魯迅指出晚清狹邪小說的精神系譜，乃唐以後記載士人冶遊之「伎家故事」，並且注意到明清兩朝著作尤豐，其中並且特特標舉清人余懷之《板橋雜記》。當今學者慣以「狹邪筆記」稱呼此類作品，然而明代狹邪筆記只是精美的「花榜」，絕不同於《板橋雜記》那種遺民懺悔文學；宣稱師法《板橋雜記》之清代狹邪筆記，其實更著意於凸顯文人詩詞題贈，完全沒有余懷「敘事治療」的意圖。本文除了指出《板橋雜記》不能視為狹邪筆記的理由，還要嘗試釐清明、清兩代狹邪筆記的本質。

Lu Xun points out that the origin of late Qing courtesan novels came from literati's travel notes on visiting ”singing girls” after the Tang Dynasty. He particularly refers to Yu Huai's ”Banqiao zaji” (”Miscellaneous Notes of Banqiao” 1693) as the exemplary of its genre. Following Lu Xun's step, contemporary scholars call this kind of works as ”courtesan-note novels” (”xiaxie biji” 狹邪筆記). But, courtesan-note novels of the Ming Dynasty were basically works of delicate ”huabang” which were far different from confession literature that post-Ming survivors ”Banqiao zaji” represented. Although most authors of the Qing courtesan-note novels claimed that their works were imitative of ”Banqiao zaji”, their works emphasized on literati's poetry exchange instead. The therapeutic function for traumatic experiences in ”Banqiao zaji” was completely lost in these works. This paper tries to explain why Yu Huai's ”Banqiao zaji” shouldn't and couldn't be categorized as a courtesan-note novel. It also attempts to clarify the essence of courtesan-note novels of the Ming and Qing Dynasties.