檢視徐復祚曲論/11 的原始碼

<p><span class="書名">題紅</span>，<span class="專名">王伯良</span><span class="夾注"><span class="專名">驥德</span></span>作—<span class="專名">伯良</span>，<span class="專名">屠長卿</span>之友—<span class="專名">長卿</span>深許可之，謂：『事固奇矣，詞亦斐然。』今觀其詞，使事嚮於<span class="專名">禹金</span>，風格不及<span class="專名">伯起</span>，其在季、孟之間乎？獨其結搆如摶沙，開闔照應，了無線索，每於緊處散緩，是又大不如<span class="專名">伯起</span>者也。至其自序<span class="書名">題紅</span>，則曰：『<span class="專名">周德清</span><span class="書名">中原音韻</span>，<span class="專名">元</span>人用之甚嚴，自<span class="書名">拜月</span>、<span class="書名">伯喈</span>始決其藩。傳中惟齊微之於支思，先天之於寒山、桓歡，沿習已久，聊復通用；庚青之於真文，廉纖之於先天間借一二字偶用；他韻不敢混用一字。至北調諸曲，不敢借用，以北體更嚴，存古典刑也。』夫<span class="書名">琵琶</span>出韻，是誠有之，<span class="書名">拜月</span>何嘗出韻？且二傳佳處不學，獨學其出韻，此何說也？此何說也？若曰嚴於北而寬於南，尤屬可笑。曲有南北，韻亦有南北乎？<span class="專名">袁西野</span>有一<span class="書名">清江引</span>，專誚不用韻作曲者，云：『<span class="專名">沈約</span>近來憔悴損，打不開糊塗陣。五言一小詞，四句押三韻。提來到口邊頭煞力子忍。』</p>

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