本文以段、王二家為對象，以《詩經》之相關著作與論述為範疇，進行比較兩家在《詩經》訓詁之差異，以清代最具代表性成果的「以聲求義」為核心，透過兩家《詩經》訓詁所涉之問題，以「雙聲疊韻之字」、「右文之系聯」、「假借」為討論重點，論述段、王兩家研究之差異，其後就此闡論兩家在對「訓詁之指，本於聲音」的不同體現。段、王氏二家雖皆「以聲音通訓詁」，本質上卻有不同：段玉裁多半受限於形體，未能倡言聲音；王氏則純從聲音之立場切入，不強求其形。若此，從《詩經》訓詁上觀察段、王二家訓詁本質與思維，雖有其同，但在這「同」下，實有本質上之差異。

This article aims at comparing the Duan Yu-cai and the Gaoyou two Wangs’ semantic researches on The Book of Songs. By probing into the proposed issues of their semantic study on The Book of Songs, this author choses the most representative work in Qing dynasty, Yin Sheng Qiu Yi, as the core of study, and emphasizes on characters with coupled initials and rhymes, connection of ‘you wen’, and phonetic loans to clarify differences from Duan Yu-cai’s and the Gaoyou two Wangs’ researches. Although both schools seem to agree on “The keynote of semantic study exists in sounds,”the author argues the radical differences between Duan Yu-cai and the Gaoyou two Wangs for their dissimilar uses of sounds to interpret the meanings of characters. Duan Yu-cai lay emphasis on shapes of the characters rather than the sounds, and the two Wangs highlight sounds. As a result, one may see similarities and differences in their semantic essence and thoughts from their study on The Book of Songs.