ear). Many Southern writers, like Simms, soon wrote their own books in opposition to Stowe's novel (see the Anti-Tom section below). 　　 　　Some critics highlighted Stowe's paucity of life-experience relating to Southern life, saying that it led her to create inaccurate descriptions of the region. For instance, she had never set foot on a Southern plantation. However, Stowe always said she based the characters of her book on stories she was told by runaway slaves in Cincinnati, Ohio, where Stowe lived. It is reported that, "She observed firsthand several incidents which galvanized her to write [the] famous anti-slavery novel. Scenes she observed on the Ohio River, including seeing a husband and wife being sold apart, as well as newspaper and magazine accounts and interviews, contributed material to the emerging plot." 　　 　　In response to these criticisms, in 1853 Stowe published A Key to Uncle Tom's Cabin, an attempt to document the veracity of the novel's depiction of slavery. In the book, Stowe discusses each of the major characters in Uncle Tom's Cabin and cites, "real life equivalents" to them while also mounting a more, "aggressive attack on slavery in the South than the novel itself had." Like the novel, A Key to Uncle Tom's Cabin was also a best-seller. It should be noted, though, that while Stowe claimed A Key to Uncle Tom's Cabin documented her previously consulted sources, she actually read many of the cited works only after the publication of her novel. 　　 　　Despite these criticisms, the novel still captured the imagination of many Americans. According to Stowe's son, when Abraham Lincoln met her in 1862 Lincoln commented, "So this is the little lady who started this great war." Historians are undecided if Lincoln actually said this line, and in a letter that Stowe wrote to her husband a few hours after meeting with Lincoln no mention of this comment was made. Since then, many writers have credited this novel with focusing Northern anger at the injustices of slavery and the Fugitive Slave Law and helping to fuel the abolitionist movement. Union general and politician James Baird Weaver said that the book convinced him to become active in the abolitionist movement. 　　 　　Uncle Tom's Cabin also created great interest in England. The first London edition appeared in May 1852, and sold 200,000 copies. Some of this interest was because of British antipathy to America. As one prominent writer explained, "The evil passions which 'Uncle Tom' gratified in England were not hatred or vengeance [of slavery], but national jealousy and national vanity. We have long been smarting under the conceit of America — we are tired of hearing her boast that she is the freest and the most enlightened country that the world has ever seen. Our clergy hate her voluntary system — our Tories hate her democrats — our Whigs hate her parvenus — our Radicals hate her litigiousness, her insolence, and her ambition. All parties hailed Mrs. Stowe as a revolter from the enemy." Charles Francis Adams, the American minister to Britain during the war, argued later that, "Uncle Tom's Cabin; or Life among the Lowly, published in 1852, exercised, largely from fortuitous circumstances, a more immediate, considerable and dramatic world-influence than any other book ever printed." 　　 　　The book has been translated into almost every language, including Chinese (with translator Lin Shu creating the first Chinese translation of an American novel) and Amharic (with the 1930 translation created in support of Ethiopian efforts to end the suffering of blacks in that nation). The book was so widely read that Sigmund Freud reported a number of patients with sado-masochistic tendencies who he believed had been influenced by reading about the whipping of slaves in Uncle Tom's Cabin. 　　Literary significance and criticism 　　 　　As the first widely read political novel in the United States, Uncle Tom's Cabin greatly influenced development of not only American literature but also protest literature in general. Later books which owe a large debt to Uncle Tom's Cabin include The Jungle by Upton Sinclair and Silent Spring by Rachel Carson. 　　 　　Despite this undisputed significance, the popular perception of Uncle Tom's Cabin is as, "a blend of children's fable and propaganda." The novel has also been dismissed by a number of literary critics as, "merely a sentimental novel," while critic George Whicher stated in his Literary History of the United States that "Nothing attributable to Mrs. Stowe or her handiwork can account for the novel's enormous vogue; its author's resources as a purveyor of Sunday-school fiction were not remarkable. She had at most a ready command of broadly conceived melodrama, humor, and pathos, and of these popular cements she compounded her book." 　　 　　Other critics, though, have praised the novel. Edmund Wilson stated that, "To expose oneself in maturity to Uncle Tom's Cabin may … prove a startling experience." Jane Tompkins states that the novel is one of the classics of American literature and wonders if many literary critics aren't dismissing the book because it was simply too popular during its day. 　　 　　Over the years scholars have postulated a number of theories about what Stowe was trying to say with the novel (aside from the obvious themes, such as condemning slavery). For example, as an ardent Christian and active abolitionist, Stowe placed many of her religion's beliefs into the novel. Some scholars have stated that Stowe saw her novel as offering a solution to the moral and political dilemma that troubled many slavery opponents: whether engaging in prohibited behavior was justified in opposing evil. Was the use of violence to oppose the violence of slavery and the breaking of proslavery laws morally defensible? Which of Stowe's characters should be emulated, the passive Uncle Tom or the defiant George Harris? Stowe's solution was similar to Ralph Waldo Emerson's: God's will would be followed if each person sincerely examined his principles and acted on them. 　　 　　Scholars have also seen the novel as expressing the values and ideas of the Free Will Movement. In this view, the character of George Harris embodies the principles of free labor, while the complex character of Ophelia represents those Northerners who condoned compromise with slavery. In contrast to Ophelia is Dinah, who operates on passion. During the course of the novel Ophelia is transformed, just as the Republican Party (three years later) proclaimed that the North must transform itself and stand up for its antislavery principles. 　　 　　Feminist theory can also be seen at play in Stowe's book, with the novel as a critique of the patriarchal nature of slavery. For Stowe, blood relations rather than paternalistic relations between masters and slaves formed the basis of families. Moreover, Stowe viewed national solidarity as an extension of a person's family, thus feelings of nationality stemmed from possessing a shared race. Consequently she advocated African colonization for freed slaves and not amalgamation into American society. 　　 　　The book has also been seen as an attempt to redefine masculinity as a necessary step toward the abolition of slavery. In this view, abolitionists had begun to resist the vision of aggressive and dominant men that the conquest and colonization of the early 19th century had fostered. In order to change the notion of manhood so that men could oppose slavery without jeopardizing their self-image or their standing in society, some abolitionists drew on principles of women's suffrage and Christianity as well as passivism, and praised men for cooperation, compassion, and civic spirit. Others within the abolitionist movement argued for conventional, aggressive masculine action. All the men in Stowe's novel are representations of either one kind of man or the other. 　　Creation and popularization of stereotypes 　　Illustration of Sam from the 1888 "New Edition" of Uncle Tom's Cabin. The character of Sam helped create the stereotype of the lazy, carefree "happy darky." 　　 　　In recent decades, scholars and readers have criticized the book for what are seen as condescending racist descriptions of the book's black characters, especially with regard to the characters' appearances, speech, and behavior, as well as the passive nature of Uncle Tom in accepting his fate. The novel's creation and use of common stereotypes about African Americans is important because Uncle Tom's Cabin was the best-selling novel in the world during the 19th century. As a result, the book (along with images illustrating the book and associated stage productions) had a major role in permanently ingraining these stereotypes into the American psyche. 　　 　　Among the stereotypes of blacks in Uncle Tom's Cabin are: 　　 　　 * The "happy darky" (in the lazy, carefree character of Sam); 　　 * The light-skinned tragic mulatto as a sex object (in the characters of Eliza, Cassy, and Emmeline); 　　 * The affectionate, dark-skinned female mammy (through several characters, including Mammy, a cook at the St. Clare plantation). 　　 * The Pickaninny stereotype of black children (in the character of Topsy); 　　 * The Uncle Tom, or African American who is too eager to please white people (in the character of Uncle Tom). Stowe intended Tom to be a, "noble hero." The stereotype of him as a, "subservient fool who bows down to the white man" evidently resulted from staged "Tom Shows," over which Stowe had no control. 　　 　　In the last few decades these negative associations have to a large degree overshadowed the historical impact of Uncle Tom's Cabin as a "vital antislavery tool." The beginning of this change in the novel's perception had its roots in an essay by James Baldwin titled "Everybody’s Protest Novel." In the essay, Baldwin called Uncle Tom’s Cabin a, "very bad novel" which was also racially obtuse and aesthetically crude. 　　 　　In the 1960s and '70s, the Black Power and Black Arts Movements attacked the novel, saying that the character of Uncle Tom engaged in "race betrayal," saying that Tom made slaves out to be worse than slave owners. Criticisms of the other stereotypes in the book also increased during this time. 　　 　　In recent years, however, scholars such as Henry Louis Gates Jr. have begun to reexamine Uncle Tom's Cabin, stating that the book is a, "central document in American race relations and a significant moral and political exploration of the character of those relations." 　　Anti-Tom literature 　　 　　In response to Uncle Tom's Cabin, writers in the Southern United States produced a number of books to rebut Stowe's novel. This so-called Anti-Tom literature generally took a pro-slavery viewpoint, arguing that the issues of slavery as depicted in Stowe's book were overblown and incorrect. The novels in this genre tended to feature a benign white patriarchal master and a pure wife, both of whom presided over child-like slaves in a benevolent extended-family-style plantation. The novels either implied or directly stated that African Americans were a child-like people unable to live their lives without being directly overseen by white people. 　　 　　Among the most famous anti-Tom books are The Sword and the Distaff by William Gilmore Simms, Aunt Phillis's Cabin by Mary Henderson Eastman, and The Planter's Northern Bride by Caroline Lee Hentz, with the last author having been a close personal friend of Stowe's when the two lived in Cincinnati. Simms' book was published a few months after Stowe's novel and it contains a number of sections and discussions disputing Stowe's book and her view of slavery. Hentz's 1854 novel, widely-read at the time, but now largely forgotten, offers a defense of slavery as seen through the eyes of a northern woman—the daughter of an abolitionist, no less—who marries a southern slave owner. 　　 　　In the decade between the publication of Uncle Tom's Cabin and the start of the American Civil War, between twenty and thirty anti-Tom books were published. Among these novels are two books titled Uncle Tom's Cabin As It Is (one by W.L. Smith and the other by C.H. Wiley) and a book by John Pendleton Kennedy. More than half of these Anti-Tom books were written by white women, with Simms commenting at one point about the "Seemingly poetic justice of having the Northern woman (Stowe) answered by a Southern woman." 　　Dramatic adaptations 　　Tom shows 　　Main article: Tom Shows 　　1886 poster for "Stetson's Uncle Tom's Cabin" 　　 　　Even though Uncle Tom's Cabin was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book. Eric Lott, in his book Uncle Tomitudes: Racial Melodrama and Modes of Production, estimates that at least three million people saw these plays, ten times the book's first-year sales. 　　Copyright issues 　　 　　Given the lax copyright laws of the time, stage plays based on Uncle Tom's Cabin—"Tom shows"—began to appear while the story itself was still being serialized. Stowe refused to authorize dramatization of her work because of her puritanical distrust of drama (although she did eventually go to see George Aiken's version, and, according to Francis Underwood, was "delighted" by Caroline Howard's portrayal of Topsy). Stowe's refusal left the field clear for any number of adaptations, some launched for (various) political reasons and others as simply commercial theatrical ventures. 　　 　　There were then no international copyright laws. The book and plays were translated into several languages; Ms. Stowe saw no money, as much as "three fourths of her just and legitimate wages." 　　On the plays 　　 　　All Tom shows appear to have incorporated elements of melodrama and blackface minstrelsy. These plays varied tremendously in their politics—some faithfully reflected Stowe's sentimentalized antislavery politics, while others were more moderate, or even pro-slavery. Many of the productions featured demeaning racial caricatures of Black people, while a number of productions also featured songs by Stephen Foster (including "My Old Kentucky Home," "Old Folks at Home," and "Massa's in the Cold Ground"). The best-known Tom Shows were those of George Aiken and H.J. Conway. 　　 　　The many stage variants of Uncle Tom's Cabin "dominated northern popular culture… for several years" during the 19th century and the plays were still being performed in the early 20th century. 　　 　　One of the unique and controversial variants of the Tom Shows was Walt Disney's 1933 Mickey's Mellerdrammer. Mickey's Mellerdrammer is a United Artists film released in 1933. The title is a corruption of "melodrama", thought to harken back to the earliest minstrel shows, as a film short based on a production of Uncle Tom's Cabin by the Disney characters. In that film, Mickey Mouse and friends stage their own production of Uncle Tom's Cabin. 　　 　　Mickey Mouse was already black-colored, but the advertising poster for the film shows Mickey dressed in blackface with exaggerated, orange lips; bushy, white sidewhiskers made out of cotton; and his now trademark white gloves. 　　Film adaptations 　　 　　Uncle Tom's Cabin has been made into a number of film versions. Most of these movies were created during the silent film era (with Uncle Tom's Cabin being the most-filmed story of that time period). This was due to the continuing popularity of both the book and Tom shows, meaning audiences were already familiar with the characters and the plot, making it easier for the film to be understood without spoken words. 　　 　　The first film version of Uncle Tom's Cabin was one of the earliest full-length movies (although full-length at that time meant between 10 and 14 minutes). This 1903 film, directed by Edwin S. Porter, used white actors in blackface in the major roles and black performers only as extras. This version was evidently similar to many of the Tom Shows of earlier decades and featured a large number of black stereotypes (such as having the slaves dance in almost any context, including at a slave auction). 　　Still from Edwin S. Porter's 1903 version of Uncle Tom's Cabin, which was one of the first full length movies. The still shows Eliza telling Uncle Tom that she has been sold and that she is running away to save her child. 　　 　　In 1910, a three-reel Vitagraph Company of America production was directed by J. Stuart Blackton and adapted by Eugene Mullin. According to The Dramatic Mirror, this film was "a decided innovation" in motion pictures and "the first time an American company" released a dramatic film in 3 reels. Until then, full-length movies of the time were 15 minutes long and contained only one reel of film. The movie starred Florence Turner, Mary Fuller, Edwin R. Phillips, Flora Finch, Genevieve Tobin and Carlyle Blackwell, Sr. 　　 　　At least four more movie adaptations were created in the next two decades. The last silent film version came in 1927. Directed by Harry A. Pollard (who'd played Uncle Tom in a 1913 release of Uncle Tom's Cabin), this two-hour movie spent more than a year in production and was the third most expensive picture of the silent era (at a cost of $1.8 million). Black actor Charles Gilpin was originally cast in the title role, but was fired after the studio decided his "portrayal was too aggressive." James B. Lowe then took over the character of Tom. One difference in this film from the novel is that after Tom dies, he returns as a vengeful spirit and confronts Simon Legree before leading the slave owner to his death. Black media outlets of the time praised the film, but the studio—fearful of a backlash from Southern and white film audiences—ended up cutting out controversial scenes, including the film's opening sequence at a slave auction (where a mother is torn away from her baby). The story was adapted by Pollard, Harvey F. Thew and A. P. Younger, with titles by Walter Anthony. It starred James B. Lowe, Virginia Grey, George Siegmann, Margarita Fischer, Mona Ray and Madame Sul-Te-Wan. 　　 　　For several decades after the end of the silent film era, the subject matter of Stowe's novel was judged too sensitive for further film interpretation. In 1946, Metro-Goldwyn-Mayer considered filming the story, but ceased production after protests led by the National Association for the Advancement of Colored People. 　　A movie poster from Kroger Babb's 1965 production of Uncle Tom's Cabin 　　 　　A German language version, Onkel Toms Hütte, directed by Géza von Radványi, appeared in 1965 and was presented in the United States by exploitation film presenter Kroger Babb. The most recent film version was a television broadcast in 1987 directed by Stan Lathan and adapted by John Gay. It starred Avery Brooks, Phylicia Rashad, Edward Woodward, Jenny Lewis, Samuel L. Jackson and Endyia Kinney. 　　 　　In addition to film adaptations, versions of Uncle Tom's Cabin have featured in a number of animated cartoons, including Walt Disney's Mickey's Mellerdrammer (1933), which features the classic Disney character performing the play in blackface with exaggerated, orange lips; the Bugs Bunny cartoon Southern Fried Rabbit (1953), where Bugs disguises himself as Uncle Tom and sings My Old Kentucky Home in order to cross the Mason-Dixon line; Uncle Tom's Bungalow (1937), a Warner Brothers cartoon supervised by Tex Avery; Eliza on Ice (1944), one of the earliest Mighty Mouse cartoons produced by Paul Terry; and Uncle Tom's Cabaña (1947), an eight-minute cartoon directed by Tex Avery. 　　 　　Uncle Tom's Cabin has also influenced a large number of movies, including Birth of a Nation. This controversial 1915 film deliberately used a cabin similar to Uncle Tom's home in the film's dramatic climax, where several white Southerners unite with their former enemy (Yankee soldiers) to defend what the film's caption says is their "Aryan birthright." According to scholars, this reuse of such a familiar cabin would have resonated with, and been understood by, audiences of the time. 　　 　　Among the other movies influenced by or making use of Uncle Tom's Cabin include Dimples (a 1936 Shirley Temple film), Uncle Tom's Uncle, (a 1926 Our Gang (The Little Rascals) episode), its 1932 remake Spanky, the Rodgers and Hammerstein musical The King and I (in which a ballet called "Small House of Uncle Thomas" is performed in traditional Siamese style), and Gangs of New York (in which Leonardo DiCaprio and Daniel Day-Lewis's characters attend an imagined wartime adaptation of Uncle Tom's Cabin). yuèdòu《tānɡ mǔ shū shū de xiǎo wū Uncle Tom's Cabin》!!! tóng míng diàn yǐng 　　wài wén míng chēng OnkelTomsHütte 　　 gèng duō wài wén piàn míng： UncleTom'sCabin 　　 dǎo yǎn： GézavonRadványi 　　 zhù yǎn： 　　JohnKitzmiller 　　 hè bó tè · luó mǔ HerbertLom 　　 guó jiā / dì qū： dé guó 　　 shàng yìng 1965 nián 　　 jù qíng 　　19 shì jì zhōng yè， měi guó běi fāng kěn tǎ jī zhōu nóng chǎng zhù xiè 'ěr bǐ jiā yòu yī míng zhōng xīn wéi hù zhù rén lì yì de hēi nú， dà jiādōu chēng hū tā wéi tānɡ mǔ shū shū。 yīn zhù rén zài gǔ piào shì chǎng tóu jī shī bài 'ér pò chǎn， zhù rén zhǐ hǎo jiāng cǐ tānɡ mǔ děng shí míng hēi nú jià mài gěi nú lì fàn zǐ lì gé lǐ dǐ zhài。 yī qǐ chéng chuán yùn huí nán fāng。 zài chuán shàng yī gè dé liǎo bù zhì zhī zhèng de xiǎo nǚ hái， tè bié xǐ huān tānɡ mǔ shū shū chàng gē， jiù jiān jué qǐng qiú tā de fù qīn shèng kè lāi 'ěr mǎi liǎo xià tānɡ mǔ shū shū、 yóu yú shèng kè lāi 'ěr zhù zhāng jiě fàng hēi nú， lì gé lǐ děng nú lì zhù duì tā hèn zhī rù gǔ， suì xià dú shǒu jiāng tā 'àn shā， cóng cǐ， tānɡ mǔ shū shū yòu luò rù nú lì fàn zǐ lì gé lǐ shǒu zhōng。 tānɡ mǔ shū shū wéi jiě jiù bù yuàn chōng dāng lì gé lǐ wán wù de nú nǚ kǎ qiàn， bèi chē zhuàng dé zhòng shāng zhì mìng。 tā zài shēng mìng yǎn yǎn yī xī de shí kè， zhōng yú wù chū liǎo zhǐ yòu dǒu zhēng cái huì yòu zì yóu de zhēn lǐ。 tā dū cù hēi nú men jìn kuài lí kāi zhè rén jiān dì yù， yú shì hēi nú men zá kāi shuǐ zhá zài bái rén de bāng zhù xià， yǔ lì gé lǐ zhǎn kāi dǒu zhēng。 zhè shí tānɡ mǔ shū shū tǎng zài tā de xiǎo wū lǐ， yǎn kàn zhe lì gé lǐ zì rèn shī bài luò bó lí qù， duì zì jǐ hēi rén tóng bāo néng qǔ dé shèng lì， yǐ jí yòu xǔ duō bái réndōu zhàn zài tā men yī biān 'ér wú xiàn xīn wèi dì lí kāi liǎo rén jiān。 xiǎo shuō bèi jǐng 　　《 tānɡ mǔ shū shū de xiǎo wū ： bēi jiàn zhě de shēng huó》（ UncleTom'sCabin;or,LifeAmongtheLowly）， yòu yì zuò《 hēi nú yùtiān lù》、《 tānɡ mǔ dà bó de xiǎo wū》， shì měi guó zuò jiā hā lǐ tè · bǐ chè · sī tuō（ sī tuō fū rén） yú 1852 nián fā biǎo de yī bù fǎn nú lì zhì xiǎo shuō。 zhè bù xiǎo shuō zhōng guān yú fēi yì měi guó rén yǔ měi guó nú lì zhì dù de guān diǎn céng chǎn shēng guò yì yì shēn yuǎn de yǐng xiǎng， bìng zài mǒu zhǒng chéng dù shàng jī huà liǎo dǎo zhì měi guó nèi zhàn de dì qū jú bù chōng tū。《 tānɡ mǔ shū shū de xiǎo wū 》， bō shì dùn bǎn 　　 chū shēng yú kāng niè dí gé zhōu de sī tuō fū rén， shì hā tè fú dé nǚ zǐ xué yuàn（ HartfordFemaleAcademy） de yī míng jiào shī， tóng shí， tā yě shì yī wèi jī jí de fèi nú zhù yì zhě。 quán shū wéi rào zhe yī wèi jiǔ jīng kǔ nán de hēi nú tānɡ mǔ shū shū de gù shì zhǎn kāi， bìng miáo shù liǎo tā yǔ tā shēn biān rén héng héng jūn wéi nú lì yǔ nú lì zhù héng héng de jīng lì。 zhè bù gǎn shāng xiǎo shuō shēn kè dì miáo huì chū liǎo nú lì zhì dù cán kù de běn zhì； bìng rèn wéi jī dū tú de 'ài kě yǐ zhàn shèng yóu nú yì rén lèi tóng bāo suǒ dài lái de zhǒng zhǒng shāng hài。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 zhè bù xiǎo shuō shì 19 shì jì zuì chàng xiāo de xiǎo shuō（ yǐ jí dì 'èr chàng xiāo de shū， jǐn cì yú zuì chàng xiāo de shū《 shèng jīng》） bìng bèi rèn wéi shì cì jī 1850 nián dài fèi nú zhù yì xīng qǐ de yī dà yuán yīn。 zài tā fā biǎo de tóu yī nián lǐ， zài měi guó běn tǔ biàn xiāo shòu chū liǎo sān shí wàn cè。《 tānɡ mǔ shū shū de xiǎo wū 》 duì měi guó shè huì de yǐng xiǎng shì rú cǐ jù dà， yǐ zhì zài nán běi zhàn zhēng bào fā de chū qī， dāng lín kěn jiē jiàn sī tuō fū rén shí， céng shuō dào：“ nǐ jiù shì nà wèi yǐn fā liǎo yīcháng dà zhàn de xiǎo fù rén。” hòu lái， zhè jù huà wéi zhòng duō zuò jiā jìng xiāng yǐn yòng。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 yǐ jí shòu qí qǐ fā 'ér xiě zuò chū de gè zhǒng jù běn， hái cù jìn liǎo dà liàng hēi rén kè bǎn yìn xiàng de chǎn shēng， bù shǎo de zhè xiē xíng xiàng zài dāng jīn dū wéi rén men suǒ shú zhī。 pì rú cí 'ài shàn liáng de hēi rén bǎo mǔ、 hēi xiǎo hái de yuán xíng、 yǐ jí shùn cóng、 jiān rěn bìng zhōng xīn yú bái rén zhù rén de tānɡ mǔ shū shū。 zuì jìn jǐ shí nián lái，《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng de zhè xiē xiāo jí chéngfèn， yǐ zài yī dìng chéng dù shàng ruò huà liǎo zhè běn shū zuò wéi“ zhòng yào de fǎn nú lì zhì gōng jù” de lì shǐ zuò yòng。 xiǎo shuō de qǐ yuán 　　chū shēng yú kāng niè dí gé zhōu de sī tuō fū rén， shì hā tè fú dé nǚ zǐ xué yuàn（ HartfordFemaleAcademy） de yī míng jiào shī， yě shì yī míng jī jí de fèi nú zhù yì zhě。 1850 nián， měi guó tōng guò liǎo dì 'èr bù《 táo wáng nú lì fǎ》， jiāng xié zhù nú lì táo wáng dìng wéi fēi fǎ xíng wéi yú yǐ chéng chù， bìng xiàn suō táo wáng zhě yǔ zì yóu hēi rén suǒ yōng yòu de quán lì； wèile huí yìng zhè bù fǎ lǜ， sī tuō fū rén xiě chéng liǎo zhè bù xiǎo shuō。 xiǎo shuō de jué dà bù fēn dōushì zài miǎn yīn zhōu de bù lún ruì kè zhèn wán chéng de； sī tuō fū rén de zhàng fū kǎ 'ěr wén · sī tuō（ CalvinStowe） zài rèn jiào yú dāng dì tā de mǔ xiào bào dēng dà xué。 　　1872 nián de yī fú sī tuō fū rén de diāo bǎn tú 　　《 tānɡ mǔ shū shū de xiǎo wū 》 de yī bù fēn chuàng zuò líng gǎn lái zì qiáo sài yà · hēng sēn de zìzhuàn。 hēng sēn shì yī wèi hēi rén nán xìng， tā céng shì nú lì zhù 'ài sà kè · lài lì（ IsaacRiley） suǒ yōng yòu de yī míng nú lì， shēng huó bìng láo zuò yú mǎ lǐ lán zhōu běi bèi sài sī dá dì qū de 3,700 yīng mǔ（ 15 píng fāng qiān mǐ） yān cǎo zhòngzhí yuán zhōng。 1830 nián， hēng sēn táo dào liǎo shàng jiā ná dà shěng（ jí jīn 'ān dà lüè shěng）， bìng bǎi tuō liǎo nú lì shēn fèn； cǐ hòu， tā xié zhù liǎo yī xiē táo wáng nú lì dǐ dá gāi dì， zì jǐ yě guò shàng liǎo zìjǐ zì zú de shēng huó， bìng xiě chū liǎo tā de huí yì lù。 sī tuō fū rén zì jǐ yě céng míng què dì chéng rèn， shì hēng sēn de zuò pǐn qǐ fā liǎo tā， cóng 'ér ràng tā xiě chū liǎo《 tānɡ mǔ shū shū de xiǎo wū 》。 dāng sī tuō fū rén de shū wén míng yú shì hòu， hēng sēn yǐ《 tānɡ mǔ shū shū de huí yì lù》（ TheMemoirsofUncleTom） wéi míng zài dù fā biǎo liǎo tā de zìzhuàn， bìng zài měi guó yǔ 'ōu zhōu dé dào liǎo guǎng fàn de chuán bō。 sī tuō fū rén zài tā de xiǎo shuō zhōng jiè yòng liǎo hēng sēn jiā de míng chēng。 hēng sēn de jiā zài 1940 nián dài chéng wéi liǎo yī zuò bó wù guǎn， jí jīn rì 'ān dà lüè shěng dé lěi sī dùn fù jìn de tānɡ mǔ shū shū de xiǎo wū lì shǐ yí jì。 ér hēng sēn zài nú lì shí qī suǒ jū zhù de nà jiān xiǎo wū， zhì jīn hái yí cún zài mǎ lǐ lán zhōu de méng gē mǎ lì xiàn jìng nèi。 　　 xī 'ào duō · dé huái tè · wéi 'ěr dé yǔ gé lǐ mǔ kè · xī sī tè sī hé zhù de《 měi guó de nú lì zhì dù： qiān rén mù jī zhèng cí》（ AmericanSlaveryAsItIs:TestimonyofaThousandWitnesses） yī shū， yì bèi què rèn wéi xiǎo shuō de bù fēn cái liào lái yuán。 sī tuō fū rén yě biǎo shì shuō， dāng tā jū zhù zài yǔ xù nú de kěn tǎ jī zhōu yī hé xiāng gé de 'é hài 'é zhōu xīn xīn nà tí shì shí， tā céng cǎi fǎng guò dà liàng táo wáng zhì gāi dì de nú lì， ér cǐ zhōng huò dé de cái liào hòu lái yì chéng wéi liǎo qí xiǎo shuō de jī chǔ。 zài xīn xīn nà tí shì， yòu zhe yī xiē dì xià tiě lù mì mì wǎng luò de fèi nú zhù yì zhī chí zhě， tā men jī jí yú bāng zhù nà xiē cóng nán fāng táo wáng de nú lì。 　　 zài 1853 nián fā biǎo de《 tānɡ mǔ shū shū xiǎo wū tí jiě》 yī shū zhōng， sī tuō fū rén tí dào liǎo xiě zuò zhè bù xiǎo shuō de dà liàng líng gǎn yǔ cái liào lái yuán。 sī tuō fū rén fā biǎo《 tí jiě》 zhè bù xiě shí zuò pǐn de yuán yīn， shì wéi liǎo zhī chí tā duì nú lì zhì dù 'è xíng de zhù zhāng。 bù guò， hòu lái de yán jiū yě zhǐ chū， zài chū bǎn《 tānɡ mǔ shū shū de xiǎo wū 》 zhī qián， sī tuō fū rén shí jì shàng bìng wèi yuè dú guò《 tí jiě》 zhōng tí dào de bù shǎo zuò pǐn。 fā biǎo yǔ chū bǎn 　　《 tānɡ mǔ shū shū de xiǎo wū 》 zuì chū fā biǎo zài fèi nú zhù yì zhě zá zhì《 guó jiā shí dài》（ NationalEra） zhōng。 cóng 1851 nián 6 yuè 5 rì qǐ， zǒng gòng liánzǎi 40 zhōu。 yóu yú xiǎo shuō de gù shì dà shòu huān yíng， chū bǎn shāng yuē hàn · zhū yī tè（ JohnJewett） zhǎo dào liǎo sī tuō fū rén， jiàn yì tā jiāng liánzǎi jí jié chéng shū chū bǎn。 suī rán sī tuō fū rén qǐ chū huái yí shì fǒu yòu rén yuàn yì yǐ shū běn de xíng shì lái yuè dú《 tānɡ mǔ shū shū de xiǎo wū 》， dàn tā zuì hòu hái shì tóng yì liǎo zhè yī jiàn yì。 　　 yīn wéi shēn xìn zhè běn shū jiāng huì míng wén yú shì， zhū yī tè（ zài dāng shí） zuò chū liǎo yī xiàng bù tóng xún cháng de jué dìng héng héng jiāng hā mǎ tè · bǐ lín sī diāo zhì de 6 zhāng quán yè chā tú yìn rù dì yī bǎn zhōng。 1852 nián 3 yuè 20 rì， zhè bù xiǎo shuō kāi shǐ yǐ shū běn de xíng shì chū bǎn， qí dì yī bǎn hěn kuài biàn bèi qiǎng gòu yī kōng。 bù jiǔ hòu， yòu yìn shuà chū bǎn liǎo duō gè bǎn běn（ qí zhōng bāo kuò 1853 nián chū bǎn de háo huá bǎn， dài yòu bǐ lín sī huì zhì de 117 zhāng chā tú。 　　 zài fā biǎo de tóu yī nián lǐ，《 tānɡ mǔ shū shū de xiǎo wū 》 zài měi guó běn tǔ biàn xiāo shòu chū liǎo sān shí wàn cè fù běn， bìng zuì zhōng chéng wéi liǎo 19 shì jì quán shì jiè zuì chàng xiāo de xiǎo shuō（ yǐ jí dì 'èr chàng xiāo de shū， jǐn cì yú zuì chàng xiāo de shū《 shèng jīng》）。 jīhū měi zhǒng zhù yào de yǔ yán dōuyòu qí yì běn miàn shì。 zài xǔ duō zǎo qī bǎn běn zhōng， dū dài yòu zhān mǔ sī · xiè 'ěr màn mù shī zhuàn xiě de xù yán。 xiè 'ěr màn shì lún dūn de yī wèi gōng lǐ huì mù shī， yǐ qí fèi nú zhù yì guān diǎn 'ér wén míng。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 zài yīng gé lán de xiāo shòu yě tóng yàng shí fēn shùn lì。 1852 nián 5 yuè， dāng lún dūn dì yī bǎn fā xíng hòu， biàn xiāo shòu chū liǎo 'èr shí wàn cè。 zài suí hòu de jǐ nián jiān， yòu chāo guò 150 wàn cè de fù běn zài yīng gé lán chuán bō， jìn guǎn qí zhōng de jué dà bù fēn dū shǔ yú dào bǎn（ zài měi guó yě yòu tóng yàng de qíng kuàng fā shēng）。 qíng jié gài yào 　　yī lì suō xié zǐ táo wáng， tānɡ mǔ bèi mài dào“ hé de xià yóu” qù 　　 sài mén · lè gé lǐ zhèng zài 'ōu dǎ tānɡ mǔ shū shū。 xiǎo shuō kāi shǐ yú kěn tǎ jī zhōu nóng chǎng zhù yà sè · xiè 'ěr bǐ zhèng miàn lín zhe jiāng yīn qiàn zhài 'ér shī qù qí tián dì de kùn jìng。 jìn guǎn tā yǔ tā de qī zǐ（ āi mǐ lì · xiè 'ěr bǐ） duì dài tā men de nú lì shí fēn yǒu shàn， dàn xiè 'ěr bǐ hái shì jué dìng jiāng jǐ míng nú lì mài gěi nú lì fàn zǐ lái chóu jí tā jí xū de zī jīn。 bèi mài diào de nú lì yòu liǎng míng： qí yī wéi tānɡ mǔ shū shū， yī wèi yòu zhe qī zǐ 'ér nǚ de zhōng nián nán zǐ； qí 'èr wéi hā lǐ， shì 'āi mǐ lì de nǚ pú yī lì suō de 'ér zǐ。 āi mǐ lì bìng bù xǐ huān duì zhè gè zhù yì， yīn wéi tā céng jīng duì qí nǚ pú xǔ nuò shuō， tā de 'ér zǐ jué duì bù huì bèi mài diào； ér 'āi mǐ lì de 'ér zǐ qiáo zhì · xiè 'ěr bǐ yě bù yuàn yì ràng tānɡ mǔ lí kāi， yīn wéi tā bǎ tānɡ mǔ shì wéi zì jǐ de liáng shī yì yǒu。 　　 zhuī bǔ yī lì suō jiā tíng， tānɡ mǔ yǔ shèng kè lāi 'ěr yī jiā de shēng huó 　　 zài yī lì suō táo wáng tú zhōng， tā 'ǒu rán yù jiàn liǎo bǐ tā xiān yī bù táo zǒu de zhàng fū qiáo zhì · hā lǐ sī， tā men jué dìng qián wǎng jiā ná dà。 rán 'ér， tā men què bèi yī gè míng jiào tānɡ mǔ · luò kè de nú lì liè rén dīng shàng liǎo。 zuì hòu， luò kè yǔ tā de tóng huǒ yòu bǔ liǎo yī lì suō yǔ tā de jiā rén， zhè dǎo zhì qiáo zhì bèi pò xiàng luò kè kāi qiāng。 dān xīn luò kè sǐ diào de yī lì suō， shuō fú liǎo qiáo zhì， jiāng zhè míng nú lì liè rén sòng dào liǎo fù jìn de guì gé huì dìng jū diǎn yǐ jiē shòu zhì liáo。 　　 huí dào xīn 'ào 'ěr liáng hòu， shèng kè lāi 'ěr yǔ tā de běi fāng táng jiě 'ào fěi lì yà yīn duì nú lì zhì de bù tóng jiàn jiě 'ér fā shēng liǎo zhēng chǎo。 ào fěi lì yà fǎn duì nú lì zhì dù， dàn què duì hēi rén chí yòu piān jiàn； rán 'ér， shèng kè lāi 'ěr zé què rèn wéi zì jǐ méi yòu zhè xiē piān jiàn， jí biàn tā zì jǐ biàn shì yī wèi nú lì zhù。 wèile xiàng tā de táng jiě shuō míng tā guān yú hēi rén de guān diǎn shì cuò wù de， shèng kè lāi 'ěr mǎi rù liǎo yī míng hēi rén nǚ hái tuō pǔ xī， bìng qǐng 'ào fěi lì yà qù jiào yù tuō pǔ xī。 　　 zài tānɡ mǔ yǔ shèng kè lāi 'ěr yī tóng shēng huó liǎo liǎng nián hòu， yī wá dé shàng liǎo zhòng bìng。 zài tā sǐ zhī qián， tā zài yīcháng mèng jìng zhōng mèng jiàn liǎo tiān táng， tā bǎ zhè chǎng mèng gào sù liǎo tā shēn biān de rén。 yóu yú yī wá de sǐ yǔ tā de mèng jìng， qí tā de rén jué dìng gǎi biàn zì jǐ de shēng huó： ào fěi lì yà jué dìng pāo qì zì jǐ cóng qián duì hēi rén de piān jiàn， tuō pǔ xī zé shuō tā jiāng nǔ lì wán shàn zì jǐ， ér shèng kè lāi 'ěr zé chéng nuò jiāng gěi yú tānɡ mǔ yǐ zì yóu。 　　 tānɡ mǔ bèi mài gěi liǎo xī méng · lè gé lǐ 　　 zài shèng kè lāi 'ěr lǚ xíng tā de nuò yán zhī qián， tā què yīn wéi jiè rù yīcháng zhēng dǒu 'ér bèi liè dāo cì sǐ。 shèng kè lāi 'ěr de qī zǐ jù jué lǚ xíng qí zhàng fū shēng qián de chéng nuò， zài yīcháng pāi mài huì zhōngjiàng tānɡ mǔ mǎi gěi liǎo yī míng xiōng 'è de nóng chǎng zhù xī méng · lè gé lǐ。 lè gé lǐ（ tā bìng bù shì dāng dì chū shēng de nán fāng rén， ér shì cóng běi fāng lái de yí mín） jiāng tānɡ mǔ dài dào liǎo lù yì sī 'ān nà zhōu de xiāng xià。 tānɡ mǔ zài zhè lǐ rèn shí liǎo lè gé lǐ de qí tā nú lì， qí zhōng bāo kuò 'āi mǐ lín（ lè gé lǐ zài tóng yīcháng pāi mài huì lǐ mǎi dào liǎo tā）。 dāng tānɡ mǔ jù jué fú cóng lè gé lǐ de mìng lìng qù biān dǎ tā de nú lì tóng bàn shí， lè gé lǐ kāi shǐ duì tā xīn shēng yàn 'è。 tānɡ mǔ zāo shòu dào liǎo cán rěn de biān chī， lè gé lǐ jué yì yào yā kuǎ tānɡ mǔ duì shàng dì de xìn yǎng。 dàn tānɡ mǔ jù jué tíng zhǐ duì《 shèng jīng》 de yuè dú， bìng jìn quán lì 'ān wèi qí tā nú lì。 zài zhòngzhí yuán qī jiān， tānɡ mǔ rèn shí liǎo lè gé lǐ de lìng yī míng nú lì kǎi qiàn。 kǎi qiàn xiān qián zài bèi pāi mài de shí hòu， céng bèi pò yǔ tā de zǐ nǚ fēn lí； yóu yú bù kān rěn shòu lìng yī gè hái zǐ bèi chū mài de tòng kǔ， tā shā sǐ liǎo zì jǐ de dì sān gè hái zǐ。 　　 zài zhè gè shí hòu， tānɡ mǔ · luò kè huí dào liǎo gù shì zhōng。 zài bèi guì gé huì jiào tú zhì yù hòu， luò kè fā shēng liǎo gǎi biàn。 qiáo zhì、 yī lì suō yǔ tānɡ mǔ zài jìn rù jiā ná dà hòu huò dé liǎo zì yóu。 ér zài lù yì sī 'ān nà zhōu， dāng tānɡ mǔ shū shū duì shàng dì de xìn yǎng jiù kuài bèi zài zhòngzhí yuán zhōng zāo shòu de zhé mó suǒ jī kuǎ shí， tā jīng lì liǎo liǎng cì mèng jìng héng héng yī cì shì yé sū， ér lìng yī cì zé shì yī wá héng héng zhè shǐ dé tā jué yì bǎo liú zì jǐ duì jī dū de xìn yǎng zhí zhì sǐ wáng。 tā gǔ lì kǎi qiàn táo páo， bìng ràng tā dài shàng 'āi mǐ lín。 dāng tānɡ mǔ jù jué gào sù lè gé lǐ kǎi qiàn yǔ 'āi mǐ lín táo wǎng hé fāng shí， lè gé lǐ mìng lìng tā de jiān gōng shā sǐ tānɡ mǔ。 zài tā chuí sǐ shí， tānɡ mǔ kuān shù liǎo liǎng wèi jiān gōng yě mán 'ōu dǎ tā de xíng wéi： shòu qí pǐn gé de gǎn zhào， zhè liǎng réndōu guī yǐ liǎo jī dū。 zài tānɡ mǔ lín sǐ qián， qiáo zhì · xiè 'ěr bǐ（ yà sè · xiè 'ěr bǐ de 'ér zǐ） chū xiàn liǎo， tā yào mǎi huí tānɡ mǔ de zì yóu， dàn què fā xiàn zhè yǐ jīng tài chí liǎo。 　　 zuì hòu de piàn duàn 　　 zài chéng chuán tōng wǎng zì yóu de lù shàng， kǎi qiàn yǔ 'āi mǐ lín yù jiàn liǎo qiáo zhì · hā lǐ sī de jiě jiě， bìng yǔ tā yī tóng qián wǎng jiā ná dà。 céng jīng yòu yī cì， kǎi qiàn fā xiàn yī lì suō biàn shì tā shī sàn yǐ jiǔ de nǚ 'ér。 ér xiàn zài tā men zhōng yú chóngféng liǎo， tā men qián wǎng liǎo fǎ guó， bìng zuì zhōng dǐ dá liǎo lì bǐ lǐ yà héng héng yī gè róng nà qián měi guó hēi nú shēng huó de fēi zhōu guó jiā。 zài nà lǐ， tā men yòu jiàn dào liǎo kǎi qiàn shī sàn yǐ jiǔ de 'ér zǐ。 qiáo zhì · xiè 'ěr bǐ huí dào liǎo kěn tǎ jī zhōu de nóng chǎng， shì fàng liǎo tā quán bù de nú lì， bìng gào sù tā men， yào míng jì tānɡ mǔ de xī shēng yǐ jí tā duì jī dū zhēn yì de xìn yǎng。 zhù yào rén wù 　　tānɡ mǔ shū shū 　　 yǔ biāo tí tóng míng de rén wù tānɡ mǔ shū shū（ UncleTom）， zài xiǎo shuō fā biǎo chū qī bèi shì wéi yī míng gāo guì jiān rěn de jī dū tú nú lì。 dàn zài zuì jìn de yī xiē nián jiān， tā de míng zì yǐ biàn chéng liǎo nà xiē bèi zhǐ zé tóu kào bái rén de fēi yì měi guó rén de chuò hào（ yòu guān de gèng duō xìn xī qǐng cān jiàn kè bǎn yìn xiàng de chǎn shēng yǔ pǔ jí yī jié）。 rán 'ér， sī tuō fū rén de běn yì， shì jiāng tānɡ mǔ sù zào chéng yī wèi“ gāo guì de yīng xióng” yǐ jí zhí dé chēng sòng de rén wù。 zài zhěng bù zuò pǐn zhōng， tānɡ mǔ bù jǐn rěn shòu zhe bō xuē dài lái de tòng kǔ， hái shǐ zhōng jiān chí zhe zì jǐ de xìn yǎng， dào liǎo zuì hòu lián tā de dí rén yě bù dé bù jìng zhòng tā。 　　 tú zhōng liǎng rén fēn bié wéi tānɡ mǔ yǔ yī wá。 yī lì suō 　　 yī lì suō（ Eliza） shì yī míng nú lì（ xiè 'ěr bǐ fū rén de nǚ pú）。 zài dé zhī zì jǐ 5 suì de 'ér zǐ hā lǐ jiāng bèi mài gěi nú lì fàn zǐ hēi lì hòu， tā dài zhe hā lǐ táo xiàng liǎo běi fāng。 zài 'é hài 'é zhōu shí， tā yǔ zhàng fū qiáo zhì · hā lǐ sī chóngféng。 tā men yī jiā rén yí jū dào liǎo jiā ná dà， rán hòu zài dào liǎo fǎ guó， zuì zhōng dìng jū yú lì bǐ lǐ yà。 　　 yī lì suō zhè yī juésè de líng gǎn， lái zì yú yuē hàn · lán jīn zài xīn xīn nà tí de léi 'ēn shén xué yuàn jiāo gěi sī tuō fū rén zhàng fū de yī fèn jì lù。 gēn jù lán jīn de miáo shù， zài 1838 nián 2 yuè shí， yòu yī míng nián qīng de nǚ nú huái bào zhe tā de hái zǐ yuè guò liǎo bīng fēng de 'é hài 'é hé， táo dào liǎo 'é hài 'é zhōu de lǐ pǔ lì zhèn shàng， zài tā táo wǎng běi fāng zhī qián， tā céng zài tā de jiā zhōng zàn zhù liǎo yī duàn shí jiān。 　　 yī wá 　　 yī wá（ Eva） de quán míng wéi yī fán jí lín · shèng kè lāi 'ěr。 dāng tānɡ mǔ shū shū bèi lún chuán yùn sòng dào xīn 'ào 'ěr liáng de tú zhōng， yī wá jìn rù liǎo gù shì de xù shù zhōng。 dāng zhè míng 5、 6 suì de xiǎo nǚ hái luò shuǐ hòu， tānɡ mǔ shū shū jiāng tā jiù liǎo qǐ lái。 yī wá kěn qiú tā de fù qīn mǎi xià liǎo tānɡ mǔ， zài gēn suí shèng kè lāi 'ěr jiā lái dào xīn 'ào 'ěr liáng hòu， tānɡ mǔ chéng wéi liǎo shèng kè lāi 'ěr zhuāng yuán de yī míng mǎ chē fū。 bù guò， tānɡ mǔ zài zhè lǐ de dà bù fēn shí jiān dōushì yǔ tiān shǐ bān de yī wá yī qǐ dù guò de。 　　 yī wá jīng cháng huì tán lùn yī xiē 'ài yǔ kuān shù de huà tí， tā shèn zhì shuō fú liǎo gù zhí de nú lì nǚ hái tuō pǔ xī， ràng tā xiāng xìn tā yě yìng gāi dé dào 'ài。 yī wá yě céng shì tú qù gǎn chù tā nà huài pí qì 'ā yí 'ào fěi lì yà de xīn。 yòu yī bù fēn rén rèn wéi， yī wá zhè gè rén wù de shì mǎ lì · sū de yī gè juésè yuán xíng。 　　 xī méng · lè gé lǐ 　　 xī méng · lè gé lǐ（ SimonLegree） shì yī míng chū shēng yú běi fāng de cán bào de nú lì zhù。 tā de míng zì hòu lái chéng wèile tān lán yǔ cán bào de dài míng cí。 tā de mù biāo shì jī kuǎ tānɡ mǔ bìng pò huài tā de zōng jiào xìn yǎng。 　　 tuō pǔ xī 　　 tuō pǔ xī（ Topsy） shì yī míng bù zhī lái zì hé fāng de“ yī shān lán lǚ” de nú lì nǚ hái。 dāng bèi wèn dào shì shuí zào liǎo tā shí， tā jì bù rèn wéi shì shàng dì， yě bù rèn wéi shì tā de mǔ qīn，“ wǒ xiǎng wǒ shì zì jǐ cháng chū lái de， wǒ bù xiāng xìn yòu shuí zào liǎo wǒ”。 zài hòu lái， tā bèi xiǎo yī wá de yǒu 'ài zhuǎn biàn liǎo。 tuō pǔ xī tōng cháng bèi shì zuò shì hēi xiǎo hái yuán xíng de qǐ yuán。 　　 duǎn yǔ“ growedlikeTopsy”（ hòu yòu yǎn biàn wéi“ grewlikeTopsy”； zài xiàn jīn yǐ lüè wéi guò shí） hòu lái jìn rù liǎo yīng yǔ dāng zhōng。 qǐ chū， zhè gè duǎn yǔ zhǐ bèi yòng yú bǐ yù yī zhǒng zì shēng zì cháng、 fàng rèn zì liú de shēng cún fāng shì； dàn zài hòu lái de mǒu xiē shí hòu， tā hái bèi yòng yú xíng róng gāo sù de chéngzhǎng huò fā zhǎn。 　　 qí tā rén wù 　　 zài《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng， hái yòu zhe xǔ xǔ duō duō de cì yào juésè。 yǐ xià liè chū yī xiē jiào wéi zhī míng de pèijué： 　　 yà sè · xiè 'ěr bǐ（ ArthurShelby）， tānɡ mǔ zài kěn tǎ jī zhōu shí de zhù rén。 xiè 'ěr bǐ bèi sù zào chéng liǎo yī wèi“ rén cí” de nú lì zhù yǔ chuán tǒng de nán fāng shēn shì。 　　 āi mǐ lì · xiè 'ěr bǐ（ EmilyShelby）， yà sè · xiè 'ěr bǐ de qī zǐ。 tā shì yī wèi shēn xìn zōng jiào de fù nǚ， bìng nǔ lì yòng tā de rén cí yǔ dào dé lái yǐng xiǎng tā de nú lì men。 dāng tā de zhàng fū jiāng bǎ nú lì mài gěi nú lì zhù shí， tā wéi zhī gǎn dào zhèn jīng。 zuò wéi yī míng nǚ xìng， tā bìng méi yòu hé fǎ de dì wèi qù zǔ zhǐ zhè jiàn shì de fā shēng， yīn wéi suǒ yòu de cái chǎn dū shǔ yú tā de zhàng fū。 　　 qiáo zhì · xiè 'ěr bǐ（ GeorgeShelby）， yà sè yǔ 'āi mǐ lì de 'ér zǐ。 tā jiāng tānɡ mǔ shì zuò zì jǐ de liáng shī yì yǒu， yě shì yī wèi qián chéng de jī dū tú。 　　 ào gǔ sī dīng · shèng kè lāi 'ěr（ AugustineSt.Clare）， tānɡ mǔ de dì 'èr wèi zhù rén， xiǎo nǚ hái yī wá de fù qīn； shì xiǎo shuō lǐ miàn zuì jù tóng qíng xīn de nú lì zhù。 shèng kè lāi 'ěr yǐ rán yì shí dào liǎo nú lì zhì dù de zuì 'è， dàn què hái wèi néng wéi gē shè tā suǒ dài lái de cái fù zuò hǎo zhǔn bèi。 zài tā de nǚ 'ér sǐ hòu， tā biàn dé gèng jiā dì xìn fèng zōng jiào， bìng kāi shǐ gěi tānɡ mǔ yuè dú《 shèng jīng》 tīng， bìng jué dìng gěi tānɡ mǔ zì yóu。 dàn shì， tā de hǎo yì què yóu yú tā de yì wài shēn wáng 'ér zhōng chéng pào yǐng。 zhù tí 　　《 tānɡ mǔ shū shū de xiǎo wū 》 de quán shū dōubèi tóng yī gè zhù tí suǒ zhù zǎi： nú lì zhì dù de zuì 'è yǔ bù dào dé。 dāng sī tuō fū rén zài tā de wén zì lǐ xiě rù cì yào de zhù tí shí héng héng pì rú mǔ qīn de dào dé quán wēi yǐ jí yóu jī dū jiào tí gōng zhěng jiù de kě néng xìng héng héng tā dū huì qiáng diào zhè xiē zhù tí yǔ nú lì zhì de kǒng bù zhī jiān de lián xì。 jīhū zài xiǎo shuō de měi yī yè lǐ， sī tuō fū réndōu zài jī jí tuī dòng zhe“ nú lì zhì dù bù dào dé” zhè yī zhù tí， yòu xiē shí hòu tā shèn zhì huì gǎi biàn gù shì xù shù de kǒu wěn， yǐ xiàng rén men“ bù dào” nú lì zhì de pò huài tiān xìng（ pì rú， zài zài zhe tānɡ mǔ qián wǎng nán fāng zhōu de lún chuán shàng， yòu yī míng bái rén nǚ xìng zhè yàng shuō dào：“ nú lì zhì de zuì kě pà zhī chù jiù zài yú duì gǎn qíng hé qīn qíng de jiàn tà héng héng bǐ rú chāi sàn rén jiā de gǔ ròu。”） tōng guò duì hēi nú zhì dù chāi sàn tā rén jiā tíng de kè huà， sī tuō fū rén yòng wén zì zhǎn xiàn chū liǎo nú lì zhì dù zuì 'è。“ zài zì yóu de tǔ dì shàng， táo wáng zhě men 'ān quán liǎo。” 　　 yīn wéi sī tuō fū rén rèn wéi mǔ xìng shì“ suǒ yòu měi guó rén shēng huó zhōng de dào dé yǔ lún lǐ mó fàn，” bìng xiāng xìn， zhǐ yòu nǚ xìng cái yōng yòu jiāng měi guó cóng nú lì zhì de 'è mó shǒu zhōng zhěng jiù chū lái de dào dé quán wēi； zhè biàn shì《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng biǎo dá chū de lìng yī gè zhù tí： nǚ xìng de dào dé lì liàng yǔ shèng jié。 zài shū zhōng， zhè zhǒng juésè de lì zǐ yòu yī lì suō héng héng yī wèi dài zhe xiǎo 'ér zǐ táo wáng de hēi nú（ bìng zuì zhōng yǔ qí quán jiā tuán jù）， huò zhě xiǎo yī wá héng héng tā bèi shì wéi yī míng“ lǐ xiǎng de jī dū tú”； zhèng shì tōng guò zhè yàng de juésè， sī tuō fū rén biǎo míng liǎo zhè yī guān diǎn： nǚ xìng néng gòu zhěng jiù tā men shēn biān de rén， nǎ pà shì zuì bù dào yì de rén。 dàn hòu lái de píng lùn yě tí dào， sī tuō fū rén bǐ xià de nǚ xìng juésè yī bān dū yǐ jiā tíng zhù fù de lǎo tào xíng xiàng chū xiàn， ér bù shì xiàn shí zhōng de nǚ xìng。 cǐ wài， sī tuō fū rén de xiǎo shuō“ chóngshēn liǎo nǚ xìng suǒ fā huī de yǐng xiǎng de zhòng yào xìng”， bìng wéi suí hòu jǐ shí nián lǐ nǚ quán zhù yì yùn dòng dào lù de pū píng zuò chū liǎo gòng xiàn。 　　 sī tuō fū rén de qīng jiào tú zōng jiào xìn yǎng xiǎn lù yú xiǎo shuō de jié wěi， bìng yán jí suǒ yòu de zhù tí； tā duì jī dū jiào de běn xìng jìn xíng liǎo tàn suǒ， bìng rèn wéi jī dū jiào shén xué yǔ nú lì zhì dù yòu zhe wú fǎ tiáohé de máo dùn。 dāng yī wá sǐ hòu， tānɡ mǔ kěn qiú zhì 'ài tā de shèng kè lāi 'ěr“ huí wàng yé sū” shí； dāng tānɡ mǔ sǐ hòu， qiáo zhì · xiè 'ěr bǐ yòng“ zuò yī gè jī dū tú duō hǎo 'ā” lái chēng sòng tā shí； zhè yī zhù tí dū dé dào liǎo zuì míng què bù guò de zhāng xiǎn。 yīn wéi zài《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng， jī dū jiào de zhù tí zhàn yòu hěn dà de fènliàng， bìng yóu yú sī tuō fū rén zài xiǎo shuō zhōng zhí jiē qiě pín fán dì fā chū zōng jiào xìn yǎng shàng de gǎn kǎi， zhè běn xiǎo shuō hái cháng bèi rèn wéi dài yòu“ bù dào shū de xíng shì”。 fēng gé 　　《 tānɡ mǔ shū shū de xiǎo wū 》 jù yòu 19 shì jì gǎn shāng xiǎo shuō yǔ jiā tíng xiǎo shuō（ yì chēng zuò nǚ xìng xiǎo shuō） zhōng cháng jiàn de gǎn xìng yǔ xì jù xìng de fēng gé。 zài sī tuō fū rén de shí dài， zhè yī lèi xíng de xiǎo shuō shì zuì wéi liú xíng de xiǎo shuō： tā men qū xiàng yú qù miáo shù nǚ xìng zhùjué， qí xiě zuò fēng gé cháng néng huàn qǐ dú zhě de tóng qíng yǔ gǎn dòng jìn。 guǎn rú cǐ，《 tānɡ mǔ shū shū de xiǎo wū 》 yǔ qí tā de gǎn shāng xiǎo shuō suǒ bù tóng de shì， qián zhě jiāng qí zhōng xīn jiāo diǎn jí zhōng yú nú lì zhì zhè zhǒng dà xíng huà tí， bìng yǐ yī míng nán xìng zuò wéi gù shì de zhùjué； bù guò， sī tuō fū rén yì shì tú qù yǐn chū dú zhě de mǒu zhǒng qiáng liè qíng gǎn（ pì rú ràng dú zhě wéi xiǎo yī wá de sǐ 'ér kū qì）。 zhè yī xiě zuò lèi xíng de lì liàng kě tōng guò tóng shí dài dú zhě de fǎn yìng xiǎn xiàn chū lái。 sī tuō fū rén de yī wèi péng yǒu qiáo zhì yà nà · méi（ GeorgianaMay） céng jīng xiě xìn gěi tā tán dào：“ wǒ zuó wǎn zǐ yè xǐng lái， hào jìn zhōng yè dú wán liǎo zhè běn shū。 cǐ hòu， wǒ zài yě bù néng wàng zhe xiǎo hái zǐ chuí sǐ 'ér wú dòng yú zhōng。”。 jù miáo shù， lìng yī míng dú zhě wán quán dì zháomí yú zhè běn xiǎo shuō， tā shèn zhì kǎo lǜ bǎ zì jǐ de nǚ 'ér gǎi míng wéi yī wá。 xiǎn 'ér yì jiàn de shì， xiǎo yī wá de sǐ duì dāng shí de xǔ duō dú zhě zào chéng liǎo yǐng xiǎng： dān zài 1852 nián， bō shì dùn biàn yòu 300 míng nǚ yīng bèi qǔ míng wéi yī wá。 　　 jìn guǎn zài dú zhě zhōng dé dào liǎo kěn dìng， dàn zài qí fā biǎo hòu de jǐ shí nián lǐ， wén yì píng lùn jiā mendōu fǒu dìng liǎo《 tānɡ mǔ shū shū de xiǎo wū 》 yǐ jí qí tā gǎn shāng xiǎo shuō zhōng zhǎn xiàn chū de zhè zhǒng fēng gé， yīn wéi zhè lèi xiǎo shuō shì yóu nǚ xìng xiě chéng， bìng guò yú tū chū dì miáo xiě liǎo“ nǚ xìng duō chóu shàn gǎn de qíng gǎn” yī wèi wén yì píng lùn jiā rèn wéi， rú guǒ zhè bù xiǎo shuō yǔ nú lì zhì méi yòu guān lián，“ tā bù guò jiù shì yī bù pǔ tōng de gǎn shāng xiǎo shuō”。 lìng wài yī míng píng lùn jiā zé jiāng zhè běn shū miáo shù wéi“ jī běn shàng jiù shì yī duī kǔ lì láo zuò chū de háo wú yì yì de suì piàn”。 qiáo zhì · huì chè（ GeorgeWhicher） zài tā de《 měi guó wén xué shǐ》（ LiteraryHistoryoftheUnitedStates） zhōng duì zhè běn shū chī zhī yǐ bí， jiāng zhī chì wéi“ zhōu rì xué xiào xiǎo shuō”， bìng chōng mǎn zhe“ lù gǔ miáo shù de qíng jié、 yōu mò yǔ bēi shāng”。 　　 rán 'ér， zài 1985 nián shí， jiǎn · tānɡ pǔ jīn sī（ JaneTompkins） zài tā huàshídài de《 jié chū de shè jì： měi guó xiǎo shuō de wén huà chéng guǒ》（ InSensationalDesigns:TheCulturalWorkofAmericanFiction） yī shū zhōng gǎi biàn liǎo zhè yī guān diǎn。 tānɡ pǔ jīn sī shèng zàn liǎo qí tā píng lùn jiā jù jué chéng rèn de gǎn shāng fēng gé， bìng tí chū， gǎn shāng xiǎo shuō zhǎn xiàn liǎo nǚ xìng de qíng gǎn yōng yòu gǎi shàn shì jiè de lì liàng。 tā hái rèn wéi， bāo kuò《 tānɡ mǔ shū shū de xiǎo wū 》 zài nèi de liú xíng yú 19 shì jì de jiā tíng xiǎo shuō， yòu zhe“ lǐ zhì de fù zá xìng、 xióng xīn yǔ jī zhì”； ér《 tānɡ mǔ shū shū de xiǎo wū 》“ duì měi guó shè huì de pī pàn yào bǐ huò sāng yǔ méi 'ěr wéi 'ěr zhè xiē gèng zhī míng xiǎo shuō jiā de pī píng gèng jù huǐ miè xìng。” 　　 jìn guǎn hòu lái guān yú《 tānɡ mǔ shū shū de xiǎo wū 》 fēng gé de guān diǎn yǐ yòu suǒ gǎi biàn， dàn yóu yú zhè bù xiǎo shuō de xiě fǎ yǔ jué dà duō shù xiàn dài xiǎo shuō dà xiāng jìng tíng， jīn rì de dú zhě wǎng wǎng huì jué dé zhè bù zuò pǐn de nèi róng huì sè、 zuò zuò、“ shèn zhì lǎo diào yá liǎo”。 duì xiǎo shuō de fǎn yìng 　　《 tānɡ mǔ shū shū de xiǎo wū 》 suǒ fā huī de zuò yòng“ zài lì shǐ shàng zhǐ yòu shǎo shù qí tā de xiǎo shuō néng gòu qǐ jí。”。 suí zhe xiǎo shuō de chū bǎn，《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng de fèi nú zhù yì guān diǎn céng yǐn fā liǎo yīcháng nú lì zhì dù yōng hù zhě men（ tā men chuàng zuò liǎo dà liàng de zuò pǐn lái fǎn bó zhè bù xiǎo shuō） de kàng yì kuáng cháo。 cǐ wài， zuò wéi yī bù chàng xiāo shū，《 tānɡ mǔ shū shū de xiǎo wū 》 hái duì hòu lái de kàng yì wén xué chǎn shēng liǎo shēn yuǎn de yǐng xiǎng（ lì rú 'è pǔ dùn · xīn kè lāi de《 cóng lín wáng zǐ》）。 　　 tóng shí dài yǔ shì jiè xìng de fǎn yìng 　　《 tānɡ mǔ shū shū de xiǎo wū 》 chū bǎn yī shǐ， měi guó nán fāng de rén men biàn bèi zhè bù xiǎo shuō jī nù liǎo。 ér nú lì zhì dù de zhī chí zhě men yě duì tā jìn xíng liǎo yán lì de pī pàn。 　　 zhù míng de nán fāng xiǎo shuō jiā wēi lián • jí 'ěr mó • xī mǔ sī shēng chēng，《 tānɡ mǔ shū shū de xiǎo wū 》 shì yī bù wán quán cuò wù de zuò pǐn， ér qí tā rén zé chēng zhè bù xiǎo shuō zài fàn zuì hé zào yáo。 zài zhè chǎng dà fàn wéi de fǎn yìng zhōng， yà lā bā mǎ zhōu mò bǐ 'ěr shì de yī míng shū shāng yīn xiāo shòu zhè běn shū 'ér bèi pò lí kāi liǎo chéng shì， ér sī tuō fū rén běn rén yě shōu dào liǎo bù shǎo wēi xié tā de xìn jiàn（ shèn zhì yòu yī bāo zhuāng zhe yī míng nú lì de 'ěr duǒ de yóu jiàn）。 bù jiǔ zhī hòu， xǔ duō xiàng xī mǔ sī zhè yàng de nán fāng zuò jiā biàn fēn fēn fā biǎo liǎo tā men fǎn duì sī tuō fū rén xiǎo shuō de zuò pǐn（ cān jiàn hòu wén fǎn tānɡ mǔ yī jié）。 　　 yī bù fēn píng lùn jiā qiáng diào， sī tuō fū rén quē shǎo zài nán fāng shēng huó de yuè lì， cóng 'ér（ zài tā men kàn lái） dǎo zhì tā duì zhè yī dì qū jìn xíng liǎo bù zhǔn què de miáo shù。 tā men jǔ lì shuō， sī tuō fū rén cóng wèi shè zú guò nán fāng de zhòngzhí yuán。 rán 'ér， sī tuō fū rén yě jiě shì dào， tā shū zhōng de juésè， shì jī yú tā zài 'é hài 'é zhōu xīn xīn nà tí shì jū zhù shí， cóng táo wáng nú lì nà lǐ tīng lái de gù shì。 jù chēng：“ tā qīn shēn guān chá dào de jǐ cì shì jiàn jī lì liǎo tā qù xiě zuò ［ zhè běn ］ zhù míng de fǎn nú lì zhì xiǎo shuō。 tā céng 'é hài 'é hé shàng mù dǔ zhè xiē chǎng jǐng， bāo kuò qīn yǎn kàn dào yī duì fū fù bèi nú lì zhù huó shēng shēng dì chāi sàn。 cǐ wài， bào zhǐ yǔ zá zhì shàng de jì lù yǔ bào dào， yě wéi dāng shí hái zài gòu zhù zhōng de qíng jié tí gōng liǎo sù cái。” 　　 wèile huí yìng zhè xiē pī píng， sī tuō fū rén yú 1853 nián fā biǎo liǎo《 tānɡ mǔ shū shū de xiǎo wū tí jiě》 yī shū， yǐ tú zhèng míng xiǎo shuō duì nú lì zhì dù miáo shù de zhēn shí xìng。 zài zhè běn shū zhōng， sī tuō xiáng shù liǎo《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng de měi yī wèi zhùjué， tí dào liǎo tā men zài“ xiàn shí shēng huó zhōng de yuán xíng”， bìng tóng shí duì nán fāng de nú lì zhì dù jìn xíng liǎo“ bǐ xiǎo shuō zhōng gèng wéi líng lì de gōng jī”。 yǔ xiǎo shuō yī yàng，《 tānɡ mǔ shū shū de xiǎo wū tí jiě》 yě chéng wéi liǎo yī běn chàng xiāo shū。 xū yào tí dào de yī diǎn shì， suī rán sī tuō fū rén shēng chēng《 tānɡ mǔ shū shū de xiǎo wū tí jiě》 zhōng jì lù liǎo tā xiān qián suǒ shǐ yòng de cān kǎo lái yuán， ér zài shí jì shàng， yòu bù shǎo zuò pǐn dōushì zài tā fā biǎo xiǎo shuō zhī hòu cái dú dào de。 　　 jìn guǎn sī tuō fū rén de yán jiū zhōng dài yòu cāi cè yǔ quē xiàn， jìn guǎn nú lì zhì de yōng hù zhě jìn xíng liǎo jiān kè de gōng jī， dàn zhè běn xiǎo shuō yǐ rán xī yǐn liǎo xǔ duō měi guó rén de xiǎng xiàng lì。 gēn jù sī tuō fū rén de 'ér zǐ miáo shù， dāng měi guó zǒng tǒng yà bó lā hǎn • lín kěn yú 1862 nián yǔ sī tuō jiàn miàn shí， lín kěn céng píng lùn dào：“ nǐ jiù shì nà wèi yǐn fā liǎo yīcháng dà zhàn de xiǎo fù rén。” lì shǐ xué jiā men bìng bù néng què rèn lín kěn shì fǒu zhēn de shuō guò zhè jù huà； ér zài yǔ lín kěn jiàn miàn de jǐ gè xiǎo shí hòu sī tuō fū rén xiě gěi tā zhàng fū de xìn zhōng， yě wèi céng tí jí gāi píng lùn。 zì cǐ yǐ hòu， xǔ duō zuò jiādōu chēng zàn liǎo zhè běn xiǎo shuō， chēng qí jí zhōng biǎo dá liǎo běi fāng duì bù gōng zhèng de nú lì zhì dù yǔ《 táo wáng nú lì fǎ》 de fèn nù， zàn qí wéi fèi nú zhù yì yùn dòng zhù rù liǎo qián jìn de dòng lì。 lián bāng yī fāng de yī míng jiāng jūn jí zhèng zhì jiā zhān mǔ sī • bèi 'ěr dé • wéi fú céng shuō guò， zhèng shì zhè běn shū ràng tā kāi shǐ jī jí dì tóu shēn dào fèi nú zhù yì yùn dòng dāng zhōng de。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 zài yīng gé lán yě yǐn qǐ liǎo gōng zhòng de jù dà xīng qù。 lún dūn dì yī bǎn chū bǎn yú 1852 nián 5 yuè， gòng jì mài chū liǎo 'èr shí wàn cè fù běn。 yīng guó rén duì měi guó de fǎn gǎn yě shì qí dà shòu huān yíng de bù fēn yuán yīn。 yòu yī wèi zhù míng de zuò zhě céng xiě dào：“ ‘ tānɡ mǔ shū shū ’ zài yīng guó de dà sì liú xíng bìng bù shì chū yú［ duì nú lì zhì dù de］ zēng 'è yǔ bào fù， ér shì chū yú guó jiā céng miàn shàng de jí dù yǔ xū róng。 wǒ men bèi měi guó de kuáng wàng suǒ cì tòng yǐ jīng hěn jiǔ liǎo héng héng wǒ men pí yú tīng dào tā nà suǒ wèi quán shì jiè zuì zì yóu yǔ zuì wén míng guó jiā de zì kuā。 wǒ men de shén zhí rén yuán tǎo yàn tā de zì fā zhèng fǔ tǐ zhì héng héng wǒ men de bǎo shǒu fènzǐ tǎo yàn tā de mín zhù zhù yì héng héng wǒ men de huī gé dǎng tǎo yàn tā de bào fā hù héng héng wǒ men de jī jìn fènzǐ tǎo yàn tā de hǎo biàn、 tǎo yàn tā de 'ào màn、 hái tǎo yàn tā de yě xīn。 suǒ yòu de dǎng pài dū wéi sī tuō fū rén de bèi pàn 'ér huān hū què yuè。”。 měi guó nèi zhàn shí qī de zhù yīng gōng shǐ lǎo chá lǐ sī • fú lǎng xī sī • yà dāng sī hòu lái céng tán dào：“ 1852 nián chū bǎn de《 tānɡ mǔ shū shū de xiǎo wū ： bēi jiàn zhě de shēng huó》， zài dāng shí 'ǒu rán de huán jìng bāng zhù xià， duì quán shì jiè zào chéng liǎo zhí jiē、 kě guān yǔ yìn xiàng shēn kè de yǐng xiǎng， ér zhè xiē yǐng xiǎng bǐ cǐ qián rèn hé yī běn shū suǒ zào chéng de yǐng xiǎng gèng wéi jù dà。”。 　　 zhè bù xiǎo shuō bèi fān yì chéng liǎo jīhū měi yī zhǒng yǔ yán， bāo kuò zhōng wén（ lín shū de wén yán wén yì běn， shì dì yī bù yòu hàn yì de měi guó xiǎo shuō） yǔ 'ā mǔ hā lā yǔ（ yì chéng yú 1930 nián， yǐ zhī chí 'āi sài 'é bǐ yà jié shù gāi guó hēi rén kǔ nán de nǔ lì）。 zhè běn shū chuán yuè de fàn wéi xiāng dāng guǎng fàn， yǐ zhì zhù míng de jīng shén bìng xué jiā xī gé méng dé • fú luò yī dé céng bào gào shuō， tā rèn wéi yòu xǔ duō huàn zhě biǎo xiàn chū de shī nüè yǔ shòu nüè qīng xiàng， shì shòu《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng biān dǎ nú lì de qíng jié de yǐng xiǎng。 　　 wén xué yì yì yǔ píng lùn 　　 zuò wéi zài měi guó de dì yī bù bèi guǎng fàn chuán yuè de zhèng zhì xiǎo shuō，《 tānɡ mǔ shū shū de xiǎo wū 》 bù jǐn duì měi guó wén xué de fā zhǎn chǎn shēng liǎo jù dà de yǐng xiǎng， hái guǎng fàn dì yǐng xiǎng liǎo kàng yì wén xué de fā zhǎn。 hòu lái 'è pǔ dùn • xīn kè lāi de《 cóng lín wáng zǐ》 yǔ léi qiē 'ěr • kǎ sēn de《 jì jìng de chūn tiān》 dōushì shòu《 tānɡ mǔ shū shū de xiǎo wū 》 yǐng xiǎng zhì shēn de zuò pǐn。 　　 jìn guǎn yòu cǐ wú yōng zhì yí de yì yì， dàn duì《 tānɡ mǔ shū shū de xiǎo wū 》 de liú xíng kàn fǎ shì“ yī bù hùn hé liǎo 'ér tóng yù yán yǔ chuán dào de shū”。 xǔ duō wén yì píng lùn jiā yě pī píng zhè bù xiǎo shuō“ zhǐ shì yī bù gǎn shāng xiǎo shuō”； zài qiáo zhì • huì chè de《 měi guó wén xué shǐ》 zhōng， tā xiě dào：“ sī tuō fū rén huò tā de shǒu zuò dōubù shì zhè bù xiǎo shuō dà shòu huān yíng de yuán yīn； qí zuò zhě de cái lüè yǔ yī míng zhōu rì xué xiào xiǎo shuō de biān zhě xiāng bǐ bìng wú 'èr yàng。 tā zuì duō bù guò jiù shì yòu zhe dà liàng xiàn chéng de qíng jié、 yōu mò yǔ bēi qíng， rán hòu bǎ zhè xiē liú xíng de yuán sù còu chéng yī běn shū bà liǎo。” 　　 bù guò， yě yòu yī xiē píng lùn jiā chēng zàn liǎo zhè běn xiǎo shuō。 āi dé méng • wēi 'ěr xùn（ EdmundWilson） rèn wéi：“ bǎ zì jǐ wán quán dì zhì shēn yú tānɡ mǔ shū shū de xiǎo wū zhōng …… huì zhèng míng nà xiē lìng rén zhèn jīng de jīng lì。” jiǎn • tānɡ pǔ jīn sī zé rèn wéi， zhè běn xiǎo shuō shì měi guó wén xué zhōng de jīng diǎn zhī yī， bìng huái yí dāng shí rú cǐ zhī duō de zhēn duì gāi xiǎo shuō de pī píng wán quán shì yīn wéi tā tài shòu huān yíng liǎo。 　　 chú liǎo xiàng qiǎn zé nú lì zhì nà yàng míng xiǎn de zhù tí yǐ wài， sī tuō fū rén zài xiǎo shuō zhōng suǒ shì tú biǎo dá chū de qí tā guān diǎn yī zhí shì xué zhě men duō nián lái yán jiū de yī gè zhù tí， bìng wéi zhī tí chū liǎo duō zhǒng jiǎ shè lǐ lùn。 jǔ lì 'ér yán， zuò wéi yī míng qián chéng de jī dū tú yǔ jī jí de fèi nú zhù yì zhě， sī tuō fū rén jiāng tā de xǔ duō zōng jiào guān diǎn róng rù liǎo xiǎo shuō dāng zhōng。 mǒu xiē xué zhě rèn wéi， sī tuō fū rén tōng guò tā de xiǎo shuō， wéi kùn rǎo zhe xǔ duō nú lì zhì dù fǎn duì zhě de dào dé yǔ zhèng zhì nán tí tí gōng liǎo yī gè jiě jué tú jìng。 suǒ wèi de dào dé yǔ zhèng zhì nán tí shì： jí shǐ zǔ zhǐ nú lì zhì de xíng wéi yòu zhe fǎn duì zuì 'è de zhèng dāng xìng， rán 'ér， wèile fǎn duì nú lì zhì dù de bào lì 'ér yǐ bào zhì bào， bìng wéi fàn nú lì zhì 'è fǎ de xíng wéi shì fǒu yòu wéi dào dé gōng yì？ sī tuō fū rén bǐ xià de nǎ wèi juésè yòu zhí dé xiào fǎ， shì shùn cóng de tānɡ mǔ shū shū hái shì tiǎo xìn de qiáo zhì • hā lǐ sī？ sī tuō fū rén de jiě jué fāng 'àn lèi sì yú lā 'ěr fū • wò 'ěr duō • ài mò shēng： rú guǒ měi gè réndōu néng chéng zhì dì qù shěn shì shàng dì de jiào yì bìng zūn shǒu zhī， nà me tā mendōu jiāng chéng wéi shàng dì de xìn tú。 　　 xué zhě men hái rèn wéi， zhè běn xiǎo shuō biǎo dá liǎo zì yóu tǔ rǎng yùn dòng de jià zhí guān。 zài cǐ guān diǎn xià， qiáo zhì • hā lǐ sī zhè yàng de juésè chéng wéi liǎo zì yóu láo dòng zhě xìn tiáo de xíng huà， ér 'ào fěi lì yà zhè yàng de fù zá juésè zé dài biǎo zhe nà xiē mò xǔ yǔ nú lì zhì dù tuǒ xié de běi fāng rén。 yǔ 'ào fěi lì yà xíng chéng xiān míng duì bǐ de shì dài nà héng héng yī wèi shòu qíng gǎn qū shǐ de chú shī。 zài xiǎo shuō de qíng jié lǐ， ào fěi lì yà zuì zhōng bèi zhuǎn biàn liǎo， jiù xiàng měi guó gòng hé dǎng（ zài sān nián hòu） xuān bù běi fāng bì xū gǎi biàn zì jǐ， bìng hàn wèi qí fǎn nú lì zhì dù de yuán zé yī yàng。 　　 yòu guān diǎn rèn wéi， nǚ quán zhù yì lǐ lùn yě shì xiǎo shuō de yī bù fēn， yīn wéi xiǎo shuō pī píng de shì fù quán zhì xià de nú lì zhì dù。 sī tuō fū rén rèn wéi， zài yóu nú lì zhù yǔ nú lì suǒ zǔ chéng de jiā tíng jī chǔ zhōng， xuè yuán de guān xì yào nóng yú fù quán jiāzhǎng shì de guān xì。 cǐ wài， sī tuō fū rén jiāng guó jiā de tuán jié shì wéi jiā tíng de yán shēn， yīn 'ér guó jiā yì shí yuán yú duì yī gè gòng yòu zhǒng zú de wéi xì。 yīn cǐ， tā hūyù jiàn lì shǔ yú zì yóu nú lì qiě bù róng rù měi guó shè huì de fēi zhōu rén zhí mín dì。 　　 hái yòu guān diǎn rèn wéi， zhè běn shū shì tú tōng guò chóngxīn dìng yì nán xìng tè zhēng lái zuò wéi fèi chú nú lì zhì dù de guān jiàn yī bù。 zài cǐ guān diǎn xià， fèi nú zhù yì zhě bù dé bù kāi shǐ qù dǐ kàng nà xiē jī jí jìn qǔ yǔ zhàn yōu shì dì wèi de nán xìng xíng xiàng， zhè yī xíng xiàng shì zài 19 shì jì zǎo qī de zhēng fú yǔ zhí mín zhōng fā zhǎn qǐ lái de。 wèile gǎi biàn zhè zhǒng nán zǐ hàn de gài niàn， yǐ shǐ nán xìng bù yīn fǎn duì nú lì zhì 'ér wēi jí zì shēn xíng xiàng huò zì shēn zài shè huì shàng de dì wèi， yī xiē fèi nú zhù yì zhě xī shōu liǎo fù nǚ cān zhèng、 jī dū jiào yǐ jí xiāo jí zhù yì de yuán zé， rèn wéi nán xìng yīnggāi qù hé zuò、 qù tóng qíng、 qù zhǎn xiàn gōng mín jīng shén。 ér fèi nú zhù yì yùn dòng zhōng de qí tā rén zé rèn wéi， chuán tǒng、 jī jí de nán xìng tè zhēng bù yìng bèi gǎi biàn。 sī tuō fū rén bǐ xià de suǒ yòu nán xìng dōushì yǐ shàng liǎng zhǒng nán xìng de dài biǎo。 kè bǎn yìn xiàng de chǎn shēng yǔ pǔ jí 　　zài zuì jìn de jǐ shí nián lái， xué zhě yǔ dú zhě men pī píng zhè běn shū zài miáo shù qí zhōng de hēi rén juésè shí， dài yòu yī zhǒng jū gāo lín xià de zhǒng zú zhù yì yǔ qì； tè bié shì zài juésè de chū xiàn、 shuō huà、 xí xìng， yǐ jí tānɡ mǔ shū shū jiē shòu qí mìng yùn de bèi dòng xìng shàng。 xiǎo shuō zhōng duì fēi yì měi guó rén kè bǎn yìn xiàng de shǐ yòng yǔ chuàng zào suǒ chǎn shēng de yǐng xiǎng lì bù róng hū shì， yīn wéi《 tānɡ mǔ shū shū de xiǎo wū 》 céng shì 19 shì jì quán shì jiè zuì chàng xiāo de xiǎo shuō。 yīn cǐ， zhè běn shū（ yǐ jí shū zhōng fù dài de chā tú yǔ xiāng guān de xì jù zuò pǐn） zài jiāng zhè xiē kè bǎn yìn xiàng gēn shēn dì gù dì zhí rù měi guó jīng shén de guò chéng zhōng， fā huī liǎo bù kě tì dài de zhòng yào zuò yòng。 　　 zài《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng chū xiàn de hēi rén kè bǎn yìn xiàng： 　　•“ kuài lè de hēi guǐ”（“ happydarky”， rú yōng lǎn、 wú yōu wú lǜ de shān mǔ）； 　　• bèi dàngchéng xìng gōng jù de qiǎn fū hēi bái hùn xuè 'ér（“ mulatto”， zhè yàng de juésè yòu： yī lì suō、 kǎi qiàn yǔ 'āi mǐ lín）； 　　• cí 'ài de hēi rén bǎo mǔ（“ mammy”， pì rú shèng kè lāi 'ěr zhòngzhí yuán zhōng de chú shī mǎ mǐ）； 　　• hēi rén xiǎo hái de kè bǎn yìn xiàng（“ Pickaninny”， rú tuō pǔ xī）； 　　• tānɡ mǔ shū shū， huò rèqiè yú qǔ yuè bái rén de fēi yì měi guó rén（ rú tānɡ mǔ shū shū）。 xū yào zhù yì de shì， sī tuō fū rén de běn yì shì jiāng tānɡ mǔ sù zào chéng yī wèi“ gāo guì de yīng xióng”。 ér“ gōng cóng yú bái rén de chǎn mèi shǎ guā” zhè yī kè bǎn yìn xiàng xiǎn rán shì yóu hòu lái xiāng guān de wǔ tái zuò pǐn zào chéng de， ér zhè yǐ bù zài sī tuō fū rén de zhǎng kòng zhī zhōng。 　　 zuì jìn jǐ shí nián lái，《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng de zhè xiē xiāo jí chéngfèn， yǐ zài yī dìng chéng dù shàng ruò huà liǎo zhè běn shū zuò wéi“ zhòng yào de fǎn nú lì zhì gōng jù” de lì shǐ zuò yòng。 duì xiǎo shuō jiě dú de biàn huà yuán yú zhān mǔ sī • bào dé wēn de yī piān míng wéi《 měi gè rén de kàng yì xiǎo shuō》（ Everybody’ sProtestNovel） de wén zhāng。 zài wén zhōng， bào dé wēn jiāng《 tānɡ mǔ shū shū de xiǎo wū 》 chēng wéi yī bù“ fēi cháng zāo gāo de xiǎo shuō”， chēng qí miáo xiě zhǒng zú de shǒu fǎ fēi cháng chí dùn， zài shěn měi shàng kàn lái yě shí fēn cū liè。 　　 zài 1960 nián dài yǔ 70 nián dài， hēi rén quán lì yǔ hēi rén yì shù yùn dòng zhě duì zhè běn xiǎo shuō jìn xíng liǎo pī píng。 rèn wéi tānɡ mǔ shū shū zhè yàng de juésè shì“ zhǒng zú de bèi pàn zhě”，（ zài bù fēn guān diǎn lǐ） shèn zhì rèn wéi tānɡ mǔ yào bǐ zuì 'è dú de nú lì zhù hái yào huài。 zài zhè duàn shí qī lǐ， duì shū zhōng chū xiàn de qí tā kè bǎn yìn xiàng de pī píng yě rì jiàn zēngzhǎng。 　　 zài zuì jìn jǐ nián lái， xiǎo hēng lì • lù yì sī • gài cí děng xué zhě chóngxīn duì《 tānɡ mǔ shū shū de xiǎo wū 》 jìn xíng liǎo jiě dú， bìng rèn wéi zhè běn shū shì“ měi guó zhǒng zú guān xì de hé xīn wén xiàn， yǐ jí duì zhè xiē guān xì tè zhēng jìn xíng de yī cì yì yì zhòng dà de dào dé yǔ zhèng zhì tàn suǒ。” fǎn tānɡ mǔ wén xué 　　wèile fǎn jī《 tānɡ mǔ shū shū de xiǎo wū 》， měi guó nán fāng de zuò jiā men fā biǎo shù liàng zhòng duō de zuò pǐn yǐ fǎn bó sī tuō fū rén de xiǎo shuō。 suǒ wèi de fǎn tānɡ mǔ wén xué， yī bān dū zhàn zài wéi hù nú lì zhì dù de lì chǎng shàng， rèn wéi sī tuō fū rén bǐ xià miáo shù de nú lì zhì dù shì kuā zhāng bù shí de。 zhè yī lèi de zuò pǐn dà dū zhǎn xiàn liǎo jiāzhǎng shì de bái rén nú lì zhù yǔ qí chún jié de qī zǐ， tā mendōu shí fēn lè shàn hǎo shī， zài qí jiā tíng shì de zhòngzhí yuán lǐ zhào gù zhe nà xiē hái zǐ bān de nú lì men。 zài zhè xiē xiǎo shuō zhōng， fēi yì měi guó réndōu bèi hán xù huò zhí jiē dì miáo shù wéi hái zǐ bān de rén， lí kāi bái rén de jiān hù jiù wú fǎ dú lì shēng huó。 　　 zuì zhù míng de jǐ běn fǎn tānɡ mǔ zuò pǐn yòu wēi lián · jí 'ěr mó · xī mǔ sī de《 jiàn yǔ suō》、 mǎ lì · hēng dé sēn · yī sī mén de《 fěi lì sī 'ā yí de xiǎo wū》 yǐ jí kǎ luó lín · lǐ · hēng cí de《 zhòngzhí yuán zhù de běi fāng xīn niàn》 [88]， qí zhōng zuì hòu yī wèi zuò zhě zài xīn xīn nà tí shí céng yǔ sī tuō fū rén yòu guò yī duàn qīn mì de péng yǒu guān xì。 xī mǔ sī de shū chū bǎn yú sī tuō fū rén xiǎo shuō fā biǎo de jǐ gè yuè hòu， qí zhōng de xǔ duō zhāng jié yǔ yì lùn dū wéi rào zhe biàn bó sī tuō fū rén de shū jí qí guān diǎn 'ér zhǎn kāi。 hēng cí de xiǎo shuō chū bǎn yú 1854 nián， zài dāng shí céng guǎng shòu chuán yuè， dàn xiàn zài jī běn shàng yǐ bèi yí wàng liǎo； zhè běn xiǎo shuō tōng guò miáo shù yī wèi jià gěi nán fāng nú lì zhù de běi fāng fù nǚ héng héng yī míng fèi nú zhù yì zhě de nǚ 'ér héng héng de suǒ jiàn suǒ wén， wéi nú lì zhì dù jìn xíng liǎo biàn hù。 　　 zài《 tānɡ mǔ shū shū de xiǎo wū 》 chū bǎn dào nán běi zhàn zhēng bào fā qián de jìn shí nián jiān， zǒng gòng yòu 20 dào 30 bù fǎn tānɡ mǔ zuò pǐn miàn shì。 qí zhōng yòu liǎng běn shū de shū míng wéi《 zhè cái shì tānɡ mǔ shū shū de xiǎo wū 》（ UncleTom'sCabinAsItIs， qí yī wéi W·L· shǐ mì sī suǒ zuò， lìng yī wéi C·H· wēi lì zuò）， cǐ wài， hái yòu yī běn shì yuē hàn · péng dé 'ěr dùn · kěn ní dí de zuò pǐn。 yòu chāo guò yī bàn de fǎn tānɡ mǔ zuò pǐn dū yóu bái rén nǚ xìng xiě chéng， xī mǔ sī céng wèicǐ fěng cì shuō：“ ràng yī wèi nán fāng nǚ xìng qù fǎn bó běi fāng nǚ xìng（ zhǐ sī tuō fū rén） kàn qǐ lái shì shàn 'è yìng dé de bào yìng。” xì jù gǎi biān 　　1886 nián《 sī tè sēn de〈 tānɡ mǔ shū shū de xiǎo wū 〉》 hǎi bào wǔ tái yǎn chū 　　 jìn guǎn《 tānɡ mǔ shū shū de xiǎo wū 》 shì 19 shì jì zuì chàng xiāo de xiǎo shuō， dàn gèng duō de měi guó rén shì tōng guò wǔ tái jù hé yīnyuè jù lái liǎo jiě dào zhěng gè gù shì de， ér bù shì tōng guò yuán shū。 āi lǐ kè · luò tè（ EricLott） zài tā de《 tuō mǐ tú dé sī shū shū： zhǒng zú huà jù yǔ zuò pǐn mó shì》（ UncleTomitudes:RacialMelodramaandModesofProduction） zhōng gū jì， zhì shǎo yòu sān bǎi wàn rén céng guān kàn guò zhè lèi yǎn chū， qí shù mù shì xiǎo shuō fā biǎo tóu yī nián lǐ fā shòu liàng de shí bèi zhī duō。 　　 yóu yú dāng shí bìng bù yán gé de zhù zuò quán fǎ lǜ， jī yú《 tānɡ mǔ shū shū de xiǎo wū 》 de wǔ tái zuò pǐn zài xiǎo shuō hái zài lián zài shí biàn yǐ jīng chū xiàn liǎo。 sī tuō fū rén jù jué qīn zì jiāng xiǎo shuō gǎi biān wéi xì jù， yīn wéi tā duì xì jù yòu zhe qīng jiào tú shì de bù xìn rèn（ jìn guǎn tā zài hòu lái qù kàn guò qiáo zhì · ài kěn gǎi biān de bǎn běn， ér jù fú lǎng xī sī · ān dé wǔ dé（ FrancisUnderwood） miáo shù， tā duì kǎ luó lín · huò huá dé（ CarolineHoward） shì yǎn de tuō pǔ xī gǎn dào shí fēn“ xīn xǐ”）。 sī tuō fū rén de zhè yī jù jué， ràng wǔ tái zuò pǐn de lǐng yù dé yǐ bèi zhòng duō gǎi biān zuò pǐn zhàn jù， bù fēn gǎi biān zuò pǐn de mùdì shì wèile shí xiàn（ gè zhǒng gè yàng de） zhèng zhì yuán yīn， dàn qí yú de zhǐ bù guò shì wéi liǎo jìn xíng shāng yè tóu jī。 　　 qíng jié jù yǔ hēi liǎn zá xiù shì zhè xiē wǔ tái zuò pǐn de gòng yòu yuán sù。 zhè xiē zuò pǐn de zhèng jiàn yòu zhe jù dà de chā yì héng héng yòu yī bù fēn rú shí dì fǎn yìng liǎo sī tuō fū rén shāng gǎn de fǎn nú lì zhì dù de zhèng jiàn， lìng yī bù fēn zé bǐ jiào zhōng xìng， shèn zhì hái yòu yī xiē wéi hù nú lì zhì dù zhèng jiàn de zuò pǐn。 xǔ duō zuò pǐn dū xù yì dì duì hēi rén jìn xíng liǎo zhǒng zú fěng cì； hái yòu bù shǎo zuò pǐn cǎi yòng liǎo sī dì fēn · dà zhòng tè chuàng zuò de gēqǔ（ qí zhōng yòu“ wǒ de kěn tǎ jī gù xiāng”、“ gù xiāng de qīn rén” yǔ“ Massa'sintheColdGround”）。 zuì zhù míng de yī chū wǔ tái zuò pǐn shì yóu qiáo zhì · ài kěn yǔ H·J· kāng wéi（ H.J.Conway） hé biān de。 　　 zài 19 shì jì，《 tānɡ mǔ shū shū de xiǎo wū 》 de xǔ duō wǔ tái gǎi biān zuò pǐn“ zài hǎo jǐ nián lǐ…… zhī pèi liǎo běi fāng de liú xíng wén huà”， dào liǎo 20 shì jì zǎo qī， yòu yī bù fēn jù zuò yǐ rán hái zài yǎn chū zhōng。 　　 diàn yǐng gǎi biān 　　《 tānɡ mǔ shū shū de xiǎo wū 》 yòu zhe xǔ duō de diàn yǐng bǎn běn。 dà bù fēn de zhè xiē yǐngpiān dū shè zhì yú mò piàn shí dài（ zài dāng shí，《 tānɡ mǔ shū shū de xiǎo wū 》 shì bèi pāi chéng diàn yǐng cì shù zuì duō de gù shì）。 yóu yú xiǎo shuō yǔ wǔ tái zuò pǐn chí xù dì shòu dào huān yíng， xǔ duō guān zhòng dōuyǐ jīng shí fēn shú xī jù qíng zhōng de juésè， yīn cǐ tā men zài guān kàn bù dài duì huà de mò piàn shí bìng bù huì gǎn dào shí fēn kùn nán。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 de dì yī gè diàn yǐng bǎn běn shì zuì zǎo de“ quán cháng” diàn yǐng zhī yī（ zài dāng shí，“ quán cháng” yì wèi zhe diàn yǐng de cháng dù dà yuē zài 10 dào 14 fēn zhōng zhī jiān）。 zhè bù 1903 nián de diàn yǐng yóu 'āi dé wēn · sī tǎn dùn · bō tè dǎo yǎn， yóu bái rén yǎn yuán bàn zhuāng hēi rén zhùjué， ér hēi rén yǎn yuán zé zhǐ chōng dāng lín shí yǎn yuán。 zhè yī bǎn běn yǔ xiān qián de xǔ duō wǔ tái zuò pǐn dū shí fēn lèi sì； cǐ wài， zhè bù diàn yǐng hái miáo huì chū liǎo xǔ duō hēi rén de kè bǎn yìn xiàng（ pì rú zài jīhū měi gè chǎng hé dū yóu hēi nú zài tiào wǔ， bāo kuò yīcháng hēi nú pāi mài huì shàng）。 　　1910 nián， měi guó wéi tǎ gé lā fū zhì piàn chǎng zhì zuò liǎo yóu J· sī tú 'ěr tè · bù lāi kè dùn dǎo yǎn bìng yóu yóu jīn · mǎ lín（ EugeneMullin） gǎi biān de sān juàn cháng diàn yǐng。 jù《 xì jù zhī jìng》（ TheDramaticMirror） shàng de miáo shù， zhè bù diàn yǐng shì diàn yǐng shǐ shàng de“ yī cì míng xiǎn de gé xīn”， yě shì“ dì yī cì yī jiā měi guó gōng sī” fā bù sān pán jiāojuǎn de xì jù diàn yǐng。 zài dāng shí， yī bù yī pán jiāojuǎn de“ quán cháng” yǐng piàn cháng yuē 15 fēn zhōng。 zhè bù diàn yǐng yóu fú luò lún sī · tú 'ěr nà、 mǎ lì · fù lè、 āi dé wēn ·R· fěi lì pǔ sī（ EdwinR.Phillips）、 fú luò lā · fēn qí、 rè nà wéi yé fú · tuō bīn yǔ xiǎo kǎ lāi 'ěr · bù lāi kè wéi 'ěr zhù yǎn。 　　 zài qí hòu 20 nián lǐ， zhì shǎo yòu 4 bù yǐ shàng de diàn yǐng gǎi zuò wèn shì。 zuì hòu de yī bù mò piàn bǎn běn fā xíng yú 1927 nián， yóu hā lǐ ·A· bō lā dé（ tā céng zài 1913 nián bǎn de《 tānɡ mǔ shū shū de xiǎo wū 》 zhōng shì yǎn tānɡ mǔ shū shū） dǎo yǎn。 zhè bù 2 xiǎo shí cháng de diàn yǐng huā fèi liǎo yī nián duō de shí jiān jìn xíng zhì zuò， yě shì mò piàn shí dài yù suàn huā fèi dì sān duō de diàn yǐng（ jì 180 wàn měi yuán）。 zài zhè bù diàn yǐng zhōng， hēi rén yǎn yuán chá 'ěr sī · xī ní · jí 'ěr píng běn shì yuán dìng de tānɡ mǔ shū shū shì yǎn zhě， dàn què yóu yú tā de“ biǎo yǎn guò yú pàn nì” ér bèi zhì piàn chǎng qǔ xiāo liǎo biǎo yǎn zī gé， bìng wéi zhān mǔ sī ·B· luò suǒ qǔ dài。 zhè bù diàn yǐng yǔ xiǎo shuō de yī gè bù tóng de qíng jié shì， dāng tānɡ mǔ shū shū sǐ hòu， tā biàn chéng liǎo yī gè fù chóu de yōu líng， bìng zuì zhōng dǎo zhì liǎo sài mén · lè gé lǐ de sǐ wáng。 dāng shí de hēi rén diàn tái céng shèng zàn zhè bù diàn yǐng， dàn jù pà yǐn qǐ nán fāng yǔ bái rén diàn yǐng guān zhòng jī liè fǎn yìng de zhì piàn chǎng， zuì zhōng jiǎn diào liǎo zhēng yì xìng de qíng jǐng， bāo kuò yǐngpiān kāi shǐ shí de hēi nú pāi mài huì（ qí zhōng， yī wèi mǔ qīn bèi pò yǔ zì jǐ de yòu zǐ shēng shēng fēn lí）。 zhè bù diàn yǐng de jù běn yóu bō lā dé、 hā wéi ·F· xiū（ HarveyF.Thew） yǔ A·P· yáng gé gǎi biān， zì mù yóu wò 'ěr tè · ān dōng ní zhuàn xiě； zhù yào yǎn yuán yòu： zhān mǔ sī ·B· luò、 fú jí ní yà · gé léi、 qiáo zhì · xī gé màn、 mǎ jiā lì tǎ · fěi shè 'ěr、 mò nà · léi yǔ sū tài wén nǚ shì。 　　 zài mò piàn shí dài jié shù hòu de jǐ shí nián jiān， zhè bù xiǎo shuō zhōng de zhù tí yīn bèi rèn wéi tài guò mǐn gǎn 'ér wèi bèi jì xù pāi chéng diàn yǐng。 1946 nián， mǐ gāo méi céng jué dìng jiāng zhè bù xiǎo shuō zài cì bān shàng yín mù， dàn què yóu yú quán guó yòu sè rén zhǒng xié jìn huì lǐng dǎo de kàng yì 'ér wú jí 'ér zhōng。 　　1965 nián， chū xiàn liǎo yī bù yóu gé chá · féng · láo dé wǎ ní（ GézavonRadványi） dǎo yǎn de dé yǔ bǎn běn， hòu lái bèi bō xuē diàn yǐng dǎo yǎn kè luó gé · bā bù yǐn rù liǎo měi guó。 qì jīn wéi zhǐ， zuì hòu de yī gè diàn yǐng bǎn běn shì 1987 nián zài diàn shì shàng bō yìng de bǎn běn。 gāi bǎn běn yóu sī tǎn · lāi sēn dǎo yǎn， yuē hàn · gài yī（ JohnGay） gǎi biān， chū yǎn zhù yào yǎn yuán de juésè yòu 'āi fú lǐ · bù lǔ kè sī、 fěi lì xī yà · lā shā dé、 ài dé huá · wǔ dé wò dé、 zhēn nī · liú yì sī（ JennyLewis）、 sài miù 'ěr ·L· jié kè xùn yǔ jīn ní（ EndyiaKinney）。 　　 chú liǎo zhēn rén diàn yǐng duì《 tānɡ mǔ shū shū de xiǎo wū 》 de gǎi biān wài， hái yòu xǔ xǔ duō duō de dòng huà kǎ tōng de gǎi biān bǎn běn。 zhè yàng de dòng huà yòu： huá tè dí shì ní de《 mǐ qí de qíng jié jù》（ 1933 nián）， qí zhōng dí shì ní de jīng diǎn juésè bèi tú shàng liǎo kuā zhāng de hēi liǎn yǔ chéng hóng de zuǐ chún； tù bā gē kǎ tōng《 nán fāng yóu zhà tù》（ 1953 nián）， qí zhōng tù bā gē bǎ zì jǐ zhuāng bàn chéng liǎo tānɡ mǔ shū shū， bìng chàng zhe“ wǒ de kěn tǎ jī gù xiāng” qǐ tú yuè guò méi sēn - dí kè xùn xiàn；《 tānɡ mǔ shū shū de píng fáng》（ 1937）， yī bù yóu tè kè sī · āi fú lǐ jiān zhì de huá nà xiōng dì kǎ tōng；《 bīng shàng de yī lì suō》（ ElizaonIce， 1944 nián）， yóu bǎo luó · tè lǐ zhì zuò de《 tài kōng fēi shǔ》 kǎ tōng zuì zǎo de jǐ jí zhī yī； yǐ jí《 tānɡ mǔ shū shū de xiǎo wū 》（ UncleTom'sCabaña， 1947 nián）， yóu tè kè sī · āi fú lǐ dǎo yǎn de yī bù 8 fēn zhōng cháng de kǎ tōng。 　　《 tānɡ mǔ shū shū de xiǎo wū 》 hái céng duì dà liàng de diàn yǐng chǎn shēng guò yǐng xiǎng， bāo kuò 1915 nián de diàn yǐng《 yī gè guó jiā de dàn shēng》。 zhè bù pō jù zhēng yì xìng de diàn yǐng gù yì dì jiāng yī gè lèi sì yú tānɡ mǔ shū shū jiā de xiǎo wū yǐn rù dào liǎo jù qíng de gāo cháo： zài xiǎo wū zhōng， nán fāng bái rén yǔ tā men cóng qián de dí rén（ běi fāng jūn） lián hé liǎo qǐ lái， qù yī tóng hàn wèi“ yǎ lì 'ān rén de tiān fù quán lì”。 xué zhě rèn wéi， duì lèi sì xiǎo wū de zhòng yòng， huì ràng dāng shí de guān zhòng lǐ jiě qí hán yì bìng tóng diàn yǐng chǎn shēng gòng míng。 　　 qí tā shòu《 tānɡ mǔ shū shū de xiǎo wū 》 yǐng xiǎng de diàn yǐng， hái bāo kuò yòu：《 lián yī》（ Dimples， 1936 nián xiù lán · dèng bō 'ér zhù yǎn de diàn yǐng）、“ tānɡ mǔ shū shū de shū shū”（“ UncleTom'sUncle”， xì liè diàn yǐng《 wǒ men zhè yī huǒ》 zài 1926 nián de yī jí）、 luó jié sī hé hā mò shī tài yīn de yīnyuè jù《 guó wáng yǔ wǒ》（ qí zhōng yòu yīcháng yǐ chuán tǒng xiān luó fēng gé biǎo yǎn de bā lěi wǔ“ tuō mǎ sī shū shū de xiǎo fáng zǐ”，“ SmallHouseofUncleThomas”） yǐ jí《 niǔ yuē hēi bāng》（ qí zhōng， lāi 'áng nà duō · dí kǎ pǔ lǐ 'ào yǔ dān ní 'ěr · dài - liú yì sī shì yǎn de juésè jiā rù liǎo yīcháng gǎi biān zì《 tānɡ mǔ shū shū de xiǎo wū 》 de jiǎ xiǎng zhàn zhēng）。 píng jià 　　gòu chéng nà cì jù dà zhàn zhēng -- nán běi zhàn zhēng dǎo huǒ xiàn de， xiǎng bù dào jìng shì zhè wèi shēn cái 'ǎi xiǎo de、 kě 'ài de fū rén。 tā xiě liǎo yī běn shū， niàng chéng liǎo wěi dà de shèng lì。 　　-- měi guó zǒng tǒng lín kěn 　　 sī tuó fū rén de《 tānɡ mǔ shū shū de xiǎo wū 》 shì wén xué shǐ shàng zuì wěi dà de shèng lì。 　　-- měi guó zhù míng shī rén hēng lì · láng fèi luó 　　《 tānɡ mǔ shū shū de xiǎo wū 》 jiǎo dòng liǎo měi guó biǎo miàn de yì shù， dùn shí yǐn qǐ yīcháng sāo dòng， bìng xuān gào yī gè tè shū shí chén lái lín。 　　-- měi guó xué zhě zhān mǔ sī 　　 sī tuō fū rén suǒ zuò de《 hēi nú yùtiān lù》（《 tānɡ mǔ shū shū de xiǎo wū 》 de lìng yī yì míng） miáo xiě liǎo hēi nú shòu dì zhù nüè dài zhī kǔ kuàng， xīn suān rù gǔ， dú zhě wéi zhī lèi xià， yú shì jī qǐ nán běi zhàn zhēng， ér hēi nú cái huò dé zì yóu liǎo。 　　-- zhù míng zuò jiā sū xuě lín 　　 dì yī cì tīng dào liǎo měi guó nǚ zuò jiā sī tuō fū rén de xiǎo shuō《 hēi nú yùtiān lù》， měi guó nán bù hēi nú men de bēi cǎn mìng yùn hé tā men yǒng gǎn kàng zhēng de gù shì， xīn jī dòng bù yǐ， jǐn wò zhuóyǎn lèi shī tòu de shǒu juàn， zài zhěn shàng fān lái fù qù， jiǔ jiǔ bù néng rù mèi。 　　-- zhù míng zuò jiā bīng xīn 　　《 hēi nú yùtiān lù》 zuì zǎo shì yóu qīng dài de wén xué jiā lín shū fān yì jiè shào dào zhōng guó lái de。 shū lù 　　shū lù： 　　 dì 01 zhāng　 yī wèi shàn liáng de rén 　　 dì 02 zhāng　 mǔ qīn 　　 dì 03 zhāng　 zhàng fū yǔ fù qīn 　　 dì 04 zhāng　 tānɡ mǔ shū shū xiǎo wū zhī yè 　　 dì 05 zhāng　 hēi nú yì zhù de xīn qíng 　　 dì 06 zhāng　 fā jué 　　 dì 07 zhāng　 mǔ qīn de fèn zhēng 　　 dì 08 zhāng　 yī lì suō de chū táo 　　 dì 09 zhāng　 yì yuán： rén yě 　　 dì 10 zhāng　 hēi nú qǐ yùn 　　 dì 11 zhāng　 hēi nú de fēi fēn zhī xiǎng 　　 dì 12 zhāng　 hé fǎ jiāo yì lì xuǎn 　　 dì 13 zhāng　 jiào yǒu huì cūn luò 　　 dì 14 zhāng　 yī wàn jié lín 　　 dì 15 zhāng　 xīn zhù jí qí tā 　　 dì 16 zhāng　 nǚ dōng jiā jí qí guān diǎn 　　 dì 17 zhāng　 zì yóu rén de fáng wèi 　　 dì 18 zhāng　 ào fěi lì yà de jīng lì hé guān diǎn（ shàng） 　　 dì 19 zhāng　 ào fěi lì yà de jīng lì hé guān diǎn（ xià） 　　 dì 20 zhāng　 tuō pǔ xī 　　 dì 21 zhāng　 kěn tǎ jī 　　 dì 22 zhāng　“ cǎo bì kū gān héng héng huā bì diāo xiè” 　　 dì 23 zhāng　 hēng lì kè 　　 dì 24 zhāng　 yù zhào 　　 dì 25 zhāng　 xiǎo fú yīn shǐ zhě 　　 dì 26 zhāng　 sǐ wáng 　　 dì 27 zhāng　“ shì jiè de mò rì” 　　 dì 28 zhāng　 tuán yuán 　　 dì 29 zhāng　 méi yòu bǎo zhàng de rén men 　　 dì 30 zhāng　 hēi nú huò zhàn 　　 dì 31 zhāng　 tú zhōng 　　 dì 32 zhāng　 hēi 'àn zhī chù 　　 dì 33 zhāng　 kǎi xī 　　 dì 34 zhāng　 èr dài hùn xuè nǚ rén de jīng lì 　　 dì 35 zhāng　 niàn wù 　　 dì 36 zhāng　 ài mǐ lì hé kǎi xī 　　 dì 37 zhāng　 zì yóu 　　 dì 38 zhāng　 shèng lì 　　 dì 39 zhāng　 jì móu 　　 dì 40 zhāng　 xùn dào zhě 　　 dì 41 zhāng　 shàoye 　　 dì 42 zhāng　 zhēn zhèng nào guǐ de chuán shuō 　　 dì 43 zhāng　 mù yuán chǎng 　　 dì 44 zhāng　 jiě fàng zhě 　　 dì 45 zhāng　 wěi bái 　　 chūn liǔ pài dài biǎo zuò：《 hēi nú yùtiān lù》 　　 chūn liǔ shè zuì zǎo de zuò pǐn de《 hēi nú yùtiān lù》， gǎi biān zì měi guó nǚ zuò jiā sī tuō fū rén de《 tānɡ mǔ shū shū de xiǎo wū 》， yuán zhù tōng guò duì hēi nú tānɡ mǔ duō cì bèi bái zhǒng zhù rén zhuǎn mài de bēi cǎn zāo yù de miáo xiě， jiē lù měi guó zhǒng zú yā pò de zuì 'è。 jù běn jié qǔ yuán xiǎo shuō de kāi tóu bù fēn jiā yǐ gǎi biān， quán jù fēn wǔ mù， miáo xiě hēi nú zhé 'ér zhì“ xìng gāng liè， yòu cái shí”， bèi zhù rén hán dé gēn zū jiè gěi wēi lì sēn gōng chǎng。 tā fā míng liǎo yī zhǒng jī qì， shòu dào wēi lì sēn de jiǎng shǎng， jiēguǒ yǐn qǐ hán dé gēn dà nù， jiāng tā dài huí jiā qù， jiā bèi nüè dài， zhé 'ér zhì biàn táo liǎo chū lái。 zhé de qī zǐ yì lǐ sài zài bái rén jiě 'ér péi jiā lǐ wéi nú， tā men de 'ér zǐ xiǎo hǎi léi， tóng lìng yī gè lǎo hēi nú tānɡ mǔ， bèi jiě 'ér péi dāng zuò zhài kuǎn dǐ yā gěi liǎo nú lì fàn zǐ hǎi liú， yīn cǐ yě táo zǒu zài wài。 zuì hòu， zhè xiē hēi nú zài shēn shān xuě yá xiāng yǔ xiāng yù， shì féng hán dé gēn dài rén zhuī bǔ qián lái， zhé 'ér zhì fèn lì bó dǒu， zhōng yú shā sǐ nú lì fàn zǐ， dà jiā huò miǎn yú nán。 　　 yuán zuò jù yòu nóng hòu de jī dū jiào zōng jiào sè cǎi， tānɡ mǔ shì qián chéng de jiào tú jiāng zì yóu ràng gěi bié rén， zì jǐ bèi zhé mó 'ér sǐ， zhù yào biǎo dá zhǒng zú yā pò de zuì 'è， ér gǎi biān bǎ zhòng xīn yóu tānɡ mǔ zhuǎn yí dào zhé 'ér zhì， qiáng diào fǎn kàng jīng shén， yǔ zhōng guó dāng shí de xiàn shí xiāng qì hé。 　　《 hēi nú yùtiān lù》 bù jǐn xiǎn shì liǎo sī xiǎng nèi róng shàng de shí dài gǎn hé xiàn shí xìng， zài yì shù xíng shì shàng biāo zhì zhe zhōng guó huà jù de kāi duān。 héng héng yòu wán zhěng de wén xué jù běn， yǐ duì huà yǔ dòng zuò wéi zhù yào biǎo xiàn xíng shì， ér qiě wán quán cǎi yòng liǎo xiàn dài huà jù de fēn mù xiě fǎ。 yīngwénjièshì :  Uncle Tom's Cabin n.:  Tom show bāo hán cí tānɡ mǔ shū shū de xiǎo wū ( qīng shǎo bǎn ) shàonián bǎn chuán shì jīng diǎn bì dú wén kù tānɡ mǔ shū shū de xiǎo wū