孟浩然五言詩的古律相參現象是盛唐五言古近體復雜關系的典型代表。他"以古入律"的作品在聲律上構成了局部的平厚或拗峭的特點,在對仗上的變化形成了新的偶散相間的層次或更為連貫的意脈。"以律入古"的作品由于局部或整體的律體要素,往往使作品呈現精工與平暢的對立或轉換。詩人古律相參的創作有一定的共時性的題材背景,歷時層面又與求仕失意、散游閑居的經歷有關,二者共同反映出古律相參的主觀性,包含著深層的詩體觀念。孟浩然對五律的認知既有對基本規則的把握,更有基于古體經驗的個性化看法,尤其在偶對結構與句式風格上,但也會造成一些不確定性;而對五古的認知則可能包含古律二者的體裁沖突,其創變的主觀動力受限于盛唐五古的體裁獨立尚在探索中的詩史事實。

The fusion of ancient-style and regulated verses in Meng Haoran’s five-character poetry exemplifies the complicated relationship between ancient-style and contemporary-style regulated verses in the High Tang. His "regulated verses with ancient quality" had either gentle or steep patterns of tonality, and developed more flexible and consistent structures in variations of parallelism. On the other hand, his "ancient-style verses with regulated quality" were often delicate and fluent in parallelistic transformations. During the High Tang, poetry creations of these two types often shared some themes, and were also related to Meng’s political frustrations or personal leisure which in turn reflected the subjectivity of him as an author and, pointed to his poetic ideas. Meng’s perception of five-character regulated verses was based not only on his understanding of the basic principles of this genre, but also on his personal experience in ancient-style verses, especially the couplets structure and language style. However, his perception reflected the inner conflict between the two forms. His creation remained limited by the immature status of five-character ancient-style verses in the High Tang.