本論文主要探討捷克作曲家楊納傑克 (Loeš Janáček，1854~1928) 的重要歌劇《顏如花》(Jenůfa)。《顏如花》為捷克史上的第一部散文體歌劇，由楊納傑克根據劇作家加布里耶拉˙布萊蘇娃 (Gabriela Preissová，1862~1946) 的《她的繼女》(Její Pastorkyňa) 改編而成。此劇具有浪漫主義、寫實主義的特質，民俗成分根植其中，更是楊納傑克運用語音旋律使其自然體現的成功之作。整部作品歷經十年的創作完成並於布爾諾 (Brno) 首演，首演雖然成功，但卻遭到布拉格國家劇院指揮Karel Kovařovic的阻擋，以致於遲遲在十二年後才得以在布拉格上演，這之間隱藏著耐人尋味的問題。 楊納傑克的名聲在《顏如花》於布拉格上演後開始遠播，激發了楊納傑克寫作歌劇的信心，也奠定他在音樂界的地位。在本論文一開始便先闡述楊納傑克的生平及其音樂創作。之後，對其歌劇《顏如花》創作和演出過程及不同版本進行研究，進而分析作品及歸納作品特色。最後，將楊納傑克及《顏如花》定位並將語音旋律與歌劇創作的關聯作一結論。 This paper mainly discusses the important opera《Jenůfa》of Czech composer Loeš Janáček (1854~1928).《Jenůfa》is the first prose style opera in Czech history, which was composed by Janáček based on《Její Pastorkyňa》written by Gabriela Preissová (1862~1946). Romanticism, verismo, and folk elements are regarded as the most important ingredients in this opera. Besides these ingredients, Janáček integrated “speech melody” to complete its uniqueness. It took ten years for Janáček to complete the composition of《Jenůfa》and performed the debut in Brno. With great success in Brno,《Jenůfa》however was barricaded from performing in Prague for 12 years because of personal conflicts in between Karel Kovařovic and Loeš Janáček. After《Jenůfa》 was performed in Prague, Janáček was getting more famous which enhanced his confidence of composing more operas, and became a significant composer with great influence accordingly. In this paper, the first spotlight casts on Loeš Janáček and his music, the composition period and performance, as well as the revision history of 《Jenůfa》. Then, analysis and summary of the features of《Jenůfa》is another focus. Last but not least, the positioning of 《Jenůfa》and Loeš Janáček, the relationship between speech melody and the opera originality are concluded.