《金瓶梅》一書，因其內容描繪赤裸裸的情欲，故在當時被說成是一本淫書。但隨著詮釋觀點的改變，這種說法也得到改變。清代劉廷璣云：「深切人情事務，無如金瓶梅，真稱奇書。欲要止淫，以淫說法；欲要破迷，引迷入悟。」在這種觀念下，本書反倒成為「無非明人倫、戒淫奔」下勸善戒淫，深具教化意味的書。本文試圖在勸善戒淫這個觀念下，試圖透過叔本華的悲劇理論，重新審視潘金蓮與宋金蓮兩人的悲劇性與解脫之道，及其在美學上之價值。

Because of its explicit depiction of sexual desire, Jin Ping Mei was considered as a book of erotica in its contemporary time. The book, however, was given a mew perspective with the changing of its interpretation point of view. Liu Ting Ji in Qing Dynasty remarked that “Jin Ping Mei has a profound understanding of the worldly wisdom, which is unparalleled and unique. Its intension is to restrain the lustful desires through the erotic depiction, to preach the morality against the lust, and to enlighten those lost in the sexual desires” With the idea prevailing, the book has become a book of morality to help quit the lustful sexual desires. This essay thus attempts to re-examine the two-dimensional of human desires and transcendence in the tragic depictions of Pan Jin-Lien and Sung Jin-Lien with Arthur Schopenhaur’s philosophy aesthetics.