南宋末年，詞壇講究家法承傳，其重要的詞學理論主要有三部：沈義父《樂府指迷》、張炎《詞源》、陸輔之《詞旨》，其傳承軌跡一目了然。尤其是《詞源》，是張炎一生理論研究和創作實踐的總結，張炎正是通過有組織、有目的的構擬，達到一個健全自足的理論系統，使詞的創作規律得以定型，並在沈義父「典雅」詞論的基礎上，發展了「清雅」詞論，也為宋詞、特別是南宋詞的發展標誌了的一個句號，更體現著自南渡倡導復雅尊詞以來雅化詞體觀的最高發展。本文擬從張炎《詞源》對沈義父《樂府指迷》的繼承與超越，以及對陸輔之《詞旨》的影響情況來看宋末詞法的一脈相傳與最終凝定。作為同一詞學淵流的三部詞論，其思想前後相承、相互補充，在存同中求異，反映了同一流派內部詞學觀念的一致性和連續性，使宋末雅詞理論日趨深入細微。

At the end of the Southern Sung dynasty, the master-disciple transmission of methods for tz’u lyric composition was greatly emphasized. There are three major works of this kind, namely, Guide to Old Ballads by Shen I-fu, Wellspring of the Lyric by Chang Yan, and Principles of the Lyric by Lu Fu-chih. The first work has influenced the second, and the second, in turn, has had an influence upon the third. Especially important is Wellspring of the Lyric, which summarizes Chang Yan’s life-long research on the ts’u lyric. In this work Chang Yan formed a theory, systematically setting rules for lyric composition. Based on Shen I-Fu’s principle of elegance in lyric composition, Chang developed his own principle of refinement. His contribution represents the climax of the development of lyric theories under the Sung dynasty in general, and the Southern Sung in particular. Focusing on Wellspring of the Lyric, this paper attempts to demonstrate the way in which Shen I-fu’s Guide to Old Ballads influenced Chang Yan, as well as how the latter’s Wellspring of the Lyric transcends the former in both scope and content. In addition, this paper pays attention to Chang Yan’s influence upon Lu Fu-chi in order to explore how this influence has contributed to the maturity of the method for lyric composition at the end of the Sung dynasty. The stage of maturity makes the theories on the refinement of lyric composition truly profound and sophisticated.