shǒuyè>> wénxué>> 现实百态>> 斯托夫人 Harriet Beecher Stowe   美国 United States   美国重建和工业化   (1811年6月14日1896年7月1日)
tānɡ shū shū de xiǎo Uncle Tom's Cabin
  《 tānɡ shū shū de xiǎo zhè běn shū shuō shì yǐn liǎo měi guó nán běi zhàn zhēng de xiǎo shuōshì měi guó yòu xiān míng mín zhù qīng xiàng de zuò pǐn , shì měi guó wén xué shǐ shàng zhòng yào wén xué liú pài héng héng fèi wén xué de dài biǎo zuò , wéi měi guó wén xué diàn dìng liǎo kuài xiàn shí zhù shí
  
  《 tānɡ shū shū de xiǎo 》 - zuò pǐn jiǎn jiè
  
   zuò zhě:( měi guóhǎi ruì · chè · tuō rén( 1811-1869 nián
   lèi xíngxiǎo shuō
   chéng shū shí jiān: 1852 nián
  《 tānɡ shū shū de xiǎo 》 - zuò zhě jiǎn jiè
  
  《 tānɡ shū shū de xiǎo chè · tuō rén
   chè · tuō rén chū shēng měi guó kāng niè zhōu zhèng tǒng díkǎ 'ěr wén jiào pài de shī jiā tíngyòu nián shí kāi shǐ jiē shòu jiào jiào zōng jiào diǎn bài lún gèng bǎi děng wén xué jiā de zhù zuò bàn zhe guò liǎo qīng shàonián shí dàiqīng nián shí dāng guò zhōng xué jiào shīsuí hòu jià gěi liǎo wèi shén xué yuàn de jiào yuán。 20 suì shí quán jiā bān wǎng xīn xīn shìcóng zài zhù liǎo 18 nián de jiā de cūn zhuāng zhǐ yòu zhī yòu huì jiē chù xiē táo wáng de de céng zài shì dùn jiào táng biǎo guò liè de fèi yǎn jiǎnglìng wèi zài lín jiào táng xíng shū de hēi pāi mài ràng hēi huò yóu。 1850 nián lái dào kěn zhōu de zhòngzhí yuáncóng liǎo jiě dào hēi bēi cǎn de shēng huó jué dìng 'ěr wén de shì shí xiě chū lái
  
   zhè xiǎo shuō shǒu xiān 1852 nián zàimín shí dàikān shàng liánzǎi yǐn qiáng liè de fǎn xiǎngshòu dào rén men lún de huān yíngtóng shízhè xiǎo shuō zài 19 shì 50 nián dài de měi guózhèng shì làng màn zhù zhàn wén xué zhù liú de shí hòu de biǎo duì měi guó wén xué xiàng xiàn shí zhù zhǎn chǎn shēng liǎo shēn de yǐng xiǎng
  
   tuī jiàn yuè bǎn běn lóng děng sān lián shū diàn chū bǎn
  《 tānɡ shū shū de xiǎo 》 - nèi róng jīng yào
  
   tānɡ shì kěn zhōu zhuāng yuán zhù xiè 'ěr jiā de hēi yīn wéi wéi rén zhōng shí qiě duì rén yǒu 'ài bāng zhù rénshēn shòu zhuāng yuán zhù jiā de 'àiyóu shì xiè 'ěr de 'ér qiáo zhì shàoye fēi cháng huān chēng wéi tānɡ shū shūtānɡ shū shū de xiǎo shì jiān tóu fáng guà zhe shèng jīng shì chā de luò shěn shěn shì zhuāng yuán de chú niàn men yòu sān hái
  
   xiè 'ěr zài piào shì chǎng shàng tóu shī bàiwèile hái zhàijué dìng liǎng mài diào shì tānɡ lìng shì hēi bái hùn xuè zhǒng suō de 'ér
  
   suō shì shǒu tiē 'ěr xīn tīng zhù rén bǎi de dāng 'ǒu rán tīng dào zhù rén yào mài diào tānɡ de 'ér hòujiù jué dìng táo páolín zǒu qián lái dào tānɡ shū shū de xiǎo gào qiētānɡ shū shū xiǎng dào guǒ táo zǒubié de jiù huì zāo dào bèi mài de mìng yùnzhù rén yào sàng shī suǒ yòu de chǎn jué dìng liú xià láinìngyuàn rěn shòu qiē tòng suō dài zhe hái bān táo tuō fàn de zhuī lái dào bīng duì 'àn de yóu zhōuzài huò fèi zhì bāng zhù 'ér táo tuō de zhàng huì jiā rén táo wǎng jiā chéng wéi liǎo yóu rén
  
   tānɡ bèi zhuǎn mài dào xīn 'ào 'ěr liángzài qián wǎng zhòngzhí yuán de chuán shàng jiù liǎo xiǎo niàn de qīn shèng · lāi chū gǎn jiāng tānɡ mǎi liǎo guò láidāng zuò jiā de chē tānɡ jiàn liǎo gǎn qíngliǎng nián hòu rán bìng shèng · lāi jué dìng 'àn zhào 'ér shēng qián de yuàn wàng jiě fàng tānɡ hēi shì hái méi yòu lái bàn tuǒ jiě fàng de shǒu jiù zài wài shì zhōng shèng · lāi de wèi zūn cóng zhàng 'ér de yuànfǎn 'ér jiāng suǒ yòu hēi sòng pāi mài
  
   xīn zhù rén lāi shì mián huā zhòngzhí yuán zhùfēi cháng cán bàotānɡ rěn shòu zhe zhè fēi rén de zhé fèng xíng zhe zuò zhèng zhí rén de yuán jiāng de nèi xīn fèng xiàn gěi yǒng héng de shàng xié zhù liǎng táo páodàn réng rán liú xià lái lián de hēi zài lāi bào tiào léi tānɡ kǔn bǎng láibiān kāi ròu zhàn huó láitānɡ zhī dào shēng mìng de zuì hòu shí jiāng lái lín shuō:“ shénme dōuzhī dàolǎo dàn shì shénme néng shuō nìngyuàn !”
  
   liǎng tiān hòu guò de zhù rén de 'ér qiáo zhì · xiè 'ěr gǎn lái shú mǎi tānɡ dàn shì jīng tài wǎn liǎotānɡ zài liú zhī duì qiáo zhì shàoye chū liǎo kuān wèi de xiào róng kāi liǎo rén shìqiáo zhì tānɡ zàng zài xiǎo qiū shàng guì zài tānɡ de fén tóu shuō:“ xiàng shìcóng xiàn zài yuàn jìn de qiē liàng zhòu de zhì cóng men de guó shàng xiāo miè diào。”
  
   huí dào jiā xiāng kěn hòuqiáo zhì jiù tānɡ shū de míng jiě fàng liǎo míng xià de suǒ yòu hēi bìng duì men shuō:“ men měi kàn jiàn tānɡ shū de xiǎo jiù yīnggāi lián xiǎng men de yóu。”
  《 tānɡ shū shū de xiǎo 》 - zhuān jiā diǎn píng
  
  1862 nián de mǒu yóuchāi gěi tuō rén sòng lái liǎo fēng shēng de xìnzhè shì fēng lái bái gōng de xìn chū liǎo xìn kāi xìn jiān xiān kàn wěi de qiān mínglín kěnshì lín kěn zǒng tǒng jiǎn zhí nán xiāng xìn huì shōu dào zǒng tǒng de xìnlín kěn zǒng tǒng yāo qǐng dào bái gōng zǒng tǒng shuō:“ mendōu xiǎng tīng tīng shì zěn yàng xiě liǎo dǎo zhì yīcháng wěi zhàn zhēng de shū。” tuō rén de shǒu yòu xiē chàn dǒu liǎoyǎn lèi dùn shí yǒng liǎo chū láiduì qián chéng xìn yǎng shàng de jiā tíng zhù lái shuō cóng lái méi yòu xiǎng guò yào huò zǒng tǒng jiē jiàn zhè yàng de róng zhǐ shì xiǎng suǒ yòu jiàn dào de qiēdōu xiě chū lái ràng jiā liǎo jiě
  
   lín kěn zǒng tǒng suǒ wèi de běndǎo zhì yīcháng wěi zhàn zhēng de shūshìtānɡ shū shū de xiǎo 》。 háo yóu shuōzhè běn xiǎo shuō què shì dǎo zhì liǎo yīcháng zhàn zhēngzhè zài shì jiè wén huà shǐ shàng shì duō jiàn de
  
  1852 nián 6 yuè zhè tānɡ shū shū de xiǎo kāi shǐ zài huá shèng dùn jiā zhōu kān shàng liánzǎiyǐn liǎo hōng dòngxiǎo shuō chū bǎn jǐn nián jiù zài guó nèi yìn liǎo 100 duō bǎnxiāo liǎo 30 duō wàn hái xiǎng dào zhè zuò pǐn huì gěi de guó dài lái shénmedāng shí lín kěn zhèng lǐng dǎo zhe hàn wèi měi guó tǒng de nán běi zhàn zhēngfēi cháng yào bái rén xiōng hēi rén xiōng tuán jié láizài zhè jué dìng měi guó tǒng de guān jiàn de shǐ shí ,《 tānɡ shū shū de xiǎo rèn jūn lìng zhèng wén jiàn chǎn shēng de zuò yòng gèng yòu dàn shì de zuò pǐn bèi zhǐ wéiwāi shì shí”。 tuō rén zhè shí shēn gǎn shè huì duō me kàn qīng liǎo xiē zhǐ de rén shì dài biǎo nán fāng zhù de shì dàn hái cóng wèi xiǎng guòshàn liáng huì zāo dào jiān ruì de fǎn duìxiàn zài de fǎn duì zhě men zhōng zào jiù chéng zhàn shì shòu dào lín kěn jiāng jūn zàn shǎng de zhàn shìwèile huí xiē duì de fēinàn miè tuō rén yǒng gǎn xiě chūguān tānɡ shū shū de xiǎo de shuō míng》, gōng liǎo xiě zuò de bèi jǐng cái liàowén jiàn shìtán huà yào děng děng shì shì jiè kàn dàozhè xiǎo shuō yuán běn jiù shì gēn xiāng dāng zhēn shí de shì xiě de shí méi yòu xiǎng dào huì zài jué dìng guó tǒng de nán běi zhàn zhēng zhōngyòng zhīshàng zhī ”, lín kěn jiāng jūn lǐng dǎo de jūn tuán chéng wéi tóng zhàn háo de zhàn yǒu de zuò pǐn shǐ tóu lín kěn jiāng jūn duì de hēi rén duàn zēng duōshì shí shàng de zuò pǐn jǐn dài biǎo hēi dài biǎo měi guó bái rén de zuò pǐn kuò liǎo lín kěn jiāng jūnzhèng zhī shīde zhàn dǒu chǎng zhàn zhēng shèng liǎo shí hái xiǎng dàoyòu tiān měi guó zhù míng zuò jiā chá 'ěr · huì zhè yàng xiě dào:“ yào shì méi yòu tuō rén detānɡ shū shū de xiǎo 》, lín kěn jiù néng dāng xuǎn wéi měi guó zǒng tǒng。” měi guó de tǒng dào gǒng měi guó de guó lín kěn hòu dào xùn zhǎn zhì zài 20 shì shēn yǐng xiǎng liǎo zhěng shì jiè miàn yòu tuō rén zài shǐ guān tóude jié chū láo dòng de zuò pǐn jǐn yǐng xiǎng liǎo měi guó fēng bào bān yǐng xiǎng liǎo dīng měi zhōu hēi de jiě fàngbìng piào yáng guò hǎi chuán biàn 'ōu zhōu duō shì lái zhí shì rén men fǎn duì zhǒng shì de yòu
  
  《 tānɡ shū shū de xiǎo nián lǎo de bèi qiāng shā
   zhè xiǎo shuō shuō shì měi guó fǎn duì zhì de xuān yán shūpíng lùn jiè rèn wéi běn shū zài mín zhòng de fǎn zhì qíng shàng liǎo zhòng zuò yòngbèi shì wéi měi guó nèi zhàn de yīn zhī duì měi guó nán běi zhàn zhēngyóu shì běi fāng de shèng dào liǎo de zuò yòngsuǒ dāng zǒng tǒng lín kěn zài jiē jiàn tuō rén shíchēng wéixiě liǎo běn shū 'ér niàng chéng zhè chǎng zhàn de xiǎo rén”。 tóng shí,《 tānɡ shū shū de xiǎo bèi chéng 20 duō zhǒng wén zài guó wài chū bǎnwéi měi guó shì jiè fàn wéi nèi de fèi yùn dòng gōng liǎo lùn shàng de zhī chídàn shìzhè xiǎo shuō yòu de zhī chù xuān yáng chōu xiàng de jiào bào yuàn lái shùn shòu detānɡ shū shū zhù ”。
  
   měi guó shū guǎn xié huì qián zhù zài hào yān hǎi de shū zhòngxuǎn chū liǎoyǐng xiǎng shì jiè shǐ de 16 běn shū”, zhè 16 běn shū zhōng zhǐ yòu běn shì xiě dezhè jiù shì tuō rén xiě detānɡ shū shū de xiǎo 》。
  
  《 tānɡ shū shū de xiǎo shì xiàn shí zhù jié zuòzhè xiǎo shuō jiàng xīncǎi yòng chuān chā lún de fāng shìyán zhe liǎng tiáo píng xíng xiàn suǒ miáo shù liǎo liǎng hēi tóng de zāo zào liǎo zhōng chéng yǒu shàn dàn lái shùn shòu de tānɡ yǒng kàng zhēng de suō děng diǎn xíng xíng xiàngbìng tōng guò rén chǎng jǐng miáo huì xiǎn shì liǎo shí de měi guó shè huì shēng huó miàn mào。《 tānɡ shū shū de xiǎo miáo xiě liǎo tóng biǎo xiàn xìng de hēi miáo xiě liǎo tóng lèi xíng de zhù zuǐ liǎnzuò wéi běn wén xué zuò pǐnměi guó zhù míng shī rén hēng · lǎng fèi luó shuō shìwén xué shǐ shàng zuì wěi de shèng ”。
  《 tānɡ shū shū de xiǎo 》 - miào jiā
  
   shì jiè shàng méi yòu jiàn duì suǒ yòu réndōu de shì qíng
  
   shì jiè shàng yòu zhè yàng xiē yòu de rén men de tòng huà zuò liǎo rén de xìng men rán mái zàng liǎo rén shēng de què ràng zhī biàn chéng zhǒng cháng chū liǎo xiān huā fēn fāngwèile de rén 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).
dǎo
  《 tānɡ shū shū de xiǎo 》, yòu zuòhēi yùtiān tānɡ de xiǎo 》, zuò zhě shì měi guó zuò jiā chè · tuō rén( 1811 héng 1896)。 chè · tuō chū shēng zài shī jiā tíngcéng jīng zuò guò jiào shī zài xīn xīn shì zhù liǎo 18 nián nán de cūn zhèn jǐn zhī zhè shǐ yòu huì jiē chù dào xiē táo wáng de hēi men de bēi cǎn zāo yǐn liǎo shēn shēn de tóng qíng běn rén guò nán fāngqīn liǎo jiě liǎo de qíng kuàng,《 tānɡ shū shū de xiǎo biàn shì zài zhè yàng de bèi jǐng xià xiě chū lái de shū 1852 nián shǒu zàimín shí dàikān shàng liánzǎi yǐn liǎo qiáng liè de fǎn xiǎngshòu dào liǎo rén men lún de huān yíngjǐn nián jiù zài guó nèi yìn liǎo 100 duō bǎnxiāo liǎo 30 duō wàn hòu lái bèi wéi 20 duō zhǒng wén zài shì jiè chū bǎnpíng lùn jiè rèn wéi běn shū zài mín zhòng de fǎn zhì qíng shàng liǎo zhòng zuò yòngbèi shì wéi měi guó nèi zhàn de yīn zhī lín kěn zǒng tǒng hòu lái jiē jiàn tuō rén shí xuè chēng shìxiě liǎo běn shūniàng chéng liǎo yīcháng zhàn de xiǎo rén”, zhè wán xiào huà chōng fēn fǎn yìng liǎotānɡ shū shū de xiǎo zhè cháng piān xiǎo shuō de yǐng xiǎng
   shì cóng zhù fàn de tǎo jià hái jià zhōng kāi shǐ
   měi guó kěn zhōu de zhù xiè 'ěr zài piào shì chǎng shàng tóu shī bàiwèile hái zhàijué dìng liǎng mài diào shì tānɡ shì zài xiè 'ěr de zhòngzhí chǎng chū shēng detóng nián shí jiù dāng cìhou zhù rén de xiǎo jiā quán zhù rén huān xīnchéng nián hòu dāng shàng liǎo jiā zǒng guǎnzhōng xīn gěng gěngquán shēn xīn wéi zhù rén lìng yào mài diào de shì hēi bái hùn xuè zhǒng suō de 'ér suō shì shǒu tiē 'ěr xīn tīng zhù rén bǎi de dāng 'ǒu rán tīng dào zhù rén yào mài diào tānɡ de 'ér hòujiù lián dài zhe 'ér zài fàn de zhuī xià tiào xià bīng de 'é hài 'é táo dào yóu zhōuzài wǎng jiā táo bēn zhàng qiáo zhì · shì jìn zhòngzhí chǎng táo páo huì dài zhe hái jīng jiān xiǎnzhōng zài fèi pài zhì de bāng zhù xiàchéng gōng jiā
   tānɡ què shì lìng zhǒng zāo zhī dào bìng zhī chí suō táo zǒudàn shì méi yòu táo páoyóu cóng xiǎo jiù bèi zhù guàn shū jìng wèi shàng lái shùn shòuzhōng shùn zhù rén zhè lèi de jiào shuō jiàoduì zhù rén yào mài zhài méi yòu yuàn yángān yuàn tīng cóng zhù rén bǎi bèi zhuǎn mài dào xīn 'ào 'ěr liángchéng liǎo fàn hǎi de zài shuǐ shì zhōngtānɡ jiù liǎo zhù de xiǎo 'ér de mìnghái de qīn shèng · lāi cóng hǎi shǒu zhōngjiàng tānɡ mǎi guò láidāng liǎo jiā wéi zhù rén jiā gǎn chētānɡ xiǎo hái jiàn liǎo gǎn qíng jiǔ xiǎo hái rán bìng shèng · lāi gēn xiǎo 'ér shēng qián yuàn wàngjué dìng jiāng tānɡ hēi jiě fàng shì dāng hái méi yòu lái bàn tuǒ jiě fàng de shǒu shíshèng · lāi zài wài shì zhōng bèi rén shā shèng · lāi de méi yòu jiě fàng tānɡ hēi ér shì jiāng men sòng dào hēi pāi mài shì chǎngcóng tānɡ luò dào liǎo duān xiōng cán dehóng zhòngzhí chǎng zhù lāi shǒu zhōnglāi hēi dāng zuòhuì shuō huà de shēng kǒu”, rèn biān héng jiā xíngtānɡ rěn shòu zhe zhè fēi rén de zhé réng rán méi yòu xiǎng dào yào wéi zhǎo tiáo shēng ér shì fèng xíng zhe zuò zhèng zhí rén de yuán zhè zhòngzhí chǎng de liǎng wèile qiú shēngjué dìng táo páo men duǒ cáng láilāi huái tānɡ bāng zhù men táo zǒu tānɡ kǔn bǎng láibiān kāi ròu zhàn huó láidàn shì tānɡ zuì hòu biǎo xiàn chū liǎo duì zhù de fǎn kàngshénme dōuméi yòu shuōzài tānɡ yǎn yǎn de shí hòu guò de zhù rén mài diào de zhù xiè 'ěr de 'ér qiáo zhì · xiè 'ěr gǎn lái shú mǎi tānɡ yīn wéi tānɡ shì xiǎo xiè 'ěr 'ér shí de rén wán bàndàn shì tānɡ jīng lǐng shòu guò de xiǎo zhù rén de chí lái de yuán shǒubiàn lín shāng kāi liǎo rén shìqiáo zhì · xiè 'ěr hěn hěn quán lāi fān zài jiù mái zàng liǎo tānɡ huí dào jiā xiāng kěn hòuxiǎo xiè 'ěr jiù tānɡ shū de míng fàng liǎo míng xià de suǒ yòu hēi bìng duì men shuō:“ men měi kàn jiàn tānɡ shū de xiǎo jiù yīnggāi lián xiǎng men de yóu。”
  《 tānɡ shū shū de xiǎo miáo xiě liǎo tóng biǎo xiàn xìng de hēi miáo xiě liǎo tóng lèi xíng de zhù zuǐ liǎn zhuólì huà liǎo jiē shòu zhù guàn shū de jiào jīng shén lái shùn shòu xíng de hēi tānɡ zào liǎo gān xīn ràng zhù jué dìng shēng de yòu fǎn kàng jīng shén de hēi suō de zhàng qiáo zhì · tóng shí jiē shì liǎo zhǒng lèi xíng de zhù de nèi xīn shì jiè zhù wán quán xiāng tóng de biǎo xiànzhè běn shū tōng guò duì tānɡ qiáo zhì · zhè liǎng zhǒng tóng xìng hēi de miáo shùgào zhě lái shùn shòutīng cóng zhù bǎi de tānɡ nán táo wáng de mìng yùnér gǎn fǎn kàng gǎn dǒu zhēng de qiáo zhì dào liǎo xīn shēngyīn ,《 tānɡ shū shū de xiǎo duì shè huì zhǎn dào liǎo zuò yòng bié shì duì měi guó fèi yùn dòng měi guó nèi zhàn zhōng lín kěn wéi dài biǎo de zhèng fāng huò shèng chǎn shēng liǎo de zuò yòngzuò wéi běn wén xué zuò pǐnměi guó zhù míng shī rén hēng · lǎng fèi luó shuō shìwén xué shǐ shàng zuì wěi de shèng ”。
  ( cān jiā biān de hái yòu xiào jìng fāng  wáng hóng yīng děng
zhāng  gěi zhě jiè shào wèi hǎo xīn rén
  èr yuè de mǒu tiāntiān rán jiào hán lěnghuáng hūn shí fēnzài P chéng jiān zhì diǎn jiān zuò cān tīng de jiē dài shì liǎng wèi shēn shì xiāng duì 'ér zuò zhe jiǔ men méi yòu yào rén zài bàng biān shì hòu men jǐn 'āi zhe zuò zhehǎo xiàng zài shāng liàng shénme hěn zhòng yào de shì qíng
   wèile biàn zhě yuè men zàn qiě chēng menshēn shì”。 shí guǒ men tiǎo guān chá xià jiù kàn chū zhōng wèi kàn lái pèi chēng wéishēn shì”。 shēn cái 'ǎi xiǎocháng xiāng bìng zhī chùdàn shén tài què shì yáng yáng kàn biàn zhī shì zhǒng hùn shè huìxiǎng fāng shè xiàng gāo chù de shì xiǎo rén de chuānzhuó yòu shī fēng jiàn de bèi xīn tiáo xǐng mùdì huáng diǎn lán wéi jīn shàng shì tiáo cǎi yàn de lǐng dài de zhè shēn bàn de pài tóu kàn lái hái jiào xiāng pèi de shǒu zhǐ shàng tào zhe méi jiè zhǐ chuàn xíng zhuàng cǎi yàn de zhāng zhuì zài chén chén de biǎo liàn shàngdāng tán huà jìn xíng shùn shí huān biǎo liàn nòng dīng dīng dāng dāng xiǎngyǎn rán chóu chú mǎn zhì de shén tài de huà háo shì guī cóng de zuǐ jīng cháng mào chū xiē xià liúwěi lòu de dān jìn guǎn zuò zhě ràng de shù gèng jiā xíng xiàngdàn hái shì nán zhèng què zhuǎn shù de
   xiāng fǎn tán huà de 'ěr xiān shēng dǎo shī shēn shì fēng shì nèi de bǎi shè qíng diào xiàng men zhèng míng zhè jiā tíng de shēng huó yīn shí 'ér qiě fēi cháng 'ān ér xiàn zài zhè liǎng rén zhèng zài rèn zhēn shāng tǎo zhe mǒu jiàn shì qíng
  “ xiǎng zhè jiàn shì jiù zhè me bàn 。” 'ěr xiān shēng shuō
  “ 'ěr xiān shēngzhè yàng chéng jiāo shí zài nán dāyìng。” duì fāng miàn huí miàn jiǔ bēiduì zhe tīng de dēng kàn zhe
  “ hēi tānɡ shì tōng de guǎn bǎi zài 'értādōu zhí zhè me gāo de jià zuò shì wěn zhòngwéi rén chéng shíyòu néng gān de nóng chǎng guǎn jǐng jǐng yòu tiáo。”
  “ tānɡ de chéng shí shì hēi rén shì de chéng shí ?” miàn gěi zhēn liǎo bēi bái lán miàn wèn dào
  “ suǒ zhǐ de chéng shí shì zhēn zhèng de chéng shítānɡ wéi rén shàn liángzuò shì wěn zhòngtóu nǎo hěn líng huóér qiě hái xìn shàng nián qián de yíng dào huì shàng xuān shì jiào xiāng xìn duì shàng shì qián chéng decóng jiào hòu de qiēbāo kuò qiánfáng jiāo gěi lái guǎn jué zuò rèn shì qíng dōuhěn zài xíng。”
  “ dàn rén men xiāng xìn hēi huì duì shàng zhēn zhèng qián chéng 'ěr xiān shēng!” huī zhe shǒu shuō,“ guò xiāng xìnjīn niánzài zuì hòu sòng wǎng 'ào 'ěr liáng de hēi zhōng jiù yòu wèi qián chéng de hēi hái bié shuōtīng zhè hēi guǐ dǎo gàohái zhēn xiàng zhēn de zài dào huì shàng xìng qíng wēn huà duōdàn yīn wéi mài zhù mài diào suǒ jiǎn liǎo piányí huòcóng shēn shàng jìng zuàn liù bǎi měi yuán shì qián 'āshì 'ā xiē xìn shàng de hēi néng shǐ men duō zuàn xiē qiándāng ránmào pái de xìn jiào zhě shì huì gěi men dài lái hěn duō rùn de。”
  “ tānɡ shì zhēn zhèng de bié de jiào duì shàng tóng yàng qián chéng。” 'ěr xiān shēng shuō,“ nián qiū tiān pài rén xīn xīn bàn shìwèile huí jià zhí bǎi měi yuán de kuǎn duì shuō tānɡ yīn wéi zhī dào xìn shàng suǒ rèn wéi huì chéng táo páo de xìn rèn tānɡ guǒ zhēn méi yòu shī xìn zhī dào huì zhǔn shí fǎn huí dehòu lái tīng shuō céng yòu xiē bēi xiǎo rén duì shuō,‘ tānɡ wèishénme chéng táo dào jiā ?’‘ néng shī xìn de zhù rén。’ zhè jiàn shì qíng shì shì hòu tīng bié rén shuō de shǐ míng bái zhēn shěbùdé tānɡ yīnggāi ràng diào de suǒ yòu zhài guǒ hái yòu diǎn shàn liáng zhī xīn de huà。”
  “ yōng yòu mǎi mài rén suǒ yòu de de liáng xīnzhè gòu shì de liǎo,” fàn kāi zhe wán xiào shuō,“ guò huì wéi péng yǒu zuò suǒ néng de qiēdàn yào zhī dàoxiàn zài de shēng hǎo zuò 'ā!” fàn zuò nài tàn liǎo kǒu yòu xiàng bēi zhōng dǎo liǎo xiē jiǔ
  “ dào zěn yàng cái néng dāyìng chéng jiāo ?” jīng guò duàn lìng rén nán rěn shòu de chén hòu 'ěr xiān shēng wèn dào
  “ nán dào néng zài tiān shàng nán hái huò hái ?”
  “ ǹg zhēn de chū shénme lái liǎo guǒ shì qíng shì suǒ de huà huì shè mài diào rèn de。”
   zhèng zài zhè shímén kāi liǎo yuē suìjùn qiàozhāo rén huān de nán hái zǒu liǎo jìn lái duì qiǎn qiǎn de jiǔ qiàn zài yuán rùn de miàn páng shàng tóu xiàn yàng de hēi juàn juǎndì zài de tóu shàngnóng cháng de yǎn jié máo xià shuāng jiǒng jiǒng de yǎn jīng hàoqí cháo nèi dǎliang zhe chuānzhuó jiàn xiān yàn de hóng huáng zhào shāngèng jiā chèn tuō chū yǒu hēiqīng chún de měi fēn rén de xìn fēn miǎn tiǎn de shén tài xiàng rén biǎo míng zhù rén duì de 'ēn chǒng duì zhù rén 'ēn chǒng de shú rěn
  “ hāi · luó,” 'ěr xiān shēng chuī zhe kǒu shào rēng gěi hái táo gān,“ jiǎn men lái !”
   hái páo lái páo shí zhù rén de shǎng de yàng zhù rén xiào lái
  “ guò lái 。” 'ěr xiān shēng hǎn dào zǒu liǎo guò 'ěr xiān shēng qīng qīng pāi dǎzháo mǎn tóu de juǎnfàbìng qīng zhe de xià
  “ ràng zhè wèi xiān shēng xīn shǎng xià de lái chàng zhī tiào 。” shìhái biàn chàng liǎo shǒu zài hēi rén zhōng wéi liú xíng de gēqǔ fēng hěn lièhuān kuài de sǎng yīn qīng cuìyuán rùn de shǒu jiǎo shēn dōuzài niǔ dòng zhedòng zuò hègē de jié pāi wán měi jié zài shí zuò chū xiē huá de shì
  “ tài hǎo liǎo!” rēng gěi hái bàn jié
  “ xué xué qiáo shū huàn fēng shī bìng shí zǒu de shì。” 'ěr xiān shēng fēn xiǎo hái dào
   gāng cái hái hěn líng huó de hái de zhī shàng xiǎn chū liǎo bìng cán de yàng wān zhe yāo zhe zhù rén de guǎi zhàng líng biàn de zài fáng jiān jiān nán nuó dòng zhe cháng de liǎnxué zhe lǎo zhě de yàng shǐ zhāng běn lái zhì de xiǎo liǎn mǎn zhòu wén chóu róngbìng qiě shí luàn zhe tán
   liǎng wèi shēn shì jìn zhù bèi dòu shēng xiào liǎo lái
  “ zài ràng men kàn kàn lǎo luó bīn zhǎnglǎo chàng zàn měi shī de yàng 。” 'ěr xiān shēng hǎn dào shì hái xiǎo liǎn gèng cháng liǎo biàn xiǎn chū lìng rén jìng wèi de yàng rán hòu píng jìng wěn de yīn chàng zàn měi shī lái
  “ kàn jiù zhè yàng ,” rán pāi dǎzháo 'ěr de jiān bǎng shuō,“ zài jiā shàng zhè xiǎo jīng líng guǐ 'ér de zhài jiù suàn hái qīng liǎo shuō huà suàn shùzhè yàng nán dào gōng píng ?”
   zhèng zài shímén bèi qīng qīng tuī kāi liǎo wèi yuē 'èr shí suì de 'èr dài hùn xuè zǒu liǎo jìn lái
   zhè kàn jiù shì hái de qīn de hēi yǎn jīng tóng yàng róu cháng cháng de jié máoxiān de juǎnfà làng bān dāng xiàn shēng rén dǎn qiě háo yǎn shì zhǒng zàn shǎng de guāng dīng zhe kàn shí zōng huáng de miàn páng shàng fàn liǎo duǒ hóng yùn zhěng jié de zhe gèng jiā chèn tuō chū shēn duàn de miáo tiáo xiān xiān shǒu piào liàng yuán rùn de jiǎo shǐ de wài biǎo gèng jiā duān zhuāng fàn mǐn ruì de yǎn jīng tān lán guān chá zhe hēi jiāo měi de shēn de zhù yào fēn bèi kàn qīng 'èr chǔméi néng táo guò fàn de yǎn jīng
  “ ài cháyòu shì ?” kàn zhe yán yòu zhǐ de yàng 'ěr xiān shēng wèn dào
  “ duì xiān shēng zài zhǎo 。” hái kàn dào qīnbiàn huó bèng luàn tiào páo dào qīn miàn qiánbìng chū dōu zhōng de zhàn pǐn xiàng qīn xuàn yào zhe
  “ jiù dài zǒu 。” 'ěr xiān shēng shuō bào hái cōng cōng máng máng zǒu liǎo chū
  “ lǎo tiānzhēn shì hǎo huò ,” fàn xiàng 'ěr chēng zàn dào,“ suí biàn shénme shí jiān jiāng zhè rén sòng dào 'ào 'ěr liáng huì zuàn qián jiàn guò yòu rén huā qiān duō kuài mǎi liǎo dàn de shì néng zhè rén xiāng měi de。”
  “ xiǎng kào lái cái。” 'ěr lěng lěng huí dào yòu kāi píng jiǔchà kāi liǎo huà bìng wèn duì fāng duì jiǔ de píng jià
  “ wèi dào hěn hǎo 'ěr xiān shēngjiǔ shì shàng děng de jiǔ!” fàn chēng zàn dàorán hòu zhuǎn guò shēn lái xiàng shú rén pāi zhe 'ěr de jiān yòu shuō,“ āi mài gěi xíng chū shénme jià néng jiē shòu yào jià duō shǎo?”
  “ xiān shēng huì mài diào de,” 'ěr xiān shēng shuō,“ shǐ tóng yàng zhòng de jīn huì dāyìng ràng zǒu de。”
  “ āi rén zǒng shì zhè yàng xiǎo jiā yīn wéi men suàn qīng zhàng guǒ gào men me zhòng de jīn néng mǎi duō shǎo kuài zhōng biǎoduō shǎo xiǎo shì men jiù huì gǎi biàn zhù zài yàng shuō liǎo。”
  “ shuō xíngjiù shì xíng yào zài zhè jiàn shì liǎo。” 'ěr xiān shēng jiān dìng shuō
  “ hǎo dàn yào nán hái gěi zhī dào shǐ tiān shàng xiǎo hái shì zuò liǎo hěn de ràng 。”
  “ yào xiǎo hái gànshénme?” 'ěr xiān shēng wèn dào
  “ ōjīn nián de wèi péng yǒu zài zuò zhè fāng miàn de shēng xiǎng mǎi cháng xiāng jùn měihuò hǎo de xiǎo nán háiyǎng hòu zài sòng dào shì chǎng shàng màigěi xiē kěn chū jià qián de lǎo men zuò shì zhě shénme dezhè xiē rén jiāyòng piào liàng nán hái kāi ménpáo tuǐ zēng tiān de róng yàosuǒ piào liàng nán hái mài hǎo jià qián jiā zhè xiǎo jīng líng guǐ 'ér dǒng yīnyuèyòu huì wánzhèng shì zhè fāng miàn de nán zhī cái 'ā!”
  “ nìngyuàn mài xīn cháng ruǎn xiǎng chāi sàn men 'èr rén。” 'ěr xiān shēng kǎo liǎo xià shuō
  “ shì zhè yàng de xīn cháng què shí jiào ruǎn jiě de xīn qínggēn rén men jiāo dào yòu shí què shí yòu duō fán shì hěn tǎo yàn shí de bēi shāng chǎng miàndàn xiān shēng qǐng fàng xīn zuò shēng shí zǒng shì huì jìn miǎn zhè zhǒng bēi shāng chǎng miàn chū xiàn de kàn jiù zhè yàng bàn zhè rén zhī zǒu tiānhuò zhě zhōu de shì qíng zài rén zhī guǐ jué de qíng kuàng xià jìn xíng huí lái zhī qián men shì qíng bàn wán jué zhì rénràng tài tài mǎi zhǐ 'ěr huánhuò jiàn xīn huò xiē xiǎo wán 'ér lái zuò wéi cháng jiù xíng liǎo ?”
  “ kǒng huì chéng gōng。”
  “ shàng bǎo yòu men huì chéng gōng dehēi xiàng bái rénzhǐ yào chǔlǐ dāngshì qíng guò hòu men jiù huì xīn de。” shuō dào zhè 'ér yòu jiǎ zhuāng tuī chéng xiāng jiàn shuō,“ cháng yán dàozuò mǎi mài yào xīn hēidàn jué shì qíng wèi dìng shì zhè yàng de zuò zhè mén shēng de fāng tóng rén céng wèi tóng xíng cóng de huái zhōng qiǎng zǒu de hái bìng qiáng xíng mài gěi bié rén rén cóng zhí fēng fēng diān diānyòu yòu nàozhè zhǒng zuò shēng de fāng shì xià xià zhī xuǎn huò gěi huǐ liǎogǎo dào zuì hòu yòu xiē gēn běn mài chū liǎoyòu zài 'ào 'ěr liáng jiù qīn yǎn zhè zhǒng xià xià zhī xuǎn de fāng huǐ diào liǎo wèi bié piào liàng demǎi zhù zhǐ yào 'ér xiǎng yào de hái jiēguǒ zhè gěi huǒ liǎogào bào zhù hái chǎo chǎo nào nào kěn xiū yàng ràng rén fēi cháng hài xiàn zài huí xiǎng zhè jiàn shì hái xīn yòu de hái bèi qiǎng zǒu liǎo bèi suǒ láizuì hòu fēng liǎozhěng tiān yán luàn bìng zài xīng hòu liǎo qiān yuán děng liǎo shuǐ piào 'ěr xiān shēngzào chéng zhè zhǒng bēi cǎn jiēguǒ de yuán yīn jiù shì yīn wéi fāng dāng gēn de jīng yàncǎi yòng rén diǎn de fāng jiào róng zòu xiào。” shuō wán zhè xiē biàn shuāng shǒu jiāo chā xiōng qián kào zài liǎo bèi shàng shàn de miàn kǒngyǎn rán jiù shì 'èr wēi 'ěr
   zhè wèi shēn shì duì dào wèn gèng gǎn xīng yīn wéi dāng 'ěr jiè jié de shí kǎo wèn shí zuò chí rán hòu yòu jiù huà chóngtíhǎo xiàng yòu zhēn de liàng shǐ duō shuō huà shìde
  “ chuī shī shì jiàn guāng cǎi de shìdàn suǒ shuō dedōu shì shì shíjīng yóu mài dào shì chǎng shàng de yòu de hēi rèn wéi dōushì shàng děng huò zhì shǎo tīng dào bié rén shì zhè yàng píng jià deér qiě zhǐ chéng bǎi shàng qiān dōushì píng jià liú de hǎo huò héng héng jiàn zhuàng miàndàn wèicǐ chū de qián què shì tóng xíng zhōng zuì shǎo dezhī suǒ zhè guī gōng jīng yíng yòu fāng shuōxiān shēng jīng yíng zhè mén shēng de xīn shì yòu rén qíng wèi。”
   'ěr xiān shēng zhī gāi shuō xiē shénmezhǐ hǎo yìng dào,“ āshì zhè yàng de!”
  “ dàn de jīng yíng zhī dào zhí wéi rén suǒ xiàohái bèi shòu bèiméi yòu rén fùhè de zhù zhāngdàn huì yīn 'ér gǎi biàn de jīng yíng zhī dào dexiān shēngzhèng shì yīn wéi de jiān chíxiàn zài zhōng píng jiè 'ér liǎo cáishì dexiān shēnghēi 'àn zhōng guò liǎoguāng míng jīng dào lái。” fàn shuō dào shí jìn wéi de miào xiào lái
   zhè xiē guān rén dào shàn de gāo lùn zhēn yòu dào zhī chù zhì 'ěr xiān shēng jìn zhù péi zhe fàn xiào liǎo lái wèi zhě dào chù huò zài xiào dāng jīn shì jièguān rén dào shàn de gāo lùn céng chū qióng shàn jiā men de tán guài lùn gèng shì shǔbù shèngshǔ liǎo
   zài 'ěr xiān shēng de xiào shēng de xià fàn yòu jiē zhe shuō liǎo xià
  “ shuō guài guài hěn nán ràng rén jiē shòu de guān diǎn qián yòu huǒ rén jiào tānɡ · luò réntóu nǎo líng huóhěn shàn hēi rén jiāo dàozhè diǎn zuò shēng de yuán yīn wéi hǎo xīn cháng jiù hǎo zuàn qián zuò shì qíng guàn cháng quàn shuō,‘ āitānɡ lǎo xiōngduì xiē yīn hài 'ér nào de quán jiǎo xiāng xiàng yòu shénme zuò yòng zhè yàng zuò zhǐ néng zhèng míng shì chǔn de rén。’ shuō,‘ guǒ ràng men tōng guò nào lái zuò wéi xiè de fāng shì men huì xún zhǎo fāng shì deér qiětānɡ lǎo xiōng,’ shuō,‘ ràng men tōng guò zhè zhǒng fāng shì xiè men jiù huì miàn róng qiáo cuì kānzuǐ huì biàn gān lièshèn zhì huì biàn chǒu lòu xiē huáng de rén gèng shì zhè shí zài xiǎng ràng men huī guò lái jiù me róng liǎowèishénme yòng hǎo huà lái duì men ?’ shuō,‘ tīng deduì men lüè shī xiǎo huì de xiào guǒ yào quán jiǎo xiāng xiàng qiáng duō liǎoér qiě zhè yàng zuò duō zuàn xiē qián guǒ zhào suǒ shuō de zuò kěn dìng huì chéng gōng。’ dàn tānɡ hái shì kuàijiù zhè yàng duō rén huǐ zài liǎo de shǒu zhōngsuī rán xīn cháng hǎozuò shì gōng dàodàn zhǐ néng fēn kāi lái zuò shēng liǎo。”
  “ rèn wéi tānɡ gèng shàn jīng yíng zhè mén shēng ?”
  “ ǹg zhè yàng rèn wéizuò shēng shí huì jìn liàng miǎn kuài de chǎng miàn shēng de zuò xiǎo hái shēng shíhuì rén zhī zǒu rén kàn dào zhè zhǒng chǎng miànjiù huì shēng kuài de shì qíngděng dào shēng zuò chéng shú fàn men zhǐ hǎo rèn mìng liǎobái rén 'ér shí shòu dào de jiào jiù shì quán jiā zài gòng xiǎng tiān lún zhī dàn hēi rén què men bái rén gāi zhī dào shòu guò dìng jiào de hēi rén huì cún zài zhè zhǒng gòng xiǎng tiān lún zhī de shē qiúér zhè huì ràng shì qíng hǎo bàn xiē。”
  “ dàn jiā de hēi méi yòu jiē shòu guò zhè zhǒng jiào 。” 'ěr xiān shēng shuō
  “ néng zhè yàng shuō men kěn rén tài chǒng 'ài xiē hēi guǐ liǎo men zhè piàn hǎo xīn néng suàn zuò shì zhēn zhèng de shànzài zhè shì jiè shànghēi shēng xià lái jiù zhù dìng yào chù piào jīn tiān mài gěi tānɡ lǎo xiōngmíng tiān huì bèi mài gěi lǎo xiōnghòu tiān zhī dào huì bèi mài gěi wèi lǎo xiōng shí zhǐ yòu tīng tiān yóu mìng liǎoràng xīn zhōng yòu xiǎng wànghuò zhě hěn hǎo duì dài dōubù huì duì yòu shénme bāng zhùyīn wéi hòu yíng jiē de jiāng shì gèng duō de tòng nán míng bái gǎn kěn dìng jiā de hēi shǐ dào liǎo xiē lìng zhòngzhí yuán de hēi guǐ fēng chàng huān de fāng men huì gǎn dào gāo xīng de 'ěr xiān shēng zhī dào rén mendōu huān kuā yào jīng gòu shàn dài xiē hēi liǎo jìn néng duì men hǎo liǎo。”
  “ rén men zuò rèn shìdōu néng zuò dào xīn 'ān suàn yòu liǎo。” 'ěr xiān shēng wéi rán sǒng sǒng jiān shuō
   shuāng fāng chén liǎo piàn xīn zhōng zài xiǎng zhe de xīn shì jiē zhe wèn dào,“ kàn zhè shì zěn me bàn ?”
  “ hái yào hǎohǎo kǎo xià zhè jiàn shìbìng yào tài tài shāng liàng xià,” 'ěr xiān shēng shuō,“ tóng shí guǒ zhēn xiǎng ràng shì qíng xiǎng xiàng zhōng de yàng qiāoqiāo jìn xíng de huàzuì hǎo bié xiàng de lín tòu diǎn fēng shēng rán de huàzhè jiàn shì qíng huì hěn kuài chuán dào de rén 'ěr zhōng chǒu huà shuō zài qián miàn guǒ rén men zhī dào liǎo zhè jiàn shì jiù huì shùn rén cóng jiā dài zǒu liǎo。”
  “ hǎo yán wéi dìng huì zǒu lòu fēng shēng de guò yào xǐng jìn zǎo gěi zhǔn xìnyīn wéi zuì jìn jiào máng。” shuō wán biàn shēn chuān shàng liǎo
  “ hǎo jīn wǎn liù diǎn zhōng gěi huí yīn。” tīng 'ěr xiān shēng zhè yàng shuō fàn xiàng 'ěr xiān shēng qiàn qiàn shēn gào zǒu liǎo
  “ kàn kàn wàng xíng de zuǐ liǎn zhēn hèn jiǎo dào tái jiē xià 。” kàn zhe mén jiāng yào guān shàng liǎo 'ěr xiān shēng shēng duì shuō,“ dàn dǒng luò jǐng xià shí de jué qiào guǒ qián yòu rén quàn tānɡ mài gěi fàn kěn dìng huì gào men,‘ nán dào rén jiù xiàng gǒu yàng mài lái mài ?’ dàn xiàn zài què duì néng wéi duì 'ài chá de hái shì tóng yàng tài tài dìng huì láo dāo méi wán huì fǎn duì tānɡ mài diào dedàn chén zhòng de zhài shǐ luò dào liǎo zhè zhǒng jìng āizhè húndàn jiā huǒ shì shèng quàn zài zhèng zài duàn xiàng jìn 。”
   kěn zhōu néng shì zuì wēn de dài yòu zhì cǎi de zhōu liǎozài zhè nóng láo dòng jiào qīng sōngquán rán nán fāng xiē nóng máng shí yàng jǐn zhāng lìng rén chuǎn guò láisuǒ hēi rén de láo dòng qiáng hái shì ràng rén chéng shòu derén de běn xìng shì cuì ruò deyīn dāng kàn dào móu bào tóng shí zhǐ yòu kào shēng xiē kào de rén de 'ér bié xuǎn shírén jiù huì yīn cuì ruò de běn xìng 'ér shēng chū hěn de xīn chángdàn kěn zhōu de zhuāng yuán zhù jiào guàn jiàn jìn de jīng yíng fāng shìsuǒ néng kàng zhè zhǒng rén xìng de cuì ruò
   zhǐ yào dào kěn zhōu de xiē zhuāng yuán zǒu zǒukàn kàn jiù huì qīn yàn dào nán zhù rén bǐng xìng de shàn liáng rén men duì zhù rén de 'ài dài yōng yǎn rán chuán shuō zhōng cháng chū xiàn de shī 'àng rán de jiā shè huì de huàdàn céng xiáng de yīn yún héng héng què lǒngzhào zài zhè lǎo de shè huì jǐng zhī shàngzhǐ yào réng xiē yòu gǎn qíng de rén kàn zuò shì zhù rén de shǔ zhǐ yào men de zhù rén shēng shàng dào cuò zhéshēng huó zhōng zāo dào xìng huò shèn mìng sàng huáng quán men biàn huì suí shí yīn wéi shēng huó shī bǎo zhàng 'ér cǎn zāo qióng de nán shǐ zài zhì zuì wán shàn de fāngguò shàng měi mǎn de shēng huó duì hēi rén shì róng de
   'ěr xiān shēng shì tōng rén běn xìng shàn liángduì rén kuān hòu 'ǎizài de zhuāng yuán zhōnghēi men guò zhe shū shì de shēng huósuǒ de pǐn cóng lái méi yòu duǎn quē guòdàn què de cái suí yòng tóu mǎi màibìng chén zhōng nán shí de piào zhèng quàn jiè luò shǒu zhōng 'ěr xiān shēng jìn xíng de tán huà zhèng shì zhè zhǒng qíng kuàng
   zhèng qiǎo guò tīng mén kǒu de 'ài chá zhōng tīng dào liǎo liǎng rén jiān de tán huà zhī dào zhù rén zhèng míng fàn tǎo lùn mǎi mài de shì
   zhēn xiǎng zài guò tīng shí duō tīng huì 'ér liǎng rén jiān de tán huàdàn zhù rén de zhào huàn shǐ cōng cōng kāi liǎo
   fàn yào chū qián mǎi de hái shì shì tīng cuò liǎo yuè xiǎng yuè gǎn dào jǐn zhāngxià shí jǐn lǒu zhù de hái xīn pēng pēng tiào zhehái chà tái tóu kàn zhe qīn de liǎnxiǎng cóng zhōng kuī chū xiē
  “ qīn 'ài de 'ài chá jué jīn tiān tài shùn xīn ?” kàn zhe rén jīng huāng shī cuò de yàng zhù rén biàn guān qiē wèn dàoài chá jǐn zhāng shì nòng fān shuǐ jiù shì pèng dǎo xiǎo zhuō zhù rén yào cóng guì zhōng chū jiàn chóu shāndàn què cuò liǎo jiàn cháng shuì
  “ ātài tài!” ài chá chī jīng tái tóu láilèi shuǐhuá liú liǎo chū lái xià zuò zài shàng lái
  “ ài chá de hǎo hái dào shēng liǎo shénme shì?” zhù rén wèn dào
  “ tài tàiyòu wèi fàn zuò zài tīng lǎo tán huà tīng dào jiǎng huà liǎo。” ài chá shuō
  “ āizhēn shì shǎ hái yòu zěn me yàng ?”
  “ ātài tài rèn wéi zhù rén huì de hái mài diào ?” shuō zhezhè lián de rén biàn dǎo zài láishēn suí zhī tíng zhe
  “ mài diào shǎ hái zhī dào zhè jiàn shì shì huì shēng de de zhù rén shēng lái jiù nán fāng de fàn lái wǎngzhǐ yào jiādōu tīng huà shì huì xiǎng dào yào mài diào men zhōng jiān de rèn rén deā de shǎ hái rèn wéi shì jiè shàng zhēn huì yòu rén xiàng yàng huān 'ér xiǎng mǎi zǒu hǎo yào dān xīnláibāng kòu jǐn bìng hòu miàn de tóu shū xià jiù yào tiān gāng xué huì de hǎo kàn de shì hòu yào zài dào mén kǒu tīng bié rén tán huà liǎo。”
  “ tài tài shì jué huì tóng mài diào …”
  “ dāng rán huì tóng mài dehái zěn me huì zhè yàng shuō guǒ zhēn shì yàng nìngkě mài diào de hái guò huà shuō huí lái tài 'ài líng guǐ liǎoài cházhǐ yào yòu rén tóu shēn jìn jiā jiù huì huái shì lái mǎi men jiā de shuí hái gǎn lái jiā ?”
   zhè fān zhī xīn huà shǐ 'ài chá xuán zhe de xīn zhōng fàng liǎo xià lái miàn xiào de duō xīn miàn qīng qiǎo wéi zhù rén bàn zhe
   'ěr tài tài lùn zhì huì hái shì pǐn kān chēng shì wèi shàng děng rén jǐn yòu kěn zhōu kuān hóng de tiān xìnggāo shàng de dào zōng jiào shì de cāo shǒuér qiě hái jiāng zhè xiē diǎn róng dào shí gōng zuò zhōng de zhàng suī rán xìn mǒu zhǒng zōng jiàodàn duì duì zōng jiào de qián chéng fēi cháng jìng zhòngtóng shíduì de guān diǎn xiǎng yòu shí hái yòu fēn jìng wèi 'ěr xiān shēng zǒng shì tīng rèn de tài tài yóu zhe de xīn yuàn zuò shàn shì jìn shǐ rén men shēng huó shū shì xiēshǐ men shòu jiào jìn shǐ men wán shàn de pǐn xìngsuī rán cānyù de tài tài suǒ zuò de lèi shàn dàn cóng lái méi yòu lán guò bìng wán quán xiāng xìn shèng xián duō gōng yòu xiào lùndàn zài xīn zhōng duō duō shàoshào yòu zhe zhè yàng de xiǎng yīn wéi de qián chéng rén 'ài men 'èr rén chén mǒu zhǒng nán míng zhuàng de wàngér xíng de gāo shàng bǎo zhèng hòu liǎng rén gòng tiān táng zhī suī rán de xíng shì zhàng nán dào de
   fàn shāng tán zhī hòumíng zhī tài tài huì fǎn duì zhè yàng zuò 'ér qiě huì shí yòng zhè jiàn shì jiū chán 'ěr xiān shēng hái shì duàn kǎo zhe de 'ān pái ràng tài tài zhī dàoyīn wéi zhè fèn dān tài guò chén zhòng liǎo
   dāng 'ài chá xiàng shuō chū dān xīn de jiāng shēng de shì qíng shíxiāng xìn zhàng kuān hòu 'ài de 'ěr tài tài duì bìng fàng zài xīn shàng duì zhàng zài jīng shàng de jiǒng jìng suǒ zhīér qiě shì hòu méi yòu zǎi xiǎng zhè jiàn shì qíngtóng shí yīn wéi máng zhe wéi lái fǎng de rén de dào lái zuò zhǔn bèi biàn zhè zhuāng xiǎo shì pāo zài liǎo nǎo hòu
shǒuyè>> wénxué>> 现实百态>> 斯托夫人 Harriet Beecher Stowe   美国 United States   美国重建和工业化   (1811年6月14日1896年7月1日)