論十九世紀女性小說《黑奴籲天錄》多愁善感之男性奴役旅程

The Disclosed Feminized Masculinity: A Sentimental Black Man's Trip in the 19th Century Woman Novel, Uncle Tom's Cabin

十九世紀美國女性小說《黑奴籲天錄》（Uncle Tom’s Cabin）被歸為典型感傷主義作品，呼應該作品屬性，感傷主義書寫元素莫不奉為圭臬。主角黑奴湯姆從美國肯達基州被販賣至路易斯安那州，其身心艱困之奴役浪途卻無時無刻聚力展現道德關懷、包容善解、賦同理心、虔誠服從等行為特色。此般個性著墨元素，正呼應Barbara Welter對十九世紀感傷主義女性小說中多愁善感女性角色（sentimental women）所賦予之定義，即必須賦有符合家務儀典（the cult of domesticity）所具有之四大基本特性：虔誠（piety）、單純（purity）、服從（submission）、致力於家務（domesticity），以成為他人之守護者。然而十九世紀感傷主義小說，多愁善感女性角色充斥其中，多愁善感男性角色（sentimental men）探討卻乏人問津，本文試圖以Chapman and Hendler所提出多愁善感男性與美國文化政治之關係理論為基礎，探討該文學作品當中賦持霸權白人男性，與倍受凌虐非裔男性之對位關係，並進一步提出角色湯姆在重複被奴販所轉售至各父性霸權空間中所呈現出之同理、服從、包容、天真是否呼應Barbara Welter所提之多愁善感角色符合條件，進而將其定義為多愁善感的男人（sentimental men）。 This paper aims to discuss how the black slave, Tom in Uncle Tom’s Cabin is defined as a “sentimental man” on his bondman journey from Kentucky to rural Louisiana with feminized black masculinity in the 19th century American society. In this woman novel, Stowe creates the male character, Tom, whose life philosophy is filled with sympathy and morality rather than violence and competitiveness. Boud with the wandering slavery destiny and sold/owned by white masters whose inhuminality brings him spiritual torment and physical suffering, Tom never stops expressing solicitude for these masters and even magnanimously tears and prays for them. Tom possesses the similar sentimental essences to what those woman charaters embrace—constant forgiveness and tolerance. Accordingly, the black slave’s characteristics are rightly corresponding to the conditions of “the cult of true womanhood/domesticity” defined by Barbara Welter in “The Cult of True Womanhood: 1820-1860”—in such traditional society, true women should hold four cardinal virtues: piety, purity, submission and domesticity. However, Tom’s “gender” can hardly persuade us that he is qualified to be a sentimental “woman.” Based on the phenomenon that the 19th century American sentimental novels, also called women/domestic novels, reveal that “sentimentality” is a term belonging to “women” rather than “men” while the male protagonist in Uncle Tom’s Cabin coincidentally displays the resonance, and echoes such characteristic of the cult of true womanhood. For delineating such core issue, four sections will be disclosed in this paper: firstly, borrowing Tompkins’ sentimental formula to explore the comparison between “sentimental women and men” proposed in Sentimental Men: Masculinity and the Politics of Affect in American culture, secondly, discussing the binary opposition of masculinity and sentimentality after clarifying the dissimilarity between “white masculinity” and “black one,” thirdly, regarding “feminized” black masculinity as a key factor to define the black hero as a sentimental man, lastly, exemplifying how Uncle Tom is presented as a sentimental man on his bondman journey.