「演繹／譯」唯美：論林微音之譯作《馬斑小姐》與創作《花廳夫人》

林微音（1899-1982）是在三十年代上海以提倡唯美文學為人所知的現代小說家，在寫作詩歌、小說以外，他也翻譯、評論，並任報刊編輯。《花廳夫人》咸被認為是他的小說代表作。論者多指出，這本小說與他所翻譯的法國唯美主義詩人戈蒂耶（Théophile Gautier，1811-1872）的《馬斑小姐》（Mademoiselle de Maupin）十分相似，以為深受影響。然比對林微音的這篇譯作以及小說創作，並據此進一步深入探索上海的唯美主義文學如何受到英法唯美文學影響的研究，則一直以來付之闕如，殊為可惜。本文採翻譯研究之取徑，將文學譯作、以及在同樣文學經典影響下產生的衍生性創作視為是對原作的演繹，集中探討林微音所譯的《馬斑小姐》與戈蒂耶的Mademoiselle de Maupin原著所存在之差異，並比較林微音所作的《花廳夫人》與Mademoiselle de Maupin之情節安排、內容主題與表現方式，以及此差異背後所蘊含的文化意涵。本文以為，這群上海唯美文人擁抱新鮮、多管齊下的唯美演「譯／繹」，非但展現出現代上海文學的獨特性格，由翻譯到再創作，牽涉到生活在國際大都會的三十年代上海文人想像異地、寫作本土的文化實踐，其中所展現的「異地現代性」，即為我們現今研究其文學翻譯與再創作之意義。

關鍵字

林微音；上海唯美文藝思潮；花廳夫人；馬斑小姐

並列摘要

Scholars have long been interested in Shanghai's modern literary circle of the 1930s, often referred to as the ＂Shanghai school-aesthetic literature＂ to emphasize its affiliation with 19^(th)-century European aesthetics. What kind of aesthetics was then being embraced by intellectuals and artists in 1930s Shanghai? Here I will examine a French novel translated at this time in Shanghai. ＂Mademoiselle de Maupin,＂ written by Théophile Gautier (1811-1872), is a representative and influential masterpiece of French literary aesthetics, whose famous preface preached the doctrine of ＂: Art for art's sake＂. The Chinese translation of this romance is rendered by Lin Weiyin (1899-1982), a member of the prominent Green club in in 1930s Shanghai. Lin's essay, entitled ＂life for art's sake,＂ was published in the journal Green (Lu), and his novel ＂Madame de Salon＂ (Huatingfuren) are both seen as works which were inspired by Gautier's novel. By comparing and examining ＂Mademoiselle de Maupin＂, Lin Weiyin's translated version, and his novel, this paper attempts to present some differences between the aesthetic writings of Shanghai writers of the 1930s and 19^(th)-century French and English aesthetics. In his fiction Lin attempted to promote his ideas concerning the modern woman, and the plot of his novel concerns the conflict between a modern woman and traditional marriage values, at the time a sensational theme in China and one attractive to popular readers. In effect, the anti-morality and anti-utilitarianism aims of 19^(th) century European aesthetics, art and literature had been transplanted to become the 1930s ＂Shanghai school,＂ which tended to advocate greater individual freedom and greater openness with regard to the body and the sensual as well as intellectual and artistic life. This paper then seeks to explore what Lin's ＂life for art's sake＂ manifesto really meant, and to compare it with the more widespread ＂art for life's sake＂ trend of that period in China. Thus at issue here are really the nature and the foundations of Chinese literary modernity.