清初蘇州劇作家李玉《清忠譜》一向被視為書寫家鄉民變的時事劇，則劇作家如何記錄自己的故鄉時事？蘇州又如何被寫入劇中？為本文最初的問題意識。若從地景書寫的角度，思考諸多蘇州地景寫入劇中所產生的意義，可發現無論是出於虛構場景、或者符於史實發生地、甚且僅口述提及者，均發揮該地之地方特質，充分展現地景與人群互動之緊密關係，在劇中不僅是場地佈景而已，還因「人之所在」而塑造出獨特的地景，被賦予更深層的意義：地方人格化的林家巷清忠風世坊、歷史地方化的李王廟說書場、變動的文化銘記半塘魏賊生祠與虎丘五人墓、體制之維護與破壞的西察院，這些地景書寫融鑄成屬於蘇州人民的思想、情感與文化，觀照出歷史興衰隆替、人事更迭起落之軌跡，顯示出《清忠譜》「事俱按實」的寫作態度，亟欲達到「鋤奸律呂作陽秋」之作劇動機，甚且突破時間、空間的限制，影響後世他地讀者褒善貶惡之道德情操與歷史省思，此即筆者所謂之「歷史化的空間」，也是本文從地景書寫的角度，重新探看李玉《清忠譜》所具有之研究意義與價值

Li Yu was an early Qing dynasty playwright from Suzhou, whose drama Qing Zhong Pu has always been considered as a current-time drama about the changes of his hometown. The research attempts to explore how the playwright records his hometown affairs and how Suzhou has been written into the play plots. From the point of view of landscape writing, it can be a fictional scene, or where the historical facts occurred, or even only the narrated referents, they all reflect local characteristics fully demonstrate the close relationship between the landscape and the crowd. It is also creates a unique landscape due to the ＂where the people are＂ which is attuned to the deeper meaning. For Li, the landscaping writings are cast into the ideas, feelings and culture of the people of Suzhou. They reflect the rise and fall of the history and the changes of people. In addition, they indicate that ＂all things are characterized according to reality＂ of Qing Zhong Pu and seek to achieve the motive of ＂glorify virtue and censure vice＂ and even break through the limitations of time and space, affecting the moral sentiments and historical reflections of his readers in later generations. This is the author's so-called ＂historic space＂, which is also the perspective of this paper has been written from the viewpoint of the landscape, and to revisit the research significance and value of Li Yu's Qing Zhong Pu