王國維曾於《人間詞話》提出「詞忌用替代字」之說，並認為詩詞佳作，當「不使隸事之句」、「不用粉飾之字」。他相信章句之中，「意足則不暇代，語妙則不必代」，故而反對這些使用典故的創作手法；矛盾的是，王國維卻極其推崇辛稼軒，而「用典」乃稼軒詞之一大特色。本文欲探討造成王國維此一矛盾之理由，以《人間詞話》所闡明之藝術本質論為基準，即以其「境界說」來考察此矛盾現象。王國維自身的矛盾，造就其美學思想上的豐富性與複雜性，但是在其人與其作品中之各種矛盾，不僅存在著衝突對立，也有統一。以矛盾為背景而建立的理論架構，也許還有許多不完整處，但是從他的年代至今，他一直是個成果豐碩、屹立不搖的近代文藝理論開創者，關於此點，吾人應予以肯定。

Wang Guo-wei is used to say that he disapproved of the allusion-using in the poetry and lyrics. However, we can figure out a conflict in his book “Ren-jian-ci-hua.” Wang magnified Xin Jia-xuan’s achievement which was based on great allusive works on traditional Chinese lyrics. The target of this article is to observe the contradictory situation. How come Wang disapproved of the allusion-using but adhered to Xin Jia-xuan, the creator who marked by his allusion-using? Observing the situation in “Ren-jian-ci-hua,” we know more about Wang Guo-wei’s point of view.