胡適於〈文學改良芻議〉主張「廢律」，相當容易引發「廢韻」之聯想。不過經由本文檢索文獻，包括文論、日記、書信、新舊詩作等，得知胡適不僅從未主張廢韻，且試圖改良舊詩韻腳的語音及形式，以符應新時代、新美學的趨勢。再者，新詩推行後，胡適將韻腳歸入節奏的表現媒介之一，但卻不是決對條件，因而拓展了新詩節奏的多層向度。身為民初詩壇的領導者，胡適在新詩節奏史上的開創性，深具推展的意義。

It is fairly easy to initiate associated with abolishing rhyme instead of poetical meter while Hu Shih advocated in ＂The Attempting Discussion of Literary Reform. ＂According to the searching documents in Hu Shih's literature criticism, diary, letters and classical or modem poetry, he not only never advocated abolishing rhyme but also tried to reform the phone and form among the classical poetry of rhyme for fitting the tendency of a new age and new aesthetics. Moreover, after the popularity of Modem Chinese poetry, the rhyme included one of the medium of tempos' expression and was not a necessary condition, Hu Shih therefore expanded multilayer dimension of rhythm in Modem Chinese poetry. As a leadership of Parnassus in the early Republic, the pioneering in the history of Modem Chinese poetry's rhyme had meaningful popularity by Hu Shih.