論郭沫若劇作〈湘纍〉與《屈原》中的屈原詮釋與自我模塑

郭沫若撰有〈湘纍〉（1920）與《屈原》（1942）兩部屈原主題的劇作，本文梳理其創作歷史語境，解析郭沫若如何兩度在迥然不同的時代背景下詮釋屈原形象及回應時代議題。首先，《女神》詩集中的〈湘纍〉乃郭沫若留日學醫時期，結合個人與集體經驗而作，體現五四時期對「自我」與「詩」的熱烈求索。當中的屈原形象實為屈原、浮士德、郭沫若的交疊融合，黑夜與死亡意象尤能突顯其間的異同。1942年，郭沫若身為國民黨文工會主任，也是剛被共黨大型祝壽活動推崇備至的作家、學者，他在重慶發表歷史劇《屈原》。本文分析劇中屈原形象不僅呼應抗戰主題，也涉及國共兩黨對屈原符號的運用；進而指出郭沫若試圖重塑屈原的同時，也流露出個人對於「新舊、雅俗」文學、「英雄崇拜∕人民至上」思想的內在矛盾。 Guo Moruo wrote two plays about Qu Yuan: ＂Xiang Lei＂ (1920) and Qu Yuan (1942). This paper compares the historical contexts and examines how Guo interprets Qu Yuan's image and responds to contemporary issues in two very different contexts. Guo wrote ＂Xiang Lei＂ in the collection The Goddesses while studying in Japan, combining his personal and collective experiences and embodying the May Fourth Movement's fervent search for ＂self＂ and ＂poetry.＂ The image of Qu Yuan combines Qu Yuan, Faust, and himself, with images of night and death emphasizing their similarities and differences. Guo, the KMT Cultural Affairs Department's director and a recently celebrated scholar and writer, published his historical drama Qu Yuan in Chongqing in 1942. Thus, this paper examines Qu Yuan's image in the play, which not only echoes the anti-war theme but also includes Communist Party and Kuomintang political propaganda; it also highlights Guo's inner contradiction to ＂New literature/Old literature,＂ ＂Elite literature/Popular literature,＂ and ＂Heroism/Populism＂ emerged.