有明一代，正處於對通俗文學徹底認同的文化背景中，明代社會風尚的趨俗性也使得其詞學在大變和復歸之中，努力試探了詞體於抒情、風格、境界、審美等方面的出格所能承受的限度，所以在中國詞學史上別具一格，獨樹一幟，反映出明人詞學的審美理想與宋人、清人迥不相侔之處。同時，它不僅影響了清詞的局面，也促使清代詞學流派中人更自覺地反思詞的美學特徵究竟如何定位。本文擬就明代詞學中幾個重要論題如主情說、本色論、正變說、近俗說、起源說等進行分析，以見明代詞論在整個詞學發展史上的意義及地位，以駁斥「明代詞學失傳」之誤解。

Ming dynasty was an era that literature was completely popularized, and while swing between change and recovery, this phenomenon had explored the degree that Tsu could be deformed in terms of felling expression, style, level of mind, and beauty appreciation. Consequently, Tsu of Ming dynasty took distinctive and unique course of route, and demonstrated totally different esthetic characteristics from that of Ching dynasty. It not only affected the state of Ching Tsu, but also encouraged Tsu's authors to introspect the positioning of Tsu's esthetic perspectives. This study intends to analyze various schools of Ching Tsu to reveal the importance and position of Ming Tsu in the history of Tsu's development, and thus to refute the misunderstanding that school of Ming Tsu has been lost.