本文討論連橫之出入風月場所，以及相關於藝旦文化的各種論述，意在指出連橫對當時的女性文化文獻、女性文藝或曲藝的保存，有著具體的貢獻。他裨補了某些文化知識的缺口，一方面，當時文人與藝旦在風月場裡的交流，以及活動舉辦的形式，他觀視藝旦不免有物化女性的傾向，另一方面，他又鼓勵女性教育、革命，將藝旦的詩歌創作納入詩話，具先鋒性的女性主義主張，展現了性別意識在現代與傳統之激盪下的諧和與矛盾。尤有進之，他的詩裡寫出原鄉在不同場域舉行的文藝活動，如射覆藏鉤、鬥茗敲詩、傳臚評春，也在殖民地的風月場裡流行著。閨房之私的鬥茗敲詩，歡場中短暫相值的男女仿擬趙明誠、李清照兩人的鰜鰈情深；祭儀後的射覆拼酒、藏鈎競局，模仿了百姓生活中的嘉年華；而花榜評春，更是複製了科舉場中傳臚形式，撫慰著世變下進退失據的台灣傳統文人。風雅想像如何成為寄託自我懷抱以及中原國族想像之所在，值得吾人注意。

During the Japanese colonial occupation, the traditional literati Lian Heng was a usual visitor to the brothel. He wrote down lots of literary works in different genres such as notes, poetry, essays, and contributed a lot to reserve the female records, writings and songs. His contribution helps us fill the missing puzzle of our understanding about how the three types of Chinese traditional activities, such as she fu cang gou (射覆藏鉤), dou ming qiao shi (鬥茗敲詩), chuan lu ping chun (傳臚評春) were held in the brothel, how the singsong girls communicated with the literati, and how the contradictory feels about gender expressed. However, his writing was in a form of scattered fragments, which offers us a new perspective of why the traditional literati was so much obsessed with the brothel and the singsong girls. In addition, his writings have also uncovered the multiple meanings and values of his conflicting attitude toward gender imaginations.