「偶體絕句」是絕句中的一種類型，有其本身獨特的審美要求，不同於一般絕句的體制和審美範式。因其偏重對偶，易流於工巧，章法上較難佈置。有唐一代，詩人不乏「偶體絕句」的創作，杜甫不但致力於此，更加以變化，創作出「偶體絕句」的變體。到了北宋，王安石融合一般唐人和杜甫「偶體絕句」，在技巧上高度鍛鍊，因難見巧；他以崇尚工巧、律法精嚴的詩法，達致渾成天然、容與閒適的詩境，發展了前代的「偶體絕句」，獨樹一幟。本文以王安石之作為討論重點，而上溯唐代，以統計數據說明唐代「偶體絕句」的發展狀況，並通過對杜甫以及其他詩人的比較，分析其特色與章法結構等問題，指出王安石之成就乃在於融會前人，別開一格。

Antithetic quatrains (outi jueju 偶體絕句) are a type of quatrain with unique aesthetic requirements. They differ from the general framework and aesthetic paradigm of regular quatrains in that they require antithesis, a feature that often inhibited artful composition and led authors to overly focus on delicate refinement. In the Tang dynasty, poets produced a considerable number of antithetic quatrains. For example, Du Fu 杜甫 directed a great deal of effort towards the composition of antithetic quatrains and he created an important variant of the form. In the Song dynasty, Wang Anshi 王安石 was the great master of the antithetic quatrain and his creative output was considerable. His antithetic quatrains show a remarkable level of skill, and further exhibit a masterful artistry as well as a high degree of difficulty. In his promotion of the form, Wang advocated for the composition of exquisite and refined poems, and insisted that they realize the poetic conceptions of nature, ease and comfort. Moreover, he endeavored to develop the literary merit of antithetic quatrains and eventually succeeded in establishing a style of his own. In this article, I analyze the evolution of antithetic quatrains over the course of the Tang dynasty on the basis of statistical data. I moreover compare Wang’s antithetic quatrains to those composed by Du Fu, as well as other poets, in order to identify the unique features of his poems and reveal his contributions to this poetic form.