檢視顧曲雜言/南北散套的原始碼

<h3 class="th3a"><span class="條題">南北散套</span></h3>
<p><span class="專名">元</span>人如<span class="專名">喬夢符</span>、<span class="專名">鄭德輝</span>輩，俱以四折雜劇擅名，其餘技則工小令為多；若散套，雖諸人皆有之，惟<span class="專名">馬東籬</span>『百歲光陰』、<span class="專名">張小山</span>『長天落彩霞』為一時絕唱，其餘俱不及也。<span class="專名">元</span>人俱嫺北調，而不及南音。今南曲如『四時歡』、『窺青眼』、『人別後』諸套最古，或以為<span class="專名">元</span>人筆，亦未必然。即<span class="專名">沈青門</span>、<span class="專名">陳大聲</span>輩南詞宗匠，皆本朝<span class="專名">化</span>、<span class="專名">治</span>間人。又同時如<span class="專名">康對山</span>、<span class="專名">王渼陂</span>二太史，俱以北擅場，並不染指於南。<span class="專名">渼陂</span>初學填詞，先延名師，閉門學唱三年，而後出手，其專精不泛及如此。<span class="專名">章邱</span><span class="專名">李中麓</span>太常亦以填詞名，與<span class="專名">康</span>、<span class="專名">王</span>俱□友，而不嫺度曲，即如所作<span class="書名">寶劍記</span>，生硬不諧，且不知南曲之有入聲，自以<span class="書名">中原音韻</span>叶之，以致<span class="專名">吳</span>儂見誚。同時惟<span class="專名">臨朐</span><span class="專名">馮海槎</span>差為當行，亦以不作南詞耳。南詞自<span class="專名">陳</span>、<span class="專名">沈</span>諸公外，如『樓閣重重』、『因他消瘦』、『風兒疎剌剌』等套，尚是<span class="專名">化</span>、<span class="專名">治</span>遺音；此外<span class="專名">吳</span>中詞人，如<span class="專名">唐伯虎</span>、<span class="專名">祝枝山</span>，後為<span class="專名">梁伯龍</span>、<span class="專名">張伯起</span>輩，縱有才情，俱非本色矣。今傳誦南曲，如『東風轉歲華』，云是<span class="專名">元</span>人<span class="專名">高則誠</span>，不知乃<span class="專名">陳大聲</span>與<span class="專名">徐髯仙</span>聯句也；又『東野翠煙銷』，乃<span class="專名">元</span>人<span class="書名">子母冤家</span>戲文中曲，今亦屬之<span class="專名">高</span>筆：訛以傳訛至此。且今人但知<span class="專名">陳大聲</span>南調之工耳，其北<span class="書名">一枝花</span>『天空碧水澄』全套，與<span class="專名">馬致遠</span>『百歲光陰』，皆詠秋景，真堪伯仲；又<span class="書名">題情新水令</span>『碧桃花外一聲鐘』全套，亦綿麗不減<span class="專名">元</span>人；本朝詞手，似無勝之者。<span class="專名">陳</span>名<span class="專名">鐸</span>，號<span class="專名">秋碧</span>，<span class="專名">大聲</span>其字也，<span class="專名">金陵</span>人，官指揮使。今皆不知其為何代何方人矣。近代南詞散套盛行者，如<span class="專名">張伯起</span>『燈兒下』，乃依『幽窗下』舊腔贈一孌童，即席取辦，宜其用韻之雜。如<span class="專名">梁少白</span>『貂裘染』，乃一<span class="專名">揚州</span>鹽客眷舊院妓<span class="專名">楊小環</span>，求其題詠。曲成，以百金為壽。今無論其雜用庚清、真文、侵尋諸韻，即語意亦俚拙可笑，真不値一文！</p>

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