張張張張張張張張張張張張張張張張張張張張張張張張張張張張張熙載謂張白石張幽韻冷香張令人挹之張盡張張陳廷焯則以為張張虛騷雅張每於伊鬱中饒蘊藉張張至陳郁則更謂張白石道人氣貌若不勝衣張張似乎白石其人其張都以脫俗為高張於是賞之者每摘其作品中類此警句張張張嫣然搖動張冷香張上詩句張（〈念奴嬌〉）張張竹外疏花張香冷入瑤席張（〈暗香〉）等語張以證明他有非喫煙火食人的格調。也有人對他傷時憂國的〈揚州慢〉張〈翠樓吟〉張〈永遇樂〉（張隔迷樓）等張注目張認為他不張稼軒一類氣性。實則最能代表白石其人其張的張竊以為非張數峰張苦張商略黃昏雨張（〈點絳唇〉）張張淮南皓月冷千山張冥冥歸張張人管張（〈踏莎行〉）莫屬。白石張可奈何的遊士生涯張是造成他張苦張峭的風格特色的主因張而幾首與新年有關的〈鷓鴣天〉張張又可看出其中關鍵。本文即針對白石張中對流年替換之際的感懷作一詳細的鑑察，以探究白石從深層意識中醞釀而出的詞境底蘊，及其種種與現實相關的問題。

Jiang Kui’s （姜夔） lyrics have been considered possessing the features of transparency （qingkong 清空） and elegance （saoya 騷雅） by the ancient and modern critics, such as Zhang Yan （張炎）, Chen Yu （陳郁）, Liu Xizai （劉熙載）, and Chen Tingzhuo （陳廷焯） who shared the opinion that Baishi （白石） and his lyrics abandoned conventions. Besides, some scholars pay their attention to his lyric works about sentimentalizing the time and worrying about the nation, like “Yangzhou man” （揚州慢） and “Yongyu le” （永遇樂）, and think Baishi has the quality of Xin Jiaxuan （辛稼軒）. However, I believe that, in fact, “Desolate and bitter peaks, / the rain of nightfall is brewing.” [數峰清苦，商 略黃昏雨] （“Dian jian chun” 點絳唇） and “The bright moon of the southern Huai makes the numerous mountains cold, / she goes back in the dark without any companion.” [淮南皓月冷千山，冥冥歸去無人管] （“Ta suo xing” 踏莎行） can most symbolize Baishi and his lyrics. That there had no alternative but to live as a wandering literatus （youshi 遊士） is the main reason resulting in the style of transparency, bitterness, and vigor in Baishi’s lyrics. Especially through examining his “Zhegu tian” （鷓鴣天） lyrics relating to the lunar new year, we can find out the key point of that. In short, via the way of background research, this paper tries to investigate carefully into the emotions that were aroused when the new year replaced the old year in Baishi’s lyrics to explore the inner meanings of the pieces, which Baishi incubated from his deep consciousness, and all sorts of issues related to the reality.