［唐］劉長卿（約726-789）之七言律詩「質」與「量」俱佳，值得重視。然而，劉氏身處盛、中唐的過渡期，故後世學者對其為盛唐人抑或中唐人，見解不同；影響所及，對其七律之定位，亦有歧見，或歸為盛唐，或列入中唐，看法不一，難有定論，甚而忽視其價值。 本文不蹈前人之轍，未將焦點置於於劉長卿七律的內容，改由「格律」切入，探賾其「平仄」、「對偶」、「用韻」情形，盼透過不同角度窺測，重新思考，正視劉長卿七律的貢獻。 另一方面，本文將杜甫七律納入討論，作為參照、比較的對象，以厚實論證。劉長卿與杜甫時代相近，但後世對兩人七律的評價迥然相異，杜甫七律向來被視為盛唐七律的代表，可謂標竿；劉長卿七律的定位則尚存爭議，難以彰揚。不僅如此，前人述及唐代七律發展時，亦常同時提到劉、杜二人，兩人之七律實存在微妙關聯，有待探詳。職是之故，本文藉參較劉、杜七律的格律表現，明白個別特色，並見異同之處，冀解決劉長卿七律的定位問題，進而闡發其價值與貢獻，更盼梳理唐代七律發展的重要環節，裨補詩史書寫之一隅。 ;[Tang] Liu Zhangqing（ca. 726-ca. 789）’s seven-character regulated verse, “quality” and “quantity” are both good and worthy of attention. However, Liu was in the transitional period between The High Tang and The Middle Tang. Therefore, scholars of later generations were stand in either The High Tang poet or The Middle Tang poet. Moreover, there were differences in their position of the seven-character regulated verse, classified as The High Tang or included in The Middle Tang. Different opinions are difficult to determine, lead to the ignorance of Liu’s value. This treatise doesn’t follow the predecessors, I do not focus on the content of Liu Zhangqing’s seven-character regulated verse. I will apply the “Classical Chinese poetry forms”（格律）, analyzing the “Pingze”（平仄）, “Duiou”（對偶）and “rhyme phenomenon”（用韻）situations. I hope to see through different angles by rethinking and to face the contribution of Liu Zhangqing’s seven-character regulated verse. On the other hand, this treatise incorporates Du Fu（712-770）’s seven-character regulated verse into the discussion as a more useful object of comparison. The existing era of Liu Zhangqing and Du Fu are similar. However, the evaluation of their seven-character regulated verse in the later generations is quite different. Du Fu’s seven-character regulated verse has always been regarded as the representative of the seven-character regulated verse in The High Tang, while the position of Liu Zhangqing’s seven-character regulated verse is still controversial and difficult to recognize. Besides, when the predecessors mentioned the development of the seven-character regulated verse in the Tang Dynasty, they often referred to Liu and Du at the same time. The seven-character regulated verse of them remains subtle connections and deserves our exploration. This treatise strives to analyze and compare the performances of Liu Zhangqing and Du Fu’s seven-character regulated verse, expecting to clarify the similarities and differences between the two. I presume that I can solve the problem of Liu Zhangqing’s seven-character regulated verse as well as explaining its value and contribution. Also, to sort out the important links of the development of the seven-character regulated verse in the Tang Dynasty and complete a piece of the history of poetry.
