Among the many versions of Strange Tales from a Chinese Studio (Liaozhai Zhiyi), though the number of stories, volumes, and their arrangement may vary, one constant remains—“Examining the City God” (Kao Chenghuang) has always been placed first, whether in Pu Songling’s manuscript or in later edited versions. Even more noteworthy is the fact that throughout the commentary history of Liaozhai Zhiyi, critics have consistently emphasized the significance of this story as the opening piece. He Yin remarked, “The entire work begins with ‘Examining the City God,’ clearly presenting the theme of rewarding good and punishing evil.” Dan Minglun added, “This great work opens by setting forth its guiding principle.”
In this story, Pu Songling not only uses a near-death experience to convey the moral of rewarding virtue and punishing vice, but more importantly, through the phrase “if one intends to do good, though good is done, it should not be rewarded; if one unintentionally commits evil, though evil is done, it may not be punished,” he establishes the value system by which the characters in his stories are judged. This expresses the underlying philosophy and aesthetics of Liaozhai Zhiyi. The line “with flowers and wine, spring always stays; without candles or lamps, the night is bright” hints at the otherworldly nature of the setting, while also reflecting the author’s calm and uplifting spirit. It can be understood as a display of serene composure in the face of poverty and hardship, resilience during a troubled career, or perhaps even the author's broader worldview—a serene and unhurried attitude toward life.
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