花落．花開－－1950年後張愛玲與《海上花列傳》的平淡寫實

Zhang Ailing's Post-1950 Interpretation of 'Haishang Hua Liezhuan''s Prosaic Realism

本文昌在探析1950年後的張愛玲就《海上花列傳》的平淡寫實特點所從事的論評，企圖藉張愛玲觀點來理解《海上花》及其上延之古典人情說部的寫實傳統脈絡，再透過與五四的寫實主流論述來對照《海上花》平淡寫實的意義。1952年張愛玲離滬抵港，逾兩年赴美，從此定居美國。去鄉日遠的張愛玲在文學實踐上引人好奇的是：其雖在域外，卻沉潛地向域內古典人情說部進行探索與埋首研究，而本文討論的就是她這時期就《海上花》的散論見解。張愛玲在五四學人對《海上花》「平淡而近自然」的觀點上提出更細緻的個人詮釋：以西方記錄體為切入視點，其穿針引線地連結起中國傳統筆記、民初社會小說、《金瓶梅》與《紅樓夢》的敘事線索。張愛玲對《海上花》平淡寫實之質蘊內涵的探尋，帶領我們思考到古典長篇說部不同五四新文學以西是尚的寫實脈絡。透過「真實」與「含蓄」作為網目，本文探究張愛玲的「《海上花》學」從文化母體的回溯探尋與滋養中所悟出的說部傳統之深邃內涵與價值。

This essay aims to investigate Zhang Ailing's 張愛玲views on the prosaic realism of the late-Qing novel ”Haishang hua liezhuan” (海上花列傳 The Sing-Song Girls of Shanghai). Focusing on Zhang Ailing's commentary on ”Haishang hua liezhuan”, this article attempts to offer a new view of the narrative tradition of Chinese classical secular novels. A well-known writer in 1940s Shanghai, Zhang Ailing left in the early 1950s for Hong Kong, finally settling down in the United States in 1955. After 1955, despite being away from her homeland, Zhang Ailing nevertheless chose to concentrate on translating and annotating classical Chinese secular novels, including works from the literary canon such as ”Honglou meng” (紅樓夢 Dream of the Red Chamber). Zhang Ailing builds on May Fourth Movement scholars' view of ”Haishang hua liezhuan” as ”prosaic and close to natural,” offering a more deeply personal interpretation. In her essay ”Tan kanshu” (談看書Recent Reading), she begins by using the Western idea of the documentary novel to make connections between various classical Chinese genres, ultimately exploring the narrative aesthetics of ”Haishang hua liezhuan” and representative Ming-Qing secular novels. Zhang Ailing's discussion of ”Haishang hua liezhuan” leads us to consider the modernity of the techniques of realism used in Ming-Qing secular novels, which is distinct from the mainstream concept and practice of realism of the May Fourth period.