王漁洋為清初康熙年間的詩壇領袖，不僅留下質、量均極可觀的詩歌創作，更提出了影響後世深遠的詩學主張：「神韻說」與「古詩平仄論」。對於這兩項主張，歷來研究者多詳於前者而略於後者，論及漁洋詩學，往往獨標「神韻」，未及其他；實則「古詩平仄論」的重要性不下於「神韻說」。然而，這樣一項重要的詩學課題，目前學界的討論似乎仍不夠全面，尤其未能結合王漁洋個人的古詩創作，探究其主張與實踐之間的關係，要想了解王漁洋究竟如何看待自己所提出的「古詩平仄論」，不免終隔一層，有隔靴搔癢之憾。職是之故，本文擬就此題再予探論。研究結果顯示，王漁洋七古聲調說的主張與實踐，雖未能臻於契若針芥、間不容失的地步，卻也前後呼應、聲氣相通，彼此淪浹為王氏個人一完整的詩學見解，值得研究者嚴肅以待，深入探賾，恢復其在王漁洋詩學、乃至於整個清代詩學中的重要性，並尋找新的文學史定位。

Wang Yuyang was the poet laureate during the reign of Emperor Kangxi of the Qing Dynasty. Not only had he left poetic creation massive in quantity and magnificent in quality, but he also proposed two impactful poetic theories as his legacy: ”The romantic charmtheory” and the ”theory of the tonal patterns of Chinese ancient poetry.” However, although the influence of the latter is no less important than the former, the former attracted far more academic attentions than the latter, as ”the romantic charm” has almost become the hallmark of Wang's poetry. The negligence of Wang's ”tonal pattern theory” has caused a gap in the academic study of Chinese ancient poetry, and somewhat misled the evaluation of Wang's own poetic creation. In this regard, this paper attempts to grope further for this topic. Even though Wang's creation of the seven-syllable ancient poems does not exactly correspond to his theories, his notions about tonal patterns still have a great impact on Qing's poetic development, for which is this paper's aim to pinpoint Wang's literary position.