「一三五不論，二四六分明」雜說－兼論近體詩拗句

This article examines the couplet ＂yi-san-wu bu-lun, er-si-liu fen-ming＂, composed by Monk Zhenkong of the Ming dynasty. This couplet, composed in the context of tonal arrangements in recent-style verse, suggests that the first, third and fifth places of a seven-character line can accommodate either a level tone or an oblique tone, but the second, fourth and sixth places can only accommodate the tones assigned to them by the standard tonal patterns. This couplet became very well-known but was denounced by leading literary critics in the Qing dynasty, who considered the odd-numbered places of a line in recent-style verse to be as important as the even-numbered places, and, using the standard tonal patterns as the norm, even went so far as to describe tonal changes in some of the odd-numbered places as tonal violations, or ao, and to deplore them, in an attempt to contradict the couplet's more flexible position. After a detailed analysis of representative treatises in the Qing dynasty on tonal arrangements in poetry, extant recent-style poems composed in imperial examinations and those composed at imperial command, both in the Tang dynasty, it is clear that during Tang times, the first, third and fifth places of a seven-character line in recent-style verse were tonally much more flexible than the even-numbered places, that most of the so-called tonal violations in the odd-numbered places deplored by mainstream critics in the Qing dynasty appear frequently in Tang poetry, and that the adverse criticisms levelled at Monk Zhenkong's couplet were largely unfounded.

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