对于元明以来的自度曲创作,清人表现出复杂的心态。一方面,认为元明以来是率意自度曲,导致词曲相混;另一方面,在实践中又大量创作自度曲。且在创作中,为恢复词乐传统,清人总结了自度曲的制腔之法,力求以伶工为师,这在词坛亦引起争议。在清词发展历程中,清代词人始终具有浓厚的自我经典化意识。这是因为面对宋词的成就,清人在填词时,内心深处总难免有一种“自我作古”或“尊古辍新”的焦虑和期许。故清人大量创作与拟作自度曲,被之管弦,其歌法多以昆曲形式出之。值得注意的是,清词各流派普遍对自度曲表现出相似的理论与创作上的矛盾及纠结。然而,正是经过清词各大流派的共同探索,清人最终在词的本质以及恢复词乐之美的追求上有了共同的理解以及实现目标的途径——词律之学,而晚清浙、常两派融通的表现形式和媒介即为词律。因此,清词复兴最显耀的成就和标志当归诸于词律之学。 Since the yuan dynasty since the degree of creation, Qing people show a complex mentality. On the one hand, it is considered that since Yuan and Yuan dynasties, it has always been a matter of opinion on the degree of self-interest, resulting in the mismatch between lyrics and music. On the other hand, it has also created a large amount of self-interest in practice. In the process of creation, in order to restore the tradition of Ci-poetry, the Qing people summed up the self-taught method of making a cavity and tried their best to be a linguist. This was also a topic of controversy in the Ci verse. In the course of the development of Qing Ci, Ci poets in Qing Dynasty always had a strong sense of self-canonization. This is because in the face of the achievements of the Song Ci, Qing people in the lyrics, there is always inevitably there is a kind of “self-made” or “respect for the new” new anxiety and expectations. Therefore, a large number of Qing creative and intended for the degree of self-test, by the orchestral, the song is mostly in the form of Kun form. It is worth noting that the genres of Qing Ci generally show similar contradictions and tangles between theory and creation. However, it is through the joint exploration of all the major schools of the Qing Ci that the Qing people eventually understand the nature of the word and the pursuit of the beauty of restoring the beauty of the lyrics, as well as the way to achieve the goal, , Often two factions of means of expression and intermediation is the word law. Therefore, the most outstanding achievement and symbol of Qing rejuvenation should be attributed to the study of the law of words.