本文旨在探討金聖歎批改《西廂記》的功過，首先掌握了金批本的底本為張深 之本，避免了學界因缺乏版本概念所訂致的「張冠李戴」。繼而尋索其批《西廂記》的內在 模式，乃是以儒家的「先王之禮」對藝術形象的塑造加以制約，並以佛家的「因緣生法」推 展情節事件及人物行為。更由後者而衍生出批評刪改上的「密」與「拘」。最後，兼論金氏 「分解」說與戲曲分節的關係。發現「解」與「辭達而已」的「達」字有其相通之處，從而 由詩之「分解」說溯源其戲曲「分節」之由來。並據此印證金氏是從文的角度評析 《西廂記 》的藝內涵，主要成就在於人物性格及情節結構的分析。

　　　　　The aim of the present work is to discuss the merits and demerits of Chin Sheng-tan's revision of the West Chamber. The author first determines that the text which Chin worked from was that of Chang Shen,thus avoiding mistakes in identification made in the past by scholarswho lacked understanding of differences among editions. He next explores the internal patterns of Chin's revision of the West Chamber, discussing limitations on the formation of artistic imagery imposed by the Confucians' "principles of the ancient sages," as well as the manner inwhich plot and character are developed in accordance with the Buddhist concept of primary and secondary causes. In following with the latter,he then characterizes Chin's commentary and revisions in terms of fineness (mi) and constraint (chu) . Finally, the author discusses the relationship between Chin's concept of "segmentation" and his division ofthe West Chamber into sections. He finds similarities between Chin's "segmentation" and Confucius' concept of fluency (ta), and shows howthe division of drama into sections originated from the division of verseinto stanzas. Furthermore, he uses this argument to confirm thatChin's critique of the West Chamber was undertaken from the perspective of the written word, and that its primary achievement lies in the analysis of character and plot structure.