章法結構是先由其移位、轉位而形成節奏，再由各個節春層層串聯而形成一篇韻律的。大致說來，節奏乃就局部來說，而韻律則是指整體而言。而由移位所造成的，是較為簡單或反復、齊一之節奏，主要在顯現其偏於陰柔之調和性；而由轉位所造成的，則為較為複雜或往復、變化之節奏，主要在顯現其偏於陽剛之對比性。這樣，由局部而整體地層層疊合成為一篇韻律，再加上章法各結構本身的毗剛或毗剛或毗柔屬性，即可大致可解釋一篇風格所以形成之原因，而這種歷程，可約略由章法之「多、二、一(0)」結構加以考察。就在此「多、二、一(0)」的諸多結構中，必有其核心結構，它一定落在一篇文章之主體所在，也就是最能凸顯「主旨」的部分，以牢籠各主體及其他對應材料，可以說乃關鍵性之「二」，居於既能收束又能發散的地位，在其他各輔助結構的支持下，形成「調和」(陰柔)或「對比」(陽剛)，一面鰴下以統合「多」(結構與節奏)，一面鰴上以歸根「多、二、一(0)」(主旨、韻律與風格等)，發揮徹上徹下之功用。因此，理清核心與輔助結構，考察其移位、轉位之情形，則章法結構所造成之節奏與節律，就可以大致掌握了。

　　　　　The organization of writing is structured by means of displacement and transfer. Such a structure forms a tempo. Various tempos link and constitute the rhythm of a composition. Generally, tempo refers to local arrangement and rhythm refers to a whole. The tempo caused by displacement is simple, repeated, and uniform, expressing harmony that is subject to feminine attribute. Yet a tempo caused by transfer is rather complex or recurrent, expressing contrast that is subject to masculine attribute. Thus the rhythm of a composition is developed, layer by layer, from locally to comprehensively, by tempos. Such a process can be illustrated as a kind of "multiple, binary, and single (zero)" structure. Based on the attribute; that is, feminine or masculine, one can identify its style. On the other hand, there are diverse structures in the organization of writing: multiple, binary or single (zero). Among these structures, there must be a core in the main body. The core structure highlights the "theme" and encloses corresponding materials. Therefore, one can appreciate a composition by means of identifying its structure, perceiving its tempo and rhythm, and capturing its aesthetic effect.