王力《漢語詩律學》自出版以來，影響兩岸古典詩詞的教學至巨，學術界在討論詩詞曲格律時往往也引以為據，《漢語詩律學》是討論古典詩格律最重要的著作之一。 《漢語詩律學》以大量的詩句詞句統計為根據，很具說服力，書中也確有許多前人未發之創見，如五言近體詩中「平平仄平仄」自來被認為是三、四平仄互換的單拗，屬當句自救，王氏從唐宋人近體詩格律中發現，此一句式普遍見於唐宋人詩中，故名為特拗。 本文主要在補證王力對五言近體詩「平平仄平仄」這一句式「多數用於尾聯的出句」之說；其次是王氏認為五言近體中，應極力避免下三平（三平調），因為三平調「是古體詩的標準平仄」。然筆者統計初、盛唐陳子昂、沈佺期、宋之問、王維、高適五位詩人所有五言律詩，並以若干中、晚唐詩人為證，發現王氏近體詩避免三平調之說應是中晚唐才有的情形。

From the data of its publication, Han-yü shih-lü-hsüeh exacted a great deal of influence on the teaching of Chinese classic poetry. Scholars often quote it whenever they discuss the tone scheme of the regulated poetry. It is one of the most important books on the tone rules of classic poetry. Based on the statistics of a great amount of poems, Han-yü shih-lü-hsüeh is persuasive and creative. For instance, the tone scheme "even-even-oblique-even-oblique" was always considered as deviated sentence (au-chü) whereas Wang Li suggested that it is a normal tone scheme. Persuasive and creative as it may be, the book also presents insights as well as some controversial points. One of the insights is that the tone scheme "even-even-oblique-even-oblique" was used only in the last couplet of the regulated poetry. The controversial point is that the so-called "three-even tone" lines were used only in old-style poetry and could not be used in the recent-style poetry. This article, based its argument on the statistics of the poems of Ch'en Tzu-ang, Shen Ch'üan-ch'i, Sung Chih-wen, Kao Shih, Wang Wei and some other middle-late T'ang poets, agrees with his first theory and disagrees with the his second theory.