鄭因百先生為近世曲學名家，本文以其散曲學為討論範疇，旨在說明鄭先生之研究成果，從而論析其散曲研究的特點及在散曲學史上的意義。鄭先生的散曲學可分為「考據」與「文學」兩方面，前者包括曲家考述、曲籍輯補校勘、曲律考訂等等；後者則透過曲評與曲選展現其批評觀點。又以其精研詳考的學養，為文撰述散曲概說性質的專文，提示初學者認識散曲的門徑。總觀鄭先生的散曲學，最為突顯的特點當是其以詩人意識為核心的批評觀點。鄭先生論曲體，不僅從「辨體」的角度，分析曲在形製規律和表現風格上與詩相異之處；亦能超越辨體之思維，探求曲與詩相通的本質，強調散曲內容以作者主體情志之正為本，語言則以典雅為尚。其論曲律，詳細分析曲律的構成要素與變化律則，固然亦屬「辨體」之論，但對曲律音樂性的掌握乃自語言旋律著眼，同樣也具有詩歌審美本質的意義。鄭先生以詩人意識論曲評曲，其所編《曲選》一書可視為此一觀點的具體實踐，所收曲家曲作均有獨到之考量。鄭先生散曲學所展現的詩人意識為散曲學史上所罕見，亦與學界格外強調「辨體」的研究趨向相異。此一相異而罕見的觀點，適可為散曲文學的探求激盪不同的思索，開啟更寬廣的視角。

This article is focused on Professor Zheng Qian’s research on Sanqu (non-dramatic Song) with the emphasison analyzing its features and values. Zheng’s Sanqu studies can be divided into two aspects: textual research and literary criticism. The former includes life history of the authors, surveys of literary works, collections and revisions of Sanqu and also collations of Qu form. As for the latter its point of view is expressed by commenting on the author, the works and the edition of the works. The most remarkable part is how the poet’s consciousness is used as the central viewpoint. In Zheng’ opinion on Qu style, he not only emphasizes the differences between the meters and style in comparison with poetry, but also looks into the essence of the similarities within them. He strongly emphasizes that the content of Sanqu is focused on the writer’s inner thoughts. The language of Sanqu needs to meet the standard of elegance. As for the qu form, Zheng’s research indicates that it’s based on the rhythm of language, just like the characteristics of poem. Hence, we can see from the “Selection of Sanqu” edited by Zheng is an embodiment of these viewpoints. All the authors and their works included in this volume have been considered thoroughly.