雖然民間文學特質的集體性、口頭性、變異性，我們幾乎都朗朗上口，但是落實到研究時，往往卻不自覺地視為另類的作家文學，相當於另一種可直接供閱讀的作品。本文的主要企圖在於思考如何從集體性、變異性來進行研究的可能。

類似的主題透過曲盤、歌仔冊、笑詼、布袋戲等不同展現，幾乎每一種不同的媒體，或展演形式都可以當成研究的對象。以民間文學的解讀實踐來看，單一線性的文本可能相當於單一脈絡的解讀，而對位式閱讀則試圖透過並列文本的橫向閱讀，除了解析其「變異」，也能夠回覆其「集體性」的可能源頭。這些文本並非僅印刷文字，很多是透過錄音、錄影保留下來的，十足展現了「口頭性」。

本文將以 1984 年黃俊雄布袋戲《六藝劍神傳》鼎邊趖的口白做考察核心。首先我們透過並列文本的橫向閱讀，除了透過來自遙遠聲部的比對以回應其「集體性」特質，也解析其「變異」以瞭解其創造活力的源頭。其次，我們再回到單一文本脈絡來理解民間藝人如何透過口頭性的表演，玩味諧音的喜劇。最後我們可以反過頭來重新思考，作者論底下所謂的「獨創性」。

Although the characteristic of folk literature, including collectivity, orality and variability, sounds very familiar to us, when it comes to research, we often unconsciously regard it as an alternative writer’s literature that is equivalent to another kind of work that can be read directly. The main intention of this article is to think about the possibility of contrapuntal reading from the perspective of collectiveness and variability.

The similar themes are presented through different forms of music, song albums, jokes, puppetry (pò-tē-hì), etc. Almost every different media or performance form can be used as an object of study. But for the practical significance of folk artists, this distinction may only allow us to see partial scores of each instrumental performance, not all. Judging from the interpretation practice of folk literature, a single linear text may be equivalent to the interpretation of a single context, while comparative reading attempts to analyze its ‘variation’ through horizontal reading of parallel texts, and can also answer its ‘collective’ nature. These texts are not just in printed type, many are preserved through audio and video recordings, fully demonstrating their nature of orality.

The research material of this article will be based on the dialogue of N̂g Chùn-hiông’s puppet show ‘Lio̍k-Gē-Kiàm-Sîn-Toān’ (The Legend of the Six Arts of Sword God) in 1984. First, through horizontal reading of juxtaposed texts, we not only respond to its ‘collective’ qualities through comparisons from distant voices, but also analyze its ‘variations’ to understand the source of its creative vitality. Secondly, we return to a single text context to understand how folk artists play with homophonic comedy through oral performances. Finally, we can turn around and rethink the so-called ‘originality’ under the auteur theory.

布袋戲;笑詼;歌仔冊;臺語喜劇;互文性

Puppetry; Joke; Sheet; Comedy; Intertexuality