一明二暗三間過的家居美學──讀張愛玲《傳奇》及其他

Maison Aesthetics in One Bright Two Dark and Three Bay: Reading Eileen Chang’s Short Stories Legend and Others

1946年11月張愛玲《傳奇》增訂本出版，以序、跋、封面三方定位書寫主軸。序〈有幾句話同讀者說〉先就漢奸冠名詞辨，接著代入跋〈中國的日夜〉勾聯增訂本故事的共同背景性，文末歸結封面現代人窺探晚清仕女家居組圖如何激活不安感。據此繩墨究《傳奇》各篇，不難發現虛實交互的日常書寫喻意了家居追求內在。此追求，證於空間，張愛玲曾言想要「一明兩暗」中國風味的房，一明兩暗三間過為中式建築術語及傳統家居美學道場，她喜歡的是「明室」；顯影時間，張愛玲親繪現代人混搭晚清仕女，營造視覺穿透性，是空間時間化，一體帶出家居書寫實踐與主體性。晚近巴舍拉《空間詩學》詩意性開創家屋作為人生「幸福空間」的中介概說，強調家屋的脆弱性，需注入有價值的東西，方能抵於家居終極意義─幸福感，此論點，適可作為詮解張愛玲家屋書寫手法的依據，本文因此結合巴舍拉的空間詩學論點與張愛玲「一明二暗」家屋美學觀，重新審視張愛玲《傳奇》家居敘事，如何參差、互文帶動她一系列的家居書寫。

Eileen Chang’s Legend revised edition had published in November 1946. The Preface, “A few words to the reader,” explains the traitor’s title term, then the postscript “Days and nights of China” outlines the background of the story, and it concludes that the modern people on the cover explore how to activate the sense of uneasiness in the group pictures of ladies Maison in the late Qing Dynasty. It is not difficult to find that the daily writing of virtual and real interaction means that the household pursues the innate; it is based on space. Eileen likes “one bright and two dark rooms.” One bright, two dark, and three-bay were Chinese architectural terms and traditional Maison aesthetics field. To expose times, Eileen painted modern people, mixed with ladies in the late Qing Dynasty, to create visual penetration, which integrates space and time, bringing out home writing in the practice of subjectivity. Recently, Bachelard’s The Poetics of Space initiated the theory of Maison as a “happy space” of life, emphasizing the fragility of Maison and the need to inject something of value to achieve the ultimate meaning of home happiness. Based on Bachelard’s theory and Eileen’s Maison aesthetics, this paper re-examines Legend’s Maison narrative and how the uneven and intertextual spur her Maison writing series.