同一故事框架下的艺术改写——以《半生缘》与《普汉先生》为例

Rewriting, Artistically, within the Frame of the Same Story, with the Examples of Half a Lifelong Romance and H.M. Pulham, Esq

《半生缘》参照了《普汉先生》中双城记的空间架构,主线和人物角色关系的设置上大致相同,并且张爱玲对《普汉先生》中的情节和对话进行了大量的直接引用。然而值得关注的是,《半生缘》中所体现的中国特有的传统文化和张爱玲的苍凉悲情写作手法使得《半生缘》这部改写作品在艺术上异于《普汉先生》,在同一故事框架下融入了本土传统文化和作家个人情怀。《半生缘》中增设的人物角色和情节赋予作品更深厚的时代和文化印迹。

Half a Lifelong Romance, based on the spatial structure of a twin-city in H. M. Pulham, Esq, has its main narrative line and relationship between the characters similarly arranged. In addition, Eileen Chang made copious quotations of the plot and dialogue in H. M. Pulham, Esq. What commands our attention is the fact that the unique traditional Chinese culture, featured in Half a Lifelong Romance, and the sorrowful way of her writing made the work artistically different from H. M. Pulham, Esq. This article explores how Half a Lifelong Romance went beyond H. M. Pulham, Esq in terms of artistic thought by combining the native traditional culture with the author＇ s own feelings despite the same frame of story and the article also conducts an analysis of how Eileen Chang provided additional characters and plot that are different from the equivalent characters in H. M. Pulham, Esq in terms of characterization and expression of images, thus endowing her work with deeper traces of time and culture.