明人一向以詞為末流小道，且重言情。吳梅《詞學通論》指出：「論詞至明代，可謂中衰之期。」明初詞壇至成化年間，少人關注稼軒詞，「擬」、「和」、「次」韻稼軒詞者極少。弘治至嘉靖年間，陳霆《渚山堂詞話》、楊慎《詞品》、王世貞《藝苑卮言・詞評》，都有評論稼軒詞，而且還有模仿以及唱和稼軒詞。到明末萬曆、崇禎年間，因為國勢衰頹，詞人以詞宣洩幽悶，模仿稼軒豪放詞者更多。崇禎時由卓人月、徐士俊所編選的《古今詞統》，選稼軒詞遠多過蘇軾詞，歷來詞壇都是稱蘇、辛，此時稼軒詞突受關注，本論文即歸納其原因，稼軒詞一、更合音律，二、更詞能撫慰心靈，三、更能與艷詞相爭，四、能平衡豪放與婉約詞派，因而選稼軒詞更多，以提升稼軒在明詞壇地位。

People in the Ming dynasty usually take lyrics as unimportant in the literary field and deem it as a genre focused on feelings and emotions. Mei Wu’s Cixue Tonglun points out that lyrics were declining during the Ming dynasty. During the beginning of the Ming dynasty to the year of Cheng Hua, there were only few paying close attention to the Jiaxuan Ci and there were few imitating, harmonizing, and rhyming them, either. During the year of Hong Zhi to Jia Jing, Ting Chen’s Zhushan Tangcihua, Shen Yang’s Ci Pin, Shizhen Wang’s Yiyuan Zhiyan: Ciping all made critiques on Jiaxuan Ci; furthermore, they also imitated, harmonized, and sang it. When it was the end of the Ming dynasty in the year of Wanli and Chongzhen, lyrics-makers unleashed their inner pains and uneasiness through the lyrics, especially those lyrics which were bright and clear, for the power of the nation was decaying then. During the year of Chongzhen, Gujin Citong, which was edited by Shijun Xu and Renyue Zhuo, contained more Jiaxuan Ci than the Sushi Ci. Over the years, it was called ＂Su Xin＂ in the fields of lyrics. However, Jiaxuan Ci was suddenly payed much attention during this time. Thus, this study aims to discuss the reasons of this phenomena as the following: First, Jiaxuan Ci is much better in chorusing the tonality. Second, its lyrics can further conciliate people’s mind. Third, its lyrics can further compete with Yan Ci. Fourth, it can balance different lyric parties between the liberal, outspoken and the graceful, restrained. Thus, the collection of Jiaxuan Ci remains a lot to promote its lyrics position in the Ming dynasty.