歷來談論近體詩者，大抵多主張近體詩只押平聲韻，而多略去仄韻之近體詩不論。唯查檢前人之詩集，多有將仄韻之絕律編入近體詩之列者，即於《唐詩三百首》所列二十九首〈五言絕句〉中，仄韻詩即有九首（佔五絕31%），數量不可謂不大。而今人談及近體詩者，多略此而不談，甚者視其為古風詩，此與古人之認知顯有出入。因之筆者即就仄韻近體五絕之平仄譜式，分析、歸納其配置之情狀，同時探究其於吟詩時所呈現之特色，冀望對此仄韻近體五絕能有更清晰之認識。

Most scholars who have discussed recent-style poetry maintain that recent-style poetry only employ level-toned rhyme, and they do not not talk about the one employing oblique-toned rhyme. However, if we examine those ancient literati’s poetic collections, we can find that many editors or poets have included oblique-toned pentasyllabic quatrain into the category of recent-style poetry. Taking The Three Hundred T’ang Poems as an example, there are 9 poems out of 29 poems in the collection, and it reaches 31%. While modern scholars omit this part when discussing recent-style poetry, some even regard it as ancient-style poetry. And this situation is very different from the ancient people’s recognition. Therefore, this paper will analyze the tonal patterns of oblique-toned pentasyllabic quatrain from the perspective of rhyme schemes and tone locations. Finally, the author intends to prove that pentasyllabic quatrain is also required to follow the rules of tonal patterns, so that we are able to have a clear understanding of recent-style poetry.