從明清以迄現代，明代四大奇書的影響性始終受到矚目。然而，惟就「奇書」之命名而言，歷來對於四大奇書書寫性質方面的討論，至今並未能產生一致且明確的共識。本文對於此一問題的考察，大致可以獲得以下兩點認識：其一，明代四大奇書的共通性，主要是建立在「演義」體式的基礎之上。四大奇書作為「演義」之作，反映的是歷史文化語境對於一種新文類誕生的形式籲求。其二，明代四大奇書作者面對歷史／現實而展開演義，最終並不以摹寫素材、還原史實為目的，而是在「取義」為主的書寫前提下進行話語建構。在重寫素材的過程中，四大奇書作者各自在演義中揭示歷史發展變化的規律，並從中寄寓道德勸懲之思，使得奇書共同體現出小說作為歷史闡釋話語的書寫性質。

From the Ming and Qing dynasties to the modern, the influence of the four masterworks of the Ming novels always is the focus. However, many discussions on the nature of writing about the four masterworks of the Ming novels so far failed to produce consistent and clear consensus. This article in the investigation for this issue roughly obtains the following three points. First, the similarity between the four masterworks of the Ming novels mainly builds on “Yanyi”. The four masterworks of the Ming novels which as the work of “Yanyi” reflect historical and cultural context for a new genre was born in the form of something. Third, the authors who create “Yanyi” finally are not to copy and restore historical footage but base on the premise of “drawing meaning”. In the process of rewriting the material, the authors of the four masterworks of the Ming novels reveal the history of the developments and changes in the law which shows the moral advised punishing, and makes the four masterworks of the Ming novels reflect the nature of writing which is the novels as a historical interpretation.