清词流派的发展多以建构统序为依托,浙西、常州两派尤谙此道。然而向来被视为浙派三宗之一的郭麐,无论理论与创作,还是生平与师承,都无强烈的浙派印记,本质上只是一位力图以“性灵”思想来扭转风尚的布衣词人。是后来亲近常派的蒋敦复出于批判的需要才将郭麐归入了浙西词统,再经谭献等人强化。这种以郭麐续接朱、厉而构成的浙派统序得以确立,并成为一种较为强势的词学话语,其后果之一是导致郭麐的词史地位在常州词派占据上风的晚清词坛一落千丈。今人又将郭麐列为后期浙派的代表词人加以表彰,并以“改革者”的头衔来消弭因他对浙派的批判所产生的矛盾。这种研究思路实质上是对这一统序的延伸。 The development of the genre of Qing Ci mostly rely on the construction of the order, especially in Zhejiang and Changzhou. However, Guo Kui, who has always been regarded as one of the three Zhezhai schools, has no strong imprint of Zhejiang school, regardless of theory and creation, or life and teacher training. It is essentially a commoner trying to reverse the fashion with the idea of ​​“spirituality and spirit” . Later, Jiang Dun-fu, who was often sent close to him, went under the criticism of the need to include Guo Xun in the system of western Zhejiang and intensified by Tan Xian and others. This order of succession to Zhuo Li Guo and Li formed the order of the Zhejiang school was established and became a more powerful word of discourse, one of the consequences of which is Guo Zhi’s Ci history occupies the dominant position in Changzhou Ci Poetry prevailed late Qing Ci Altar plummeted. In the meantime, Guo Ren was also commended as one of the representative writers of the later Zhepai ​​School, and his “reformist” title was used to eliminate the contradictions arising from his critique of the Zhepai ​​School. This research idea is essentially an extension of this order.