〈紅樓夢〉之創作乃根植於深厚的中國抒情傳統，詩藝與詩情本是構成其肌理不可或缺的血肉成分。在對文本的全面爬梳與整合而重新建構〈紅樓夢〉的詩論體系之後，本文進一步辨析〈紅樓夢〉中詩學理論與詩歌書寫之間存在的悖反或落差現象，所導致的「偽形」(Pseudomorphosis，或稱「假蛻變」 )結構，而確立其詩歌世界乃是一種實質內裡(即詩作)與外顯主張(即詩論)互相抵觸的矛盾型態;同時，借助歷時( diachronic)與共時(synchronic)的雙重視野，以及外緣與內證並重的雙管齊下，釐清〈紅樓夢〉中詩歌理論與創作實踐的不同取向，以及各自與格調說、性靈說的對應關系，由此而彰示〈紅樓夢〉的詩歌世界所延異出的正統/異端、形式/內容、支配/抗衡、主流/潛脈、詩教/詩心之間的多維辯證，並提供〈紅樓夢〉之審美風格的實質構成要素，以及其精神血脈的真實歸趨。

The art of The Dream of the Red Chamber is deeply rooted in lyrical tradition, wherein the poem genre plays the single most important role. This paper studies the poetic theory and practice as revealed in The Dream of the Red Chamber and shows that the practice of poetry in the novel contradicts the poetic theory expressed there. The identified contradiction between theory and practice of the poetry is named pseudomorphosis. Via both diachronic and synchronic approaches, and in the context of both historical and textual analyses, I clarify the respective correspondence of poetic practice of The Dream of the Red Chamber and Xing-Ling 性靈說 on the one hand, and the poetic theory and Ge-Diao 格調派 on the other hand. In addition, many multi-dimensional contrasts between poetic theory and practice in The Dream of the Red Chamber are exposed, such as orthodoxy/heresy, form/content, dominance/protest, mainstream/latent-flowing and poetic civilization/poetic mind. These contrasts are investigated in the context of the fundamental struggle of The Dream of the Red Chamber, the confrontation between canonic convention and individual freedom.