倫敦．臺北：杜連魁的生與死

London-Taipei: Life and Death of Du Liankui

從十九世紀末的倫敦，到二十世紀晚期的台北，愛爾蘭作家王爾德筆下的《葛雷的畫像》（The Picture of Dorian Gray）搖身一變為台灣建築師王大閎譯寫的《杜連魁》。時空移轉，《杜連魁》徘徊於翻譯與改寫之間，在故事譯（異）寫再生的過程中，自我與他者相互角力、辯證、滋養，展現歷史與敘事、時間與空間的雙重建構。一方面，在外在歷史框架的異動下，如何將原故事置入自身的文化情境？如何描繪、評斷自我？他者又是如何被呈現、轉化？「民族刻板形象」（imagologie）的角色與作用為何？在刻畫西化崇洋的都會台北時，譯寫本卻似乎刻意以各式物件、活動突顯中國玩意、中國風。不僅透過再書寫複製他者，移植他者生命經驗、感受，亦重新檢視自身文化殊性，並從而開展出文化的識別、認同、衍異與競爭等種種議題。另一方面，如何重述既存敘事？如何拿捏與原小說間的親疏遠近？原著與譯寫本結構上的相似性說明了後者忠於原來敘事的組織。但譯寫本既要依循「虛構」，亦即原著，又要顧及重新選取的「現實」。在此種雙重參照的運作下，藉由細節的處理，譯寫本修改、刪減、重組原著道德、智性與美學等面向，並從而鬆動與原著之間的從屬關係。物件的精心選取與巧妙安排在杜連魁的墮落歷程中，除了形構新的道德寓言外，似乎同時亦隱然成了「他者」所代表的強勢文化入侵「自身」的象徵與縮影。

From the late Victorian London to the late twentieth-century Taipei, with the distinct displacements of time and space, Oscar Wilde’s The Picture of Dorian Gray metamorphosizes into the Taiwanese architect Wang Dahong’s adapted translation, Du Liankui. Behind Du Liankui’s oscillation between translation and rewriting lies the unceasing dialogue/dialectic between self and other, demonstrating the double re-construction of time/space and history/ narrative. On the one hand, along with the dislocation and relocation of the historical frame, how does the adapted translation implant and transplant the original story in the new cultural context? While replicating the other by way of rewriting, recreating a new life out of the other’s life experiences and sensibilities, the adapted translation casts a new light on the particularities of one’s own culture so as to reflect the cultural conflicts and entanglements between the “self ” and the “other.” On the other hand, in what way is the story re-narrated? Is it possible to remain loyal to the original and at the same time distinct from it? The adaptation resembles the original by following its narrative organization. Yet the rewriting, especially of the details, changes the moral, esthetic and intellectual aspects of the original work, thereby destabilizing the subjection of the derived text to the original one. By the careful choice and subtle (re-) arrangement of each object, the derived text not only reinvents the moral allegory embodied by the debauchery and self-destruction of Dorian Gray, but also illustrates the relentless invasion of the culturally overwhelming “other” into the “self.”