《分門古今類事》是南宋委心子所編撰的小說集，《宋史》〈藝文志〉中未見著錄，《四庫全書》卻將之歸於子部小說類，視之為具有撰作意識的作品，而非全然抄錄舊聞的類書。本文嘗試從《分門古今類事》中大量改寫的唐五代小說的敘述面貌，探索出《分門古今類事》重議論輕記事，以及標示改易和期使情節合理化的敘事策略，致使全書撰作宗皆單一而清晰的指向命定觀，因而帶有強烈的警世色彩；而在敘述特色上，呈現人物形象的弱化、情節綜合的鬆散、意涵建構的貧乏和氛圍塑造的不足等現象，充分的顯示出全書在敘事美學上的退化，卻著重以故事訓誡世俗的作用。而本文的深入探討，也具體展現出宋代小說引用前人之作的一個面貌，並藉之彰顯魯迅評述宋代小說多講古事和多示教訓的論點。

The Fenmen gujin leishi 分門古今類事 is a collection of fiction compiled by Wei Xinzi 委心子 during the Southern Song dynasty. This work is not mentioned in the Yzwenzhi 藝文志 in the History of the Song Dynasty. In the Complete Library of the Four Treasures it is classified as a work of fiction under the category of philosophy, thus suggesting that it was the resu1t of meaningful creation rather than being simply a collection of stories. This essay looks at the large number of re-written short stories from the Tang and Five Dynasties included in Fenmen gujin leishi to show how this work uses the narrative strategies of emphasizing discussion over story-te1ling, showing signs of being a conscious reworking, and making the plot more reasonable to develop a clear, unified theme of determinism that in turn gives the work the strong sense of being a wake-up call to a slumbering world. In terms of the work' s descriptive characteristics, we can clearly see elements such as the weakening of character, a looseness of narrative strucuture, a lack of construction of meaning, and the insufficient development of atmosphere, all of which go to show how the work uses story-telling to achieve its prescriptive aims even as aesthetic standards are lowered. This discussion further serves to give a concrete example of how writers from the Song used stories from previous dynas­ties and fleshes out Lu Xun’ s 魯迅 claim that fiction from the Song is characterized by its didactiveness and telling the stories of previous dynasties.