本文旨在探究詞調中的雙拽頭體之定義與所屬詞牌，全文共分四段，其大要如下 ：一、前言：指出詞是一種在音樂的懷抱中孕育出來的新體抒情詩，為有宋一代文學的代表 。但是若從詞體的發展角度來說，詞可以說是未完全充分發展即告衰落停滯的一種文學體製 ，這可從三疊詞中「雙拽頭體」的發展窺得端倪。二、何謂雙拽頭：本段先對雙拽頭詞體作 一界定。 「雙拽頭」一詞，首見於宋人黃昇 << 唐宋諸賢絕妙詞選 >>，是書卷七錄周邦彥 < 瑞龍吟 > 詞並注云是雙拽頭體。 據周詞及近人對「雙拽頭」一詞之解釋，所謂「雙拽頭 詞」當指：三疊詞中，前兩疊字數較少且格式完全相同的體式。三、雙拽頭體釋例：詳考現 存詞牌， 合於「雙拽頭」定義的三疊詞計有： < 瑞龍吟 >、 < 曲玉管 >、 < 遶佛閣 >、< 秋宵吟 >、< 劍器近 >、< 塞翁吟 >、< 踏歌 >、< 安公子 > 等八調。 本 段分別列舉各詞牌之代表作品， 並據 << 詞律 >>、<< 詞律拾遺 >>、<< 詞律校刊 >>、<< 御製詞譜 >> 及近人所著詞譜，加以考訂、介紹。四、結語：先從詞在句式分段上與音樂之 關係，說明雙片的詞，由於結構較單片的詞更富變化，更能曲盡聲情，充分發揮音樂的感人 力量，因此雙片的詞牌遠多於單片的詞牌。而三疊雙拽頭詞體是一種能兼具雙疊、尋宗三疊 詞二者優點，又能規避其缺點的一種體式，在詞的發展過程中，應該有其相當的重要性才對 ，然而事實卻不然。進而提出「詞可以說是未完全充分發展即告衰落停滯的一種文學體製」 的看法，以就教於方家。

　　　　　This article, aiming at studying the mode of Shuang Yi Tou in tones of Ci, is divided into four parts. In the first part, an introduction, the writer points out that Ci, a representative of the literature of the Song dynasty, was a new-style lyric poem grown out of music. But in terms of the development of its modes, Ci became atrophied and inactive before full development. This was proved true by the development of the mode of Shuang Yi Tou in triple-segment Ci works. The second part provides a definition of Shuang Yi Tou: the mode used in triple-segment Ci works where the first two segments had fewer characters and their styles were the same. The third part is a careful study of existing Ci works. There are eight triple-segment Ci works which conform to the definition of Shuang Yi Tou. Examples, introductions, annotations, and explanations are given. In the final part, the writer shows that the mode of Shuang Yi Tou was excellent but was neglected and ignored, a fact shown in the relationship between Ci (in syntax and segmentation) and music. This fact, in turn, leads to the conclusion that Ci was a literary style which became atrophied and inactive before full development.