The unity of stylization and flexibility is not only a major characteristic of Shi Diao ( popular tunes) in the late Qing Dynasty and the early Republic of China but also one of the reasons for its longstanding strong vital-ity at that time. The stylization of Shi Diao is distinctly marked by the stereotypic pattern in its creation, that is, on one hand, one tune tends to have its fixed tone, sentence pattern and number of characters, so different tunes and characters can be filled in according to the name of tunes, thus having some settled formula and led to marked ho-mology in the late Qing Dynasty and the early Republic of China;on the other hand, the mutual imitation of tunes in themes and writing techniques were also rather universal. However, the stereotype of Shi Diao ( popular tunes) is not equal to total similarity, for some composers equipped with an innovative spirit would produce innovative works by breaking through the fixed pattern of tunes, which is characteristic of the unity of stylization and flexibility in Shi Diao ( popular tunes) . Therefore, Shi Diao could present such a lasting and charming style in the late Qing Dynasty and the early Republic of China.%程式化与灵活性相统一是清末民初时调曲词的一大特征，亦是清末民初时调保持长久旺盛生命力的原因之一。时调的程式化突出表现为创作上的模式化：一方面，一种曲调往往具有固定的腔调、句式、字数，可以根据曲牌填入不同曲词，具有形式上的套路，这就导致清末民初时调中同调异词的现象颇为突出；另一方面，题材或创作手法上相互仿制的现象也较常见。但时调曲词的模式化并不等同于完全雷同，一些不墨守成规的编唱者往往能突破时调的固定程式而创制出富有新意的作品。这就体现了时调曲词的程式化与灵活性相统一的特征。清末民初时调也因此绽放出持久、迷人的风采。
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