本文是臺灣傳統詩人作品形式研究的初步嘗試，以清代臺南名詩人施瓊芳《石蘭山館遺稿》為觀察對象，參酌《詩韻集成》與《彙音妙悟》討論施氏近體詩用韻情形。施瓊芳在近體詩的押韻上，是位中規中矩的詩人，大部份均恪守詩律之規定，不合常軌的變例，也僅僅是零星的二、三首而已，所佔比例極低。本文對施瓊芳近體詩用韻之考察，最後得以下之結論： 1. 五言近體首句多不入韻，變例僅佔2％；七言首句多入韻，變例約佔4％。 2. 358首近體詩均押平聲韻，合平仄律調卻押仄聲韻的詩只有3首。 3. 通韻詩有2首。一首是「首句借鄰韻」，另一首是用「轆轤格」。 4. 韻目的選用也是寬韻多，險韻少。 5. 有1首受口頭母語（泉州音）影響的「出韻」詩。

This study is an initial approach to the work style of traditional poets in Taiwan. The postumous manuscript, Shilanshanguan, from the famous Tainan poet, Shi Qiongfang, (Qing Dynasty) is the object of this paper. The rhyme in his contemporary poems (Jintishi) such as "Poem Collection-Shiyujicheng" and "Huiyinmiaowu" are also referred to in the research. Shi Qiongfang was a very disciplined poet. He followed the rules of rhyming most of the time. Only two or three poems, a low percentage in all his works, are abnormal examples, which do not rhyme. The conclusion of the study is as follows: 1. The first line of poem of five-character does not rhyme, abnormal example is only 2%; the first line of poem of seven-character does rhyme; abnormal example is 4%. 2. 358 poems have level tone (single category) in poetry; only 3 poems belonged to level and oblique tone but rhymed with oblique tone. 3. Two poems are in interchangeable rhyme; one is "the first line of poem used the rhyme of next line" (首句借鄰韻) the other is "pulley style" (轆轤格). 4. The item of rhyme has more words in rhyme. 5. One poem is influenced by Chuanzhou tone, which is a poem using rhyme from next word.