論蔡秋桐的台灣話文小說──以〈帝君庄的秘史〉、〈連座〉、〈有求必應〉、〈痴〉為例

On Chhoá Chhīu-tông’s Taiwanese VenacularFictions:Subjected to “The Secret Story of the Emperor’s Village,” “InvolveLaw,” “The Promising Response to the Demand,” “Obsession”

本文以2000年後陸續出土的蔡秋桐小說〈帝君庄的秘史〉、〈連座〉、〈有求必應〉（1930-1931年連載於《新高新報》）及〈痴〉第1回（1931年刊於《曉鐘》）為例，從語言的角度切入，重新解讀蔡秋桐於日本時代以不使用日語，而以「台灣話文」作為書寫主體的反抗方式；以及因當時受新文學運動的影響，小說中呈現摻雜中國白話文、甚至許多已「台灣話化」的「日式台語」用詞等「透lām」（code-mixing；語碼混合）的現象，來討論蔡氏作為戰前漢字台語小說創作量最多的作家，其作品於殖民時代的語言特色與文本意識。蔡氏具穩實的「漢學仔底」，日語亦在相當程度之上，且能將中國白話文的形式落實於台灣話文寫作；甚至其處於官方體制裡猶能保持體制外的智識分子思考。透過〈帝君庄的秘史〉等四篇小說的觀察，我們看到蔡氏極具批判性、諷喻中帶著對民族性格反省的台灣話文小說；而蔡氏的台灣話文小說，更因其中十足的「土氣」與獨特的「語碼混合」方式，讓反殖民的書寫更有「力量」。

This article attempts to re-interpret Chhoà Chhiu-tông’s fictions, which havebeen dug out from 2000 onwards, including The Secret Story of the Emperor’sVillage, Involve Law, The Promising Response to the Demand , which were gazettedin Sin-Ko Sin-Pò （新高新報） from 1930 to 1931, and Obsession , appearing in theliterary journal, Hiáu-Chīong （曉鐘）, from the perspective of linguistic studies,regarding Taiwanese vernacular writing as a discourse of resistance. In this article, Iaim to illustrate the linguistic characteristics the ideology of the source texts, arguingthat influenced by the Taiwanese New Literary Movement, Chhoà’s fictions werewritten in the ‘code-mixing’ style, such as ‘Taiwanized’ ‘Japanese fashioned Taiwanese’,making him the most productive author of the Taiwanese vernacular fictions written inKanji (Han characters) that were created during the colonial times before the SecondWorld War. During his course of writing, Chhoà has grown a substantial capacity inSinology and Japanese language. He is able to write everyday Taiwanese in the form ofcolloquial Chinese language. He is also able to retain intellectual thinking in the contextof official ‘Po-Kah’ system. Through probing into these four fictions, one is able toobserve Chhoà’s critical and satirical thoughts, including self-reflective views on hisown nationalistic opinions. In addition, Chhoà’s Taiwanese vernacular writings, suchas his ‘vulgarity’ and his unique ‘code-mixing’ writing strategy, appear to possess morestamina among other anti-colonial literary works.