檢視衡曲麈譚/作家偶評的原始碼

<h3 class="th3a"><span class="條題">作家偶評</span></h3>
<p>騷賦者，三百篇之變也。騷賦難入樂而後有古樂府，古樂府不入俗而後以<span class="專名">唐</span>絕句為樂府，絕句少宛轉而後有詞。自<span class="專名">金</span>、<span class="專名">元</span>入中國，所用胡樂，嘈雜緩急之間，詞不能按，乃更為新聲以媚之，作家如<span class="專名">貫酸齋</span>、<span class="專名">馬東籬</span>輩，咸富於學，兼喜聲律，擅一代之長，昔稱『宋詞』、『元曲』，非虛語也。大江以北，漸染胡語；而東南之士，稍稍變體，別為南曲，<span class="專名">高則誠</span>氏赤幟一時，以後南詞漸廣，二家鼎峙。大抵北主勁切雄壯，南主清峭柔脆。北字多而調促，促處見筋；南字少而調緩，緩處見眼。各有三昧，難以淺窺，譬之同一師承，而頓、漸分受，不可同日語也，乃製曲者往往南襲北辭，殊為可笑。今麗曲之最勝者，以<span class="專名">王實甫</span><span class="書名">西廂</span>壓卷，<span class="專名">日華</span>翻之為南，時論頗弗取，不知其翻變之巧，頓能洗盡北習，調協自然，筆墨中之罏冶，非人官所易及也。國初作者<span class="專名">王子一</span>輩十六人，僅傳其名，詞未及見。後起如<span class="專名">楊升菴</span>，頗有才情，所著有<span class="書名">洞天玄記</span>、<span class="書名">陶情樂府</span>，流膾人口；但<span class="專名">楊</span>本<span class="專名">蜀</span>人，調不甚諧，而摘句多佳。<span class="專名">楊</span>夫人亦饒才學，最佳者如<span class="書名">黃鶯兒</span>『積雨釀輕寒』一曲，字字絕佳，<span class="專名">楊</span>別和三詞，俱不能勝，固奇品也。北人如<span class="專名">王渼陂</span>、<span class="專名">康對山</span>，翩翩佳致。其後推<span class="專名">山東</span><span class="專名">李伯華</span>。<span class="專名">伯華</span>以<span class="書名">傍妝臺</span>百闋為<span class="專名">對山</span>所欣賞，今其詞尚在，不足道；所為<span class="書名">寶劍</span>、<span class="書名">登壇記</span>，亦是改其郷先輩之作，固自平平，而自負不淺，<span class="專名">弇州</span>嘗譏其腔律未協，非苛求也。<span class="專名">大聲</span>，<span class="專名">金陵</span>將家子，所為散套，尚多借襲，而才情亦淺；然句字流麗，可入絃索，如『三弄梅花』一闋，頗稱作家，固知好句不在多得。<span class="專名">王舜耕</span><span class="書名">西樓樂府</span>，較為警健，題贈亦善調謔，而少風人之蘊藉。<span class="專名">常樓居</span>自有樂府，詞氣豪逸，亦未當行。<span class="專名">谷繼宗</span>、<span class="專名">謝茂秦</span>輩，皆有逸韻，尚居諸君之下。<span class="專名">徐髯仙</span>所為樂府，不能如<span class="專名">大聲</span>穩協，而情思過之。<span class="專名">吳</span>中以南曲名者，<span class="專名">祝希哲</span>、<span class="專名">唐伯虎</span>、<span class="專名">鄭若庸</span>三人媲美。<span class="專名">京兆</span>能為大套，富麗而多駁雜；<span class="專名">解元</span>小詞，纖雅絕倫；<span class="專名">鄭</span>所為<span class="書名">玉玦記</span>，見其一斑。它未足道。<span class="書名">明珠記</span>乃<span class="專名">陸天池</span><span class="專名">采</span>所成者，其兄<span class="專名">浚明</span>給事助之，非一手之烈。<span class="專名">張伯起</span>素喜<span class="專名">梁伯龍</span>博雅擅場，<span class="書名">吳越春秋</span>善述史學而不平實，且賓白工緻，具見名筆，第其失在冗長；若<span class="書名">江東白苧</span>一辭，讀之有學士風，<span class="專名">張伯起</span>評以『擲地金聲』，殆非虛語。與<span class="專名">伯龍</span>相後先者，吾郷之<span class="專名">沈青門</span>，峻志未就，托跡醉郷，其辭冶艷出俗，韻致諧和，入南聲之奧室矣。<span class="專名">伯起</span>好古文辭，尤一時名宿，所為<span class="書名">紅拂</span>傳奇，俠逸秀朗，雖論者有輕弱之嫌，孰知意態修美，如翔禽之羽毛，正自難得。<span class="專名">陸南門</span>、<span class="專名">張少谷</span>語亦雋冷悠然，八音中之有笙、竽，又何可少。<span class="專名">臨川</span>學士旗鼓詞壇，今<span class="專名">玉茗堂</span>諸曲，爭膾人口，其最者，<span class="書名">杜麗娘</span>一劇，上薄<span class="書名">風</span>、<span class="書名">騷</span>，下奪<span class="專名">屈</span>、<span class="專名">宋</span>，可與<span class="專名">實甫</span><span class="書名">西廂</span>交勝，獨其宮商半拗，得再調協一番，辭、調兩到，詎非盛事與？惜乎其難之也！<span class="專名">越</span>之<span class="專名">屠赤水</span>，為辭古鬱，<span class="書名">曇花</span>一記，憤懣淒爽，寓言立教，具見婆心。<span class="專名">史叔考</span>亦起<span class="專名">越</span>中，心手精湛，集中句多佳勝，再得洗刷，一開生面，幾幾乎大雅矣。至<span class="專名">沈寧菴</span>則究心精微，羽翼譜法，後學之南車也。<span class="專名">苕</span>中<span class="專名">吳載伯</span>、<span class="專名">凌初成</span>，詞林之彥，清言楚楚，頗為歛衽。<span class="專名">載伯</span>與<span class="專名">吳門</span><span class="專名">王伯穀</span>姻契雅善，往還酬和，咸都雅可觀。近之佳者如<span class="專名">龍子猶</span>、<span class="專名">王伯良</span>、<span class="專名">卜大荒</span>諸君，皆生動圓轉，領異取新，脈接<span class="書名">金筌</span>，聲傳三籟。而<span class="專名">袁鳧公</span>奉譜嚴整，辭韻恬和，<span class="書名">西樓</span>一帙，即能引用譜書以暢己欲言，筆端之有慧識者；九宮詞譜為聲音滯義，藉作者流通之，<span class="專名">鳧公</span>與有力焉。近之奇崛者，有<span class="專名">范香令</span>，結搆玄暢，可追<span class="專名">元</span>人步武，惜乎不永，一時絕嘆。邇來作手輩出，雖未必盡稱擅場，要多才藻新聲，葩斕映發；奈何傳誦未徧，不能擇其尤者被諸聲歌，茲拈論亦弗概及，第舉諸所見者偶一評騭焉爾。</p>

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