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在词学界,人们习惯上将柳永的词作分为泳唱爱情、都市风光(含升平气象)、羁旅行役三大板块。其中,羁旅行役之作约为四十首,占现存柳词二一三首的五分之一左右。这是从严格意义上来计算的,而实际上不少泳唱别情及怀古情思的词中,也包含了一定程度的‘羁旅行役’之叹,故若加进这部分作品的话,那么,柳永的羁旅行役词作应远在其词作总量的五分之一以上。这种情况,是柳永以前任何一位词人所没有的。柳词在北宋时,即流传甚广,在歌妓群体及其它市民阶层中受到广泛欢迎,然而,多数词评家却以‘浅近卑俗’、‘词语尘下’目之。首位觉察到柳词的语言、内容、风格呈现雅俗并存状况的是苏轼,他曾指
In the word school, people tend to divide Liu Yong’s poems into three parts: swimming singing love, urban scenery (including leveling the weather), and custodial travel boards. Among them, the number of boogie boards is about 40, accounting for about one-fifth of the existing willow number 231. This is calculated in the strict sense. In fact, quite a few words of “fugitive” are included in the words of “singular love” and “nostalgia”. Therefore, if we add this part of the work, Liu Yong’s prisoner’s travel words should make a far more than one-fifth of his total amount. This situation is not seen by any one of Li Yong’s poets before. At the time of the Northern Song Dynasty, Liu Ci was widely circulated and widely acclaimed among the groups of geisha and other urbanites. However, most of the Ci critics aim at “vulgarity and vulgarity” and “wording”. First aware of Liu’s language, content, style, elegant and vulgar coexist in the state of Su Shi, he had referred to