作为文学家、戏剧家的李渔对日常生活题材及相关叙事有明显偏好，且在曲论中明确提出了不涉鬼神的创作原则。然而，在以日常生活叙事为基调的《笠翁十种曲》中仍存在不少带有奇幻元素的表达，其中最具异质性色彩的当属承担关键叙事作用的“神灵相助”式情节。通过对《十种曲》中“神灵相助”情节的详细分析，可知这一叙事模式实际并不与李渔的创作主张相矛盾：其存在并不以塑造荒诞无稽的神怪人物为目的，而是在神异的形式之下进行极具世俗意味的劝惩表达。还应认识到，李渔对这类情节的应用既是根源于叙事传统的一种必然结果，同时也是为达成特定文学审美追求的一种自觉选择。而李渔在戏曲创作中不得不对真实主旨进行的道德化遮蔽也反映了李渔作为封建文人阶层的典型矛盾心理。

   As a writer and dramatist, Li Yu has a clear preference for the themes of daily life and related narratives, and clearly put forward the creation principle of not involving ghosts and gods in his theory of traditional opera. However, there are still many expressions with fantasy elements in Li Weng's ten kinds of songs, which are based on the narration of daily life. The most heterogeneous one is the "gods help" plot, which plays a key role in narration. Through a detailed analysis of the plot of "gods help" in the ten kinds of songs, we can see that this narrative mode is not actually in conflict with Li Yu's creation claims: its existence is not for the purpose of creating absurd gods and monsters, but for the expression of persuasion and punishment with a strong secular flavor in the form of supernatural. It should also be recognized that Li Yu's application of such plots is not only an inevitable result rooted in the narrative tradition, but also a conscious choice to achieve specific literary aesthetic pursuits. And Li Yu's moral concealment of the true theme in his opera creation also reflects the typical contradictory psychology as a feudal literati.