- 期刊
《古韵》－一个民国女子记忆和观看里的抒情
Ancient Melodies - A Lyric in The Memory and Viewing of A Woman in The Republic of China
摘要
淩叔华出生于二十世纪初的末代皇朝。父亲淩福彭1895年（光绪二十一年）为官，是传统文人雅士“雅嗜绘画，与名画家齐璜、姚华、陈年、王梦伯、陈衡恪等过从甚密”。淩叔华外曾祖父谢兰生为广东著名画家，父亲见她也有绘画才情，因此对她寄予厚望，冀望她也成为高雅文人。她因此自幼跟慈禧太后宠爱的画家缪素筠学画，又跟辜鸿铭学英文、诗词，稍长又拜师王竹林、郝漱玉学山水画。1911年民国之后，她的视野扩展到日本、五四文学运动、 世界历史和语体文，使她反思自身与社会，甚或自身与世界的关系。《古韵》正是视野开阔之后，淩叔华的女性自觉──她于1936年抗战时期于四川乐山到1941年期间跟吴尔芙通信往来中开始应吴尔芙的要求用英文书写这所谓的“自传”，一直到吴尔芙投水自尽后两人的信息才断截。1947年淩携女儿到伦敦与夫婿团聚定居，认识了诗人萨克维尔．维斯特（Vita Sackville-West 1892-1962）。经由萨克维尔找来吴尔芙的丈夫雷纳德．吴尔芙（Leonard Woolf 1880-1969），在他们苏萨克斯郡（Sussex）的故居吴尔芙遗物中找到了淩叔华英文自传的手稿。雷纳德于1953年在自己的出版社荷盖斯（Hogarth Press）出版了这些手稿——命名Ancient Melodies（古韵）。就传统文人雅士和欧洲女性自觉书写这两种情境，本文以《古韵》为依据观看淩叔华的书写在传统抒情和现代主义之间的双重对话：即在中国传统父权及西方现代主义的女性话语的干扰之间的复原和模拟。淩叔华的《古韵》一方面以记忆中的母亲和“太太们”的形态进行传统抒情的复原，另一方面则从小说的叙述中不断跟现代和女性主义作自觉性的双重对话。当中叙述者以童年的记忆和小女孩的观看进行美学上的“触见感知”（synaesthesia），从内化的审美抒情来和域外英语世界的读者达至共鸣，很实在的呈现一个民初女子自身意识的成长。另一方面，《古韵》以“乐”为名，意图以音乐的时空，清楚连接叙述的时间和绘画的空间，体现她与文本中女性之间共同的情感意识，超越传统和现代界限纯粹传递艺术内化的精神。
並列摘要
Ling Shu-hua was born at the end of Qing Dynasty in the early 20th century. His father, Ling Fu-peng, became an official in 1895. Ling Shu-hua's great-grandfather, Xie Lan-sheng, was a famous painter in Guangdong. His father thought that she also had a talent for painting, so he placed high hopes on her, hoping that she would also become an elegant scholar. Therefore, she studied painting and became a student to Miao Su-yun, a painter favoured by the Empress Dowager Ci-xi, and learned English and poetry from Ku Hung-ming. After a while, she studied landscape painting instructed by Wang Zhu-lin and Hao Shu-yu. In 1911, the beginning of the Republic of China, she expanded her vision to Japan, the May Fourth Literary Movement, world history and stylistic writing, which enabled her to create awareness between herself and the society or herself and the world. It made her reflect on what it meant to be a woman writer, which led to the production of Ancient Melodies followed by the widening of vision. Ling Shu-hua began to write her so called "Autobiography" in English at the request of Virginia Woolf during the period of the Anti-Japanese War in 1936 when she corresponded with Wolff in Le-shan, Sichuan, until the information of the two was cut off resulting from the suicide of Woolf in 1941. In 1947, Ling brought her daughter to London to reunite with her husband to settle down and met the poet Vita Sackville-West (1892-1962). Through Sackville, Woolf's husband Leonard Woolf (1880-1969) found the manuscript of Ling Su-hua's English autobiography in Woolf's relics in their former residence in Sussex. Reynard published the manuscripts named Ancient Melodies in 1953 in his own publishing house, Hogarth Press. Grounded on the two situations of traditional literati and European feminism writing, this article takes Ancient Melodies as the basis to examine the dual dialogue between traditional lyricism and modernism in Ling Su-hua's writing: that is, the recovery and mimicry between the distractions of female discourse in the context of traditional Chinese patriarchy and Western modernism. On the one hand, Ling Shu-hua's Ancient Melodies restores traditional lyricism in the form of mothers and "wives" in memory; among them, the narrator uses childhood memories and a little girl's perspective to express aesthetic synaesthesia or "punctum" from the internalized aesthetic lyricism to resonate with readers in the English-speaking world outside China, and realistically presents a woman in the early Republic of China, and her growth of self-consciousness. On the other hand, Ancient Melodies takes the similarity of "music" and intends to us time and space in music to clearly connect the time of narration and space of painting. This reflects the common emotional awareness between her and the women in the text, transcending the traditional and modern boundaries purely conveys the spirit of art internalization.