本篇研究試圖從語料庫觀點分析白居易詩句中重疊運用的類型。亦即藉電腦強大的檢索計算能力，統計呈現白居易詩中重疊運用的類型，探討白居易詩重疊使用的語言風格。白居易詩數量龐大，在全面性蒐集整理語料之後，比較杜甫和白居易詩作中，發現白居易重疊手法的使用類型非常多樣化。在文學語言中，重疊運用是廣泛應用又重要的手法，在詩句中使用重疊既能延展加深情義，又能形成反複的音樂節奏之美。檢視白居易詩句，首先有關疊字部份，在單句或對仗句中都出現。從句中位置來看，疊字優先選擇出現在五言詩行及七言詩行之首；疊字比較常出現在詩行末尾以形成ABB形式，這是比較常見的三音節重疊形式。再者，是相同字詞出現在同一詩句中，雖並非緊鄰出現，但也形成反複的節奏效果。除了疊字或類字手法，白居易自由而靈巧使用多樣重疊手法，如疊詞類詞、疊句類句等，以頂真、層遞或排比手法靈巧穿插；又綜合應用前述各種手法，以致疊句中疊字或類字；句型相同的類句連續出現或間隔出現；相同句型類句也可能包含疊句，或是和疊句交錯運用，數種重疊手法靈活應用，使得白居易詩更富多樣化的節奏美感。

This study aims at analyzing the reduplication patterns and the linguistic style within the poetry of the Tang Dynasty BaiJuYi, from the perspective of corpus linguistics. According to the corpus of the BaijuYi's poetry, we found several reduplication patterns: the same characters occurring neighboringly, called Diezi; the same character occurring non-neighboringly, called Leizi; the same words occurring in continuous lines, called Dieci; the same words occurring in noon-continuously lines, called Leici; the same sentential lines occurring continuously, called Dieju; the same/similar sentential pattern occurring non-continuously, Leiju. Morphological reduplication patterns could strengthen or amplify the degree of emotion and meaning of the poems. Moreover the same or similar prosodic syllables within the poetic lines form the different prosodic rhythms. Comparing BaiJuYi and Dufu, within BaiiuYi' verses, the occurring of reduplication is much more than Dufu. The favorite position for Diezi is the beginning bisyllabic position of a line. As for the 7-syllabic line, the 5(superscript th) 6(superscript th) syllables were also popular for the Diezi and the final syllable form the trisyllabic reduplicant, ABB, being the common form. Besides, the observations also show that BaiJuYi synthesized the several reduplication patterns listed above so skillfully so that he created an amazingly linguistic style through reduplication within his poetry.