《西江月》在宋属平仄通叶格,关于此调作法,历来多依沈义父,上下片两结句由平声切去押仄声,并以柳永词为正体。对于结句所叶仄声,一直少有人关注,只夏承焘、施议对有所论及。文章在前贤基础上,从四声之别、宫调声情及宋词创作实际等几个方面,对此问题作进一步探究。认为《西江月》一调所叶仄声,以去声为宜;《西江月》一调,应以《词律》所收史达祖词为正体。 “Xijiang Yue” is a flat Cheong Tong Yeh song, on this transfer method, has always been more dependent on the father, the upper and lower pieces of the two sentences by the Ping Sheng cut off the Cheek sound, and Liu Yong words as the body. There are few people who have been paying attention to the sound of the knot in the end of the sentence. Only Xia Chengtao and Shi Yimin have discussed it. On the basis of the predecessors, the essay makes further exploration on this issue from the aspects of four noises, palace tone and the actual creation of the Song Ci. That the “Xijiang Yue” a tone leaves flat sound, the tone is appropriate; “Xijiang Yue” a tone, should be “word law” the history of the ancestor of the word for the body.