韓愈〈聽穎師彈琴〉是唐代描寫音樂的著名詩篇，它與白居易的〈琵琶行〉、李賀的〈李憑箜篌引〉被並稱為描寫音樂的「三絕」。韓愈在這首詩歌中充分運用了形象思維手法，將抽象的、無形的音樂感受形象化、具象化，賦予音樂的音色、旋律、節奏等以鮮明形象、可感化色彩，成功地描寫了傾聽音樂時變化動蕩的心理感受，歷來為人稱道。及至宋初卻對其中所彈奏樂器產生了爭論，圍繞「聽琴」與「聽琵琶」遂產生了一樁公案，自宋至清爭論不休，流波餘韻波及至今。令人惋惜是的是，今人仍只是著眼於孰是孰非的爭論，盲目地贊成一方或反對一方，而對產生此爭執的個中原因並不能洞曉。本文在梳理歷史上「聽琴」與「聽琵琶」爭論的基礎上，重新審視歐陽修「自是聽琵琶詩」（〈歐陽公論琴詩〉）一語的本來含義，並緊扣宋初儒學復興背景及其影響下的「崇雅斥鄭」音樂觀，以期還原這一事件的本來面目。

Hanyu’s Listening to the Qin Music Played by Monk Ying is a famous Tang Dynasty poem, and traditionally known for its vivid and concrete description of the tone, melody and rhythm of music and the successful picturing of the listeners’ up and down feelings while listening. Since Song Dynasty, scholars have been argued whether the musical instrument in the poem was Guqin or Pipa. It was a pity to blindly hold one argument without a thorough study. This paper tries to base on Chinese historical literary and music backgrounds to give the poem its original face.