明成祖敕撰的《永乐琴书集成》前集二十卷，保存了战国秦汉至元代文言小说的丰富资料，尤以六朝及唐五代为多。这些资料对于小说辑佚和校勘颇有价值。尤其是它提供的《幽明录》、《洞仙传》、《异闻集》、《仙传拾遗》、《搢绅脞说》、《夷坚支志》等新的佚文资料，为他书所未见，有裨于辑佚。而《续齐谐记》的佚文《王敬伯》虽多见引用，而此为全文，弥足珍贵。

The first twenty volumes of Collection of Yongle Qinshu compiled by the imperial order of Emperor Yongle of the Ming dynasty contain abundant materials of the classic Chinese novels from the Warring State Period, Qin dynasty, Han dynasty down to Yuan dynasty, with even more materials from the Six Dynasties (between the Three Kingdoms Period and Sui dynasty), Tang dynasty and Five Dynasties. These materials are quite valuable for the compilation and collation of the unrecorded and scattering novels. Collection of Yongle Qinshu include Youminglu, Dongxianzhuan, Yiwenji, Xianzhuanshiyi, Jinshencuoyu, Y ijianzhizhi, and other stories, which are not recorded by other books. These materials are very helpful for compilation of the unrecorded and scattering documents. The complete story of W angjingbo in Xuqixieji is precious, although parts of it are often quoted.

"黄粱梦"最早的故事雏形出现在战国时期的《列子》中,至南朝刘义庆的《幽明录·焦湖庙祝》,形成了黄粱梦故事的基本框架。其成形以唐沈既济的《枕中记》为标志。及至宋末,黄粱梦故事的两大亚型:吕洞宾度卢生和钟离权度吕洞宾的黄粱梦逐渐形成。后黄粱梦故事转入民间,形成了民间的黄粱梦《睡公卢英》。在流传过程中,文人与民间构成了黄粱梦故事演变的两种重要力量。

The original story prototype of“The Golden Millet Dream”appeared in the Lie Zi in the Warring States Period, to the Southern Dynasty Liu Yiqing’s You Ming Lu, Coke Lake Temple, the basic framework of the Golden Millet Dream story was formed. The story was fully developed with the Tang Dynasty Shen Ji-ji’s Zhen Zhong Ji as a symbol. To the late period of Song, the two isoforms of the Golden Millet Dream story gradually formed: Lv Dong-bin and Lu Sheng’s Golden Millet Dream, Zhong li-quan and Lv Dong-bin’s Golden Millet Dream. Later, the Golden Millet Dream story was transferred into folk, forming a local folklore “Sleeping Lu Ying”. In the process of circulation, literati and folk constitute two key factors in the evolution of the Golden Millet Dream story.

从死亡出发,传统乡村的世界观中包括了神、鬼、祖先的观念。这亦是传统王朝世界观一个缩影。因为,在皇帝看来,"人鬼之道,幽明虽殊,其理则一。"因此,施幽祭祖的仪式,贯通与对应着从乡野到庙堂的王朝统治秩序。朝廷的规定既是对地方行为的规范,也对地方传统的承认;而在乡村礼仪实践的过程中,村民、仪式专家展演出来的往往是因应于自身环境的对王朝礼仪的改写、创造与表达。祖灵的祭祀关系到地理的范围以及财产的权利,人——祖先/神——地连接在一起,这就是地域社会的根据。但是,在南中国家庙形制的祠堂在景观上成为乡村的核心却是明中期以后的发展。

In view of death,the traditional rustic outlook involves concepts of gods,ghosts and ances-tors. It is the miniature of the traditional royal outlook. In the eyes of emperors,“Although the world of the living and that of the dead differ in their ways,the principles that govern them are the same. ”So the ceremonies of ancestor worship in the village memorial temples penetrate and correspond with the dynastic ruling orders. The stipulations of the Imperial courts not only governed local practices, but also recognized the local traditions. The acting out of village ceremonies by villagers and their rit-ual specialists,therefore,represents the creation and adaptation of imperial ceremonies in their own settings. Sacrifice to spirits of the ancestors relates to village boundaries and property rights. The close linkage of human beings,ancestors,gods and land makes up the fundamentals of village socie-ty. From the middle of the Ming Dynasty,the evolution of the ancestral halls acc