重讀《杜連魁》：建築師王大閎與翻譯（小說）家王大閎的對話

Rereading Du Liankui: Wang Dahong’s Transwriting of The Picture of Dorian Gray and His Identity as an Architect

王爾德的《格雷的肖像》（The Picture of Dorian Gray, 1890）一書在被建築師王大閎「譯寫」為《杜連魁》（1977）後，小說背景由倫敦移往臺北。但過去學界討論《杜連魁》之慣例，大致上是以譯寫過程為焦點，藉由翻譯研究相關理論，探討其內在於文字的各種元素（intratextualelements）與兩書之互文性（intertextuality）。與過去研究有所不同的是，本文首先擬從巴赫汀（Mikhail Bakhtin）的「時空體」概念（chronotope）出發，指出《杜連魁》把1890 年代的倫敦挪移為1970 年代的臺北之後，《格雷的肖像》書中那種專屬於西方貴族的世紀末（fin de siecle）風華雖遭剝奪殆盡，但《杜連魁》卻扮演了為建築師王大閎代言的角色：從書中對臺北與紐約等都市的批判看來，王氏的都市願景終究是一種對於美的追求，而且是一種以自然為最後依歸的美。在結論中，本文指出白先勇的《孽子》（1983）一書是另一本以1970 年代的臺北為時空體的小說。《杜連魁》與《孽子》所描繪的都是一個處於時空變遷背景中的1970 年代臺北東西區：新興東區的繁華與光鮮亮麗彰顯出老舊西區的衰敗。《杜連魁》描繪出東區上流社會的虛華，《孽子》則讓我們看出國際資本進駐之後，東區開始沾染過度商業化的氣息，與美的理念是背道而馳的。最後，為了展現出時空體概念可能蘊含的批判向度，本文並且加入了對於黃凡與陳映真兩人呈現都市問題的小說作品之討論。

Ever since Wang Dahong (1918- ), a famous architect of Taiwan, completed Du Liankui (1977), the transwriting version of The Picture of Dorian Gray (1890), literary scholars in Taiwan have put it into the context of translation studies and focused on its intratextual elements as well as its intertextual relationships with The Picture of Dorian Gray. Trying to distinguish itself from prior assessments, the present article begins with Mikhail Bakhtin’s concept of chronotope and argues that, as Du Liankui is completely deprived of the aristocratic splendor of the fin-de-siecle London in The Picture of Dorian Gray, this transwritten work becomes a mouthpiece for Wang Dahong the architect. Judging from his various criticisms of Taipei and New York in Du Liankui, it turns out that his urban vision is essentially based on the pursuit of beauty, for which “nature” is the highest criterion of judgment. The article concludes by arguing that Pai Hsien-yung’s Crystal Boys (1983), like Du Liankui, is also a novel with the chronotope of “the Taipei in the 1970s.” Both of the two novels depict Taipei’s East District and West District as going through a great temporal-spatial transformation: the more prosperous and splendid the East District seems, the older the declining West District looks. While, in Du Liankui, the upper class Taipei people in the East District live a life of vanity, in Crystal Boys we witness the process of the East District’s becoming over-commercialized from the investments of international capital, and no room is left for Wang’s ideal of beauty in that part of Taipei. Finally, Huang Fan’s and Chen Ying-zhen’s works of fiction about problems of city life are also included in the discussions.