詞的研究，很少從韻律的角度垂直切入，而完全窮盡性、垂直型的研究，實在是徹底搞清楚一個詞調不二的法門，我們嘗試從傳統的詞體結構單位著手，對每一個均拍都進行了細緻的分析，經過詳細的解剖，從中釐清了〈喜遷鶯〉慢詞這個詞調，在體式、用字、行韻、平仄、句法等等方面的各種問題，還挖出了隱藏在該調內的另一個詞調。該成果對進一步從其他方面研究這一詞調，提供了最底層的全面認識；對唐宋詞詞體研究，提供了一種新的視角；對今人創作這一詞調，則提供了最準確的譜式觀照，在恪守傳統的基礎上，給予了更大的創作自由。

Scholars seldom study Ci poetry (a type of poetry in ancient China) directly from the perspective of rhyme schemes. The only way to thoroughly figure out the tunes of Ci poetry is to do a completely exhaustive and vertical study of it. We try to start with the traditional structural unit to perform a detailed analysis of every rhyming beat and all verses. After detailed anatomy, we have not only sorted out various problems of the slow tunes in “Xi Qian Ying,” for example, the fixed format in this tune of Ci poetry, usage of words, rhyme rules, ping-ze (level and oblique tones), syntax, etc., but also dug out another hidden tonal patterns and rhyme schemes from this Ci poetry. This article provides a deep and comprehensive understanding of the further study on the slow tune of Ci poetry from other aspects. It provides the most accurate reference to the fixed format in the tunes of Ci poetry for current study; on the basis of adhering to the tradition, it gives greater freedom of creation on Ci poetry.