神秘與恐怖──張愛玲小說的生育書寫

Mystery and Horror: Procreation Writing in Eileen Chang's Novels

本文聚焦於張愛玲小說「生育書寫」的研究。世人皆以推動搖籃的手歌詠母親生育教養子女的偉大。但是，張愛玲卻反其道而行提出生育無用論，與講求傳宗接代延續生命的傳統思維產生歧異。並在文本中，以迂迴方式間接呈現生育對於小說人物生命發展所產生的績效性，符應傳統社會文化的價值。另一方面，亦以擅長的幽默與諷刺的寫作手法，延伸相關的矛盾與爭議。所謂多子多福是華而不實的表象，背後象徵著性慾的墮落及突顯出家族內在的衰頹。在父權社會文化中，女性被賦予傳宗接代的重責大任，卻也因懷孕促使身體與心理開啟受難的歷程。張愛玲的小說瓦解生育的神聖性，並鏈結出人倫關係共生和糾結的繁複面貌，為生育文化挹注另類多元的思維。

This article focuses on the ''procreation writing'' in Eileen Chang's novels. The hand that rocks the cradle, as generally understood, is an image that honors the role of mother. Chang, however, argues for the uselessness of procreation by presenting an alternative perspective on traditional ideas about the continuation of life. In the text of her novels, she treats the performance of procreation, which is supposedly socially significant, with indirect ridicule. By employing sophisticated comparison and humorous tone in her writing technique, she presents the contradictions and disputes of procreation. The so-called many children and many blessings is a flashy appearance, which symbolizes the degeneration of sexual desire and highlights the inner decline of the family. In the patriarchal society and culture, women are given the heavy responsibility of continuing the lineage, but pregnancy initiates physical and mental suffering. Chang's novels deconstruct the mystery of procreation, and draws attention to the complex features of symbiosis and entanglement of human relations.