史傳為唐代小說的重要淵源，然而唐代的小說作品亦影響了史書的修撰，本論文嘗試探討非為補史而作的牛肅《紀聞‧吳保安》和李公佐〈謝小娥傳〉兩篇著名的唐代小說，為宋祁修撰《新唐書》列傳採錄的原因；並從歷史亦是一敘述話語的新歷史主義觀點，認為小說進入歷史的記述自然呈現了另一敘述面貌，進而依據敘事的理論，論析兩則故事在小說敘事和歷史敘事上的異同。根據本論文的探討，推得《紀聞‧吳保安》和〈謝小娥傳〉因為史家修撰歷史的博取策略和注意民間流俗生活的史識擴充，加上兩篇小說所記人物的特質符合史書列傳的修撰之冒，致使兩篇小說都分別收錄到《新唐書》的〈忠義傳〉和〈列女傳〉 ，成為小說影響歷史修撰的典型。至於在敘述形式和敘述效果的探索上，得知宋祁修撰《新唐書》列傳雖採取小說作為史料，但仍遵循劉知幾《史通‧敘事》所揭示的歷史記述原則，展現了以事蹟為主的簡要特色，有別於小說敘事側重在人物處此事蹟的心境，既能深化人物形象，擴大敘事的感染力，同時延展出較為寬闊的主題意涵思索空間。

Historical writings have been known to be an important source for the composition of Tang dynasty fiction; nonetheless, fictional works might as well end up influencing the way history was written. This paper discusses the reasons why Song Qi ( 宋祁 ), when compiling his New History of the Tang ( 新唐書 ), selected two famous works of Tang fiction, the "Wu Bao'an" ( 吳保安 ) in Niu Su's ( 牛肅 ) Jiwen ( 紀聞 ), and Li Gongzuo's ( 李公佐 ) "Xie Xiao'eh zhuan" ( 謝小哦傳 ). neither of which was intended by its author to simply complement the existing historical works. Taking a cue from New Historicism, which sees history as a type of narrative discourse, in this paper we begin with the contention that the inclusion of fiction in a historical work naturally suggests an alternate narrative strategy. We use the narrative theory to analyze the differences between the fictional and the historical narrative of the two stories under concern. Our analysis shows that Song Qi's strategy of selecting a wide range of sources in writing history and his attention to the customs and lifestyles of ordinary people, coupled with the fact that the characters in these two works of fiction were compatible with his goals of writing historical biographies, led him to include the two stories in the "Zhongyi zhuan" ( 忠義傳 ) and "Lienii zhuan" ( 列女傳 ) sections of his New History of the Tang. In this way, Song created a classic example in which we find the influence of fiction on history-ical writing. In terms of narrative form and narrative effects, we see that even though Song Qi used fictional works as source materials in his histori-cal writing, he continued to follow the principles outlined in the chapter on narration in Liu Zhiji 's ( 劉知幾 ) Shu Tong ( 史通 ), which is to say he used simple brushstrokes to detail the events of the story. This approach stands in sharp contrast to that of fictional narrative, where emphasis is placed on the emotional state of the characters as they move through the events of the story. The latter approach allows for the creation of richer characters, increases the capacity of the story to move its readers, and opens up wider interpretive vistas.