林黛玉之為《紅樓夢》中的個人主義的代表人物，其「真率」的前期人格表現往往被視為「虛偽」的對立而賦予高度評價的人格意涵。因此本文聚焦於此一角色，從概念上釐清此一詞彙本身的範疇混淆，並對其作為一種被高度張揚的人文價值重新思考，也闡發脂批所謂「玉有病」、「玉原非大觀者」的可能涵義。就此一詞彙本身所混淆的範疇而言，首先應區辨「率」與「真」的層次差異，以及「狀態描述」與「價值論斷」的不同，透過與其他真率型人物的參照比較，更能突顯此一區辨的重要性。就其之所以被評論者視為文化追求上的當然價值，則可以探索其中所蘊藏的傳統與現代的雙重影響，前者如浦安迪所討論的，中國傳統文學在表現「自我」意識上存在著一種「自我的悖論」（paradox of selfhood），本來就極容易引向狹隘的個人主義；而現代評論者處於西方個人主義崛起後充斥著唯名論（nominalisme）的「近代意識形態」下，只承認個體之存在，而不承認關係之存在，只承認個別要素，而不承認要素組群（ensembles），以致產生「個人」意義範疇的認知混淆。種種概念之區別不但必要，對釐清「真率」與個人主義之關係及其價值內涵也更有助益。

Lin Dai-yu is typically deemed as a representative figure of individualism in The Dream of the Red Chamber. In particular her character in the early part of the novel is typically highly evaluated as "sincere" (shuaizhen, 率真), as opposed to "hypocritical". This article carefully discusses such an evaluation. First, shuaizhen literally means ‘straightforward’ (shuai) and ‘authentic’ (zhen), and it is important to clarify their nuances. Second, we should carefully distinguish factual descriptions from value judgments. Equipped with these clarifications, we can compare Lin Dai-yu with other sincere-type figures. Last but not least, I discuss the background and the effect of commentators’ regarding sincerity as a value of cultural pursuit, addressing both the traditional “paradox of selfhood” (Andrew H. Plaks) and modern ego-centric individualism that recognizes individuals but not ensembles.