| 摘要: | 摘要
本文係以新批評的細讀法和敘事學的第三人稱受限的視角（內聚焦型）來分析與探討文本《梅村心曲》的人物敘事與故事內涵。除了第一章的文獻探討外，並於第二章介紹謝霜天的生平與作品，特別詳述《十論謝霜天》《認識謝霜天》外，謝霜天後期由苗栗縣文化局出版的三本作品：《清泉淌過我心田》《火籠懷舊情綿綿》《重回牛背山畔》。
一九七六年客籍文學作家謝霜天以長篇小說《梅村心曲》獲得「第二屆國家文藝獎」。書中主角林素梅，是以謝霜天的大嫂為原形，描述林素梅從二十二歲嫁到客家山村「梅村」吳家，至六十五歲安居新屋為止，期間經歷漫長的四十多年，她追求田園與家屋的「心」路旅程。林素梅出身農家、嫁到農家，一生的血汗都滴落在田地裡，面對各種苦辛，都能屢戰屢起，充分表現出一個堅強的客家婦女典型。
敘事者的聲音乘著想像的翅膀，在文本中更是無所不在，藉著大自然風、雲、月、日以及田園風景的變換，抒發作者個人的看法，流露出熱愛田園生活的生命觀。文本中更不停地利用回憶的「節奏」、倒敘（閃回）的手法，推展著故事的情節前進，且其中夾雜著未來的預言，擴大讀者閱讀時的張力。
書中更使用許多客語詞彙，描述了許多客家人特有的習俗，使文本充滿了濃濃的客家味。
;By Close Reading of New Criticism and the third person’s limited perspective (internal focusing), this study analyzes and investigates the character’s narratives and plots of Heart’s Melody in Plum Village. Apart from the literature reviews in chapter 1 and introduction to Hsieh, Shuang-Tian’s profiles and works in chapter 2, it dilates “Ten essays on Hsieh, Shuang-Tian” “Understanding Hsieh, Shuang-Tian” and 3 books in her later periods published by the department of cultural affairs, Miaoli County: “Spring Walks through My Heart,” “Reminiscence to the Fire Basket,” and “Back to the Bank of Cattle Hill.”
In 1976, Hakka literature writer, Hsieh, Shuang-Tian, won the second “National Award for Arts” by her novel “Heart’s Melody in Plum Village.” The main character, Lin, Su-Mei, is based on her sister-in-law. It depicts the Lin’s chase for fields and gardens and home, a journey of “heart.” More than 40 years, it started from the marriage to Wu’s family in “Plum village,” a Hakka mountain village at her 22 to settle down in a new home at her 65. Lin came from a farm family, married to a farm family and paid her own lifelong toil to the farm. No matter facing what sorts of difficulties, she could always keep on fighting, which expressed entirely a typical Hakka woman.
The narrator’s voice, by its imagination, was expressed in the whole text. Through the wind, cloud, moon and sun in nature and the changing landscapes in fields and gardens, carry the writer’s view into words and reveals her life view of loving pastoral life. The continuous “rhythm” and flashback of memory push plots forward, which were mingling with the prophecy from future and expanded the tension of reading. In the book, it uses many Hakka terms to depict the Hakka special customs, which made the texts very hakkaly. |
