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“句琢字炼”、“审音尤精”的外在形式和“离骚变雅之义”的内在蕴涵,构成浙西词派雅正观的基本内涵。郭麐作为浙西词派一员,于体认浙派雅正观基础上,却在语言的自然平易、词律的“浑然脱口”、内容的自抒襟灵以及学养、才力的熔铸四个角度游离于浙派传统雅正观,建构“以性灵为雅”的新型雅正观。它的形成与郭麐对杨万里和袁枚诗学主张的体认、对明末清初词学复古主张的认同、对浙西词派弊病的体察三个因素有关,对后期浙西词派在词的创作和理论方面与常州词派的融合具有重要的过渡作用。
The intrinsic meaning of “sentence cut word refining ”, “auditory especially fine ” and “the meaning of Li Sao change ” constitute the basic connotation of the positive outlook of western Zhejiang school. As a member of Zhexi Ci School, Guo Kui recognized Zhejiang School of Fine Arts on the basis of positive outlook, but in the natural language of the plain, the law of the word “” completely “”, content of selfish spirit and learning, talent casting four A point of view of freedom from the traditional school in Zhejiang Zheng Ya Zheng, building “to the spirit of elegant ” new concept of Masashi. Its formation and Guo Xun’s recognition of Yang Wanli’s and Yuan’s poetic ideas, the recognition of the retro-proposition of Ci-poetry in the late Ming Dynasty and the early Qing Dynasty, and the observation of the ills of the western Zhejiang Ci-poetry, The creation and theory of Changzhou Ci School and the integration of the transition has an important role.