在晚清詩界革命的發展過程中，黃遵憲提出了以彈詞、粵謳形式為詩歌基礎的「雜歌謠」設想。梁啟超隨即在《新小說》上開闢了「雜歌謠」一欄，讓投稿者專門發表這類借鑒民間歌謠形式的「新體詩」。筆者欲叩問的是，到底為何文人在這場詩界革命中如此看重民間文學，把民間文學作為革新詩歌的資源，例如提倡把民間歌謠寫進詩裡？以俗語入詩、入樂於詩的做法對清末民初的文學、社會、政治的處境起著什麼樣的影響與作用？本文擬以梁啟超、黃遵憲為研究對象，探討兩人在詩界革命運動中改革舊體詩的可能與不可能。本文首先探討詩界革命發展的前因，分析文人在早期詩歌革新中改變舊體詩語言風格的嘗試。其次則進一步探析詩界革命運動的高峰期，文人如何調動民歌以作為「新體詩」的建構資源，試圖以此來重新檢視詩界革命時期詩與歌結合的美學效果。文末則試圖回顧歷代以來中國文學與俗文學的關係，並藉此挖掘中國詩歌通俗化過程的內在動因。本文希望藉由此議題的討論，建構一個在晚清詩界革命中更完整的詩學與民間文藝的互動文學史圖像

This paper focuses on discussing how Huang Zun-xian and Liang Qi-chao, both literati, reform and renew the Chinese traditional poetry style in the period of poetry revolution during late Qing dynasty. Based on the aforementioned process of poetry revolution, Huang Zun-xian proposed an idea of “mixed ballads” based on the form of folk songs like Tan Ci and Yue Ou. Later on, Liang Qi-chao set up a column in literary magazine Xin Xiao Shuo titled Za Geyao aiming for the publication of such new poetry style called Xin Ti Shi, i.e. the mixed ballads between folk rhyme and poems. For further discussion, this paper will first explore the development of the poetry revolution including the process of changing form and language style in the Chinese traditional poetry. In second part, this paper will discuss about the aesthetic effect of Xin Ti Shi and it is also to reexamine the form of such new style poems. Last but not least, it is to review the relationship between the popular folk culture and Chinese literature as well as to explore the internal motive of popularization of Chinese traditional poetry. This paper aims to build up a picture of connection between poetry and folk literature circles in the late Qing dynasty