本文試整理清代臺灣文銁載集中的平埔族歌謠，對其文本進行多方面的剖析。這些文本可分為黃叔璥〈番俗六考〉中的34曲歌謠，巴宰族的〈同族分枝曲〉、〈初育人類曲〉及巴布薩族的〈貓霧拺番曲〉等三部份。平埔族歌謠為有清一代，原住者發出的唯一聲音，初期雖然大都是一種被紀錄的文字，但隨著漢化的過程，這些謠曲也出了主體意，原住民開始以自己的方式進行書寫，建構族群的文化。這些歌謠內容包含了他們的歷史、宗教、文化、生活、藝術及情感等，非常具有探應的意義。這些書寫十分原始素樸，在文學詩歌史上可稱作「前詩歌時代」，而這些作品發的軌跡，正可以與《詩經》、《楚辭》等中國文學源頭、做對比、論證的工作，相互間可彼此發明之處不少，故有其獨特的文學價值。本文對這些歌謠進行敘述與分析，做一整體性的研究，期望能為這些久被忽視的書寫，做出較為準的確的詮釋。

My proposal is trying to sort out the Taiwan literature of Ching dynasty on aboriginal pepo tribes ballads and make a multi-faced interpretation of its text. I put them into three parts: Huang shwu jinng’s 34 ballads in “aboriginal custom six origins”, Pazehs’ “sym-clan-classified ballads” and “initial-breeding-humankind ballads”, Babuza’s “Babuza ballads”. They were the only sound for the aboriginal then and there. At the beginning they were mostly to be written up, but nevertheless, they might tend towards subjectivity consciousness under the proceeding of Sinicism. The ballads began to be written in the style of their own and a clan-culture began to be built up, too. All of the writing were concerned with history, religion, culture, living, arts and sentiment etc. and of great significance to exploration. For writing’s being primitive and plain, then it might be called “pre-poetry era”. The path of development of these writings may contrast clearly with the “Book of Odes” and “Chu Lyrics”, further, they might become a counter-witness and counter-reflection each other. There was some particular worth in literature. My proposal will make a thorough study of it, being eager to get a far accurate interpretation on the manuscripts we forgot.