文稿分為六段落： 壹、前言：略述蘇東坡以前夢中作詩之起源及其發展，藉以導入正題──蘇東坡之夢中作詩。 貳、錄下東坡夢中所作的十三首詩，並一一交代其記錄之時地，並略述當時的情境。 參、東坡醒後所錄夢中詩，有時只錄下部分詩句，這�堭敦Q這些詩句在全詩中所產生的作用。 肆、東坡醒後所錄夢中詩，有時能夠錄下全詩，這�堭N這些作品一一與其他相關詩篇相參照，藉以探討詩夢中 作與醒時作的差異。 伍、剖析夢中詩中最富禪味的兩首詩。 陸、結語：將以上論述作扼要之綜述，兼論夢中夢見他人作詩之特殊現象。

　　　　　 The wisdom in Dhyana is a mechanism of Dialectics. By reading Dong-Po's poem, we escape the anxiety that attacks us when we try to say something true about the world, and enjoy the wisdom in Dhyana. This is the consoling function of fiction, the reason people tell stories, and have told stories from the beginning of time. And it has always been the paramount function of myth：to find a shape, a form, in the turmoil of human life. Apart from many aesthetic reasons, I think that we read dreams because they give us the comfortable sensation of living in worlds where the notion of truth is indisputable, while the actual world seems to be a more treacherous place. This alethic privilege of fictional worlds also provides us with some parameters for challenging farfetched interpretations of literary texts. By accepting the idea of dhyana, we have been caricaturing discussions about the ontology of fictional characters. What actually intersts us is not the ontology of possible worlds and their inhabitants but the position of the reader. The model author, the narrator, and the reader must appear together because the model author and the reader are entities that became clear to each other only in the process of reading, so that each one creates the other.