《金瓶梅》續書包括《續金瓶梅》、《隔簾花影》、《三續金瓶梅》以及《金屋夢》四部小說，它們雖是依據續衍對象而被收編於同一續書群體之內，但卻各有其回應原著、前作以及時代的姿態，呈現出殊異的面貌，可說是各以不同角度在閱讀、傳播與書寫過程中展開對創作、批評的思辯。而本文即是針對此批橫跨有清一代的《金瓶梅》續書群進行個別的書寫現象考察，指出小說續書因立足於原著以及其他續書之上，在回應原著之餘，也與先前的續書有所聯繫，閱讀前作所可能產生的競爭／遊戲心態，使小說的字裡行間除了反映其時的審美效應之外，亦不時地顯露出高度自覺的創作、思考痕跡，具有「後設」的況味，而此正是本文聚焦之所在。 在章節安排上，第二章是以清初丁耀亢的《續金瓶梅》為對象，由於其體例特殊，又具鮮明的易代色彩，故此章由丁耀亢的創作意識及文類意識切入，從創作者的多重身分與視角、情節正文與邊緣文字，乃至於結合當時的社會、歷史背景以觀，以一種主、客體間交互作用的觀照來詮解《續金瓶梅》的書寫現象，把握其文本特質與後設思維。第三章則以傳播、接受的角度切入，分析據《續金瓶梅》增刪而成的兩部續書——《隔簾花影》及《金屋夢》，由增刪的內容來尋索在清初以及清末民初這兩個截然不同時空下，刪改本對原著和之前續書的接受，探求隱藏在增刪背後的意味，及其與原著、之前續書間糾葛牽纏的關係。 第四章主要是探討清中葉的《三續金瓶梅》，以此書的別名《小補奇酸誌》所透露的「小補」、「奇酸」作為思索進路，首先是在續衍的脈絡下檢視作者「如何補」《金瓶梅》，亦即如何將其對前作的理解轉化為續衍的策略，造就一種與之既相關又相悖的微妙狀態；其次是從閱讀與接受版本看《三續金瓶梅》的思想涵化；最後則是在前述的基礎上，釐清文中的互文、解構……等現象。第五章為結論，總述以上幾部《金瓶梅》續書的書寫現象，並提出本論文的觀察：《金瓶梅》續書的後設思維表現為若干相似但卻又不盡相同的書寫現象，「後設」並非意味這批續書具有的單一的、本質性的定義，而是揭示它們總是朝向無限的可能性展開，無法自我封閉，但是又具有彼此關涉、連繫的特質。 / Although all the four sequels to Jin Ping Mei, including Xu Jin Ping Mei, Ge Lian Hua Ying, San Xu Jin Ping Mei, and Jin Wu Meng, are based on the same original, Jin Ping Mei, and belong to the same category, each has its different concerns in the aspects of echoing the original, echoing the previous works and echoing its time. In other words, the four sequels start distinct arguments on creating and criticizing through reading, disseminating, and the process of writing. This thesis observes individually the writing phenomenon of sequels to Jin Ping Mei, which flourished in Qing Dynasty, and argues that the sequels standing beyond the original and other sequels not only echo the original, but also connect other previous sequels. Thus, the competing/playing response might be caused by reading the previous works makes the lines respond the sense of beauty of its time, and simultaneously appears the highly consciousness of writing and thinking. The meta-discourse it contains in the process is what this thesis focuses on. Chapter 2 discusses Ding Yao Kang’s Xu Jin Ping Mei due to its special format and its obvious color of dynastic changeover. From Ding Yao Kang’s consciousness of writing and genre, this chapter interprets this writing phenomenon of meta-discourse with the subject/object relationship from the writer’s multi-identity, from the text and the preface and postscript to the social context and historical background. Chapter 3 analyzes other two sequels, Ge Lian Hua Ying and Jin Wu Meng, based on and with additions and deletions of Xu Jin Ping Mei, from the perspectives of dissemination and reception. The additions and deletions shows the different receptions in early Qing dynasty and in the end of Qing, and also, the interwoven relationship implied in the additions and deletions, the original, and the previous sequels can be found. Chapter 4 first observes San Xu Jin Ping Mei in mid-Qing dynasty from its alias Xiao Bu Qi Suan Zh. Its “Xiao Bu” and “Qi Suan” offers to examine how the writer mends Jin Ping Mei through the way of making sequels, that is, it offers to examine how to transfer the understanding of previous works into a policy of sequels, and it achieves a contradictious state of being relevant and being opposite. Second, how San Xu Jin Ping Mei is influenced by reading and reception would be observed. Finally, the intercontextuality and deconstruction would be indicated based on the aforementioned arguments. Chapter 5 concludes that the meta-discourses presented in the writing phenomena of the four sequels of Jin Ping Mei presented are equivalent but not exactly the same. The meta-discourse does not confine the definition to be unitary and essential; rather, it illuminates their unlimited possibility of extension, which is not completely independent but interweaves to one another.