閩南語歌仔冊是珍貴的台灣語言文化資產，代表台灣民間文學的瑰寶，本文 希望藉由當前對閩南語歌仔冊的蒐集整理的豐碩成果，選擇較具本土性的歌仔， 依照題材類型分成四類：（1）台灣歷史及民間故事類；（2）台灣社會時事類；（3） 褒歌類；（4）勸世類。首先根據選定的漢字文本，蒐集現有的語音轉寫，建立標 音語料庫，共得四類26 首。再結合語言風格學的研究方法，為不同主題的歌仔 冊進行押韻與用字的語言風格分析。 本論文第四節，根據語料庫進行文本用韻、用字的分析與鑑賞。首先由四類 文本語料庫中各選一首為代表，即義賊廖添丁歌、八七水災歌、問路相褒歌、勸 改賭博歌等四首，進行解題與分首節錄歌詞片段，進行押韻與用字分析。 閩南語歌仔冊的用韻，整體而言，顯得寬泛，一般認為只要主要元音相同或 相近，偶而介音或韻尾稍有出入，也是可以允許的。經過本文通盤考察並參酌前 賢的討論，得到三種韻例，即： 1. 四句只用單一韻母例。佔整首歌仔韻腳的 3/4，因此稱為「基本韻例」。 2. 同韻異類韻母互押例。同韻指主要元音相同，異類包括介音不同、鼻化 韻母、喉塞韻母、鼻化喉塞韻母。此類約佔一首歌仔韻腳的15-25％，故 稱之為「次級韻例」。 3. 一聯中有合韻例。即一般所謂「通押」，凡主要元音或韻尾有一樣不同均 屬之，約佔整首歌仔韻腳10%以下，有的歌仔甚至未見此類。因此稱之 為「罕用韻例」。 本篇第六節利用較大篇幅，呈現上列四首歌仔（合計843 聯，3371 句）的 三種韻的各類韻母實際押韻聯數的統計，並有四首用韻頻率之比較。還根據文本 作者方言的情況，解讀現有音注中的「合韻現象」，竟有一大部份是根據錯誤腔 調標音所造成的「罕用韻例」。這種統計法的有效性與文本代表性成正比。整體 來說，本篇的解釋頗有正本清源之效。 閩南語歌仔冊用字常以借音字、擬音字、訓讀字、新造字、借形字等權宜 的用字來補足現有文字的不足，而且極少出現艱澀難懂的漢字，由於歌仔冊書寫 者沒有「本字」的概念，因此處處可見「借音字」的使用。從各種歌仔冊的特殊 用字來看，大致上是借音字最多，訓讀字次之，新造字最少。而「一字多義」與 「一義多字」的文字問題經常發生，前後用字不一的問題也時有所見。

Kua-a-tsheh, or Taiwanese Ballads, was widespread and popular from late 19 century to the sixty of the 20th century. Kua-a-tsheh was not only an important recreation for the Taiwanese people of that time, but also a literary treasure written in Taiwanese vernacular (both Southern-min and Hakkha) in the history of Taiwanese literature. According to an estimate report, more than three thousand titles of the written texts of Taiwanese Ballads have been published under the Japanese colonization. In the paper we aim to select some texts of kua-a-tsheh containing plentiful descriptions regarding the development of Taiwanese society. Four types of the Ballads according to the themes are collected to form a language corpus of the written seven-syllable songs and their literary phonetic transcriptions. These types contains: (1) Ballads of Taiwan history and popular story; (2) Ballads about the social events; (3) Ballads sung in dialogue; (4) Ballads sung in advisement. Our paper mainly focuses on the rhythm pattern and the Chinese characters of the written texts. We chose several paragraph of the kua-a for each types of the Ballads to show their different language styles. After our statistical analysis, we define the following three types of the rhyme patterns: (1) The basic rhyme pattern. More than three quarters of each Ballad rhyme in the same final. (2) The secondary rhyme pattern. Each rhyme group contains several familiar final. (3) The fewer rhyme pattern. Only few specific paragraphs show the irregular type of rhyme. We show a list of the popular usage of the characters in the kua-a-tsheh which are in contrast of the usage of traditional way and modern Chinese standard characters. These are the usages of homophones, onomatopoeic, loan translation and coinage (or so-called dialect characters) and so on. Although some scholars claim that “the properly uses characters” is about 75% and the usages of homophones is less of 20%, but “the different usages of the same character” and “the same meaning shown by the different characters” would cause a little confusions in understanding.