處於日治決戰時期高壓統治氣氛底下，台灣文學家如果不能明確直率地表達意見，那麼，「拐個彎的方式」恐怕不失為一種必要的修辭手腕。以小說世界而言，隱喻可說是不可忽略的論述策略，尤其是站在主流對立面的對抗論述，更是不可或缺的。 本文以決戰時期張文環的民俗書寫作為考察對象，從而挖掘出繽紛多面向的隱喻意涵，不僅是台灣作家對自身鄉土的一種自戀，有時卻可解讀為面對殖民統治帶來的現代性主流威脅，深刻地觀看並反省自身的文化，甚至也可能是面對鋪天蓋地而來的殖民體制，企圖藉著鄉土書寫而創造出一種對抗論述。本文試圖透過檢驗這些民俗書寫策略，分析敘事文本自身所潛藏的隱喻意涵，並解釋為何張文環的小說容易引起晦澀不明的批評。張文環的價值，恐怕就在於塑造深具台灣文化的意涵，藉著多義性的民俗文化參照與隱喻所交織而成的文本張力。 全文將張文環民俗書寫策略分為三種類型來討論，包括時間秩序、動物秩序、男女秩序及其相關隱喻意涵。藉著書寫策略的深入分析，或許更能夠清晰地發掘隱藏其間的對抗論述是雙重的，不但對抗殖民現代的主流文化，而且也深刻地反省並批判台灣傳統的保守社會及其文化。這種不斷地透過書寫自身文化的姿態，所展現的文化啟蒙或文化對抗，使得張文環小說顯得意涵相當豐富。

Because of no possibility to express his opinion frankly under the Japanese in Pacific War, the textual strategy of writer of Taiwanese literature perhaps made a choice of folk writing in order to avoid official inspecting, or make use of metaphor rhetorically as a counter-discourse.　Apparently the folk writing of Chang Wen-Huan wrote his novel by humane concern and native folk custom to express the depth of his country’s love as narcissism.　I doubt that used the familiar folk custom not only to describe the aura of Taiwanese tradition, but also as a writing strategy. This paper is intended as an investigation of folk writing strategy of Chang Wen-Huan’s fiction in Pacific War.　We will re-examine those local folk custom in his novel, and discuss his textual strategy that may be divided into three types.　The first is the sequence of seasons and their metaphor, including many traditional festivals in fictions.　The second is about the conceptual categories of animal (nature/culture) of Chang Wen-Huan’s fiction and their metaphor.　The third is concerned with the chance of man or woman to play a role in traditional theatre.　It is not the problem of performance or how to create the special character, but as a metaphor of female liberation in his novel.　By our analyses deeply, we definitely confirm the brave spirits of Chang Wen-Huan who resist both the capitalism of colonial modernity and the conservatism of his own traditional society during the period of Japanese.