本文主軸為從《東京夢華錄》的文學筆法，探究作者孟元老的書寫策略，及其隱於文本之下的潛脈絡。《東京夢華錄》的記憶，是由感官所啟動的；透過回憶，元老療癒自身於家國之變後的牢落情緒；故其所描寫的汴京，不是真正的實體，而是他心中的華胥之境。其次，作者回憶的同時，也書寫了「遺忘」；其敘事視角刻意隱去己身，以人聲、人群取代，藉以遺忘傷痛。其三，書中所刻意標舉出名姓字號者，盡皆為以技、藝為生的販者與優人，故作者所欲建構的價值觀，乃是世俗、感官、實踐，而許許多多的藝人，正是作者「戲如人生」的隱喻之筆。

The main concern of this paper is to explore the writing strategy of Dongjin menghua lu, along with the author’s subconscious behind the text. Firstly, the journey of the author’s memory began with the sensations. Through out the reminiscence of the lost city, Meng Yuanlao could probably recover from the sorrow of the fall of Northern Sung. Therefore, the Dongjin of the book is not that real city, but the author’s dreamed garden. Secondly, Yuanlao wrote his remembrance and his “forgetfulness” at the same time, for the narrator was not “I” but the “public”, the “citizens”, by which Yuanlao chose to neglect himself and his self-trauma, too. Thirdly, the named individuals mentioned in the book are the men of skills and arts; that is, the tradesmen and the actors. Yuanlao would like to emphasize the values of the secular, practice, and sensation, so these various actors and playgrounds were indeed the metaphor of “life is a play/ the world is a theater”.