歷來對於鴛蝴派小說的定位，因其語言內容所呈現出來的保守陳舊，比較起置身所在的晚清與五四小說諸多現代話語，特別讓人感覺突兀，也因此讓論者倍覺難堪尷尬。從1918年始，周作人就在〈日本近代三十年小說之發達〉一文中，批評鴛鴦蝴蝶派曰：一，這是《玉梨魂》派的鴛鴦胡蝶體；二，其形式、內容古舊得利害；三，「好像跳出在現代的空氣以外，且可不必論也」。這樣的論點基本上形塑了後代文學史家與批評家對於鴛蝴派的偏見，或者稱此爲小說逆流、辛亥革命後小說的反動、復古派、民國舊派文學等不一而足；或者在現代小說史的討論裡也直接從五四運動或魯迅談起，鴛蝴派果然遭到捨棄不論的命運。 筆者嘗試將《玉梨魂》置回民國初年在《民權報》上連載的論述場域中，並分從一、報刊連載的脈絡，與二、小說史的脈絡進行觀察，首先注意到了徐枕亞作爲《民權報》新聞編輯的身份，《玉梨魂》的創作不過是義務稿的性質；其次，《玉梨魂》（枕亞）與《孽冤鏡》（雙熱）、《霣玉怨》（定夷）等小說幾乎在同時或以隔日相間的方式，或以不同版面的方式連載，我們要如何解讀此三部鼎足而立的哀情小說同時連載的現象；再者，試從文藝版（第11版）的相關言論探討此時代氛圍下的「善泣」、「多情」、何以觸目傷心、不得不哭的正當理由，我們找到了向上聯繫起劉鶚在《老殘遊記》序中所提示的深情者哭的欲力；最後，我們是否可將文藝版所連載的眾多哀情小說，聯繫起民初惡劣的政治環境，即新國家雖已在眾人期盼中建立，但舉目所見則百廢待舉，欲振乏力，更有惡政府、惡總統左右情勢，敗壞國政。哀情小說之哀恐怕不能以膚淺的鴛鴦蝴蝶派視之，在梁啟超新小說革命的新民建國論述壓抑下，這股想哭的衝動，最終結合了重讀《紅樓夢》的實踐，讓言情小說回歸「情」的原點，蓄勢待發，終在革命成功後，表現在讀者嗜讀的鴛鴦蝴蝶派之上，一發而爲宣洩狂奔的滾滾濤河。

In Chinese literary history, Mandarin Duck and Butterfly fiction (Yuan-yang Hu-die Pai fiction), because of their old-style language (the antithesis of four-word and six-word clauses or sentences) and conservative plots when compared with late Qing and May Fourth fictions, are hard to evaluate. In this paper, I try to contextualize Yu Li Hun in the discoursive field of Min-qüan Bao. The discussion mainly focuses on two contexts: journals’ serials and Chinese novel history. Via journals' serial contexts, we noticed first that Xu Zhen-ia was a journalist and the creation of Yu Li Hun was to fulfill his obligation. Second, three tragic novels of love entitled Yun Yu Yuan , Yu Li Hun , and Nie Yuan Jing were almost published serially at the same time. How to explain the phenomenon of those tragic novels appeared together? Third, the editors' discourses were full of sentimental feeling, we could link them up to the drive of crying mentioned in Laocan Iuji's foreword by Liu Ei. Finally, how to explain the meanings of those tragic novels of love under early Republic's corrupt political environment? Although new country has been built, all neglected matters were yet to dealt with. Moreover, there were bad President and bad government disturbing the polity. It seems that those tragic novels of love can not simply regard as Mandarin Duck and Butterfly fictions. The drive of crying combined with the practices of re-reading Honglo Meng, let the repressed feelings relieved thoroughly like a flood overflowing the field.