本文為有關道光、咸豐、同治時期，臺灣格律詩作的量化研究，內容是以吳子光、李望洋、李逢時、林豪、陳肇興、鄭如蘭六位臺灣詩人的七律為研究對象，針對臺灣詩人七律之格律與用韻狀況，進行分析與統計。在格律部分，主要針對七律的數量，仄起格、平起格的選用，以及出句句腳四聲遞用等情況進行分析。在用韻部分，主要針對首句是否入韻、平仄韻選用、寬窄韻選用等情況進行分析。藉以觀察臺灣詩人在創作時對於體裁的偏好，並瞭解臺灣詩人在格律、音韻上的追求，及其同時代詩人所呈現之普遍的特色。根據統計結果，發現臺灣詩人創作偏好近體，並以七律為多，七律以平起式為多，並多首句入韻，多用寬韻，亦有以台語音混用歷代通用韻部的情況，在出句句腳多輪用上去入三聲，留意四聲遞用的使用。

This study is quantitative research regarding the metrical patterns of Taiwanese poems in the periods of Dao Guang, Xian Feng, and Tung Chih. The research subjects are seven-words poems of six Taiwanese poets, Tzu-Kuang Wu, Wang-Yang Li, Feng-Shih Li, Hao Lin, Chao-Hsing Chen, and Ju-Lan Cheng. This study analyzes and compiles statistics of the metrical patterns and rhyming of the Taiwanese poets’ seven-words poems. Regarding the metrical patterns, this study mainly analyzes the quantity, the use of oblique and level tones of seven-words poems, and the alternate use of four tones at the end of each odd sentence. For rhyming, this study mainly analyzes the rhyming of the first sentence, the use of oblique and level tones, and the use of wide and narrow tones. Thus, it observes the Taiwanese poets’ preference for the forms of creation and recognizes their pursuit of the metrical patterns and phonology and the general characteristics of the poets at the same time. The statistical result shows that the Taiwanese poets preferred the modern style, and they mostly created seven-words poems based on level tones, the rhyming of the first sentences, and wide tones. Sometimes, they combined the Taiwanese tone with the general tones of the past. They used checked three tones at the end of odd sentences and paid attention to the alternate use of four tones.