從1921年郁達夫首次發表小說〈銀灰色的死〉開始，直到1927年的〈二詩人〉，共三十餘篇小說，除少數幾篇外，有三分之二以上是以東京和上海這兩座都市，作為他小說中的重要場景，而這也是郁達夫創作力最旺盛活潑，影響力最大的一段時期，他堪稱是中國現代文學史上第一位都市漫遊者，也是比三○年代新感覺派更早十年，致力於書寫上海的先驅者。故他是如何進入二十世紀初期的東京，接受帝國強大的現代化所洗禮，並且將此現代經驗帶回到1920年代的上海，而彼時的中國留學生又是如何行走在這座亞洲最大的都會，經驗了揉雜物慾，情慾，以及國族恥辱的複雜心理？東京與上海這兩座都市在郁達夫的筆下，又是如何相互參照，甚至拼貼串聯成為蒙太奇的意識流空間？本文將比較郁達夫的東京與上海經驗與書寫，並說明這兩座現代城市如何形塑郁達夫小說的美學風格。

Yu Da-fu's first short story ＂gray death＂ was published in 1921. Until ＂Two Poets＂ published in 1927, Yu's most short stories were based on his livings in Tokyo and Shanghi. This period is also his most productive and influential time during his life. Yu Da-fu is the first city wonderer in modern Chinese literature and even more earlier than Liu Naou, Shih Je-chung who are active in Shang-hi during 1930s. How did Yu Da-fu experince a modern metropolitan as Tokyo at the beginning of 20th century? And how did he bring this kind of eeperience to go back to Shang-hi in 1920s? How did he suffer for desire, sexual passion and humillation as a Chinese in Tokyo? How did Tokyo and Shang-hi being combined together through Yu Da-fu's writing and stream of consciousness? These issues will improve our vision of modern literature history and the research about city writing during early 1910-20s.