王国维《人间词话》提出“境界”的命题后，乔大壮也提出了词学中“合时与地遂成境界”的结构观点，并借周邦彦词阐发境界的义蕴，可以补足王国维的境界说，最为警策。乔大壮所论“境界”之说远较王国维的具体和深刻，更善于解释创作之道。此外，乔大壮亦多次藉周清真词揭示“北宋法度”、“汴京之法”的秘诀，简称北法，分别谈到情景交融、对仗、承上启下、小词大做、北宋转法各项修辞技巧，都可以蕴酿重大的境界，带出作品的张力。

In the critical work Ci Criticism in Mortal World, Wang Guowei First put forward the Poetic Imagery Theory. Afterwards, Qiao Dazhuang also pointed out that “Combination of time and scene makes Poetic Imagery”. What is highly valued was that he also enlarged this theory with exploration of Zhou Bangyan’s lyrics. His statements on Poetic Imagery were more detailed, profound, and practical when considered as an explanation for writing activities. Qiao Dazhuang even revealed the Techniques of Writing in Northern Song Dynasty: he respectively talked about Harmonization of feeling and scene, Couplet, Connection, Transition which brought a great tension to the poetic imagery of every lyric.