檢視碧雞漫志/卷一/09 的原始碼


<span class="專名">唐</span>時，古意亦未全喪。<span class="書名">竹枝</span>、<span class="書名">浪淘沙</span>、<span class="書名">拋毬樂</span>、<span class="書名">楊柳枝</span>乃詩中絕句，而定為歌曲，故<span class="專名">李太白</span><span class="書名">清平調</span>詞三章，皆絕句。<span class="專名">元</span>、<span class="專名">白</span>諸詩，亦為知音者協律作歌。<span class="專名">白樂天</span>守<span class="專名">杭</span>，<span class="專名">元微之</span>贈云：『休遺<span class="專名">玲瓏</span>唱我詩，我詩多是別君辭。』自注云：『樂人<span class="專名">高玲瓏</span>能歌，歌予數十詩。』<span class="專名">樂天</span>亦醉戲諸妓云：『席上爭飛使君酒，歌中多唱舍人詩。』又<span class="書名">聞歌妓唱前郡守嚴郎中詩</span>云：『已留舊政布中和，又付新詩與艷歌。』<span class="專名">元微之</span><span class="書名">見人詠韓舍人新律詩戲贈</span>云：『輕新便妓唱，凝妙入僧禪。』<span class="專名">沈亞之</span>送人序云：『故友<span class="專名">李賀</span>，善撰南北朝樂府古詞，其所賦尤多怨鬱悽艷之句。誠以蓋古排今，使為詞者莫得偶矣，<span class="注">「得」，一作「能」。</span>惜乎其中亦不備聲歌弦唱。』然<span class="書名">唐史</span>稱：<span class="專名">李賀</span>樂府數十篇，<span class="專名">雲韶</span>諸工皆合之弦筦。又稱：<span class="專名">李益</span>詩名與<span class="專名">賀</span>相捋，每一篇成，樂工爭以賂求取之，被聲歌，供奉天子。又稱：<span class="專名">元微之</span>詩，往往播樂府。舊史亦稱：<span class="專名">武元衡</span>工五言詩，好事者傳之，往往被于筦弦。又舊說：<span class="專名">開元</span>中詩人<span class="專名">王昌齡</span>、<span class="專名">高適</span>、<span class="專名">王之渙</span>詣旗亭飲，梨園伶官亦招妓聚燕。三人私約曰：『我輩擅詩名，未定甲乙，<span class="注">「定」，一作「第」。</span>試觀諸伶謳詩分優劣。』一伶唱<span class="專名">昌齡</span>二絕句云：『寒雨連江夜入<span class="專名">吳</span>，平明送客<span class="專名">楚</span>帆孤。<span class="專名">洛陽</span>親友如相問，一片冰心在玉壺。奉帚平明金殿開，強將團扇共徘徊，玉顏不及寒鴉色，猶帶<span class="專名">昭陽</span>日影來。』一伶唱<span class="專名">適</span>絕句云：『開篋淚沾臆，見君前日書。夜臺何寂寞？猶是<span class="專名">子雲</span>居。』<span class="專名">之渙</span>曰：『佳妓所唱，如非我詩，終身不敢與子爭衡；不然，子等列拜牀下。』須臾，妓唱：『<span class="專名">黃河</span>遠上白雲間，一片孤城萬仞山。羌笛何須怨楊柳，春風不度<span class="專名">玉門關</span>。』<span class="專名">之渙</span>揶揄二子曰：『田舍奴，我豈妄哉！』以此知<span class="專名">李</span><span class="專名">唐</span>伶伎，取當時名士詩句入歌曲，蓋常俗也。<span class="注">『俗』，一作『事』。</span><span class="專名">蜀王衍</span>召<span class="專名">嘉王</span><span class="專名">宗壽</span>飲<span class="專名">宣華苑</span>，命宮人<span class="專名">李玉簫</span>歌<span class="專名">衍</span>所撰<span class="書名">宮詞</span>云：『輝輝赫赫浮五雲，<span class="專名">宣華池</span>上月華春。月華如水映宮殿，有酒不醉真癡人！』<span class="專名">五代</span>猶有此風，今亡矣。近世有取<span class="專名">陶淵明</span>『歸去來』、<span class="專名">李太白</span>『把酒問明月』、<span class="專名">李長吉</span>『將進酒』、<span class="專名">大蘇公</span>『赤壁前、後賦』協入聲律，此暗合其美耳。<span class="注">一云『此暗合孫吳耳』。</span><span class="專名">元微之</span>序<span class="書名">樂府古題</span>云：『操、引、謠、謳、歌、曲、詞、調八名，起於郊祭軍賓，吉凶苦樂之際。在音聲者，因聲以度詞，審調以節唱，句度長短之數，聲韻平上之差，莫不由之準度。而又別其在琴瑟者，為操、引；採民甿者，為謳、謠；備曲度者，總謂之歌、曲、詞、調。斯皆由樂以定詞，非選詞以配樂也。詩、行、詠、吟、題、怨、歎、章、篇九名，皆屬事而作，雖題號不同，而悉謂之為詩可也。後之審樂者，往往取其詞，度為歌曲，蓋選詞以配樂，非由樂以定詞也。』<span class="專名">微之</span>分詩與樂府作兩科，固不知事始，又不知後世俗變。凡十七名，皆詩也。詩即可歌、可被之筦弦也。元以八名者近樂府，故謂由樂以定詞；九名者本諸詩，故謂選詞以配樂。今<span class="書名">樂府古題</span>具在，當時或由樂定詞，或選詞配樂，初無常法。習俗之變，安能齊一？
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