本文旨在重新解讀王國維遊戲說的意義，不再深論天才、赤子、遊戲三者之間的連結。正文先以「游詞」與遊戲的關係，說明「游」所承載的意義，不全然是愛情。復論遊戲說對［德國］席勒的轉換，分為從「過剩精力」到「勢力之欲」、從「遊戲衝動」到「遊戲材料」兩部分。再者，以蘇軾「和韻而似原唱」之〈水龍吟〉，以及王國維「偶爾遊戲」之〈水龍吟〉為作品述評，在相同詞牌皆為和韻詞的比較視野下，略見王國維遊戲的「詼諧」質性較少，而蘇軾被貶黃州，發揮天才剩餘的精力，使在遊戲中易被忽略的嚴肅性，逐一找回來；使無情之楊花，成為深情的寄託，一掃過去薄命而輕賤的形象。

This paper's core is researching ”the theory of play” by Gwo-Wei Wang (王國維)afresh, and won't study the relationship between genius, child and play. First, to discuss the meaning for ”you-tsyr”(游詞) is not only love, but also austere property. Second, to comment what's change in the process from Schiller to Gwo-Wei Wang. Finally, to compare Su Shi's (蘇軾)”shoei-long-yin”(水龍吟) with Gwo-Wei Wang, in the works of Su Shi, poplar blossoms symbolize of inferior as well as star-crossed originally, but now it becoming: Have deep affection for one. This turn bring a new view that everybody has never travelled, indisputably Su Shi's humorous property beyond Gwo-Wei Wang.