明末崇禎時期，選錄姜夔詞，已經比嘉靖、萬曆時期，數量更為多。詞選著重在擴編或縮編《草堂》，影響了是否選錄姜夔之詞。崇禎這個時期詞選，有《草堂詩餘》之續補本與縮編本。續補本乃選源擴大至南宋、明代，如：《草堂詩餘別集》、《古今詞統》、《古今詩餘醉》，就收有姜夔詞。而縮編《草堂詩餘四集》為主之《詞菁》，保留原本《草堂》精華，就未選錄姜夔詞。總而言之，崇禎時期，詞選之趨向，已由晩唐、北宋偏向南宋與明代，流派紛呈，複雜變化，有兼容並蓄之現象，因此，姜夔等雅詞派亦在此時期漸露曙光，比起嘉靖、萬曆時期，可說有更多展現姜夔之空間。

During the Chongzhen Era, Jiang Kui’s work was included much more often in Lyric or “Ci” poetry selections than in the Jiajing and Wanli eras. As these Ci poetry selections were primarily concerned with expanding or refining Caotang (草堂), this was a major factor in deciding whether or not Jiang Kui’s Ci poetry was included in each selection. Ci poetry selections in the Chongzhen Era consisted of expanded volumes and condensed versions of Caotangshiyu (草堂詩餘). Expanded volumes broadened the source of Ci poetry selected to encompass works during the Southern Song Dynasty, as well as the Ming Dynasty. For example, works such as Caotangshiyubieji (草 堂詩餘別集), Gujincitong (古今詞統), and Gujinciyuzui (古今詩餘醉) all contain Jiang Kui’s poetry. The condensation of Caotangshiyusiji (草堂詩餘 四集), Cijing (詞菁), chose to retain only the essential works of the original Caotang (草堂) and did not include Jiang Kui’s Ci poetry. In sum, Ci poetry selections during the Chongzhen Era shifted focus from Ci poetry composed in the late Tang and Northern Song Dynasties to poetry composed in the Southern Song and Ming Dynasties. They began to include and became more open to a richer variation of styles, which was also why members of Ya Ci poetry style, like Jiang Kui, began to draw attention during this period. In comparison to the Jiajing and Wanli eras, there was much more of an audience for Jiang Kui’s works.