蔡秋桐小說的寫實風格

Abstract

蔡秋桐的小說具有寫實風格，描寫底層人物活靈活現，涓滴不漏的以台灣本土風味真實呈現，在日治時期最具代表性，以台灣話文書寫的寫實創作，展現本土作家獨特風格。他寫作技法不避俚俗，以幽默、揶揄、諷諭方式，跳脫 賴和、楊守愚的「正面寫實」，而獨樹一格以「反面寫實」揮灑自如，成為具有時代語言的特色。 在他的小說寫實風格中流瀉，情節緊湊完整逼真、人物描繪舉手投足刻畫入微，他的小說在日治時期台灣新文學中可稱為奇葩，雖在殖民體制內卻能感受被殖民者受制於體制外，在這個框架中蔡秋桐藉著舞文弄墨，在既定的社會氛圍遊戲潛規則下，他仍奮力守護底層人物，並非出蠻力去爭取，而是藉人、藉景、藉物如實呈現，以深入融合在暗喻中，伸張人民的心聲。 蔡秋桐的作品應該深受寫實主義的影響，充份彰顯日治時期台灣社會被殖民統治下，人民必須承受殖民者欲完成的任務，以致身心上遭受多重威脅、壓迫，因此，蔡秋桐藉由台灣話文書寫的形式反諷、諷刺時政以抒發情感。舉凡台灣傳統社會所遺留下來的種種信仰習俗，蔡秋桐皆運用文字書寫爬梳，以旁敲側擊的批判。蔡秋桐擅長運用正話反說的技巧，諷諭當時日警的蠻橫無理，使用不公不義的手段，加重人民百姓的苦楚雪上加霜。 蔡秋桐身為「保正」處於百姓與警察之間，目睹一切只能以跳脫式書寫的技巧，以調皮、幽默的口吻，暫時得以舒展心中懊惱與不堪。蔡秋桐所認知的當時僅能以無言的抗議，故而用較溫和的台灣話語文來書寫，不但符合順應當時知識份子「文化啟蒙」的角色定位，就以台灣話文書寫風情民俗，更呈顯蔡秋桐具足寫實風格特異的超能力，並且將日治時期台灣小說、民俗文化刻烙印痕留下完整的紀錄。

Chhtr Chhiu-thiu’s novels have a realistic style, depicting the underlying characters vivacious to live, and the true expression in favor of Taiwanese dialect. He is known to be one of its kind for the unique realistic literature creation among the local writers in the period of Japanese. Chhòa’s writing techniques don’t evade the vulgarity, uses humor, making fun and jokes, together with metaphorical description that differentiate him from the other ‘positive/direct realism’ writer, such as Lōa Hô and Iûⁿ Sid gû. Chhòa’s ‘reverse/antonym realism’ writing style has become a feature of the Taiwanese language of the times. Chhòa’s story is compact, characters are vivid, wordings are exquisite by his pen. He is being considered as the pioneer of Taiwanese new literatures during the Japanese Occupation. Though under the framework of Colonial Ruling, Chhòa still struggles to protect the colonists. It is not arrogant to fight but utilizing objects, scenery and people implicitly in silent protests. During the Japanese Colonial Rule, the Taiwanese society must bear the task of the Colonialists to complete the task, resulting in multiple threats and oppressions. Therefore Chhòa’s reverse realistic lyrical writing act as an emotional relieve for the suppressed society. In all the customs and believes left by Taiwan’s traditional society, By adopting the reverse writing style and all the custom practices and beliefs in the traditional Taiwanese society as an subject, Tsai could voice for the sufferers while insinuating the arrogance of Japanese polices, to whom they are reinforcing the unfair and injustice Colonial law to the Taiwanese civilian. As a protector (保正), Chhòa is between the people and the police. He witnessed that all the techniques can only be written in a detached manner. In a naughty and humorous tone, he was temporary relieved and protested silently. Therefore, it was written in a milder Taiwanese dialect. It not only conformed to the role of the cultural enlightenment of the time-honored intellectuals, but also wrote the traditional customs and believes in Taiwanese. Chhòa’s talent creative reverse realism had retained a complete record of Taiwanese novels and folk culture from the time of Japanese Occupation.