檢視梨園原/論曲原的原始碼

<h3 class="th3a"><span class="條題">論曲原</span></h3>
<p><span class="專名">王伯良</span>曰：『曲者，樂之支也。自<span class="書名">康衢</span>、<span class="書名">擊壤</span>、<span class="書名">黃澤</span>、<span class="書名">白雲</span>以降，於是<span class="書名">越人</span>、<span class="書名">易水</span>、<span class="書名">大風</span>、<span class="書名">瓠子</span>之歌繼作，聲漸靡矣。樂府之名，仿於<span class="專名">西漢</span>，其屬有鼓吹、橫吹，相和及清商雜調諸曲。入<span class="專名">唐</span>而以絕句為曲，<span class="書名">清平調</span>、<span class="書名">鬱輪袍</span>、<span class="書名">梁州</span>、<span class="書名">水</span>之類；又創為<span class="書名">憶秦娥</span>，<span class="書名">菩薩蠻</span>等曲，蓋<span class="專名">太白</span>、<span class="專名">龜年</span>輩實為作俑。入<span class="專名">宋</span>而詞始大振，<span class="專名">周</span>侍御、<span class="專名">屯田</span>其最也。入<span class="專名">元</span>而益漫衍其製，北聲北曲，遂擅一代，顧未免滯於絃索，且多染胡語。迨<span class="專名">明</span>季又變為南曲，婉麗嫵媚，一唱三歎，於善、美兼至，極聲調之能事。始猶南、北畫地相角；近年以來，<span class="專名">燕都</span>之歌童舞女，咸棄其捍撥盡效南聲，而北調幾廢。<span class="專名">何元朗</span>謂：「更數世後，北曲必且失傳矣。」』</p>

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