香奩體從清末開始興起於臺灣詩壇，乙未世變後更是大放異彩。在連橫(1878-1936)眼中，香奩體上溯《詩經》、《楚辭》，豔情中帶有志節，不能完全以豔詩看待。然而香奩體流行的結果，使人人競習香奩體以為學詩門徑，導致詩歌品質低落。連橫雖意識到香奩風潮的弊病，卻也喜愛並大量書寫香奩體，其香奩體不同於一般低俗豔詩之處，在於連橫有意識地運用「香草美人」文學傳統。然而連橫無法擺脫香奩體的流行弊病，且「美人」意象的轉變，也使香奩體從最初的暗藏抵抗，逐漸流入遊戲、社交與豔情，降低了原有的風騷精神與抵抗意義。風騷與豔情的並存，反映了連橫在香奩風潮下極力突破卻又無力改變，也辯證臺灣文人在殖民統治下的憂患、妥協與焦慮。

Taiwan was colonized by Japan in 1895. Oddly enough, following Taiwan’s colonization, “fragrant trousseau” (xianglian 香奩) poetry, a classical style dating back to the ancient past, did not vanish, but instead became increasingly popular. This article investigates the poetic oeuvre of Lian Heng 連橫 (1878-1936) as an example of this phenomenon, not only because he was an important Taiwanese poet, but also because he wrote a substantial amount of poetry in the fragrant trousseau style. Lian discussed the fragrant trousseau style in his works on poetic theory, where he confronted the pedigree of, and the problems within, fragrant trousseau poetry. Through a reconstruction of the style’s pedigree and an analysis of its derivation from fengya discourse, I interrogate its hidden sprit of resistance. I moreover investigate the specific zeitgeist this gorgeous style expressed through its poetic aesthetics. The coexistence of glory and eroticism in Lian’s poetry reflected the resistance, compromise and anxiety of Taiwanese literati under the colonial regime.