國立台灣文學館-藏品資訊

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主要名稱:鏡

成文日期:不詳

類別:手稿

作者:王昶雄

原件與否:原件

藏品層次:單件

數量單位:1冊

尺寸大小(長*寬*高):22.9*15.3*0.8cm

數位化類別:影像(圖片)

是否數位化:是

關鍵詞:王昶雄｜東京帝大｜江馬哲子｜洪秋文｜臺灣文藝｜坂東簑助

典藏單位:國立臺灣文學館

摘要:本筆資料描寫在東京就讀女子大學江馬哲子，與就讀東京帝大法律系洪秋文兩人互有好感，卻皆未能明白向對方表述。洪秋文甚至幫助好友谷口茂撰寫給哲子的情書。在一次哲子與秋文兩人觀賞戲劇之時，哲子告知秋文，自己決定先回到臺灣擔任教職。隔年秋文學成回臺時，卻聽聞哲子父親希望讓哲子嫁給谷口茂。加上哲子來信，說明自己希望投入適合的工作不想結婚，並欲與秋文的情感有所了結。在雙重打擊之下，小說結尾秋文決定遠赴滿洲發展。文中「鏡」有兩則意涵，一為哲子與邱文觀賞之戲劇為坂東簑助的〈白野辨十郎〉，戲中發展便如三人情感之發展。再者哲子的信中提及與秋文的相處，如同一面鏡子，讓哲子可以看清自己。（文／蕭亦翔）

其他說明:1.本筆資料共67頁（不含封面、封底），書寫於400字稿紙，並裝訂成冊。封面寫有「鏡　王昶雄」。內文稿紙右上附有頁數，並有紅筆批改痕跡。
2.正文〈鏡〉之前有「い○直接の觀察」為開頭之散文作品一頁，文末寫有「敬天思想と孝道思想の由来と其の展開　王昶雄」。疑為王昶雄以此篇作品稿件作為〈鏡〉之裝訂。
3.《臺灣文藝》1卷2號（1944.06），有王昶雄《鏡》小說集廣告，但未見出版。本篇小說日本版後收錄於河原功編《王昶雄作品集》（東京：綠蔭書房，2007.06）。中文版由陳藻香翻譯，收錄於《王昶雄全集．第一冊小說卷》（臺北：臺北縣政府文化局，2002.10），頁333-367。

提供者:王昶雄家屬

登錄號:NMTL20120270194

Title:Mirror

Category:Manuscript

Author:Wang Chang-hsiung

No. of Item:1 volume

Dimension:22.9*15.3*0.8cm

Description:This novel tells the story of Hung Chiu-wen, a Taiwanese law student at Tokyo Imperial University who meets and becomes infatuated with Tetsuko EMA, a Japanese local who studies at a women’s university. Although the lovely pair are attracted to each other, neither has the courage to profess their feelings. Chiu-wen even agrees to help his best friend, Shigeru TANIGUCHI, write a love letter to Tetsuko. At one point, when Tetsuko and Chiu-wen see a play together, Chiu-wen tells Tetsuko of his plan to take up a teaching position in Taiwan after graduation, which he eventually follows through on in the autumn of the following year. However, soon after his return to Taiwan, he hears news that Tetsuko’s father has promised her hand to Shigeru. Meanwhile, he receives a letter from Tetsuko stating her intention to pursue a career, postpone any marital plans, and sever all ties with Chiu-wen to focus on her work. Feeling deflated, Chiu-wen decided to move to Manchuria (now the northeastern part of China) to start a new life. The title of this novel, Mirror, has two meanings, one being the play (Shirano Benjuro by Minosuke BANDO) that Tetsuko and Chiu-wen saw, which similarly describes the relationship with the three people involved, and the other being Tetsuko’s letter, which perfectly describes the interaction between her and Chiu-wen. The play and the letter are like mirrors in which Chiu-wen sees his true self.

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