黃周星（1611-1680）經歷明末易代，入清之後創作紙上園林《將就園記》為文字遊戲，某次觀乩時遇文昌帝君索其原本批閱，成為他以創作進行真／幻思考之契機。黃氏生活迭有相關宗教經驗，於明亡後入道，他把《將就園記》與為讚揚佛經樂土之作〈鬱單越頌〉融合，以自身宗教經驗為原型，改寫成以勸善醒迷為要旨之戲劇作品《人天樂》。黃周星創作交融儒、道、佛三教思想，反映出三教融合思想在明末清初時為文人所接受的程度；其創作中許多關於扶乩經驗的書寫，表現黃氏道教信仰與晚明以來江南文人對於扶乩活動的崇信與好尚。黃周星虛構園林創作到帶有自傳意味的戲劇創作，表現遺民的家園想像；亦是面對亡國失家之變，藉文學創作進行自我安頓的過程。

Huang Zhouxing 黃周星 (1611-1680) lived at the time of the Ming- Qing dynastic transition. At the turn of the Qing dynasty, he started writing an account of a fantasy garden, Jiang jiu yuan ji (將就園記 Record of the Imaginary Garden). Huang claimed that on one occasion during a spirit consultation, the God of Culture and Literature 文昌帝君had asked for his manuscripts to read over. This experience inspired him to reflect on reality/ fantasy in his writings. Huang had had repeated religious experiences, and after the demise of the Ming dynasty became a Daoist, leading him to reconsider what he was trying to achieve through writing. He merged Jiang jiu yuan ji with “Yu dan yue song” 鬱單越頌, a piece he composed glorifying Buddhist paradise, and using his own religious experience as a model adapted it into a play, Ren tian le chuanqi 人天樂傳奇, whose main idea was to urge people to do good and awaken the confused. Huang’s literary creations combine the ideologies of Confucianism, Buddhism and Daoism, reflecting the extent to which late Ming and early Qing literati had accepted the religious syncretism of the time. Among his writings, the numerous pieces that draw upon his spirit writing experiences illustrate his Daoist beliefs and the high esteem in which late-Ming literati in the south Yangtze delta held Spirit Writing 扶乩. Huang’s fantasy garden composition and autobiographically flavored play reveal a lost homeland in the imagination of this adherent of the former dynasty; it is also the literary process through which Huang comes to terms with this loss.