本文首先完成梁陳隋時期五言詩律化情況的量化研究，列表顯示出：當時五言詩 單句律化及聯內成對的比例基本上日漸上升到很高的程度，只有聯間成黏的現象還比較少見 。其次，我進而研究，永明聲律運動之主流理論中與律化方向相矛盾的兩個點是如何解決的 。這兩個點是：(1) 講究四聲相對與講究平仄相對之別；(2) 在句內其他位置從事調聲與固 定在二、四字從事調聲之別。關於第一點，答案在於當時人已覺得平聲字「賒緩」，與其他 三聲字之急促或陡峭有較明顯的差別，因而理論上雖談四聲，實際創作時卻自然傾向於拿平 聲字與其他三聲字相對，而隱合平仄二分的律化原則。關於第二點，答案在於當時主流理論 所提的注重一句首字、二字、五字等紛雜說法，尤其是二、五字不得同聲的說法，產生的音 韻效果不佳；而較不出名但已被留心到的二、四字不同聲的要求反而有利於聲調變化，因而 詩人逐漸接受此一調聲規則。

　　　　　Based upon a thorough, quantitative investigation into the fivecharacter poetry of the Liang 梁, Chen 陳, and Sui 隋 dynasties, this study first comes to the conclusion that, in the period in question, the tendency of "regulatedness" (lU haa 律化 ) basically rose day by day. With the establishment of this conclusion, two complicated problems stand out to be solved. The first is how the stress on the arrangement of the "four tones" (si sheng 四聲 ), which the Yong-ming 永明 movement of tonal euphony originally advocated, shifted into the arrangement of the "level and oblique tones" (ping ze 平仄 ), which the regulated verse required. The second is how the places of tonal arrangement gradually came to be regularized as the second and the fourth characters of a line. The rest of this study provides my answer to these two problems.