森冷蒼涼亦清明——談張愛玲〈第一爐香〉和〈金鎖記〉中的青綠色

Ghastly, Desolate and Lucid—on Turquoise Color in Eileen’s Chang’s “The Golden Cangue” and “Agarwood Incense: The First Censer” of Eileen Chang’s Short Story

張愛玲小說洋溢著華麗的色彩，「蔥綠配桃紅」的參差對照，更是她不諱言的表現手法。在諸色紛呈的同時，並非用色頻率最高的青綠色，卻突出地屢屢現身於張愛玲創作初期的〈第一爐香〉和〈金鎖記〉之中。是以本文由探索張愛玲的青綠概念出發，從「身體與衣飾」和「空間的陳設移轉」兩部分，歸納整理青綠色字詞在此二篇作品中所呈現的意象和效果，得出此一色系詞彙的使用，具有凸顯張氏「森冷蒼涼」風格，並隱含主角「清明自我覺察」心理意識的特點。

Eileen Chang’s short stories are brimmed over with various colors. She acknowledged that in her texts irregular contrast of colors such as “bright green and mauve pink” served as a technique of expression. The turquoise color, however, seldom shows up in her early short stories. Interestingly enough, it is shown repeatedly in “The Golden Cangue” and “Agarwood Incense: The First Censer.” Thus, this paper based on Eileen Chang’s concept of turquoise color inducts the imagery and effects arising from those turquoise colors through “the body and clothing” and “transfer of arrangement of space.” Finally, I generalize that turquoise items project the ghastly and desolate style of Eileen Chang. At the same time, it implies that the protagonist has lucid self-awareness in Eileen Chang’s short stories.