When it comes to ghosts, generally speaking, the emotional experience is mostly fear. Because ghosts are associated with death, this connection makes ghosts, a fictional thing, have an eerie atmosphere, so the fear of ghosts in people's minds is actually a panic about death.

However, in Strange Tales from a Lonely Studio, we see a miracle in ghost culture. Ghosts don't frighten us, but make us like and move us. The vast majority of ghost stories in ancient times have become increasingly pale because of the progress of science, but Strange Tales from a Lonely Studio has stood the test of time and moved us for a long time. Those flowers, foxes, ghosts, ghosts and gods are full of colorful love, and the soul of life and death are more precious and attractive than the true feelings on earth.

In Pu Songling's works, more goblins have raised the banner of loving and helping mankind, and their interaction with mankind has become one touching love story after another and a fascinating friendship story. There are many kinds of flowers, monsters and ghosts in the serial studio, including peony, the king of flowers (Xiangyu), chrysanthemum, a gentleman in flowers (Huang Ying), charming and eloquent parrot (A Ying), stinking bream (Flower Girl) and delicate green bee (The Girl in Green). Smart and witty Xiaocui, shy and innocent Qingfeng ... They came to people from the sky, from the mountains, from the water, and from all corners of nature, giving a piece of Chicheng and loving it. These demon fairy are not like ghosts and monsters in the Journey to the West, but like ordinary people in social life. They have ordinary people's joys and sorrows, their poverty and fortune, their friendship with ordinary people, their marriage and even their life and death. They are purified people and poetic people. In them, we can see more human moral ideas.

The horror of the monsters in Strange Tales from a Lonely Studio has been reduced a lot. Firstly, the humanized treatment of ghosts. Because the ghost story is constructed according to the human world, Pu Songling endowed the ghosts and monsters with human nature while making this idea. In this way, although ghosts in ghost culture have a certain fear color because of their mysterious connection with death, this fear is weakened by the strong human nature of ghosts. It is the similarity between ghost foxes and people in a serial studio that dispels the panic brought by foreign objects to people in reality.

there is no insurmountable gap in the living environment of ghosts. Ghosts can go in and out of the world, and people can also enter the ghost house under some special opportunities. Wang Ding in "Wu Qiuyue" asked Wu Qiuyue, "Are there musquashes in hades? "Moon Wu said it was no different from the world, and then he spat around Wang Ding's eyes and took him on a trip to hell. In Pu Songling's world of ghosts and gods, the human world and the ghost house are certainly two worlds, but there are some similarities between the two worlds. The connection between ghosts and people is like the relationship between people in two special regions. This theory, which is rooted in the soil of China, reflects that Pu Songling's ghost writing is only for the purpose of writing about the world and making up a more idealized world.

There is a persistent attachment to real life in China's culture, which makes her art take real life as its ultimate concern. Ghosts are more often a reflection of people, and death is also a way of human existence. This is different from the ghost culture in Europe. The ghost culture in Europe appears as an incomprehensible foreign body. It has no practical significance, but is only a symbol, so it doesn't have human personality characteristics like ghosts in China, so it is unnecessary to make a human analysis. Thus, European ghost novels bring horror and grotesque. The ghost of castle is its classic image. It shows a mysterious power of death. But in China culture, we can see that ghosts are imagined as another kind of "people" with the same love and hate. All human moral ethics always exist in the ghost world. The most classic image in China's classical ghost novels is that a scholar reads at night, and a beautiful girl pushes through the door: "xianggong", diligent reading. Magical and beautiful, this is the beginning of the most beautiful story shed by the pen of a gifted scholar.