清代詞學復興，歷來多集中探討各詞派立場主張，而在浙西詞派，常州詞派盛衰轉接背景下，研究應再對乾隆時期詞人予以關注。本文探討左輔詞作，其詞為《全清詞：雍乾卷》所未收，今見《清代詩文集彙編》收左輔《念宛齋詞鈔》、《念宛齋詞曲》二部，前為詞集，並附各家點評：後為工尺譜，兩相比對可據此補輯。推考其詞約作於乾隆五十年前後，早於常派提出主張以前。本文就其詞各類作品，探討其中寄託意義，並輔以各家參評為證。其詞已能超脫當時詞壇之風尚，並合乎後來常派觀點主張，可謂先聲。本文另以借鑒角度探討其詞，其詞雖借鑒姜夔較多，然並未刻意追摹清空；亦不雕琢句律，時率意為之，甚多有句律未合舊譜之情形，又不避俗字，可知與浙派立場不同。本文試從各角度探討左輔詞，期以補充清詞研究之一隅。

The discussions about the ci poetry revival occurring in the Qing Dynasty have been focused on the standpoints and opinions of various schools of ci poetry for long. However, since the background that the Changzhou and West Zhejiang schools of ci poetry were in their transitions of prosperity and depression at that time, we need to pay attention to the ci poets of the Qianlong period. The ci poems of Tso Fu were not collected in the Complete Ci-poetry of the Qing Dynasty from Yongzheng to Qianlong. Nowadays, Tso Fu's Nian wan zhai ci chao and Nian wan zhai ci qu are compiled in the Qing dai shi wen ji hui bian; the former is a collection of ci poetry with scholars' comments and the latter a gongchepu (or gongche notation, a traditional musical notation method) used to collect one more supplementary ci poem of Tso Fu. The ci poems of Tso Fu were written around Qianlong 50 (1785) and were earlier than the poetry opinions of the Changzhou school of ci poetry. Divided into three classifications, object-chanting, history commemoration, and sentimentation about current affairs, the implications of Tso Fu's ci poems were explored in the current study. Through the criticisms referred to, since they did not have the common shortcomings of the ci poems prior to his in his contemporary ci poetry field and met the ideas submitted by the Changzhou school of ci poetry later on, it was found that the ci poems of Tso Fu were initiatial. In the current study, his ci poems were researched from the angle of referring to. Although the ci poems of Jiang Kui were more referred to, the style of lucidity was not on purpose in his seek. In this study, his ci poems were investigated in terms of notation rhythm at last and it was found that most of the sentence rhythms of his ci poems did not conform to the old notations as well as were made based on the meanings sometimes and not in avoidance of use of popular forms of characters. And it was therefore judged that the standpoint of Tso Fu's ci poems was absolutely different from that of the West Zhejiang school of ci poetry. In this study, Tso Fu's ci poems were explored from various angles and were expected to supplement the researches on the ci poetry of the Qing Dynasty.