臺語表演語言中特殊「V+X+O」結構──以流行歌詞、布袋戲、歌仔冊為例

The Special“V+X+O”Structure in Taiwanese Performance Language: Examples from Popular Lyrics, Puppet Theater, and Koa-áBooks

本文以臺語流行歌詞、布袋戲語言及歌仔冊為例，探究臺語表演語言中特殊的「V+X+O」結構用法，包括：表動作持續的「V+著+O」，以及表動作完成而情境變化的「V+著+O」、「V+了+O」與「V+過+O」，並延伸觀察「著、了、過」出現於介詞之後的殊異結構。這幾類結構用法都截然有別於自然口語，其歷史來源雖各不相同，但卻有趨同的發展方向。本文首先彙整分析表演語言「V+著+O」、「V+了+O」、「V+過+O」的詳細用法，發現三類結構有其平行相應的共性；接著參照古代漢語這三類結構的歷史演變研究成果，論證臺語表演語言特殊的「V+X+O」結構用法乃承自宋元以後的近代語法特點，但又有其內部的個別變異；然後從表演語言的敘事需求來說明「著、了、過」的特殊語法變異；最後比較不同時期作詞家以及不同世代布袋戲主演「V+X+O」結構用法的使用差異，從而探討「著、了、過」作為特殊敘事助詞用法的世代變異。

This study examines the special“V+X+O”structures in Taiwanese performance language, drawing on popular song lyrics, glove-puppet theater, and koa-ásongbooks. These include“V+tioʔ8+O”to mark ongoing action, and“V+tioʔ8+O,”“V+liau2+O,”and“V+kue3+O”to indicate completed actions with resulting situational change. The paper further considers unusual patterns where tioʔ8, liau2 and kue3 follow prepositions. Such structures differ significantly from natural spoken Taiwanese.
Though their historical origins vary, these structures share a convergent trajectory of development. The paper first analyzes the detailed uses of“V+tioʔ8+O,”“V+liau2+O,”and“V+kue3+O,”revealing their parallel functions. It then situates these forms within the historical evolution of similar structures in Classical and early modern Chinese, arguing that the“V+X+O”patterns in Taiwanese performance language inherit grammatical traits from the Song–Yuan period while also displaying internal variation. Next, it explains these grammatical shifts in light of the narrative demands of performance. Finally, it compares usage across lyricists of different eras and glove-puppet performers of different generations, highlighting generational variation in the narrative use of tioʔ8, liau2 and kue3.