臺灣竹枝詞源自中國采詩觀風的文學傳統，在清代臺灣便是一個重要主題，直至日治初期開始有所謂「新竹枝詞」出現。臺灣「竹枝詞」與「新竹枝詞」的最大差異，主要在於豔情調笑。當臺灣竹枝詞的內容與風格從「風土」擴展到「豔情」、「遊戲」，甚至成為社交應酬的工具時，意味著日治時期臺灣竹枝詞已產生新變。這份新變，放置在臺灣竹枝詞的發展中，看似莫名所以，但若放置在臺灣香奩體的脈絡下來看，實是時代風潮影響詩歌主題的具體例證。此外，到了1930年，通俗雜誌如《三六九小報》、《風月》、《風月報》刊登的漢詩，依舊可見臺灣竹枝詞。這時的竹枝詞搭配花柳報導，遊戲與豔情的性質更為濃厚，似乎消解了原本「采詩觀風」的政治傳統，但臺灣文人依舊強調詩外別有寄託，遊戲不忘抵抗。至此，臺灣新竹枝詞的遊戲、通俗、娛樂、反諷，莫不是漢詩見證現代性的最佳說明。

Taiwanese Zhu-zhi Ci (Bamboo Branch Lyrics) came from the Chinese tradition of “collecting folk songs,” and had been an important topic of Taiwanese poetry since the Qing Dynasty. “New Zhu-zhi Ci” appeared in early the Japanese colonial period. The greatest difference between “Taiwan Zhu-zhi Ci” and “New Zhu-Zhi Ci” was the latter’s tendency toward eroticism and bantering. The transformation in content and style from local customs and practices to eroticism and bantering, even to instruments of social intercourse, signified changes of Taiwanese Zhu-zhi Ci during the Japanese colonial period. From the perspective of the development of Taiwanese Zhu-zhi Ci, these changes did not appear to have significance. However, placed within the context of the development of the fragrant trousseau style, these changes served as concrete evidence of influence by the popular trend during the era. Up until 1930, we can still see Taiwan Zhu-Zhi Ci in popular magazines, such as San Liou Chiou Tabloid, Fong Yueh, and Fong Yueh Tabloid. At the time, Zhu-Zhi Ci was paired with erotic articles, making it more playful, even indelicate. The tradition of “collecting folk songs” seemed to have disappeared, but Taiwanese litterateurs still insisted on poems having implicit meanings, being playable but not neglecting resistance in Zhu-Zhi Ci. By that time, the playful, vulgar, entertaining and ironic characteristics of Taiwan Zhu-Zhi Ci all became the best illustration of poetry serving as testimony of modernity.