李白 〈僧伽歌〉向來有真偽之爭，主張本詩乃偽造的一方，其主要論證，即認為李白與僧伽之年歲，不可能相見論道。筆者不願介入真偽之辯，但由於注意這首詩的真偽論爭，而觸發了兩個研究李白詩的新觀點：第一，〈僧伽歌〉中李白以第一人稱「我」出現在詩中，從一般的作詩法則上看，可認為這就是李白在寫自身遭逢的真實事件，因而，李白與僧伽曾否見面論道，就成為這首詩是否真實的重要條件，但是，筆者確實從李白的其他詩篇中，看到他有一種混合「虛擬」與「實境」的特殊筆法，這種筆法的真相如何呢？第二，〈僧伽歌〉中的平仄聲律體製(style)非常特殊，與唐玄宗、張說等君臣唱和的作品極為類似，在唐初以來七言長篇詩的平仄用韻的發展軌道中，可謂既相契又超越，將如何詮釋呢？本論文將以這兩項全新的觀點，提供研究李白詩者共同省思。 LiBai, "Zhenjia Ge" has always be controversies over true-false opinions. The part, which advocates the poem is fake, considered the different live years between LiBai and Zhenjia as the major proof. The writer of this article does not want to join in this debate , but through this he sets up two new opinions of LiBai's poems. The first, LiBai used the first person "I" in the "Zhenjia Ge". According to the generral poem composition rules, we think that LiBai has written the poem as his true life. So if LiBai and Zhenjia have met each other in their lives becomes one of the important true-false contents. But the writer has truly found a special style that mixed "fictitious" and "reality" together in LiBai's other poems. What is the truth of this style? The second, the tonal patterns in the "Zhenjia Ge" are very special. It is very similar to the style in exchange poems of Tang XuanZong and Zhang-Shui. Compared with the seven-syllable quatrain to rhyme poems in the tonal pattern development since Tang Dynasty, the upper similarity was not only a perfect mutual understanding but also overstep of this development. How to annotate this style? This article will provide and explain to the readers who making research of LiBai's poem the two new opinions.