過去對於《女仙外史》之討論，鮮少關注其中蘊含的華夷之辨，但如果考慮到作者呂熊在明、清易代的「世變」記憶，可以發現小說中充滿著對「華夷變態」的逆寫。本文首先從南、北方位作為切入點，認為書中的燕王其實就暗喻著來自北方的滿清政權，與之頡頏的唐賽兒集團則象徵了位處南方的明朝。其次，在現實不可復返的情況下，作者大膽將史實錯置，令唐賽兒招降了蜀中的劉通政權、擊退來犯的倭兵、俍人等異族，並帶出了八國朝貢的情節，揭櫫了小說家的秩序觀想像－－明為正統而清為閏運。從這樣的敘事策略可以看得出來，縱使歷經亡國之痛，但是在小說的世界中，作者仍能發揮虛構的特權，恣肆編排一場「華夷再變」的戲碼，以此追憶心目中的美好年代

Scholarship used to rarely discuss the Hua-Yi distinction in ＂Female fairy Unofficial History (Nv Xian Wai Shi)＂. Yet, if we further consider the factor that the author, Lu Xiong, has certain standpoint of the replacement of the Ming dynasty by the Qing, we will find the fact that this fiction is definitely filled with the ＂writing back＂ of ＂Kaihentai＂. This article starts with the North and the South, by which it argues that the Prince of Yan in the book represents the Manchurian regime from the north and its rival, the Tang sai-er Group, stands for the South-Ming regime. Secondly, it argues that though based on the political reality, the author of the fiction is boldly that he displaces the history, suggesting that the Tang Sai-er Group lures the Liu Tong regime in the middle Sichuan, and successfully fights back the foreign enemies. And this novel ends in the plot of tribute by eight countries. This writing style shows the imagined concept of order: the author views the Ming as the orthodoxy rather than the Qing. By such narrative strategy we can find the thing that even experiencing the pain of state perishing, the author can still purse his ideal world by re-ordering Hua-Yi in the fictions on purpose