The Changzhou Ci School was an important Ci school after Jiaqing in the Qing Dynasty. During the Kangxi and Qianlong periods, the poetry world was mainly dominated by the Zhejiang School. The Zhejiang school focused on the Southern Song Dynasty and respected Jiang (Kui) and Zhang (Yan). They blindly pursued purity and elegance, and the content of their poetry gradually became empty and narrow. In the early years of Jiaqing, the poets of the Zhejiang School focused more on rhythm and style, which was more harmful than others. Zhang Huiyan, a poet from Changzhou, wanted to reverse this decline. He loudly argued that poetry and "Feng" and "Sao" are in the same subject. They should emphasize the sustenance of the past, fight against trivial habits, and attack unnecessary moaning works. At that time, there were many people who reconciled, and it became a trend, and the Changzhou Ci School emerged. Later, with the inference and development of Zhou Dynasty, the theory became more perfect, and the ideas advocated were more in line with the historical requirements of internal and external troubles and rapid social changes at that time. Its influence lasted until the end of the Qing Dynasty. Changzhou Ci Theory began with "Selected Ci" edited by Zhang. The book was written in the second year of Jiaqing (1797), and only 44 poets and 160 poems from the Tang and Song dynasties were selected. Contrary to the Zhejiang School, most of the poems are from the Tang and Five Dynasties, and less from the Southern Song Dynasty. Jiang Kui, who is highly respected by the Zhejiang School, only has 3 poems, and Zhang Yan has only 1 poem. Although it is too harsh to criticize, the selected works of Xin Qiji, Zhang Xiaoxiang, Wang Yisun and others are still works of practical significance, indicating that Ci is not a trivial matter in literature, and confirms the proposition stated by Zhang Huiyan in "Preface to Selected Ci" . He tried his best to respect the style of poetry, quoting "Shuowen" to discuss "the meaning inside and outside the meaning", pointing out that the poetry is close to "the meaning of changing the wind, the song of the poet", and using "perfunctory ancient style to self-exalt the style" (Xie Zhangcheng's " Gambling Villa Ci Hua"), raising the historical status of Ci. Zhang pays more attention to the content of the poems, and is able to find out the meaning of the poems of "feeling the object" and "creating the origin due to emotions", and analyze the poet's intention of "lowly wandering to the point". Based on this, he criticized the lyrics of Liu Yong, Huang Tingjian, Liu Guo and Wu Wenying for being "fluctuating but not rebellious, arrogant and unreasonable, branches but not things", which shows the strictness of his opinions. However, he also had the disadvantage of excessively pursuing the subtle meaning of his predecessors' poems and becoming conclusive. For example, in Wen Tingyun's "Bodhisattva Man", "the hill overlaps and the golden light disappears", it is "a sentimental scholar who has never met, and the writing style is like "Nagato Fu"". He also believes that "the four sentences of "Zhaohua" are the meaning of "Li Sao" for the first time." This groundless hypothesis was ridiculed by Wang Guowei. He was also brave enough to make arguments but neglected to examine history. The interpretation of some words is inaccurate. Despite this, Zhang's emphasis on expressiveness and sustenance in his lyrics is obviously superior in style compared to the Zhejiang School's pursuit of purity and elegance. Zhang Huiyan's colleagues included Zhang Qi, Dong Shixi, Zhou Ji, Yun Jing, Zuo Fu, Qian Jizhong, Li Zhaoluo, Ding Luheng, Lu Jiren, Jin Ying, Jin Shiyu and others, who encouraged each other and became very popular. Among them, Zhou Ji is the most prominent. He wrote "Ci Bian" and "Selected Poems from Four Schools of Song Dynasty", which "explained Zhang's purpose and expanded it" (Volume 3 of Tan Xian's "Ci Zhong Ci"), but he was not limited to Zhang's arguments. "There are many unique words in the theory of Ci" (Wang Guowei's "Human Ci"), which deepens Zhang's Ci theory. On the basis of Zhang's respect for the style of poetry, Zhou Ji emphasized that poetry should have the function of "discussing the world". He believes that "the emotions are all about ups and downs: whether it's a rainy day, whether it's too late to save money, whether you're drowning yourself in hunger, or whether you're alone and sober, depending on the person's temperament and knowledge, there are always heartfelt words. Seeing many things, A thorough knowledge and rationality can be used as a resource for future generations to analyze the world. Poetry has a history, and so does Ci. This confirms Zhang's advocacy of Bixing sustenance, requiring lyrics to reflect real life and fulfill their social functions, rather than just expressing personal feelings. This is indeed a wise view. In addition, Zhou Ji also pointed out the method of how to express the words, and put forward the saying that "the words cannot be placed in the words, and the words cannot be placed in the words", and in exquisite language, he described the poet's "many ways of understanding". The conception and creation process of "The flying ying that drives the heart like a gossamer, and the fly's wings that hold the hair as fine as a pound" ("Preface to the Catalog of Selected Poems of the Four Masters of Song Dynasty") makes "all the feelings gathered together, and there is no master in the five". His strong feelings are reflected through the artistic image of "plain description and shallow imitation" (ibid.), and his discussion is also more incisive. However, when he actually commented on his lyrics, there were often contradictions and discords with his arguments. Judging from the only remaining two volumes of "Zheng and Bian" in "Ci Bian" written in his early years, Zhou Bangyan's 9 poems, Shi Dazu's 1 poem, and Wu Wenying's 5 poems are classified as " It is difficult to understand that 26 (Li Yu ^ Li Yu) 9 poems, 10 poems by Xin Qiji, and 1 poem by Lu You are listed in the "change" style. In his later years, he wrote "Selected Ci Poems from Four Families of the Song Dynasty", in which Zhou Bangyan, Xin Qiji, Wang Yisun and Wu Wenying were the leading poets. He also advocated "asking Tu Bishan (Wang Yisun), Li Mengchuang (Wu Wenying), Jiaxuan (Xin Qiji), in order to return the clear truth (Zhou Bangyan) to the turbidity". Although he wanted to learn more about things, he still couldn't help but fall into the "graceful" school. . The Changzhou school of poets has a more serious attitude towards creation. For example, Zhang Huiyan's "Yang Hua" (Mulan Hua Slow) and Zhou Ji's "Die Lian Hua" "Catkins every year in March" have precise and pure words, which seem to have different meanings, but are relatively obscure. In fact, it does not have very profound ideological connotation, and there is still a distance from its argumentation. This is the main tendency of their lyrics, and also the limitation of the entire Changzhou school of poets. The Changzhou Ci School had a great influence on the development of Qing Ci. The four great poets in modern times, Tan Xian, Wang Pengyun, Zhu Xiaozang and Kuang Zhouyi, are also the staying power of the Changzhou Ci School. Although their creations also follow the path of narrow content and their realm is not grand, they have made great achievements in the study of Ci poetry. Tan Xian selected and compiled poems by people from the Qing Dynasty as "Ci Zhong Ci"; Wang Pengyunhui engraved "Collection of Flowers" and poems by poets from the Song and Yuan Dynasties as "Ci from Siyinzhai"; Zhu Xiaozang edited and engraved more than 160 poems by people from the Tang, Song, Jin and Yuan Dynasties. The authors of the "□ Village Series" have collected a large amount of Ci poetry heritage.