After the case of the condemned writings of Dai Mingshi, Fang Bao was so immersed in the Three Rites as to thoroughly master the Thirteen Classics. At the age of fifty, he finished the Chunqiu tonglun and the Chunqiu zhijie. Three years later, Zhouguan jizhu and Zhouguan xiyi were accomplished. He found that “the narrator’s value judgement in the Chunqiu is covered up in its contents” and proposed that “value judgement deeply involved in Chunqiu and Zhouli cannot be easily inferred from their contents.” On realizing this, Fang Bao could not fall short of his great expectation: “I desire to follow Cheng and Zhu’s academic minds and to achieve Han and Ouyang’s fame in writing.” After that, he proposed his assertion on contents and forms of ancient Chinese prose, saying that “ancient Chinese prose should be evaluated by two methods; yi is the warp and fa is the weft.” Fang Bao advocated the two writing techniques: yi means having substance in writing, while fa means having order in writing. Generally speaking, writers can learn from the good example of Chunqiu and transform their articles into ancient Chinese prose based on yi and fa. The writing technique and central meaning are, therefore, interwoven and fused into one. The so-called writing technique of ancient Chinese prose is based on the genre and narration of historical biography. Through comparison between historical events, value judgement can be inferred from their interaction. This is how analogy works in Chunqiu. From the perspective of analogy, this study investigates Fang Bao’s yi and fa by learning not only from Chunqiu tonglun and Chunqiu zhijie but also from Zhouguan jizhu and Zhouguan xiyi. Besides, this research focuses on Fang Bao’s Collected Essays by adopting his way to study history, preface, and postscript. The purpose is to reinterpret the relation between ancient Chinese prose, analogy and narration, as well as historiography.