清代《詩經》學中，多以考證論《詩»，姚際恆則獨樹一格，其《詩經通論》大量地以文學角度來論《詩»，富有進步與啟發的意義，筆者欲做有系統的研究，本文則就其中橫面連貫的「趁韻論」與「章法論」兩大要點為對象。「趁韻論」中，將「趁韻」、「換韻」視為一種寫作手法並加以分析其中多種的表現方式，有性質相同依序疊詠、相似字詞並列疊詠、主從虛實配合疊詠、倒字簡稱變文疊詠。「章法論」中，從章旬形式、內容結構、漸層關係、互文關係等方面來分析章法。以上探討姚氏從「趁韻」與「章法」兩方面對《詩》所做的文學闡釋，既呈現《詩》的文學特質，亦能點出其所發揮的藝術效用，有助於對詩義、詩旨等的理解與鑑賞，由此可見姚氏以文學論《詩》在《詩經》學史上的地位與價值。

There are many texture criticism of the School of “The Book of Odes" in Ching Dynasty， though YAO Chih- Heng' s texture research of “The Book of Odes" is unique. His “AGeneral Statement of ‘theBook of Odes' " applied for a point view of literature to criticize. Thoseresearches are rich in progressive development and enlightenment. I would like to arrange them systematically.

This article focused on “TheBook of Odes" in grammar-wise. First of all， horizontally is a representative of the whole showed two ways:“Verse rhyme-wise" and “Composition-wise".

“Verse-rhyme-wise" used under-rhyming arrangement and changed rules of rhyming as a literate writing technique to look ov叮Various expressions of “theBook of Odes" well.

There are many various expression ways， for example: the same words usage in series repetition， similar words in alignment repetition， main words and subordinate words in matching- wise repetition， reverse and brief words in changing repetition.
Composition- wise started on the chapter structure， sentence character， perspectives of fade-in and fade- out relations and alternation words relations to work.

From these two wises， I interpreted “the Book of Odes" completely.

Both a literature character and an artistic effect had been developed well. It will help and support the reader to understand its meaning， visions of poets integrally. Further， this literature interpretation of “the Book of Odes" by YAO Chih- Heng achieved a higher value and played an importance role of the School of “The Book of Odes" in world.