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汤姆叔叔的小屋 Uncle Tom's Cabin
  《汤姆叔叔的小屋》这本书可以说是引发了美国南北战争的小说,是美国第一部具有鲜明民主倾向的作品,是美国文学史上一个重要文学流派——废奴文学的代表作,为美国文学奠定了第一块现实主义基石。
  
  《汤姆叔叔的小屋》-作品简介
  
  作者:(美国)海瑞特·比彻·斯托夫人(1811-1869 年)
  类型:小说
  成书时间:1852 年
  《汤姆叔叔的小屋》-作者简介
  
  《汤姆叔叔的小屋》比彻·斯托夫人
  比彻·斯托夫人出生于美国康涅狄格州一个正统的卡尔文教派的牧师家庭,幼年时期即开始接受基督教教育,宗教典籍和司各特、拜伦、狄更斯、库柏等文学大家的著作伴着她度过了青少年时代。青年时她当过中学教师,随后嫁给了一位神学院的教员。20岁时,她全家搬往辛辛那提市,从此在那里住了18年。她的家与蓄奴的村庄只有一河之隔,有机会接触一些逃亡的奴隶。她的哥哥曾在波士顿教堂发表过激烈的废奴演讲,另一位哥哥则在布鲁克林教堂举行“特殊的黑奴拍卖”, 让黑奴获得自由。1850年她来到肯塔基州的一个种植园,从此了解到黑奴悲惨的生活,她决定把自己耳闻目睹的事实都写出来。
  
  这部小说首先于1852年在《民族时代》刊物上连载,立即引起强烈的反响,受到人们无与伦比的欢迎。同时,这部小说在19世纪50年代的美国,正是浪漫主义占文学主流的时候,它的发表对美国文学向现实主义发展产生了深刻的影响。
  
  推荐阅读版本:蒲隆等译,三联书店出版。
  《汤姆叔叔的小屋》-内容精要
  
  汤姆是肯塔基州庄园主谢尔比家的一个黑奴,因为他为人忠实、得力,且对人友爱、乐于帮助人,深受庄园主一家和其他奴隶的喜爱,尤其是谢尔比的儿子乔治少爷非常喜欢他,称他为汤姆叔叔。汤姆叔叔的小屋是一间木头房子,屋里挂着几幅圣经故事插图,他的妻子克洛伊婶婶是庄园的厨娘,他们有三个孩子。
  
  谢尔比在股票市场上投机失败,为了还债,决定把两个奴隶卖掉。一个是汤姆,另一个是黑白混血种女奴伊丽莎的儿子哈利。
  
  伊丽莎不是一个俯首贴耳死心塌地听主人摆布的奴隶,当她偶然听到主人要卖掉汤姆和自己的儿子哈利后,就决定逃跑。临走前她来到汤姆叔叔的小屋告诉他一切。汤姆叔叔想到,如果他一逃走,别的奴隶就会遭到被卖的命运,主人也要丧失所有的产业。他决定留下来,宁愿自己忍受一切痛苦。伊丽莎带着孩子奇迹般地逃脱奴隶贩子的追捕,来到冰河对岸的自由州,在那里与获得废奴组织帮助而逃脱的丈夫会合,一家人逃往加拿大,成为了自由人。
  
  汤姆被转卖到新奥尔良,在前往种植园的船上,他救了一个小姑娘伊娃。伊娃的父亲圣·克莱出于感激将汤姆买了过来,当作自己家的车夫。汤姆和伊娃建立了感情。两年后伊娃突然病死。圣·克莱决定按照女儿生前的愿望解放汤姆和其他黑奴。可是他还没有来得及办妥解放的法律手续,就在一次意外事故中死去。圣·克莱的妻子未遵从丈夫和女儿的遗愿,反而将所有黑奴送去拍卖。
  
  新主人莱格利是个棉花种植园主,非常残暴。汤姆忍受着这非人的折磨,默默地奉行着做一个正直人的原则,将自己的内心奉献给永恒的上帝。他协助两个女奴逃跑,但自己仍然留下来,和其他可怜的黑奴在一起。莱格利暴跳如雷,把汤姆捆绑起来,鞭打得皮开肉绽,死去活来。汤姆知道生命的最后时刻即将来临,他说:“我什么都知道,老爷,但是我什么也不能说,我宁愿死!”
  
  两天后,他过去的主人的儿子乔治·谢尔比赶来赎买汤姆。但是已经太晚了,汤姆在弥留之际对乔治少爷露出了宽慰的笑容,离开了人世。乔治把汤姆葬在一个小丘上,他跪在汤姆的坟头说:“我向你起誓,从现在起,我愿尽我的一切力量,把可诅咒的奴隶制度从我们的国土上消灭掉。”
  
  回到家乡肯塔基后,乔治就以汤姆大叔的名义解放了他名下的所有黑奴,并对他们说:“你们每次看见汤姆大叔的小屋,就应该联想起你们的自由。”
  《汤姆叔叔的小屋》-专家点评
  
  1862年的某日,邮差给斯托夫人送来了一封陌生的信,这是一封来自白宫的信。取出了信,打开信笺,她先去看末尾的签名,林肯,是林肯总统吗?她简直难以相信自己会收到总统的信。林肯总统邀请她到白宫去,总统说:“我们都想听听你是怎样写了那部导致一场伟大战争的书。”斯托夫人的手有些颤抖了,眼泪顿时涌了出来。对一个虔诚地信仰上帝的家庭主妇来说,她从来没有想过要获取总统接见这样的荣誉,她只是想把自己所有见到的一切都写出来让大家了解。
  
  林肯总统所谓的那本 “导致一场伟大战争的书”是《汤姆叔叔的小屋》。可以毫不犹豫地说,这本小说确是导致了一场战争,这在世界文化史上是不多见的。
  
  1852年6月起,这部《汤姆叔叔的小屋》开始在华盛顿一家周刊上连载,引起了轰动。小说出版仅第一年就在国内印了 100多版,销了30多万册。她还想不到这部作品会给她的祖国带来什么。当时林肯正领导着捍卫美国统一的南北战争,非常需要白人兄弟和黑人兄弟团结起来。在这决定美国统一的关键的历史时刻,《汤姆叔叔的小屋》比任何军令和政府文件产生的作用都更有力。但是,她的作品也被指责为“歪曲事实”。斯托夫人这时深感社会多么复杂,她看清了那些指责她的人是代表南方奴隶主利益的势力。但她还从未想过,善良会遭到尖锐的反对。现在她的反对者们终于把她造就成一个战士,一个受到林肯将军赞赏的战士。为了回答那些对她的非难和诬蔑,斯托夫人勇敢地写出《关于〈汤姆叔叔的小屋〉的说明》,公布了写作的背景材料、文件、轶事、谈话纪要等等,于是世界看到,这部小说原本就是根据相当真实的故事写的。那时刻她没有想到,自己会在决定祖国统一的南北战争中,用一支“上帝之笔”,与林肯将军领导的军团成为同一个战壕里的战友。她的作品使投入林肯将军部队的黑人不断增多,事实上,她的作品不仅代表黑奴利益,也代表美国白人利益。她的作品扩大了林肯将军 “正义之师”的战斗力。那场战争胜利了。那时刻她还想不到,有一天美国著名作家查尔斯·萨姆纳会这样写道:“要是没有斯托夫人的《汤姆叔叔的小屋》,林肯也就不可能当选为美国总统。”美国的统一得到巩固,美国的国力自林肯后得到迅速发展,以致在20世纪深刻地影响了整个世界,那里面有斯托夫人在“历史关头”的杰出劳动。她的作品不仅影响了美国,也风暴般地影响了拉丁美洲黑奴的解放,并漂洋过海传遍欧洲,一个多世纪以来一直是人们反对种族歧视的有力武器。
  
  《汤姆叔叔的小屋》一个年老的奴隶被枪杀
  这部小说可以说是美国反对蓄奴制的宣言书,评论界认为本书在启发民众的反奴隶制情绪上起了重大作用,被视为美国内战的起因之一。对于美国南北战争,尤其是北方的胜利起到了巨大的作用,所以,当总统林肯在接见斯托夫人时,称她为“写了一本书而酿成这场大战的小妇人”。同时,《汤姆叔叔的小屋》被译成20多种文字在国外出版,为美国及世界范围内的废奴运动提供了舆论上的支持。但是,这部小说也有它的不足之处,即宣扬抽象的基督教义,即以德报怨、逆来顺受的“汤姆叔叔主义”。
  
  美国图书馆协会前主席在浩如烟海的图书中选出了 “影响世界历史的16本书”,这16本书中只有一本是女子写的,这就是斯托夫人写的《汤姆叔叔的小屋》。
  
  《汤姆叔叔的小屋》是一部现实主义杰作,这部小说布局独具匠心,采用穿插轮叙的方式,沿着两条平行线索描述了两个黑奴不同的遭遇,塑造了忠诚友善但逆来顺受的汤姆和勇于抗争的伊丽莎夫妇等典型形象,并通过人物和场景描绘显示了一个时期的美国社会生活面貌。《汤姆叔叔的小屋》既描写了不同表现和性格的黑奴,也描写了不同类型的奴隶主嘴脸。作为一本文学作品,美国著名诗人亨利·朗费罗说它是“文学史上最伟大的胜利”。
  《汤姆叔叔的小屋》-妙语佳句
  
  世界上没有一件对所有人都不利的事情。
  
  世界上有这样一些有福的人:他们把自己的痛苦化作了他人的幸福;他们毅然埋葬了自己人生的希冀,却让之变成种子,长出了鲜花和芬芳,为了孤苦的人医治创伤。


  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).
导读
  《汤姆叔叔的小屋》,又译作《黑奴吁天录》和《汤姆大伯的小屋》,作者是美国女作家比彻·斯托夫人(1811—1896)。比彻·斯托出生在一个牧师家庭,曾经做过教师。她在辛辛拉提市住了18年,与南部蓄奴的村镇仅一河之隔,这使她有机会接触到一些逃亡的黑奴。奴隶们的悲惨遭遇引起了她深深的同情。她本人也去过南方,亲自了解了那里的情况,《汤姆叔叔的小屋》便是在这样的背景下写出来的。此书于1852年首次在《民族时代》刊物上连载,立即引起了强烈的反响,受到了人们无与伦比的欢迎,仅第一年就在国内印了100多版,销了30多万册,后来被译为20多种文字在世界各地出版。评论界认为本书在启发民众的反奴隶制情绪上起了重大作用,被视为美国内战的起因之一。林肯总统后来接见斯托夫人时戏谑地称她是“写了一本书,酿成了一场大战的小妇人”,这一句玩笑话充分反映了《汤姆叔叔的小屋》这部长篇小说的巨大影响。
   故事从一个奴隶主与一个奴隶贩子的讨价还价中开始。
   美国肯塔基州的奴隶主谢尔比在股票市场上投机失败,为了还债,决定把两个奴隶卖掉。一个是汤姆,他是在谢尔比的种植场出生的,童年时就当伺候主人的小家权,颇得主人欢心,成年后当上了家奴总管,忠心耿耿,全身心维护主人利益。另一个要卖掉的奴隶是黑白混血种女奴伊丽莎的儿子哈利,伊丽莎不是一个俯首贴耳死心塌地听主人摆布的奴隶,当她偶然听到主人要卖掉汤姆和自己的儿子哈利后,就连夜带着儿子在奴隶贩子的追捕下跳下浮冰密布的俄亥俄河,逃到自由州,再往加拿大逃奔。她丈夫乔治·哈里斯是附近种植场地奴隶,也伺机逃跑,与妻子汇合,带着孩子,历经艰险,终于在废奴派组织的帮助下,成功地抵达加拿大。
   汤姆却是另一种遭遇。他知道并支持伊丽莎逃走,但是他自己没有逃跑。由于他从小就被奴隶主灌输敬畏上帝、逆来顺受、忠顺于主人这类的教说教,对主人要卖他抵债,也没有怨言,甘愿听从主人摆布。他被转卖到新奥尔良,成了奴隶贩子海利的奴隶。在一次溺水事故中,汤姆救了一个奴隶主的小女儿伊娃的命,孩子的父亲圣·克莱从海利手中将汤姆买过来。当了家仆,为主人家赶马车。汤姆和小女孩建立了感情。不久小女孩突然病死,圣·克莱根据小女儿生前愿望,决定将汤姆和其他黑奴解放。可是当还没有来得及办妥解放的法律手续时,圣·克莱在一次意外事故中被人杀死。圣·克莱的妻子没有解放汤姆和其他黑奴,而是将他们送到黑奴拍卖市场。从此,汤姆落到了一个极端凶残的“红河”种植场奴隶主莱格利手中。莱格利把黑奴当作“会说话的牲口”,任意鞭打,横加私刑。汤姆忍受着这非人的折磨,仍然没有想到要为自己找一条生路,而是默默地奉行着做一个正直人的原则。这个种植场的两个女奴为了求生,决定逃跑,她们躲藏起来。莱格利怀疑汤姆帮助她们逃走,把汤姆捆绑起来,鞭打得皮开肉绽,死去活来。但是汤姆最后表现出了他对奴隶主的反抗,什么都没有说。在汤姆奄奄一息的时候,他过去的主人、第一次卖掉他的奴隶主谢尔比的儿子乔治·谢尔比赶来赎买汤姆,因为汤姆是小谢尔比儿时的仆人和玩伴,但是汤姆已经无法领受他过去的小主人的迟来的援手,遍体鳞伤地离开了人世。乔治·谢尔比狠狠地一拳把莱格利打翻在地。就地埋葬了汤姆。回到家乡肯塔基后,小谢尔比就以汤姆大叔的名放了他名下的所有黑奴,并对他们说:“你们每次看见汤姆大叔的小屋,就应该联想起你们的自由。”
   《汤姆叔叔的小屋》既描写了不同表现和性格的黑奴,也描写了不同类型的奴隶主嘴脸。它着力刻画了接受奴隶主灌输的教精神、逆来顺受型的黑奴汤姆;也塑造了不甘心让奴隶主决定自己生死的具有反抗精神的黑奴,如伊丽莎和她的丈夫乔治·哈里斯。同时,也揭示了各种类型的奴隶主的内心世界和奴隶主不完全相同的表现。这本书通过对汤姆和乔治·哈里斯夫妇这两种不同性格黑奴的描述,告诉读者:逆来顺受、听从奴隶主摆布的汤姆难逃死亡的命运,而敢于反抗敢于斗争的乔治夫妇得到了新生。因此,《汤姆叔叔的小屋》对社会发展起到了积极作用,特别是对美国废奴运动和美国内战中以林肯为代表的正义一方获得胜利,产生了巨大的作用。作为一本文学作品,美国著名诗人亨利·朗费罗说它是“文学史上最伟大的胜利”。
   (参加编译的还有肖静芳 王红婴等)
第一章 给读者介绍一位好心人
  二月的某一天,天气依然比较寒冷。黄昏时分,在P城一间布置典雅兼作餐厅的接待室里,两位绅士相对而坐,喝着酒。他们没有要仆人在旁边侍候。他们紧挨着坐着,好像在商量什么很重要的事情。
   为了便于读者阅读,我们暂且称他们“绅士”。其实,如果我们挑剔地观察一下就可看出,其中一位看来不配称为“绅士”。他身材矮小,长相并无独特之处,但神态却是洋洋自得,一看便知他是那种混迹于社会、想方设法向高处爬的势利小人。他的衣服穿着有失风度,一件俗气的杂色背心,一条醒目的黄点蓝底围巾,脖子上是一条色彩艳丽的领带。他的这身打扮与他的派头看来还比较相配。他粗大的手指上套着几枚戒指,一串形状奇特、色彩艳丽的图章缀在那沉沉的表链上。当谈话进行得顺利时,他喜欢把表链弄得叮叮当当地响,俨然一副踌躇满志的神态。他的话语丝毫不符合默里氏语法规则,从他的嘴里经常冒出一些下流、猥陋的单词。尽管作者努力让自己的叙述更加形象,但还是难以正确地转述他的意思。
   相反,与他谈话的希尔比先生倒不失绅士风度。室内的摆设和情调都向我们证明这个家庭的生活殷实而且非常安逸。而现在这两个人正在认真地商讨着某件事情。
   “我想这件事就这么办吧。”希尔比先生说。
   “希尔比先生,这样成交,我实在难以答应。”对方一面回答,一面举起酒杯,对着客厅的灯看着。
   “嘿,赫利,汤姆不是普通的奴隶,不管把他摆在哪儿,他都值这么高的价。他做事稳重,为人诚实,又能干,他把我的农场管理得井井有条。”
   “汤姆的诚实是黑人式的诚实吧?”赫利一面给自己斟了一杯白兰地,一面问道。
   “我所指的诚实是真正的诚实。汤姆为人善良,做事稳重,头脑也很灵活,而且他还笃信上帝。四年前的一次野营布道会上,他宣誓入教。我相信他对上帝是虔诚的。从他入教以后,我把自己的一切,包括钱、房子、马匹都交给他来管理。我觉得他做任何事情都很在行。”
   “但人们不相信黑奴会对上帝真正地虔诚,希尔比先生!”赫利肆无忌惮地挥着手说,“不过我相信。今年,在我最后送往奥尔良的那批黑奴中就有一位虔诚的黑奴。你还别说,听这黑鬼祷告,还真像他真的在布道会上呢。他性情温和,话不多,但因为卖主急于卖掉他,所以我捡了个便宜货,从他身上我净赚六百美元,那可是一大笔钱啊。是啊,那些笃信上帝的黑奴能使我们多赚一些钱。当然,冒牌的信教者是不会给我们带来很多利润的。”
   “汤姆是真正的徒,他和别的教徒对上帝同样虔诚。”希尔比先生说,“我去年秋天派他独自一人去辛辛那提办事,为了取回价值五百美元的一笔巨款。我对他说,‘汤姆,因为我知道你笃信上帝,所以我认为你不会乘机逃跑的,我信任你。’汤姆果真没有失信,我知道他会准时返回的。后来我听说曾有些卑污小人对他说,‘汤姆,你为什么不乘机逃到加拿大呢?’‘我不能失信于我的主人。’这件事情是我事后听别人说的。我必须使你明白,我真得舍不得汤姆。你应该让他抵掉我的所有债务,如果你还有一点善良之心的话。”
   “我拥有买卖人所具有的起码的良心。这够我发誓的了,”奴隶贩子开着玩笑说,“不过,我会为朋友做力所能及的一切。但你要知道,现在的生意不好做啊!”奴隶贩子故作无奈地叹了口气,又向杯中倒了一些酒。
   “赫利,到底怎样你才能答应成交呢?”经过一段令人难以忍受的沉默后,希尔比先生问道。
   “难道你不能再添上一个男孩或女孩吗?”
   “嗯!我真的拿不出什么来了。如果不是情势所逼的话,我不会舍得卖掉任何一个奴隶的。”
   正在这时,门打开了,一个大约四五岁,俊俏、招人喜欢的男孩走了进来;一对浅浅的酒窝嵌在他圆润的面庞上,一头丝线样的黑发卷卷地爬在他的头上;浓长的眼睫毛下,一双炯炯的大眼睛好奇地朝屋内打量着;他穿着一件鲜艳的红黄格罩衫,更加衬托出他那黝黑、清纯的美,一分惹人的自信,几分腼腆的神态,无不向人表明主人对他的恩宠以及他对主人恩宠的熟稔。
   “嗨,吉姆·克罗,”希尔比先生吹着口哨扔给孩子一把葡萄干,“捡起它们来吧!”
   孩子跑来跑去拾取主人的赏赐,他的样子惹得主人大笑起来。
   “过来,吉姆。”希尔比先生喊道。吉姆走了过去,希尔比先生轻轻拍打着他满头的卷发,并轻抚着他的下巴。
   “吉姆,让这位先生欣赏一下你的技艺,来吧,唱支歌,跳个舞。”于是,孩子便唱了一首在黑人中颇为流行的歌曲,曲风很热烈、欢快。他的嗓音清脆、圆润,他的手脚和身体都在扭动着,动作和歌曲的节拍完美地结合在一起,不时做出一些滑稽的姿势。
   “太好了!”赫利扔给孩子几瓣桔子。
   “吉姆,你学一学库乔大叔患风湿病时走路的姿势。”希尔比先生吩咐小孩子道。
   刚才还很灵活的孩子的四肢马上显出了病残的样子。他弯着腰,拿着主人的拐杖,以不灵便的步伐在房间里艰难地挪动着。他拉长自己的脸,学着老者的样子,使那张本来稚气的小脸布满皱纹和愁容,并且不时胡乱吐着痰。
   两位绅士禁不住被逗得大声笑了起来。
   “吉姆,再让我们看一看老罗宾斯长老唱赞美诗的样子吧。”希尔比先生喊道。于是孩子把小脸拉得更长了,以便显出令人敬畏的样子,然后以平静、低稳的鼻音唱起赞美诗来。
   “我看就这样吧,”赫利突然拍打着希尔比的肩膀说,“再加上这个小精灵鬼儿,你的债就算还清了。我说话算数。这样难道不公平吗?”
   正在此时,门被轻轻地推开了,一位大约二十五岁的第二代混血女子走了进来。
   这个女子一看就是那孩子的母亲。她的黑眼睛同样地柔和,长长的睫毛,纤细的卷发似波浪般起伏。当她发现一个陌生人如此大胆且毫不掩饰地以一种赞赏的目光盯着她看时,她那棕黄色的面庞上泛起了一朵红晕。她整洁、合体的衣着更加衬托出身段的苗条,她那纤纤细手以及漂亮圆润的脚髁使她的外表更加端庄。奴隶贩子以敏锐的眼睛贪婪地观察着,女黑奴那娇美的身体的主要部分被看得一清二楚,没能逃过奴隶贩子的眼睛。
   “艾莉查,有事吗?”看着她欲言又止的样子,希尔比先生问道。
   “对不起,先生,我在找哈里。”孩子看到母亲,便活蹦乱跳地跑到母亲面前,并拿出衣兜中的战利品向母亲炫耀着。
   “那你就带他走吧。”希尔比先生说。女奴抱起孩子,匆匆忙忙走了出去。
   “老天!真是好货色,”奴隶贩子向希尔比称赞道,“随便你什么时间将这个女人送到奥尔良,都会赚一大笔钱。我见过有个人花一千多块买了一个女奴,但那女奴的姿色可是不能和这个女人相媲美的。”
   “我可不想靠她来发财。”希尔比冷冷地回答道。他又打开一瓶酒,岔开了话题,并问对方对酒的评价。
   “味道很好,希尔比先生,酒是上等的酒!”奴隶贩子称赞道,然后转过身来像熟人似地拍着希尔比的肩又说,“哎,把那女奴隶卖给我行吗?我出什么价你能接受?你要价多少?”
   “赫利先生,我不会卖掉她的,”希尔比先生说,“即使你付与她同样重的金子,我妻子也不会答应让她走的。”
   “哎,女人总是这样小家子气,因为她们算不清帐。如果你告诉她们,那么重的金子能买多少块钟表,多少个小饰物,她们就会改变主意,不再那样说了。”
   “赫利,我说不行,就是不行。你不要再提这件事了。”希尔比先生语气坚定地说。
   “好吧,但你要把那个男孩给我,你知道,即使添上那小孩,我也是作了很大的让步。”
   “你要那小孩干什么?”希尔比先生问道。
   “噢,今年我的一位朋友在做这方面的生意,他想买一批长相俊美,货色好的小男孩,养大后再送到市场上卖,给那些肯出大价钱的老爷们做侍者什么的。这些人家,用漂亮男孩开门、跑腿,可以增添极大的荣耀。所以漂亮男孩可以卖个好价钱。你家这个小精灵鬼儿懂音乐,又会玩,正是这方面的难得之材啊!”
   “我宁愿不卖他,我心肠软,我不想拆散他们二人。”希尔比先生考虑了一下说。
   “是这样吗?你的心肠确实比较软,我理解你的心情。跟女人们打交道有时确实有许多麻烦事。我也很讨厌哭泣时的悲伤场面。但先生请放心,我做生意时总是会进免这种悲伤场面出现的。我看就这样办吧!把这个女人支走一天,或者一周,其他的事情在人不知鬼不觉的情况下进行,她回来之前,我们把事情都办完。你觉得如何?至于那个女人,让你太太买只耳环,或一件新衣服,或其他一些小玩艺儿来作为补偿,不就行了吗?”
   “恐怕不会成功。”
   “上帝保佑你,我们会成功的。黑奴不像白人,只要你处理得当,事情过去后他们就会死心的。”说到这儿,赫利又假装推诚相见地说,“常言道,做奴隶买卖要心黑。但我觉得事情未必一定是这样的。我做这门生意的方法不同于其他人。我曾目睹一位同行从一个女奴的怀中抢走她的孩子并强行卖给别人,那女人从此一直疯疯癫癫,又哭又闹,这种做生意的方法是下下之选,把货物也给毁了,搞到最后有些女奴根本卖不出去了。有一次在奥尔良,我就亲眼目睹这种下下之选的方法毁掉了一位特别漂亮的。买主只要她而不想要她的孩子,结果这把她给惹火了。告诉你呀,她死死抱住孩子,吵吵闹闹不肯罢休,那样子让人非常害怕。现在回想起这件事,我还心有余悸呢。她的孩子被抢走了,她自己也被锁起来,最后她疯了,整天胡言乱语并在一个星期后死去了。那一千元等于打了水漂。希尔比先生,造成这种悲惨结果的原因不就是因为方法不得当嘛。根据我的经验,采用仁慈点的方法比较容易奏效。”说完这些,他便双手交叉于胸前靠在了椅背上,一副慈善的面孔,俨然自己就是第二个威尔伯福斯。
   这位绅士对道德问题似乎更感兴趣,因为当希尔比借剥桔子的时机考虑问题时,他故作迟疑,然后又旧话重提,好像有一股真理的力量驱使他不得不多说几句话似的。
   “吹嘘自己可不是一件光彩的事,但我所说的都是事实,经由我卖到市场上的一批又一批的黑奴,我认为都是上等货色,至少我听到别人是这样评价的。而且不止一次,成百上千次都是如此评价,一流的好货色——健壮、体面,但我为此付出的钱却是同行中最少的。之所以如此,我把这归功于经营有方。也可以说,先生,我经营这门生意的核心是富有人情味。”
   希尔比先生不知该说些什么,只好应道,“啊,是这样的!”
   “但我的经营之道一直为人所讥笑,还倍受责备。没有人附和我的主张,但我不会因此而改变我的经营之道的。先生,正是因为我的坚持,现在我终于凭借它而发了大财。是的,先生,黑暗终于过去了,光明已经到来。”奴隶贩子说到此时,不禁为自己的妙语大笑起来。
   这些关于人道和慈善的高论真有其独到之处,以至于希尔比先生也禁不住陪着奴隶贩子笑了起来。各位读者,读到此处,你或许也在发笑吧。当今世界,关于人道和慈善的高论层出不穷,慈善家们的奇谈怪论则更是数不胜数了。
   在希尔比先生的笑声的鼓励下,奴隶贩子又接着说了下去:
   “你说奇怪不奇怪,我很难让人接受我的观点。以前我有个合伙人叫汤姆·洛科,纳奇兹人,头脑灵活,很善于和黑人打交道,这一点符合做生意的原则,因为好心肠就不好赚钱。他做事情一贯如此。我常劝他说,‘哎,汤姆老兄,对那些因害怕而哭闹的女奴拳脚相向有什么作用呢?这样做只能证明你是个愚蠢的人。’我说,‘如果不让她们通过哭闹来作为发泄的方式,那她们会寻找其他方式的。而且,汤姆老兄,’我说,‘不让她们通过这种方式发泄,她们就会面容憔悴不堪,嘴巴会变得干裂,甚至会变得丑陋无比,那些黄皮肤的女人更是如此。这时再想让她们恢复过来可就不那么容易了,为什么不用好话来对付她们呢?’我说,‘听我的,对她们略施小惠取得的效果要比拳脚相向强多了,而且这样做可以多赚些钱,如果你照我所说的去做,你肯定会成功。’但汤姆还是榆木疙瘩一块。就这样,许多女人毁在了他的手中,虽然他心肠好,做事公道,但我只能和他分开来做生意了。”
   “你认为,你比汤姆更善于经营这门生意吗?”
   “嗯,你可以这样认为。做生意时,我都会尽量避免不愉快的场面发生的。比如我做小孩生意时,会把女人支走。女人看不到这种场面,就不会发生不愉快的事情。等到生米做成熟饭,她们也只好认命了。白人自儿时起受到的教育就是全家聚在一起,共享天伦之乐,但黑人却不比我们白人;你该知道受过一定教育的黑人不会存在这种共享天伦之乐的奢求,而这会让事情好办一些。”
   “但我家的黑奴可没有接受过这种教育。”希尔比先生说。
   “可不能这样说。你们肯塔基人太宠爱那些黑鬼了。你们这一片好心可不能算作是真正的慈善。在这个世界上,黑奴生下来就注定要四处漂泊,今天卖给汤姆老兄,明天会被卖给狄克老兄,后天不知道会被卖给哪位老兄呢,那时只有听天由命了。让他心中有思想和期望,或者很好地对待他,都不会对他有什么帮助,因为以后迎接他的将是更多的痛苦和磨难,你明白吗?我敢肯定,你家的黑奴即使到了那些令种植园的黑鬼发疯地唱歌和欢呼的地方,他们也不会感到高兴的,希尔比先生,你知道人们都喜欢自我夸耀。我已经够善待那些黑奴了,我已尽可能对他们好了。”
   “人们做任何事都能做到心安理得,也算有福了。”希尔比先生不以为然地耸耸肩说。
   双方沉默了片刻,心中在想着各自的心事,赫利接着问道,“你看这事怎么办呢?”
   “我还要好好考虑一下这件事,并要和太太商量一下,”希尔比先生说,“同时,赫利,如果你真想让事情如你想象中的那样悄悄进行的话,最好别向我的邻居透露一点风声,不然的话,这件事情会很快传到我的仆人耳中。我把丑话说在前面,如果仆人们知道了这件事,你就不会顺利地把人从我家带走了。”
   “好,一言为定,我不会走漏风声的。不过,我要提醒你尽早给我一个准信,因为我最近比较忙。”说完,赫利便起身穿上了大衣。
   “好吧,今晚六七点钟我给你回音。”听希尔比先生这样说,奴隶贩子向希尔比先生欠欠身告辞走了。
   “看看他那得意忘形的嘴脸,我真恨不得一脚把他踢到台阶下去。”看着门将要关上了,希尔比先生低声对自己说,“但他懂得落井下石的诀窍。如果以前有人劝我把汤姆卖给一个奴隶贩子,我肯定会告诉他们,‘难道仆人就可以像狗一样卖来卖去吗?’但我现在却对此无能为力,对艾莉查的孩子也是同样。我太太一定会唠叨个没完,她会反对我把汤姆卖掉的。但沉重的债务使我落到了这种境地,哎!这个混蛋家伙已是胜券在握,他正在不断向我逼近呢。”
   肯塔基州可能是最温和的带有奴隶制色彩的州了。在这里,农业劳动比较轻松,全然不似南方一些地区农忙时那样紧张得令人喘不过气来,所以黑人的劳动强度还是可以让人承受的。人的本性是脆弱的,因此当看到可以谋得暴利,同时只有依靠牺牲那些无依无靠的人的利益而别无选择时,人就会因脆弱的本性而生出一副狠毒的心肠。但肯塔基州的庄园主比较习惯渐进的经营方式,所以能抵抗这种人性的脆弱。
   只要到肯塔基州的一些庄园去走一走,看一看,你就会亲自体验到男女主人秉性的善良以及仆人们对主人的爱戴与拥护,俨然一幅传说中常出现的诗意盎然的家族社会的图画。但一层不祥的阴云——法律却笼罩在这古老的社会图景之上。只要法律仍把那些富有感情的人看作是主人的附属物,只要他们的主人生意上遇到挫折,生活中遭到不幸或不慎命丧黄泉路,他们便会随时因为生活失去保障而惨遭无穷的磨难,即使在奴隶制最完善的地方,过上美满的生活对于黑人也是极不容易的。
   希尔比先生是一个普通人,他本性善良,对人宽厚和蔼。在他的庄园中,黑奴们过着舒适的生活,所需的物品从来没有短缺过。但他却把自己的财物随意用于投机买卖,并沉溺于其中难以自拔。此时,他的期票证券和借据大都落入赫利手中。希尔比先生和赫利进行的谈话也正是基于这种情况。
   正巧,路过客厅门口的艾莉查无意中听到了两人间的谈话,她知道主人正和一名奴隶贩子讨论买卖奴隶的事。
   她真想在路过客厅时多听一会儿两人间的谈话。但女主人的召唤使得她不得不匆匆离开了。
   那奴隶贩子要出钱买自己的孩子,是不是自己听错了呢?她越想越感到紧张,下意识地紧搂住自己的孩子,心怦怦地跳着。孩子诧异地抬头看着母亲的脸,想从中窥出一些秘密。
   “亲爱的艾莉查,你觉得今天不太顺心吗?”看着女仆人那惊慌失措的样子,女主人便关切地问道。艾莉查紧张得不是弄翻水壶,就是碰倒小桌子,女主人要她从衣柜中拿出一件绸衫,但她却错拿了一件长睡衣。
   “啊,太太!”艾莉查吃惊地抬起头来,泪水“哗”地流了出来,一下子坐在椅子上哭泣起来。
   “艾莉查,我的好孩子,到底发生了什么事?”女主人问道。
   “太太,有一位奴隶贩子坐在客厅和老爷谈话,我听到他讲话了。”艾莉查说。
   “哎,真是个傻孩子,那又怎么样呢?”
   “啊,太太,你认为主人会把我的孩子哈里卖掉吗?”说着,这个可怜的女人便倒在椅子里哭泣起来,身体随之不停地起伏着。
   “卖掉哈里!傻孩子,你知道这件事是不会发生的。你的主人生来就不和南方的奴隶贩子来往,只要大家都听话,他是不会想到要卖掉你们中间的任何一个人的。啊,我的傻孩子,你认为世界上真会有人像你那样喜欢哈里而想买走他吗?好啦,不要担心,来,帮我扣紧衣服并把我后面的头发梳下去,就要你那天刚学会的好看的发式吧。以后不要再到门口听别人谈话了。”
   “那太太是绝不会同意卖掉……”
   “我当然不会同意卖的,孩子,你怎么会这样说呢?如果真是那样,我宁可也卖掉我的孩子。不过话说回来,你也太溺爱那个机灵鬼了,艾莉查。只要有人把头伸进我家,你就会怀疑他是来买你们家哈里的,那谁还敢来我家呢?”
   这番知心话使得艾莉查悬着的心终于放了下来,她一面笑自己的多心,一面轻巧地为女主人打扮着。
   希尔比太太不论智慧还是品德,都堪称是一位上等人。她不仅具有肯塔基州妇女那宽宏大度的天性、高尚的道德以及宗教式的操守,而且她还将这些特点融入到实际工作中。她的丈夫虽然不信某种宗教,但对于她对宗教的虔诚非常敬重。同时,对她的观点和想法有时还有几分敬畏。希尔比先生总是听任自己的太太由着自己的心愿去做善事,比如,尽力使仆人们生活得舒适一些,使他们受教育,尽力促使他们完善自己的品性。虽然他不参与他的太太所做的此类善举,但他从来没有阻拦过她。他并不完全相信圣贤多余功德有效论,但在他心中多多少少有着这样的想法:因为妻子的虔诚和仁爱,他们夫妇二人可以沉溺于某种难以名状的期望,而妻子德行的高尚可以保证日后两人共赴天堂之路,虽然妻子的德行是丈夫难于达到的。
   与奴隶贩子商谈之后,明知太太会反对他这样做而且会不时用这件事纠缠他,希尔比先生还是不断考虑着把自己的安排让太太知道,因为这份负担太过于沉重了。
   当艾莉查向她说出自己担心的即将发生的事情时,相信丈夫宽厚慈爱的希尔比太太对此并不放在心上,她对丈夫在经济上的窘境一无所知,而且事后她也没有仔细想这件事情。同时因为忙着为来访的客人的到来做准备,她便把这桩小事抛在了脑后。
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