本文重新釐探《紅樓夢》與才子佳人小說的互文關係，首先是發現《紅樓夢》將〈鶯鶯傳〉、《西廂記》、《牡丹亭》納入才子佳人小說類型，並就其間所共有的情欲敘事模式給予深刻的反思。由此進行「戲曲」與「小說」的文類之辨，基於不同的藝術特點與傳播途徑而導致閨閣接受上的雙重性，而區隔出《紅樓夢》真正的針對性以及其原因；其次則是深入剖析賈母之「破陳腐舊套」，抉發其中所涉及的四個批判焦點，亦即：不合情理之邏輯安排（以「紅娘」的角色塑造為主）、浪漫愛情包裝下之情欲實質、邊緣文人之創作心理（包括「妬富」與「遂欲」）、閱讀反應之受眾影響論等多重面向，確然代表了《紅樓夢》對此一文類的全面總檢討；最後則確立賈母對才子佳人小說的批評與其閱讀行為同時並存的合理性，實不影響其批判的高度效力，而確證曹雪芹有意識地顛覆和推翻了中國傳統敘事文學的浪漫愛情觀。

The Dream of the Red Chamber counts the Romance of West Chamber and Peony Pavilion as Scholar-Beauty romances, and has deep reflection on their common desire discourse and narrative pattern. This paper reconsiders the reflections proposed in the novel. First, I clarify the difference between the romance novels and romantic traditional Chinese operas (戲曲), and show that what The Dream of the Red Chamber addresses is the novel genre rather than Chinese opera genre. Then, the reflection proposed through the mouth of Grandmother Jia (賈母) is carefully analyzed. Contrary to the usual claim that this opinion is dogmatic, repressive and trite, this reflection is comprehensive, deep and indeed the attitude of The Dream of the Red Chamber towards the novel genre of Scholar-Beauty romances. As a result, I confirm that Cao Xue-qin (曹雪芹) consciously refutes the beauty ideal and romantic love as embodied in Scholar-Beauty romances.