Classic Chinese novels have been developed on the basis of “trivial novels” and “inferior philosophical and historical literature”. The mainstream Sinological novels concepts, from Ban Gus Record of Art and Culture, History of the Han Dynasty, to A Summary of the General Catalogue of the Emperors Four Treasuries in Qing Dynasty, are modifiercore structural, “small” both in terms of scale and value. Being squeezed by the cultural potential differences, classic Chinese novels have formed their own structures, subjects and narrative patterns. The influences of such cultural genes on novels have rarely been carefully studied, and therefore its difficult to acquire indepth understanding and probe into the characteristics of classic Chinese novels. As far as the impacts of “trivial novels” and “inferior philosophical and historical literature” on classic Chinese novels are concerned, novels with marvelous literariness, such as the Legend of the Tang Dynasty and Liao Zhai Zhi Yi, have formed a unique pattern of narrating historical storiesengaging historical narrative and spatial narrative from the perspective of sex by depicting spokesmen of the allopatric narrative and historical narrative as feminine images, including female and fox ghost; the ghosts recall the past and the feelings of gratitude or resentment, which have become the keynotes and clues of grand themes; the playing means of flaunting writing, such as depicting peoples life through insects microworld, or comical games, etc. These phenomena have revealed the narrative concepts that novels are regarded as “small” tales.