在《紅樓夢》中浮出檯面明白宣說的表層詩論，主要是由正統主義所建構出來的雅正體系，因此推倡「詩必盛唐（以上）」而樂於擬古的格調派，爲《紅樓夢》提供了詩論與詩學的根本骨架；然而，書中詩作卻以遭到正統觀所責難與菲薄的中晚唐詩人爲審美風格的主要來源，展演了以「綺靡秀媚」、「清新纖巧」、「感傷衰颯」等偏異化特質爲主的書寫傾向，進行對中晚唐詩歌美學系譜的傳承與回歸，而構成實踐層次上反雅趨變的歧出現象，延異出正統／異端、形式／內容、詩教／詩心之間的多維辯證。就在此一詩論與詩作表裏相悖而互補統一的特殊「僞形結構」中，本文更進一步指出：書中詩歌作品的意象塑造、審美趨向、風格表述等與性靈說的密切關係。事實上，由性靈說的理論內涵本就勢必導出對中晚唐詩之創作風格的欣賞與追求，袁枚更以「芬芳悱惻之懷」爲其性靈說的究竟核心，並由之形成「南朝宮體－晚唐溫李韓偓－南宋楊萬里」的性靈譜系；而其文學主張與實踐方式也較宜於閨秀女性的創作特質，遂形成「中晚唐詩－性靈美學－閨秀創作」的內在聯繫。由此可爲《紅樓夢》中詩歌作品的表現特質尋得理論基礎，證明性靈說是支撐《紅樓夢》的創作活力，以衝決或塡補其詩歌理論面貌的關鍵。

The poetic theories proposed in "The Dream of the Red Chamber" mainly belong to the system of the School of Ge-diao, which advocates writing poems with the classic poetic style of the High Tang Dynasty and before. However, the poems in the book follow the aesthetic style of Late Tang poetry, drawing a multi-dimensional discussion between classicism and aesthetics. Focusing on Yuan Mei's theory of xing-ling, this paper analyzes the image formation, the aesthetic orientation, and the expressionist style of the poems in "The Dream of the Red Chamber". Emphasizing the style of fragrance and sentiment, the xing-ling theory is in fact a successor of the palace-style poetry of the Southern Dynasties; the poetry of Wen Ting-Yun, Li Shang-Yin, and Han Wo in the Late Tang; and the poetry of Yang Wan-Li in the Southern Song. Since the xing-ling theory is congruent to the characteristics of female poets, it is also closely connected with Late Tang poetry and lady poetry. Comparing the xing-ling theory with the poems in "The Dream of the Red Chamber", this paper proves the close relationship between them and concludes that xing-ling, rather than ge-diao, is the real creative vitality of poem composing in "The Dream of the Red Chamber".