在龚自珍的文学创作中,诗的艺术成就是最高的,他甚至被称为“中国封建社会最后一位浪漫主义诗人”。然而,他的词的创作也并不是无足轻重的。不负有“载道”责任的词有时反而能够更为本真地反映出他的内心世界。本文着眼于对龚自珍的《咏史》诗和《鹊踏枝》词进行比照分析,意在探讨出龚自珍诗词创作的不同的风格倾向,从而从宏观上把握其诗词创作的概貌。 In Gong Zizhen’s literary creation, poetry has the highest artistic achievement, and he is even called “the last romantic poet in Chinese feudal society.” However, his writing is not trivial either. The word “responsible” does not sometimes reflect the inner world more truly. This paper aims to analyze Gong Zi-zhen’s poems of “chanting history” and “magpie-riding branches” in order to explore different stylistic tendencies of Gong Zizhen’s poetry creation, and then to grasp the overview of poetry creation from a macro perspective.