檢視徐復祚曲論/01 的原始碼

<h2 class="th2a"><span class="卷首題">曲論</span></h2>
<p class="作者">明•徐復祚著</p>
<p>或問<span class="專名">琵琶</span>，曰：『<span class="專名">高明</span><span class="專名">則誠</span>者，<span class="專名">溫</span>之<span class="專名">永嘉</span>人，以<span class="書名">春秋</span>中<span class="專名">元</span><span class="專名">至正</span>乙酉榜，授<span class="專名">處州</span>錄事，調<span class="專名">浙江</span>閫幕都事，轉<span class="專名">江西</span>行臺掾，又轉<span class="專名">福建</span>行省都事。<span class="專名">方國珍</span>聘置幕下，不行。旅寓<span class="專名">明州</span>，以詞曲自娛，因感<span class="專名">劉後村</span>之詩「死後事非誰管得，滿村爭唱<span class="專名">蔡</span>中郎」之句，乃作<span class="書名">琵琶記</span>。有<span class="專名">王四</span>者，以學聞，<span class="專名">則誠</span>與之友善，勸之仕，登第，即棄其妻而贅于<span class="專名">不花</span>太師家，<span class="專名">則誠</span>惡之，故作此記以諷諫。名之曰<span class="書名">琵琶</span>者，取其頭上四「王」為<span class="專名">王四</span>云爾；<span class="專名">元</span>人呼牛為「不花」，故謂之<span class="專名">牛</span>太師；而<span class="專名">伯喈</span>曾附<span class="專名">董卓</span>，乃以之託名也。<span class="專名">高皇帝</span>微時，嘗奇此傳；及登極，召<span class="專名">則誠</span>，以疾辭。使者以傳進，上覽之，曰：「<span class="書名">五經</span>、<span class="書名">四書</span>，在民間譬諸五穀，不可無；此傳乃珍饈之屬，俎豆之間亦不可少也。」及卒，<span class="專名">陸德暘</span>以詩弔之曰：「亂離遭世變，出處嘆才難。墜地文將喪，憂天寢不安。名題前進士，爵署舊郎官。一代儒林傳，真堪入史刊。」又<span class="專名">陶南村</span><span class="書名">說郛</span>載<span class="專名">唐</span>人小說：<span class="專名">牛</span>相國<span class="專名">僧孺</span>之子<span class="專名">緐</span>與同人<span class="專名">蔡</span>生邂逅文字交，尋同舉進士，才<span class="專名">蔡</span>生，欲以女弟適之。<span class="專名">蔡</span>已有妻<span class="專名">趙</span>矣，力辭不得。後<span class="專名">牛</span>氏與<span class="專名">趙</span>處，能卑順自將。後<span class="專名">蔡</span>仕至節度副使。<span class="專名">牛</span>同，<span class="專名">蔡</span>同，<span class="專名">趙</span>同，而<span class="專名">牛</span>能卑順又同，<span class="專名">南村</span>又與<span class="專名">東嘉</span>同時，<span class="專名">會稽</span>、<span class="專名">溫州</span>又同省，則<span class="書名">琵琶</span>之作，必是為<span class="專名">緐</span>；<span class="專名">王四</span>云云，以其有四王而揣摩之也。要之傳奇皆是寓言，未有無所為者，正不必求其人與事以實之也。即今<span class="書名">琵琶</span>之傳，豈傳其事與人哉？傳其詞耳。詞如<span class="書名">慶壽</span>之<span class="書名">錦堂月</span>、<span class="書名">賞月</span>之<span class="書名">本序</span>、<span class="書名">剪髮</span>之<span class="書名">香羅帶</span>、<span class="書名">吃</span>糠之<span class="書名">孝順兒</span>、<span class="書名">寫真</span>之<span class="書名">三仙橋</span>、<span class="書名">看真</span>之<span class="書名">太師引</span>、<span class="書名">賜燕</span>之<span class="書名">山花子</span>、<span class="書名">成親</span>之<span class="書名">畫眉序</span>，富艷則春花馥郁，目眩神驚；淒楚則嘯月孤猿，腸摧肝裂；高華則太華峰頭，晴霞結綺；變幻則蜃樓海市，頃刻萬態。他如<span class="書名">四朝元</span>、<span class="書名">雁魚錦</span>、<span class="書名">二郎神</span>等折，委婉篤至，信口說出，略無扭揑，文章至此，真如九天咳唾，非食煙火人所能辦矣！然白璧微瑕，豈能盡掩？尋宮數調，<span class="專名">東嘉</span>已自拈出，無庸再議。但詩有詩韻，曲有曲韻：詩韻則<span class="專名">沈隱侯</span>之四聲，自<span class="專名">唐</span>至今，學人韻士兢兢守如三尺，罔敢踰越；曲韻則<span class="專名">周德清</span>之<span class="書名">中原音韻</span>，<span class="專名">元</span>人無不宗之。曲之不可用詩韻，亦猶詩之不敢用曲韻也。假如今有詩人於此，取上平十三元一韻，以元、軒、冕等字與先韻叶，以昆、溫、門、孫等字與真韻叶，以煩、幡、潘、藩等字與寒、刪二韻叶，不幾笑破人口乎？何至於曲，而獨可通融假借也？且不用韻，又奚難作焉？今以<span class="專名">東嘉</span><span class="書名">瑞鶴仙</span>一闋言之：首句火字，又下和字，歌麻韻也；中間馬、化、下三字，家麻韻也；日字，齊微韻也；旨字，支思韻也；也字，車遮韻也；一闋通止八句，而用五韻。假如今人作一律詩而用此五韻，成何格律乎？吟咀在口，堪聽乎？不堪聽乎？通本不出韻乎，寂寂不可多得，「飛絮沾衣」外，「簾幕風柔」止出一韻<span class="夾注">（末句『謀』字）</span>，「綠成陰」，「玳筵開處」，「思量那日」，四五套而已矣。若其使事，大有謬處，<span class="書名">叨叨令</span>末句云「好一似<span class="專名">小秦王</span>三跳澗」，<span class="書名">鮑老催</span>句「畫堂中富貴如<span class="專名">金谷</span>」，不應<span class="專名">伯喈</span>時已有<span class="專名">唐文皇</span>、<span class="專名">石季倫</span>也。<span class="書名">賞荷</span>出內<span class="書名">燒夜香</span>末句云「卷起簾兒，明月正上」，明明是夜景矣，何以下<span class="書名">梁州序</span>云「晝長人靜好清閑，忽被棋聲驚晝眠」？又第四闋內「柳陰中忽噪新蟬，見流螢飛來庭院」，蟬聲不應與螢火並出。或人曲護其短，乃曰：「此通一日而言」。此大不通之論。一日之間，自有定序，從早而午，從午而暮，未有早而倏暮，暮又午也。或又以<span class="書名">賞荷</span>、<span class="書名">賞月</span>俱非<span class="專名">東嘉</span>作，乃<span class="專名">朱</span>教諭增入。<span class="專名">朱</span>教諭，吾不知其人；<span class="書名">賞荷</span>之出其手，有之。<span class="書名">賞荷</span>之「楚天過雨」，雄奇艷麗，千古傑作，非<span class="專名">東嘉</span>誰能辦此？<span class="書名">埽松</span>而後，粗鄙不足觀，豈強弩之末力耶？抑真<span class="專名">朱</span>教諭所補耶？真狗尾矣！內有<span class="專名">伯喈</span>奔喪<span class="書名">朝元令</span>四闋，調頗叶，<span class="專名">吳江</span><span class="專名">沈</span>先生已辨其非矣。故余以為<span class="專名">東嘉</span>之作，斷斷自<span class="書名">埽松</span>折止，後俱不似其筆。<span class="專名">王弇州</span>一代宗匠，文章之無定品者，經其品題，便可折衷，然於詞曲不甚當行。其論<span class="書名">琵琶</span>也，曰：「<span class="專名">則誠</span>所以冠絕諸劇者，不惟琢句之工，使事之美而已。其體貼人情，委曲必盡；描寫物態，仿彿如生；問答之際，了無揑造；所以佳耳。至於腔調微有未諧，譬如見<span class="專名">鍾</span>、<span class="專名">王</span>跡，不得其合處，當精思以求詣，不當執末以議本也。」夫「作曲先要明腔，後要識譜，切記忌有傷於音律」。此<span class="專名">丹丘</span>先生之言也。腔調未諧，音律何在？若謂不當執末以議本，則將抹殺譜板，全取詞華而已乎？』</p>

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