傳統詩行的格律通常以音節音步爲單位，學者對於音步的定義鮮少涉及到句法與重音的關係。此外，古詩不似絕律，沒有聲調平仄格律，即使是絕律，亦有不少詩行遠反平仄規範。如此看來，漢語詩歌之所以成詩，不純粹是由聲調或者音節音步來決定，應該還有其他抽象的原則存在。本文觀察古詩語料庫，認爲古詩節律必須同時考量「語法重音」與「節律重音」的搭配，句法上的「非中心語」獲得重拍，「極度重音」不可落在節律輕拍位置上。在「優選理論」的框架下，本文提出一雙「對整制約」來篩選韻行，【S對整】可篩選陽性韻行，【W對整】可篩選陰性韻行。藉由「浮動制約」機制，正確地預測古詩節律的特性。 The meter of tradition al Chinese verse is usually based on the phrasing of the syllabic foot, which is seldom related to the connection between syntax and stress. In addition, unlike jue-lu, gu-shi is not subsumed under the restrictions of ping-ze tone template, In fact, many lines of Jue-lu violate the ping-ze rules as well. At this point, whether a line qualifies to be a verse is not solely determined by tone or footing, but there should ex is t other abs tract principles. Observing from a corpus of gu-shi, this paper considers that the key to the metrics is the correlation between grammatical stress and metrical stress; a syntactic non-head constituent receives stress, and the stress maximum may not corresponds to a weak metrical position. Under the framework of Optimality Theory, this paper posits a pair of alignment constraints to account for the verse lines; Align-S serves to select a masculine line, whereas Align-W serves to select a feminine line, The positing of a floating constraint then correctly predicts the metrical pattern s of gu-shi.