魯迅為近現代中國白話小說創作的始祖，其小說距今雖已久遠，但仍受到華人學術圈持續的高度關注。除了過往被廣泛肯定的《吶喊》與《徬徨》兩部小說集外，魯迅後期寫成的《故事新編》一書在過去相對受到忽視。然而今日重新細看《故事新編》，此書實也大有八○年代後重新興起的歷史寓言小說的色彩。李渝為成長於六○年代現代主義風行的台灣小說家，其作品受現代主義影響，亦有相當高的美學高度。2000年後李渝出版《賢明時代》，採取了與魯迅相同的「故事新編」寫作策略，從二者所深處的時代亂局底下，作者對當權政府的不滿、左翼的取捨歷程、對知識份子的省思等議題，筆者發現兩個作者與文本皆有極高的可比性。魯迅與李渝分別代表中國與台灣兩個世代的知識份子，筆者透過比較《故事新編》與《賢明時代》兩篇小說，可以發現兩者藉歷史以鋪展當時代後設敘事觀點的意圖。再從影響研究的層面來看，李渝的作品可見其對魯迅作品的互文（從李渝自身提及長期以來以魯迅為文學宗師，更加強了作品影響上的舉證），透過模仿、增添與變異的過程，最後從兩部作品中表現的是兩個世代知識份子對「現代性的追尋」與「復歸古典中國」二個大相逕庭的美學目標。

Lu Xun（魯迅）is the first author who writes the modern Chinese vernacular fictions and his fictions are highly concerned by the Chinese academic circle. To Compared with“Call to Arms” (吶喊) and “Wandering” (徬徨)，\" New Compilation of Tales "(故事新編) received less attention relatively. However the author re-explore this book recently and find that its characteristics is similar with the writing of history of fable's which rose after 1980. After that, Li Yu（李渝）, a famous modernist novelist, wrote " Sagacious Time "(賢明時代) which is an extremely high degree of aesthetics fiction and it also has similar writing strategies with New Compilation of Tales. Lu Xun and Li Yu are on behalf of Chinese and Taiwan two generation's intellectuals respectively. By exploring the authors background and texts, I find that they have various similar backgrounds, such as Anti-government, leftist, academism and so on. In the influence research field, Li Yu’s text has intertextuality with Lu Xun’s text. Notably, through imitation, addition and variation process, it is clear to find that they have conversely aesthetic targets, the pursuing of modernity and the returning of tradition between these two fictions.