劉勰（1978）《文心雕龍．聲律》掌握了文學聲律與人心內在的關聯性，認為文學語言的聲律，必須與人內心情感相配合，方能感動眾生，是交通心靈的重要樞紐。他可能從許多古老的詩歌、民謠中，總結歸納出「內聽說」以及「聲律源於自然」等等的說法，綰合聲律與人內在的情感。古詩十九首是中國非常古老的一組詩，有者先民的情感與悲哀，如同劉大杰（1998）所說：「古詩的好處，是看去無一奇字，無一奇句，然又表現出語言的準確生動和高度概括的藝術能力。」十九首用著非常平淺樸素的字句，描寫人類心靈細微處的曲折情懷，是非常可貴的藝術特色。為了解這組詩，或從字句切入、或從訓詁切入、或從歷史切入，但本文試著從聲律的角度切入，以陰聲韻、入聲韻的分析方法，說明聲情說是否可成立，提供文學審美上的另一視角。

The“Musicalness，Wen-hsin-tiao-lung”of Liu Hsieh grasped the rhythm of literature with the will of the people intrinsic connection. He thought the literary language rhythm (the important key position of the transportation mind) had to coordinate with the person’s innermost feelings in order to move all living things. He possibly got them from many ancient poetry and the ballad and induced “in hears”, “sound rhythm from the source to the nature”, and the synthesis rhythm and person's intrinsic emotion. The 19 ancient poetry was Chinese extremely ancient group of poems with the ancients' emotions and sorrow. It was the same as Liu Da Chieh said that the advantage of the ancient poetry was neither a strange glossary nor a special sentence; however, it displayed the accurate and vivid language with the highly and broadly artistic ability. With the extremely simple words and expressions, the 19 ancient poetry described the winding mood of the human mind’s slight place. It was an extremely valuable artistic feature. In order to understand this group of poems, the methods such as cutting into them from the words and expressions, or cutting into them from the word explanations in the ancient books, or considering them from the history, but this article tried the musicalness (the Yin rhyme)- the entering tone rhyme analysis method, to explain whether the sound sentiment saying could be established in order to provide another view on literature aesthetics.