歷來評述胡適的詩學成就僅止於外部研究，至於胡適詩學內部的藝術表現，尤其節奏理論之美學推展，則貶多於褒。本論文以為，從新詩節奏史的發展來說，胡適建構的節奏理論及其實踐，是深具現代性而有美學意義的。 本論文共分六章撰寫。第一章除了論述研究範疇及目的、文獻回顧與評述、研究方法與進行步驟之外，最重要在於「節奏」二字之中西溯源與比較，以及運用於詩歌後的意義界定；尤其中國詩歌的節奏意涵與西方迥然不同，藉由中西對照，更能凸顯中國詩歌的節奏要素，進而界定胡適新詩節奏之範疇。另外胡適與晚清詩壇之追溯，則試圖釐清「自然音節」節奏論與晚清詩人的承續。 胡適新詩節奏的宗旨是「自然音節」，第二章至第三章旨在追溯胡適建立自然音節的過程與理論詮釋。胡適的自然音節分為「節」與「用韻」兩大核心議題，第二章著重於「節」的建立過程與詮釋，第三章則聚焦於韻腳。 胡適的新詩節奏建立與友人密不可分，於是第四章探討胡適與友人的論爭對其新詩節奏理論形成的影響。第四章第四節則企圖用不同的視角審視胡適的新詩節奏，以接受美學的史觀及詮釋學學者加達默爾的前理解，看探胡懷琛改詩事件在1920年代詩壇的意義。第五章則從胡適新詩節奏的建立，評論胡適的詩作表現，是理論建立運用於詩作的成果展現。最末章除總結研究成果之外，更說明尚未解決的議題，以待將來進一步深究。 ;The commentary of Hu Shi′s poetics achievement was only limited by external research over a period of time. For the artistic expression concerning internal research of poetics, especially the development of rhythm theory aesthetics was more negative comments than positive comments. This dissertation consider that Hu Shi’s rhythm theory and its practice has great modernity and aesthetic significance. This dissertation is based on six chapters. The first chapter is an introduction that introduces the research method, step, category and objective of this article as well as the relevant study of rhythm in academic world. The most important exploration is comparing and tracing etymologic meaning of rhythm, and the definition of applying to poetry. Because the implication of rhythm in Chinese poetry is different from the West completely, this comparison can highlight the rhythmical element of Chinese poetry and define the category of Hu Shi’s poetic rhythm. In addition, to retrace the relationship between Hu Shi and late Qing Parnassus is trying to clarify the succession of natural cadence. The purpose of Hu Shi’s poetic rhythm is natural cadence which consist of Jie and rhyme. The second and third chapters aim to explore the building process of Hu Shi’s natural cadence and its theoretical interpretation. The generating of Hu Shi’s poetic rhythm has a close relationship with his friends, and therefore the forth chapter explores the controversy between Hu Shi and his friends and the influence of forming poetic rhythm. It is also trying to use the Aesthetic of Reception and Hermeneutics of Hans-Georg Gadamer’s Vorverstandnis to investigate the meaning of Hu Shi’s poetic rhythm from ‘correcting Hu Shi′s poems by Hu Huaichen’ in the 1920s. The fifth chapter reviews Hu Shi’s poetry performance was based on his composition of poetic rhythm. The final chapter sums up the research result and explains unresolved issues for the further study.
