竹枝詞作為傳統詩歌體裁，在晚清相當盛行，而其時大量出現的外國竹枝詞，則提供了觀看異文化與近代世界的視角。本文以南社詩人郁曼陀留日期間所作〈東京竹枝詞〉為對象，〈東京竹枝詞〉在生產傳播過程、風格語彙、語言嘗試上，可視為一次晚清詩歌與明治漢詩的交會。本文首先探討郁曼陀與日本漢詩壇的關係，進而梳理〈東京竹枝詞〉由日本回到中國的傳播途徑與文本刪改軌跡，接著論析〈東京竹枝詞〉所折射出的明治漢詩詩學脈絡，以及中國詩人遭遇明治日本後，如何嘗試以竹枝詞體擴張中國詩歌語言的邊界，在古典與現代之間形塑自身的異文化體驗。最後在結論指出：郁曼陀〈東京竹枝詞〉反映了近代竹枝詞中視覺經驗的強化與語彙結構的改變，與明治東京的城市文化相呼應。日本漢詩中的風俗詩（艷體竹枝）系譜與江戶／東京的都市氛圍，體現在〈東京竹枝詞〉的風格語彙與感覺結構中，使得〈東京竹枝詞〉成為能同時觀照晚清竹枝詞語言脈絡與日本江戶以來竹枝詞傳統的文學裝置，折射出多向度的文學史意義。

As a Chinese traditional lyrics genre, Zhu Zhi Ci (竹枝詞) was prevalent in late Qing Dynasty. Under such premise, the great theme about foreign countries emerged concurrently and provided a viewing angle for appreciation of a different culture and the contemporary world. Hence, the subject of this paper is Tokyo-Zhu-Zhi-Ci (〈東京竹枝詞〉) composed by the Nanshe (南社) poet Yu Man-tuo (郁曼陀) during his stay in Japan. In fact, in respect with the production and dissemination process, the literary style and the language, Tokyo-Zhu-Zhi -Ci can be regarded as an encounter with the lyric in late Qing Dynasty and the Chinese poetry in Meiji Period. At the beginning of this paper, the relationship between Yu Man-tuo and Chinese poetry society in Meiji period Japan was discussed. Then, the context of poetics in Meiji Chinese lyrics reflected by Tokyo-Zhu-Zhi-Ci was further explored and analyzed. Moreover, after the Chinese poet encountered with Meiji-period Japan, how he attempted to expand the border of Chinese lyrical language with Zhu Zhi Ci genre, along with how he shaped his experience of the different culture between classical and modern times were investigated. In the conclusion, this paper points out: Yu Man-tuo's Tokyo-Zhu-Zhi-Ci has mirrored the reinforcement of visual experiences in contemporary Zhu Zhi Ci as well as the change of linguistic change, which corresponds to the urban culture in Tokyo in Meiji Period. In this sense, in the stylistic terms and sensory structure in Tokyo-Zhu-Zhi-Ci, the pedigree of the custom poem ＂amorous-styled Zhu Zhi＂ 「( 艷體竹枝」) in the Japanese Chinese poems and the urban atmosphere in Edo/Tokyo are embodied dominantly. Consequently, Tokyo-Zhu-Zhi-Ci has become a literary device for us to speculate on both the linguistic context in Zhu Zhi Ci in late Qing Dynasty and the tradition of Zhu Zhi Ci since Edo period so as to reflect the multi-dimensional implications in literary history.