魯迅最後一部小說集《故事新編》長期受到學界討論，其論證焦點多置放於文體類型之區別。本文嘗試以魯迅《中國小說史略》所揭櫫之小說觀念，作為魯迅進行小說書寫之源流，探究被魯迅視為「演義」作品的《故事新編》如何在魯迅的小說觀念以及歷史觀之中，藉由小說敘事策略加以呈顯其「義」？本文首先探究魯迅面對中國歷史的態度，挖掘其可能之歷史意識，在「寫史」與「反史」之中，討論魯迅如何改變中國傳統歷史觀念，而鎔鑄其個體意識、記憶於其內。其次將分析此一歷史意識如何表現於其小說創作，從《故事新編》的體例、篇目進一步挖掘出「小說」在面對「時間」這一觀念時，如何呈顯其「歷史」面向？「小說人物」作為「時間」中的行動者，與魯迅「個人生活」是否產生連結，進而刻劃了魯迅所欲展現之歷史意識。

Researchers have been discussing New Made Stories, the last volume of collected short stories of Lu Xun, focusing on the category of stylistique. This paper views the conception of novelette illuminated in A Brief History of Chinese Fiction《中國小說史略》 as the origin and development of Lu Xun's novel writing. On this premise, we look into how Old Tales Retold《故事新編》, which Lu himself saw as a work of ＂Yanyi＂ (演義), delineates the meaning out of itself under his conception of novelette and history by deploying its narrating tactic. To begin with, this paper identifies possible historical consciousness of Lu Xun by observing his attitude toward Chinese history, and how he deformed and molded Chinese traditional conception of history and then infused it with his own individual consciousness and memories, for and against history. Following it is that this paper centers on analyzing how he presented the historical consciousness in the novel. By studying the compiling style and titles of Old Tales Retold, we further dredge how the novel conveys its aspect of history when facing the conception of time, and whether those characters in the novel, as actors in the flow of time, link to Lu Xun's personal life and hence depict the historical consciousness Lu Xun attempted to reveal.