肇興六朝的仙鄉傳說不僅騰播於當時，後世亦多仿摹其撰寫體制及內容，嘗為小說及戲曲的重要命題。惟於六朝所奠定下仙鄉的基本母題結構，歷經唐五代的傳續與再製，入宋以後，竟出現〈王榭〉之作，雖亦仿傚著仙鄉的母題結構，實乃載記誤入燕子王國的遊歷經過，在故事命意及文化意涵皆與原來的仙鄉遊歷有所區別，成為仙鄉故事的歧出。鑑於此，本文藉由分析〈王榭〉作者處理進入他界者（即燕子和人）的方式，以明白二者在充斥仙佛鬼神的小說世界裏生命的定位，亦可就此釐清〈王榭〉中他界的本質：是知作者基於燕子親近人類及春來秋去的習性，將故事建構在春分時候燕子飛來和人的共居事實、及秋至必然南飛至未可究詰的神秘居所，在虛實摻半下造作故事，就此，乃將燕子視為兼具禽形與人身的生物，尚且具備人類所無的靈異天賦，由之以避免故事朝向「物老成魅」深具負面意義的發展，亦用以界定燕子國雖未及仙境的美好與超脫，也不能視為妖界，維繫著與仙鄉相同的遊歷進程與閱讀感受。〈王榭〉故事有意摒落原來仙鄉的意涵，意圖描繪成近似人類的避世桃源，輔以將故事建構在部份自然現象的事實上，深具如真似幻文學的感染力量。而這有意的文人造作，或許已讓抬頭看望呢喃燕子的人們，瞥見捎自悠遠荒渺烏托邦的隱微消息。

Although commenced and flourished during the Six Dynasties, the fairyland stories were not only popular at that time and their styles and contents followed by later generations, the stories also became the main theme of novels and dramas. However, the structure of the basic motif in the fairyland established in the Six Dynasties, although handed down and reshaped through the Tang and the Five Dynasties, had produced such a novel as Wang Xie of the Song Dynasty. Although following the structure of the fairyland motif, it actually described the adventure, by mistake, into the Kingdom of Swallows. The theme of the novel and its cultural significance were different from the original fairyland adventure, thus became the offshoot of the original fairyland stories. This paper discusses whether, in the novel Wang Xie, there were changes in body form in the metamorphosis between swallows and humans, in order to understand how these characters assumed the roles in the world of deities, immortals, ghosts, humans and beasts. We can further sort out the nature of space in knowing that swallows are close to humans and their habits of coming in the spring and leaving in the autumn, the author based on the facts that swallows come to co-inhabit with humans in the spring and leave for the south in autumn to a mysterious place not yet fully understood, he wrote his story with falsehood and reality. Thus the swallows were considered creatures with both avian and human morphs. They also had mysterious endowments not found in humans, thus avoided the tendency for the story to have negative implications that the characters aged and turned into spirits. It also served to define that the Kingdom of Swallows, though not as exquisite and transcendental as the fairyland, could not be treated as the world of demons. Therefore, it offered the readers the same feeling as in the adventure of a fairyland. In the novel Wang Xie, the author purposely omitted the implication of the original fairyland and deliberately described it as the Shangrila, supplementing it with natural phenomena, thus possessing the strong influence of fantasy in literature. This intentional manipulation by the author, perhaps already let the readers nebulously perceive a remote Utopia upon seeing the chirping swallows.