樂府詩之起源為民間流傳歌謠，初期樂府歌辭皆是為了配樂吟唱而作。因此漢朝樂府歌辭中除了音樂符號等特色外，亦多呈現各種修辭技巧，例如：疊字、疊句、對偶、頂真、排比、層遞等。此些修辭技巧共同特色為形式與意義上的「重疊反覆」，在歌辭中亦蘊含著獨特的節奏感。其中的「頂真格」即如接龍遊戲，「對偶」則上下對照相似兩句，作者從研究中認為這兩項修辭技巧在配樂而吟唱的樂府詩中扮演重要的角色。據此，本文研究範圍為「鼓吹曲辭」、「相和歌辭」中的漢朝民歌，探討其中獨特的修辭技巧。主要針對民歌中的「頂真格」在釀造節奏感的作用中對詩意產生的影響，以及在六朝時期已普遍化的「對偶」在漢朝民歌中又曾是如何的角色，這兩大部分進行分析與探討。

Yue-fu poetry originated from folk songs, and most of the early days of Yue-fu poetry were accompanied by music. For this reason, not only can musical symbols be seen in the lyrics of Yue-fu poetry in the Han Dynasty, but also various rhetorics are frequently used. These rhetorics have in common that they repeat in form and meaning with a slight change in font and content, creating a unique rhythm in the lyrics. Among them, the ding-zhen resembles the Japanese word chain game, and the antithesis that contrasts two similar phrases play an important role in characterizing Yue-fu poetry as a song. This paper studies the characteristics of the rhetoric of folk songs in the Han dynasty, which are found in “Gu-chui quci” and “Xiang-he geci”. The second chapter explores the effect of the ding-zhen on poetry, and the third chapter explores aspects of the antithesis.