在我國的古典詩歌當中，有所謂的〈雜言詩〉。 許多人以為，既然是「雜」言， 當然就是亂七八糟、毫無條理的。李白最擅長雜言，他是一位天才作家，意到筆隨，不為格 律所拘，所謂雜言詩當然是隨心所欲的極度放縱，那有什麼規律可循？ 既然爭論的是「格律」的問題，所以本文就從「格律」的角度切入，去全面觀察雜言詩的「 格律」。其實所謂〈雜言詩〉並不是一個正式的名稱，在歷代分體選本中，從來沒有出現過 〈雜言詩〉這個名稱，它的正式名稱是〈七言古詩〉。為什麼〈雜言詩〉的正式名稱是〈七 言古詩〉呢？本文有詳細的說明。此名雜言詩是有一定的基調的，絕大部分的雜言詩，都以 「七言」為其基本句子，只不過在七言句中，偶爾加入一些非七言句，使它變成不是齊言的 詩；而這些非七言句的出現位置，似乎頗為規律，並非全然雜亂無章。再者，前人所作的〈 雜言詩〉絕大部分具有強烈的「樂府性」，它顯然是隨著音樂的旋律而為長短，因此，它是 我國詩歌中，和音樂合得最為緊密的一種。本文大致分為以下幾方面去討論： 一、緒言 二、雜言本為七言中之一體 三、雜言詩的基調 四、雜言詩與樂府之關係 五、雜言句出現之位置 六、結論

　　　　　In Chinese classical poetry, there is a style referred to as 〈 Za Yan Shi 〉 (complex verse and without order). Li Buo's fart'e was the 〈 Za Yan Shi 〉. He was an ingenious poet whose words flowed freely form thoughts to paper (Yi Dao Bi Sui) without a care for form or order. True to its name, "Za Yan Shi" requires that the poet writes as his or her heart dictates. Then, what rules or forms are there left to follow? Since it is the "prosody" of the 〈 Za Yan Shi 〉 style that is in question, it is this article's objective to use "prosody" as a base of analysis, and from this angle, fully observe the "prosody" of 〈 Za Yan Shi 〉. Actually, 〈 Za Yan Shi 〉 is not the formal name. Its formal name is 〈 Qi Yan Gu Shi 〉 (a classical poetic style of seven words per line). This type of poem was never referred to as 〈 Za Yan Shi 〉 in the categorized collected works of past generations. The following essay will provide a detailed explanation as to why this is so. i will continue to prove that 〈 Za Yan Shi 〉 does have a definite structure. The overwhelming majority of 〈 Za Yan Shi 〉 are composed of seven characters per line. Not all lines will necessarily contain exactly seven characters, and this way makes them seem without a structure. However, these non-seven character lines appear to be purposely positioned as if they were to follow a certain prosody, thus, making it not entirely disorganized. Furthermore, the majority of past 〈 Za Yan Shi 〉 poets wrote in the characteristic poetic genre of folk songs and ballads during the Han Dynasty [Yue Fu Xing]. It evidently follows the melody and length, therefore, amongst Chinese poems, 〈 Za Yan Shi 〉 is most closely related to music. This article mainly divides the argument into the following parts: Ⅰ Introduction Ⅱ Za Yan is a form of the seven-charater per line genre Ⅲ The main theme of Za Yan Shi Ⅳ The relationship between Za Yan Shi and ballads Ⅴ Za Yan sentences appear positioned Ⅵ Conclusion