周濟提出「問塗碧山，歷夢窗、稼軒，以還清真之渾化」等四家學詞門徑，而今學者間已論及四家之所以「立」及其位階遞進，或緣於詞派立場、或考量初學之便、甚至觸及四家身世。本文於此些前行研究基礎上，擬由周濟詞論尋繹「門徑」發展的內在理絡，先源其「詞史」、「家數」而延伸述及「門徑」之屬，並且闡釋「門徑」意義及周濟對南北宋門徑的認知。最後，以「思筆離合」、「寄託出入說」等標準，說明四家由南返北、排序遞進的細微差異。

In Zhou Ji’s foreword to his Selected Ci Poetry from Four Writers in Sung Dynasty, he suggested an agenda of studying the ci poetry. His method began with Bi-Shan, passing through Meng-Chuang and Jiaxuan, and concluded with Qing-Zhen. What’s the significance of the agenda of studying ci poetry? What’s Zhou’s theoretical premise? How did the four writers come to be exemplary figures? What’s the implication by the order of the four writers? These issues haven’t been satisfactorily addressed to date.As a result, this paper begins with a discussion of Chang ci poetry schools; their creative consciousness, aesthetics, and the orthodox of ci poetry are explored. In fact, the agenda of studying the ci poetry is constructed from Zhou’s theories about the history of ci poetry and the style of individual author. Hence we arrive at an understanding of Zhou’s renovation of Chang ci poetry schools: by proposing an agenda of studying ci poetry, Zhou enriched the idea of the orthodox of ci poetry. He authorized canonical texts and stressed the practical advantages of learning and inheriting them. Finally, this paper investigates ”the agenda of the North and South Song ci poetry ”and the reciprocal effect of them, thus finds the degrees of ”the agenda of studying the ci poetry from four writers.” Marked by degrees in content and technique, the agenda represented the process that began with hard effort and concluded with sprezzatura.