唐人的傳奇文名篇《補江總白猿傳》，文中影射的中心是一代書法巨擘、初唐名臣歐陽詢（557-641），但因為「不題撰人」，作者究竟為誰人，遂成一千古疑案。無論如何，《補江總白猿傳》的中心問題是影射，而攻擊的直接對象，則不外乎是歐陽詢本人或是其子歐陽通。從這種含沙射影的筆法，足以肯定這一篇傳奇文在字裏行間，有所寄託。我們研究的中心是《補江總白猿傳》的作者如何用「年表錯亂」的章法，作含沙射影的攻擊，探討《補江總白猿傳》中的史實與虛構。這一探討試圖運用跨學科的方法，從歷史分析文本。這種筆法在《補江總白猿傳》中的曲折運用，恰恰反映了作者撰寫該篇傳奇文時，自有其不足以為外人道的苦衷，必須煞費苦心，構造出一個烏有之境作為中介，來曲解現實。我們從「年表錯亂」現象中可以透視出，「幻設」作為傳奇文成熟的一個重要標誌，是如何在初唐間的寫作實踐中逐步確立的。

Bu Jiang Zong baiyuan zhuan 補江總白猿傳, a masterpiece of the earlyTang chuanqi 傳奇 fiction, was written by an anonymous author whose identity has yet to be uncovered. The anachronism found in the text plays an important role, converting the historical facts into a fictional account. In the text, the correspondences between history and fiction are systematic. It resembles a labyrinth with an inner structure in which historical authenticity and creative fictionality shift back and forth. This is achieved through a complex system of displacements and replacements. This paper argues that the anachronism in Bu Jiang Zong baiyuan zhuan is more likely an intentional method of composition rather than the result of careless mistakes. The practice of interweaving nonfiction and fiction into the same text suggests that the author was attempting to establish a referential framework for the story. An in-depth exploration of the mechanics of intentional anachronism in Bu Jiang Zong baiyuan zhuan is conducted in this paper, and the result will become part of a larger project that studies the development of chuanqi fiction as a whole.