在話本體小說研究中，有關「話本」定義和「擬話本」概念使用的合宜性問題，相關爭論迄今未成定論。筆者根據馮夢龍〈《古今小說》敘〉一文進行考察，從中發現馮夢龍有以「演義」（通俗演義）共同指稱今之所謂「長篇章回小說」和「短篇話本小說」的情形，因此引發筆者關注「話本」與「演義」的關係。本文之提出，即針對「話本體」小說的定義和文體概念的釐清而來。首先，就「話本」與「擬話本」的定義及其爭論問題進行說明；其次根據〈《古今小說》敘〉所揭示的「小說」觀念進行重探和解讀；再次，針對「短篇通俗演義」的文體慣例和話語表現進行確認。經由上述研究，筆者嘗試針對話本體小說研究中所存在的爭論提出解決看法，並為重新考察明清短篇通俗小說創作的文體流變情形，建立後續研究的理論基礎。

Studies on fiction based on the style of “Huaben”（話本, story-telling scripts） have not, as of yet, developed a final conclusion regarding the definition of “story-telling scripts” or the suitability of implementing the concept of “Simulant Huaben”（擬話本, a fiction written in the style of a story-telling script）. I investigated preface on “Ku-chin Hsiao-shuo”（古今小說） by Feng Menglong（馮夢龍）, and observed Feng’s references to both “Zhanghui novel”（章回小說，long novels in chapters） and “Huaben fiction” （話本小說） as “Yanyi”（演義, 通俗演義）. Consequently, I focused on the relationship between “Huaben”（話本） and “Yanyi”（演義）. The objective of this study is to clarify and elucidate “novels based on the style of Huaben”（story-telling scripts） and their stylistic concepts. First, the definitions and relevantdebates regarding “Huaben” and “Simulant Hua Ben” are explained. Next, the concept of “Xiaoshuols”（小說） proposed in preface on “Ku-chin Hsiao-shuo”are reexamined and analyzed. Finally, the stylistic conventions and discourse expressions of “short Yanyi”（短篇通俗演義） are verified. Based on the mentioned process,I proposes a solution for existing controversies in the research of novels that adopta story-telling script style and creates a theoretical foundation for future studies re-examining stylistic changes in the creation of Ming-Qing popular short stories.