《芦笛风》作为梁宗岱的最后一部诗集，收录了诗人自1941年至1943年创作的50首词。对作为新诗诗人、诗论家的梁宗岱，其旧体词写作并未得到研究者的充分关注。但这一40年代的填词转向，实际上具有深切的理论内涵，即梁宗岱是在对新诗形式与格律的追求中乞援于词的，具有“白话填词”的实验性质。对此，本文第一章讨论梁宗岱1940年代《芦笛风》填词转向的发生。在爱情的激情之外，诗人对诗歌真的要求与美的理想，是词之一体被选择的核心原因；而诗人对新旧文学的辩证则为上述转向提供了条件。基于对填词转向严肃性的确证，论文第二章具体考察《芦笛风》白话填词的形式特征。从思想情感的表达看，尽管如“水”“花”等意象真切生动，但却以其陈腐未能达到诗人传达“经验”的理想。从微观形式的安排上看，尽管如标点使用、排版设计等给诗歌注入了新鲜的气息，但却未能超脱出词之格律的严格规定，流于复古。从语言的性质与特点看，尽管使用了部分白话语汇及句法，但随诗人填词技艺的纯熟，其语言亦渐趋文言。就此，《芦笛风》的白话填词尝试恐怕背离了诗人的诗学初衷。论文第三章引入废名、林庚和卞之琳的相关讨论，在反视《芦笛风》实验的同时，管窥中国现代诗歌领域的新旧之争。结合废名新诗内容的讨论，林庚对新诗格律的追求，卞之琳对新诗语调的剖析，从《芦笛风》的结果中，基于对现代汉语本质特征的认识，新诗的格律追求或许应作为自由诗的某种变体出现，而非外在形式上的普遍规定。
通过对梁宗岱40年代《芦笛风》白话填词实验的考察，本文一方面对梁宗岱的诗人生命进行了全面、立体的还原；另一方面，借梁宗岱之复古触及了中国现代诗歌领域纷繁复杂的新旧之争。同时，也以对语言与诗歌关系的探索，尝试将诗歌本体研究在语言层面导向深入。

"The Wind of the Reed Flute" is poet Liang Zongdai's last collection of poems, which includes 50 poems from 1941 to 1943. Liang Zongdai, as a poet famous for his new poetry and a poetic theorist, his writing in classical Chinese poetry has not received sufficient attention from researchers. However, this turn to lyric writing in the 1940s actually had profound theoretical connotations, that is, Liang Zongdai sought aid from Ci in his pursuit of new poetry form and rhythm, and had the experimental nature of "writing in vernacular Chinese". The first chapter discusses the occurrence of Liang Zongdai's turn in the lyrics of "The Wind of the Reed Flute" in the 1940s. In addition to the passion of love, the reason poet choose the genre of Ci is due to his pursuit of the true and beauty; and the poet's dialectic of new and old literature provides the conditions for the transition. Based on the confirmation of the seriousness of the Ci, the second chapter specifically examines the formal characteristics of the vernacular Ci of "The Wind of the Reed Flute". From the perspective of the expression of thoughts and emotions, although the images such as "water" and "flower" are vivid, they fail to achieve the poet's ideal of conveying "experience" because of their banality. From the microscopic perspective although the use of punctuation and typesetting design have injected fresh breath into poetry, they have not broken away from the strict rules of the rhythm of words. From the perspective of the nature and characteristics of the language, although some vernacular vocabulary and syntax are used, as the poet's skill in writing lyrics is proficient, his language gradually tends to classical Chinese. In this regard, the attempt to write lyrics in the vernacular of "The Wind of the Reed Flute " may end in failure. The third chapter of the thesis introduces the relevant discussions of Fei Ming, Lin Geng and Bian Zhilin, while looking back at the experiment of "The Wind of the Reed Flute". This will provide a glimpse of the dispute between the old and the new in the field of modern Chinese poetry. Combined with the discussion of the content of Fei Ming's new poems, Lin Geng's pursuit of the rhythm of the new poems, Bian Zhilin's analysis of the tone of the new poems, from the result of "The Wind of the Reed Flute", combined with the understanding of the essential characteristics of modern Chinese, the pursuit of the rhythm of the new poems should perhaps be regarded as freedom. A certain variation of poetry emerges, rather than a general determination of external form.
Through the investigation of Liang Zongdai's experiment of vernacular lyrics in "The Wind of the Reed Flute" in the 1940s, on the one hand, this paper has carried out a comprehensive and three-dimensional restoration of Liang Zongdai's poet life; The battle between the old and the new. At the same time, by exploring the relationship between language and poetry, it tries to deepen the study of poetry ontology at the language level.