五塊村高中必修第一課
五塊村高中必修第一課
2021/07/23
2022/11/18
蔡秋桐選
展覽頁面呈現形式
橫式
故事地圖
(新版)延伸閱讀—時至今日的蔡秋桐
策展者
臺灣農村社會文化調查計畫/分項二 中央研究院臺灣史研究所
臺灣農村社會文化調查計畫／分項三 中央研究院數位文化中心
展覽封面
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"title": "課文賞析──蔡秋桐筆下的農村",
"desc": "讓我們一起借助蔡秋桐的筆，回到1930年代的五塊村，看看這片土地，到底發生了哪些事吧！",
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"desc": "除了白色恐怖繫獄期間，蔡秋桐終生生息於五塊村，未曾長期離家。五塊村對於蔡秋桐而言，其意義是什麼？<br>",
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"desc": " 蔡秋桐擔任五塊村的保正二十五年，透過文字將當時台灣農村的樣貌，如實地記載下來，大人的威嚴、保正的兩難、農民的艱辛全都栩栩如生。<br><br> 課文內容節錄自蔡秋桐的<span>六篇作品，分別為<b>〈連座〉、〈放屎百姓〉、〈四兩仔土〉、〈保正伯〉、〈奪錦標〉和〈王爺豬〉</b>。以下將跳脫小說原有的故事主線，引導同學們透過文本與對話，逐步拼湊出日治時期五塊村農民的生活樣貌。</span><br><br><b>溫馨提醒</b><i><b>：</b></i>大家都知道嗎？那時候是個學校講<b>日語</b>、回家說<b>台語</b>、偶爾寫<b>白話文</b>的三語言混雜年代，所以看課文時，就是在考考你的語文能力啦，那我們開始吧！",
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"desc": "課文開始前，先讓我們來介紹一下登場人物~<br>同學們融入情節看故事，選個喜歡的角色來扮演！",
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"desc": "<b>第一章</b><b><br></b><b>五塊村的影子〈連座〉</b>",
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"title": "從地圖中，同學們可以發現什麼呢？",
"desc": "<i> 「</i><i>S會社的搬運鐵道也。敷設到當村北方四五百步地點</i><i>」<br></i><br>如小說中所提及，五塊村的北邊，有條連接至虎尾糖廠（大日本製糖株式會社設立）的原料運搬鐵道，方便將收成的甘蔗，透過小火車運送至製糖廠製糖（如右圖）。",
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"desc": "<b><i>從文章中，同學們可以觀察出五塊村有甚麼樣的特色嗎？<br></i></b><br>蔡秋桐在1931年於《新高新報》發表的⼩說〈連座〉中，借用了「G村」具體刻劃了五塊村的樣貌，就如當時許多的農村一樣，「日出而作。日入而息」，純樸且和睦。另外，也因為日本想把台灣打造成「糖業王國」，因此「農產物免講就是甘蔗最大宗了」；而甘蔗是農民的生計，同時也是夢魘……，對！就是你們耳熟能詳的那句俗話，「第一憨，種甘蔗乎會社磅」。前面提到，五塊村在嘉南大圳完工並開始灌溉後，始能種植水稻、甘蔗等作物，五塊村就此成為米糖的產地，同時也帶來鐵路等交通建設。<br>然而，看似便利的交通建設，卻承載著農民的悲哀，一趟趟的火車經過，運載著農民永遠得不到的經濟利益，與背後滿滿的辛酸與血淚。<br><br><i><u>全文連結：</u></i><a target=\"_blank\" rel=\"nofollow\" href=\"http://www.ntcu.edu.tw/hongtin/data/kkh02/PDF/PO_siosuat/PO_siosuat_075.pdf\"><i>〈連座〉</i></a>",
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"desc": "<b>第二章</b><br><b>蔗農與會社〈四兩仔土〉〈放屎百姓〉</b>",
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"desc": "<span>1926年，蔗糖會社開始進行大規模的土地兼併和收購。在小說中，土哥的田地被官廳強迫用低價賣給蔗糖會社，僅剩的地全部拿來種植甘蔗，卻仍不夠維持生計。為什麼土哥要種植價賤的甘蔗，不去種其他更有經濟利益的作物呢？當時，蔗糖會社為了鼓勵農民種植甘蔗，會社提供貸款和獎勵資金給蔗農來應付繁重的租稅，但是甘蔗收購價低，每每還完貸款、繳完租稅，農民所剩無幾，必須繼續下一輪的貸款，甚至是成為蔗糖會社農場的雇傭工才得以維持生計。<br><br>除了土哥，發哥的土地因為開鑿嘉南大圳，也面臨被剝奪的命運。嘉南大圳是因應殖民母國日本農業生產不足而促成，它由總督府負責主導，通過「公共埤圳嘉南大圳事業組合」來統籌相關事業。由於大圳的開發將大大影響農民的耕作方式，當時政府甚至錄製了宣傳影片</span>〈幸福の農民〉<span>來向農民推廣嘉南大圳。雖然嘉南大圳確實讓南部平原從原本的「看天田」轉成一年兩穫的豐饒之地，不過這一切對於發哥來說，可能沒有那麼的「幸福」，因為嘉南大圳K組合要強制收購他的田，以讓嘉南大圳可以在上面設置水路。<br><br>蔡秋桐所描繪的發哥和土哥，呈現出當時村中典型的艱苦農民。「農也做，商也做，工也做，怎樣逐日得不到三頓飽？」發哥的納悶，可說是當時農民共同的感慨，反映出蔡秋桐對於嘉南大圳與K組合的批判精神。<br><br> 這樣的看法難以被當局所容，</span>〈放屎百姓〉<span>上半部於1931年4月25日刊登於《台灣新民報》，同年5月2號刊登的下半部卻遭到檢查，在報紙上留下一大片空白。<br><br><i>全文來源：<br><div>楊雲萍、張我軍、蔡秋桐著，《楊雲萍 張我軍 蔡秋桐合集》。台北：前衛，1991。<br></div></i></span>",
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"desc": " 日治時期的<b>保正</b>的社會角色十分複雜，一方面，他們<b>協助官方執行政策，被賦予部分的權力</b>；另一方面，他們又是<b>受到統治的台灣人民，處於被支配的地位</b>，兩個身分間的矛盾從蔡秋桐的小說中可見一斑。〈保正伯〉中，描述保正李サン因善於逢迎、告密而成為保正的歷程。保正雖看似比別人擁有更多權力和利益，但「正經的庄裡人，無有和官廳晉階的才能和時間；村裡前任的保正大怣伯，一份家財因為做了保正，被官廳喰去一大半...」實際上保正必須花時間與官廳交涉、款待日本警察，吃力不討好。從保正娘的一席話可以看出，就算李サン極力討好大人，仍無法脫離被統治者的身分，李サン與警察大人從來就不是一個對等、互往互惠的關係。<br><br> 在〈奪錦標〉中，牛庄新上任的A大人致力於推行「麻拉利亞防遏作業」、「美化作業」──日本治台期間推行許多新建設，而警察就是政令的指揮者。A大人為了創立一番豐功偉業，命令村民放下手邊農事，最後牛庄奪得錦標，成了遠近馳名的文化村落，但牛庄的「第一」，不過是表面美好的假象，村民日後的生計更加艱辛，文化村落也隨著A大人的升遷後逐漸沒落。文中保正雖然憐憫村民的處境，卻也無力改變現狀，為了求自保，只能依照大人的命令行事。〈保正伯〉與〈奪錦標〉兩篇小說中描繪的保正形象截然不同，卻都<b>顯出被統治者難以言喻的悲哀</b>。<br><br><i><u>全文連結：</u></i><a target=\"_blank\" rel=\"nofollow\" href=\"http://www.ntcu.edu.tw/hongtin/data/kkh02/PDF/PO_siosuat/PO_siosuat_067.pdf\"><i>〈保正伯〉</i></a><i><u>、</u></i><a target=\"_blank\" rel=\"nofollow\" href=\"http://www.ntcu.edu.tw/hongtin/data/kkh02/PDF/PO_siosuat/PO_siosuat_068.pdf\"><i>〈奪錦標〉</i></a>",
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"desc": "<b>第四章</b><br><b>信仰與感嘆〈王爺豬〉</b>",
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"desc": "<div>透過前兩個單元「蔗農與會社」、「保正與警察」兩篇文章節錄，我們能看到因為<b>會社的壓榨與警察的威權，使得台灣人民受盡壓迫而過著悽慘的生活</b>，而本篇〈王爺豬〉描繪出農民對王爺之深厚，<b>但面對種種壓迫依舊無可奈何</b>。</div><div><br></div><div>「在這地方的所有善男子善女人，沒有一個無信奉王爺公」，人人都信王爺，任何事也都祈求王爺，透過舉辦盛大祭典，家家殺豬祭祀，希望能感動王爺，且天未亮時，便已鑼鼓喧天，歡歡喜喜迎王爺進村，因為人們深信王爺能夠解救萬民於水火之中。百姓誠心祈求，但王爺卻好似聽不見，叫天天不靈，叫地地不應，悲慘的事仍一件件發生，放任百姓放聲哭泣，與殺豬的哀鳴，共響於村莊之中，毫無半點慈悲憐憫之心，<b>顯現了當時，縱使是神威顯赫的王爺公，也無法拯救殖民統治下遭壓迫的人民</b>，只能感嘆地說王爺公阿！這樣的景象「你的心也忍得過嗎？」，快樂的慶典，反倒讓人感到哀苦與愁悶。<br><br>雖然小說中的王爺公並未幫助人民度過難關，不過這樣的信仰仍流傳至今。每當「五年到」，五塊村村民仍會家家戶戶敬備香案，恭迎王爺與媽祖聖駕遶境祈福。每家每戶也會設宴款待來客，只不過請客宴會的規模，已不如以往熱鬧，且以前就算是只辦兩桌，也會親力親為，準備豐盛的全豬料理，而現在卻多以外燴為主，少了些許人情味。</div><div><br><u>全文連結：</u><a target=\"_blank\" rel=\"nofollow\" href=\"http://www.ntcu.edu.tw/hongtin/data/kkh02/PDF/PO_siosuat/PO_siosuat_066.pdf\">〈王爺豬〉</a></div>",
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"desc": "從〈連座〉中，我們看到了五塊村的位置與其屬於農村的一面；從〈放屎百姓〉〈四兩仔土〉中，我們挖掘了製糖會社剝削農民的黑暗面；從〈保正伯〉〈奪錦標〉中，我們見證了保正夾在警察威權與百姓請求間兩難的一面；從〈王爺豬〉中，我們感嘆了人民無法透過王爺信仰獲得救贖，而令人同情的一面。<br><br>透過小說文本，連結五塊村的實況，與我們曾經在課本中學過日治時期的種種殖民樣態，展現了<b>蔡秋桐筆下的真實性</b>，同時也印證了其<b>反面寫實保正作家</b>的稱號。",
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"desc": "<span>經過這一個小小的展覽的介紹，有沒有顛覆你對日治時期農民生活的想像呢？雖然蔡秋桐的作品不多，但每一篇都真實展現出當時的農村面貌，使我們能夠從不同的角度看待這段歷史，觀點更全面。若你想更深入了解蔡秋桐，了解他所居住過的土地，了解其作品中的地景，不妨收拾行李，前往展開一場五塊村的巡禮之旅吧！<br><br><br></span>感謝您耐心的看完，在此附上回饋表單，望您能不吝給予建議，讓我們能夠越做越好。<br>回饋單連結：<a target=\"_blank\" rel=\"nofollow\" href=\"https://forms.gle/7q4a6rX5fx1WDyk6A\">https://forms.gle/7q4a6rX5fx1WDyk6A</a>",
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來源
臺灣農村數位博物館
展覽音檔
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