题赠柳敬亭的《贺新郎》、《沁园春》两词,是汪懋麟康熙九年的代表作。它们表达了词人对柳敬亭的致敬之情、劝谏之意,具有鲜明的人文精神;同时也是其稼轩词风确立的标志,曾得到曹尔堪、周在浚等并世名家的唱和与肯定。“赠柳”之作不仅显示出了汪懋麟的文学个性——在“评柳”的问题上敢于与师相左,而且反映出其词学创作姿态之积极,终使其成为广陵词坛“后王士禛时代”的代表作家。但自康熙十五年《锦瑟词》刊刻出版后,汪懋麟即较少涉足填词,在“诗”与“词”的文体抉择中最终淡出了后一领域。这既是其师王士禛“避词”态度长期影响的结果,同时也是王氏神韵诗论成为主流话语后影响力所及的具体表现。 Liu Jingjing title gift “He groom”, “Patio spring” two words, is Wang Mao Lin nine years of masterpiece. They expressed their respect for Liu Jingting, their conscientious implication and their distinctive humanistic spirit. They also symbolized the establishment of their style of writing. They were sing and affirmed by such famous artists as Cao Er-kan and Zhou Zai-jun. “The Gift of Willow ” not only shows Wang Mao - lin ’s literary personality - daring to be divorced from the teacher on the question of “appraising Liu”, but also reflects his positive writing attitude and eventually makes it a Guangling Ci Altar “post-Wang Shih-era ” representative writer. However, since the publication of the “Kansei Ci” published in the 15 years of Emperor Kangxi, Wang Maolin eventually interfered less with the lyrics and eventually faded out of the latter field in the style choices of “poems” and “words.” This is not only the result of the long-term influence of his teacher Wang Shizhen’s attitude of “avoiding words”, but also the concrete manifestation of the influence of Wang’s poetry after it has become the mainstream discourse.