胡也頻作為「左聯五烈士」之一，更廣為人知的為其左傾之作。本論文旨在探討胡也頻的短篇小說，深入分析「悲劇書寫」的特質。所謂「悲劇書寫」，在胡也頻筆下是透過小說主人翁遭逢苦難，卻仍頑強求存，抵抗不屈的堅毅意志；在揭發社會弊端的同時，亦激發讀者的生命力。胡也頻悲劇意識形塑源於其個人的生命經驗：童年家變與金鋪打工受凌的經歷，使其體察人性醜惡並建立陰鬱的人生觀，後期的漂泊飢寒更磨練出其頑強的求存意志；亦受到五四運動與西方思潮影響。本研究將其悲劇主題劃分為命運、社會及時代悲劇。胡也頻在繼承五四精神、探究個人主體性的同時，亦走向群眾，展現社會集體性。在藝術手法上，運用內心獨白、自由聯想與情景交融，構築出晦暗慘淡的小說世界。綜觀其創作，胡也頻以悲劇寄予對於眾生的憐憫；讀者在閱讀小說主人翁悲慘情節時，感受到胡也頻筆永不放棄的反抗意志，使作品在具備悲劇性的同時，亦富含積極的社會功能與價值。;Although Hu Yepin is best remembered as one of the "Five Martyrs of the League of Left-Wing Writers" primarily for his leftist oeuvre, this thesis focuses on his short fiction to provide an in-depth analysis of his "tragic writing." In Hu’s narrative framework, tragic writing is defined by protagonists who, despite confronting immense suffering, demonstrate a tenacious will to survive and an unyielding spirit of resistance. His work exposes social ills while simultaneously invigorating the reader’s own vitality.The formation of Hu’s tragic consciousness is deeply rooted in personal trauma. Family upheavals during his childhood and the abuse he endured as an apprentice in a goldsmith’s shop exposed him to the ugliness of human nature, fostering a somber worldview. Later years of destitution and vagrancy further tempered his resolve to survive. Intellectually, this consciousness was reinforced by the May Fourth Movement and Western philosophical currents. This study categorizes his tragic themes into tragedies of fate, society, and the epoch.Hu bridges the gap between the May Fourth spirit of individual subjectivity and a broader engagement with the masses, revealing a collective social dimension. Artistically, he employs interior monologue, free association, and the fusion of emotion with the landscape (qingjing jiaorong) to construct a fictional world that is distinctly bleak and oppressive. Ultimately, Hu channels his compassion for the sentient world through tragedy. Beyond the protagonists′ misery, the reader perceives an indomitable will to resist, endowing the work with positive social utility and historical significance alongside its tragic aesthetic.
