「賣花姑娘」叨位來？叨位去？──談五、六○年代台語歌詩中的「賣花姑娘」

Where Do 'Flower Girls' Come From? Where Do They Go? -- A Critique of 'Flower Girls' in the Ho-Lo Taiwanese Poetic Lyrics' Songs in the 1950's and 1960's

戰後初期台語歌詩即有所創作，一直到五、六○年代，台語歌詩不論在作品的值與量的累積上，都蔚為可觀。而七○年代由於政策改變與整個社會變遷的影響下，台語歌詩遂逐漸消長。時五、六○年代的台語歌詩多由日本歌改寫或翻譯而來；取其原曲，後將歌詞內容轉換並加編曲組成，展現出一首首不管是曲調或內容都充滿日本韻味的歌曲。也因此，如「馬車」、「霧笛」等臺灣本地並不熟悉的景物，也出現在台人日常哼唱的歌詩中，「賣花姑娘」便是在此情境下吶喊其賣花聲。五、六○年代一系列「賣花姑娘」相關的歌曲，有臺灣人不論在作詞、作曲皆自行創作，也有如前所提，由日本取徑而來。在當時男性「行船人」相關歌曲風行的時候，「賣花姑娘」走出了另外一個女性的世界。但筆者想進一步探問的是，在五、六○年代臺灣工業剛起步的時期，進出口貿易是相當重要的一環，也因社會所需，「行船人」是當時許多男性選擇的職業；然「賣花姑娘」也如同「行船人」，是社會所需並因此盛興的行業嗎？商業的選擇性擇曲，與社會價值存在何等關係與意涵？筆者試圖以台語歌詩中的「賣花姑娘」以及報紙新聞中代表相對現實的「賣花姑娘」看兩者存在的異同。在商業因素的介入下，我們可以看見，日本歌曲「歸化」（domesticate）為台語歌詩的養分，「賣花姑娘」卻成為臺灣日常社會中「異化」（alienative）的角色。

"Works of ho-lo Taiwanese poetic lyrics' songs(台語歌詩) was written from the initial stages of the postwar. Until the 1950's and 1960's, both of quality and quantity of ho-lo Taiwanese poetic lyrics' songs presented significantly. Both of the quality and quantity in ho-lo Taiwanese poetic lyrics' songs didn't be presented significantly until the 1950's and 1960's. During the 1970's, ho-lo Taiwanese poetic lyrics' songs declined gradually due to the change of policies and transition of the society. However, most of ho-lo Taiwanese poetic lyrics' songs from 1950's to 1960's would be rewritten and be translated from Japanese songs. Although being rewritten in the lyrics and rearranged in the music, these songs are still full of Japanese aromas cause of maintaining the original tunes. Therefore, these things such as 'carriages', 'steam whistles' and other objects which Taiwanese were unfamiliar with, were also presented in ho-lo Taiwanese poetic lyrics' songs. As a result, that is why the songs of 'flower girls' came into existence and what the background of 'flower girls' was. On one hand, during the 1950's and 1960's, some works of the series of 'flower girls' were written and created by Taiwanese people, including the tunes and words. On the other hand, some of these songs were transferred from Japan, as I mentioned above. At that time, a lot of popular songs described about male 'sailors'(行船人) , while 'flower girls' presented the female world. When Taiwan industry just developed in the 1950's and 1960's, the trade of import and export was quite important. So a lot of men chose career such as 'sailors' for living due to the social structure. However, my reaching concern is if the job, 'flower girl', is really a requirement out of the social structure？Did the career of 'flower girls' be like 'sailors' which were needed by the Taiwanese？ Why these songs became so popular？What kind of the relations and meanings did exist between commercial choice of songs and social values? The essay is trying to compare the 'flower girls' in ho-lo Taiwanese poetic lyrics' songs and the ones in the newspaper which represented the reality relatively. For commercial influence, Japanese songs were domesticated(歸化) to be nutrients of ho-lo Taiwanese poetic lyrics' songs, and 'flower girls' become alienative(異化) roles in Taiwanese daily lives."