雨果的戲劇不論由其書寫格式的開創性、隱身於敘事模式中的「藉古諷今」批判、或是由1830-1840年代社會或政治的創作背景來切入，皆可探索出層次豐富的辯證場域與具延展性的研究議題。身為情感細膩且豐沛的詩人，雨果在戲劇作品中刻意架構一種泛歐洲性的普世價值，並以其充沛飽滿的戲劇張力，強烈且直接地衝擊著古典主義者所訴求的理性力量。作者意圖煽動觀眾在觀賞此種「類歷史劇」的同時，能強烈感受到階級差異的普遍存在現象，同時啟發他們對社會公義的渴求。本文之創作即在於以《艾拿尼》及《呂布拉》為研究對象，辯證雨果戲劇中歷史再現之虛實性與藉古鑑今的寫作動機，以及他刻意遊走於此「虛、實交錯」創作空間之意圖與政治暨人道關照視野，最後我們也將剖析兩部劇作中跨文體書寫的文學面向。

This article aims to explore and extend the research in Hugo’s dramas in the features of the groundbreaking characteristic style of works, the craticism of the narration by the method of using the past to disparage the present, or even investigate the social chain effect at that period. Hugo, himself, was a poet with emotional and refined thoughts who contructed purposely the Pan-European universal value, and exploited the strong tension of drama to impact directly on the appeals of the classicalism. The intention of the author is to incite the audience to understand the intense feeling of the impact of the class differential and the craving of the social justice while they watch this kind of history-based dramas. The purpose of this ariticle is to take Hernani and Ruy Blas as the research objets to verify the reproduced authenticity in Hugo’s history, and the writing intention of lingering purposely on the space of the warp of truth and fiction. In the final, we are going to analyze the characteristics of cross-style writing in these two dramas.