本文旨在探討吳體詩的內涵及其和齊梁體的關係，我們先檢視了前人的研究文獻，發現有關吳體的諸說都不盡周延，於是我們檢索了唐宋以下詩人的文集，以題目標示為吳體者為準，分析其聲調平仄，得到以下的結論：吳體詩沒有五言之作，只有七言絕句、七言律詩、七言排律，但不管是哪一種體裁，都是古律相雜，其在七律及七排者，則必須帶有兩句以上之古調，並且有失粘失對之體拗者，方得為吳體。其次，對於吳體和民歌的關係，我們認為吳體並非出於吳地歌謠，詩中也極少用方言俗語，和民歌並沒有必然關係；至於吳體是否即是齊梁體，我們的答案仍是否定的，因為齊梁體中的五言詩體、仄韻體、正格近體等，都是吳體詩所沒有的。依此推論，吳體詩和齊梁體內涵絕不相同，吳體不等於齊梁體。

This paper intends to solve the problem of the relationship of Wu-ti and irregular style poetry. First, we examine the previous studies on this subject and find that all the definitions on Wu-ti are not satisfactory. Therefore, we delve into ancient document regarding to Wu-ti and all the poems entitled Wu-ti from T’ang dynasty on and find that there are common traits of Wu-ti and come to the conclusion that Wu-ti can be defined as follows: It is composed of ancient tone scheme and regulated tone scheme in seven-character lines. Secondly, in regard to the relationship of Wu-ti and Ch’i-li-ti we find that, unlike some scholar’s findings, Wu-ti has nothing to do with Ch’i-li-ti. They differ in many ways. For instance, Wu-ti has no five-character poem, no oblique rhyme tone, no standard tone scheme. All these make Wu-ti differ from Ch’i-li-ti.

吳體;齊梁體;民歌;七律;古體

Wu-ti; Ch’i-li-ti; folksong; seven-character poem; ancient style poem