《海上花》是一部在日常生活況味中，蘊含現實意義的文學佳作。全書以長三書寓為中心，穿插一百多個人物於其間，上至官紳富豪，下到野雞車夫，描摹出一幅上海妓院浮世繪，魯迅、胡適曾讚其風格：「平淡而近自然。」本文以「不奇之奇」為主標，重讀張愛玲國語註譯改寫後的《海上花》，為讀者提供更多的具體實例，再證自然主義式的平淡美學。 不同於一般人對「青樓」投以的浪漫想像，十九世紀末上海妓家發展出迥殊的「擬家庭」倫理，或母女，或姐妹，或夫妻，在日常酬作間進行人際互動。此外，因內心的空虛與不安，對消災求福的宗教儀典特別重視，於生活中力行實踐。近代上海租界，華夷雜處，新式物質文明大量引進中國，特別表現在「吃大菜」及「坐馬車」兩方面，體現十里洋場的誇富繁榮。 ;“Sing-song Girls of Shanghai” is a literature masterpiece that implies practical significance in daily life circumstances and sentiment. The book centers brothels and intersperses one hundred characters, among which are officials and gentlemen, rich and powerful people, street walkers and cart drivers. It portrays a picture of floating world of Shanghai brothels. Lu Hsun and Hu Hsih praised its style as insipid but close to nature. This article pays most attention to its “hiding wonder in the ordinariness” and rereads the adoption with translation notes written by Eileen Chang in mandarin Chinese with a hope to provide the readers with more specific examples and testify the insipid aesthetics of naturalism style. Different from the common romantic imagination on brothels, the Shanghai brothels in the end of the nineteenth century developed an extremely different 「family imitation」 ethic, which means that the interpersonal interactions in the brothels look like daily social activities between mother and daughter, sisters or couples. Besides, because of their inanity and anxiety inward, people lay much emphasis on and energetically practice the religious ceremonies that can remove ill fortune and bless them. In Shanghai Concession of modern times, Chinese and foreigners intermingle with each other; a large quantity of material civilization, especially manifested in “eating western food”and “riding carriage”, were introduced to China, which embodies the exaggerating richness and prosperity of the miles with foreign.
