李喬是台灣極具代表性的大河小說家，其八○年代出版的《寒夜三部曲》更是膾炙人口的經典鉅著。一九九五年，李喬將其中的首部曲《寒夜》改寫成敘事長詩《台灣，我的母親》出版。他嘗試將複雜的小說內容濃縮成三千餘行敘事詩，因此在故事情節的取捨以及文類語言的寫作模式上都做了相當程度的變動。 　　本論文企圖比較《寒夜》以及《台灣，我的母親》，發現《台灣，我的母親》在文類的轉化過程中，故事情節的比重以彭家為主，尤其更側重於阿漢與燈妹的內心描寫，其他細節則以縮寫的方式呈現；而在書寫語言的轉換上，增添了許多聲音與對話，透過狀聲辭的模擬、以及採用直接引語的方式，讓人物與土地的聲音交響其中；然而也因為如此產生敘事觀點混雜的缺憾；此外，敘述時採用小說的線性敘述模式，使語言的組合關係多過於聯想關係，因此缺乏詩的聯想空間，使閱讀感受與小說相近。大抵而言，李喬《台灣，我的母親》這樣的改寫實驗，雖然在詩藝上略有遺憾，但言語的流動中情感真摯，並突顯了原本《寒夜》隱藏的各種聲音。

As a masterpiece published in the eighties, Lee-Chiao’s “The Trilogy of Wintry Night” has gained in popularity and been the major example of saga novels in Taiwan literature. In 1995, the first episode of “The Trilogy of Wintry Night” was adapted into a narrative poem “Taiwan, My Mother” and published by Lee-Chiao. The labyrinthine plot of the novel was condensed into narrative poem comprising about three-thousand lines. The adaptation has led to a considerable change in event arrangements and the composing of linguistic forms. 　　The thesis focuses on the comparison between “The Trilogy of Wintry Night” and “Taiwan, My Mother.” In the process of converting one genre into another, Lee-Chiao made the Pong family a major storyline in “Taiwan, My Mother” with a focus on the portrayal of Den-Mei’s and A-Han’s inner selves. And other details are shown in an abbreviated form. In addition, sounds and dialogues that are added to the adaptation reveal a change in the written style. The onomatopoeic words and the direct speeches liven up the story and depict a rapport between the characters and the land. Such an adaptation, however, also leads to a confusing mixture of narrative. Linear narration that appears mainly in novels is applied to the adaptation, which puts more emphasis on the arrangement of words than the strong association that words will generate. Room for poetic imagination is limited, and reading the adaptation is more like reading a novel. In short, through the languages, sincere emotions are revealed and a variety of hidden sounds are highlighted in Lee-Chiao’s “Taiwan, My Mother,” despite of the fact that a lack of poetic aesthetics could be a pity.