本論文以「多餘的人」作為一條明晰的主軸，貫穿瞿秋白一生的創作，並緊扣瞿秋白的遺書〈多餘的話〉，分析它在瞿氏文章中的發展與演變。當中主要論點亦在闡明瞿秋白性格內具二律悖反特質的精神現象，為後來他所做的〈多餘的話〉提供可相互佐證的基礎，並解析瞿秋白文章內多層次的自我符碼與戲碼。本論文藉由爬梳評論，並綜合分析中、俄、英、日四方之過往文獻，追源溯本。本文前半部分，著重於系統地梳理俄國文學「多餘的人」的傳統與內涵，再以具體的中俄文本進行比較論證，並討論受中國傳統文化教育的瞿秋白，在第一次赴俄時如何在此脈絡下轉化俄國文學作品的原意，經創作新意抒發去國懷鄉的心情。同時，以中、俄文本來驗證「多餘的人」這一專有名詞的定義與範圍，介紹相關的文藝範疇與類型，並具體地比較分析瞿秋白的日記和羅亭的書信，說明這一主題如何被瞿秋白認同、內化、轉化，成為其抒情表達。後半部份，則聚焦解析第二次赴俄後的瞿秋白，如何在崛起的史達林主義中被迫以中、俄的文藝技巧與論述修辭，置入諸多符碼來多層次地遮掩／彰顯其政治動機與目的，展演一個矛盾、豐富且多面貌的自我。論文的最後部分針對遺書〈多餘的話〉進行剖析，融合多方看法，企圖以多種角度來詳解此篇具有多層次符碼與戲碼的文本帶來的問題與爭議。

This paper explores the theme of ＂superfluous men＂ in Qu Qiubai's oeuvre, particularly in his posthumous work ＂Superfluous Words.＂ It argues that the ＂antinomies＂ of Qu's inner self are embedded in his ＂Superfluous Words,＂ and that symbolizing and dramatizing the self are distinctive features of his works. It includes an examination of the Chinese, Russian, English and Japanese studies of Qu Qiubai to trace the Russian origin of the term ＂superfluous men,＂ enumerates its literary types in world literature, and investigates its influence on Qu's prose and political essays. It shows how Qu employs the term, types and theme as a simile, metaphor, or instrument in his works-especially in his ＂Chinese Superfluous Man,＂ ＂Little Zhuge＂ (Wise Advisor), and ＂Superfluous Words＂-in order to illuminate, conceal, symbolize, or occasionally dramatize his political situation and psychological condition in different stages. The first part of the paper reveals how Qu was influenced by nineteenth-century Russian literature in his first visit to Russia, demonstrating that Qu identifies himself with Turgenev's protagonists-Qu appears as a superfluous hero in his diary. A comparative analysis of Qu's ＂Chinese Superfluous Man＂ and Turgenev's Rudin is conducted in light of different backgrounds of the authors. The second part of the paper turns to the impact that rising Stalinism had on Qu's political career in his second visit to Moscow, analysing how Qu was forced to apply the term, category and theme of ＂superfluous man.＂ In this period, Qu's works are comprised of a plurality of codes, and Qu portrays himself in different personae for different purposes. Based on the ideas of the ＂target reader＂ and ＂intertextuality＂ in Qu's last works, the final section of this paper attempts to settle the disputes surrounding Qu's ＂Superfluous Words.＂