宋代以来,以王沂孙为代表的宋末咏物词受到了广泛的关注,出现了大量基于传统美学理论的文学批评。“物哀”涵义触发了对碧山词以“悲”为主的情感内涵的思考,它不应停留在“黍离之悲”这一层次;“物哀”的形成引出了碧山词的自然思维,而这种思维包孕着词人心态上自然企慕和幻灭感;“物哀”的审美情趣则与碧山词的审美风格产生了交融,使我们认识到了碧山词沉郁之美的难以把握之处。 Since the Song Dynasty, the object of poetry written by Wang Yisun at the end of Song Dynasty has received widespread attention, and a great deal of literary criticism based on the traditional aesthetic theory has appeared. The meaning of “sorrow” triggers thinking of the emotion connotation of “sorrow” of the word “sorrow” in Bishan. It should not stop at the level of sorrow Leads to the natural thinking of Bishan’s Ci, which embodies the sense of natural admiration and disillusionment of Ci’s mentality. The aesthetic taste of Wu Ci’s poetry blends with the aesthetic style of Bishan’s Ci We recognize the difficult place to grasp the gloomy beauty of Pishan.