Abstract: The denotation of Wustyle poetry began to constantly expand after Tang Dynasty. This fact is adverse to our objective understanding of the Wustyle poetrys characteristics. There are only nine poems with the title of Wustyle which were written by Du Fu, Pi Rixiu and Lu Guimeng were identified as Wustyle in Tang Dynasty. Through the generalization of the rhythm norm of sevencharacterYong Ming, the statistics of the mistakes of Wustyle poetry, and the comparison of compound rhythm, the results show that the Wustyle specifically refers to the sevencharactertriolet with flat rhyme. Wustyle poetry is very particular over the antithesis and four tones separation. It pays special attention to four tones opposition of four words and seven words, except the level tone. It also lays emphasis on level and oblique tones opposition of seven words and fourteen words, except the rhyme of first sentence. In Wustyle poetry, the affiliate degree of rhythm between the sentences and couplets is slightly low. The Wustyle poetry combines the simple sentence with compound rhythm, and its rhythm belongs to the broad YongMingstyle rhythm.

Key words: Du Fu, Wustyle, YongMingstyle rhythm, four tones eight problems

摘要： 唐以后的吴体诗外延不断扩大，不利于人们客观认识其特征，唐代确为吴体的只有杜甫、皮日休和陆龟蒙的9首题标“吴体”诗。归纳七言永明声律规范，统计病犯数据，比对合律情况，结果显示：吴体专指七言八句平韵体，讲究对仗，四声分立，特别注重第四、七字四声相对（同平声除外），以及第七、十四字的平仄相对（首句入韵除外），句与句、联与联之间的声律联属度略低，由合律的单句随意堆叠而成，声律上属宽泛的永明声律。

关键词: 杜甫, 吴体, 永明声律, 四声八病