檢視顧曲雜言/填詞名手的原始碼

<h3 class="th3a"><span class="條題">填詞名手</span></h3>
<p>我朝填詞高手如<span class="專名">陳大聲</span>、<span class="專名">沈青門</span>之屬，俱南北散套，不作傳奇。惟<span class="專名">周憲王</span>所作雜劇最夥，其刻本名<span class="書名">誠齋樂府</span>，至今行世，雖警拔稍遜古人，而調入絃索，穩叶流麗，猶有<span class="專名">金</span>、<span class="專名">元</span>風範。南曲則<span class="書名">四節</span>、<span class="書名">連環</span>、<span class="書名">綉襦</span>之屬，出於<span class="專名">化</span>、<span class="專名">治</span>間，稍為時所稱。其後則<span class="專名">嘉靖</span>間<span class="專名">陸天池</span>名<span class="專名">采</span>者，<span class="專名">吳</span>中<span class="專名">陸貞山</span>黃門之弟也，所撰有<span class="書名">王仙客明珠記</span>、<span class="書名">韓壽偷香記</span>、<span class="書名">陳同甫椒觴記</span>、<span class="書名">程德遠分鞋記</span>諸劇，今惟<span class="書名">明珠</span>盛行。又<span class="專名">鄭</span>山人<span class="專名">若庸</span><span class="書名">玉玦記</span>，使事穩帖，用韻亦諧，內<span class="書名">遊西湖</span>一套，尤為時所膾炙；所乏者，生動之色耳。近年則<span class="專名">梁伯龍</span>、<span class="專名">張伯起</span>，俱<span class="專名">吳</span>人，所作盛行於世，若以<span class="書名">中原音韻</span>律之，俱門外漢也。惟<span class="專名">沈寧菴</span>吏部後起，獨恪守詞家三尺，如庚清、真文、桓歡、寒山、先天諸韻，最易互用者，斤斤力持，不少假借，可稱度曲<span class="專名">申</span>、<span class="專名">韓</span>，然詞之堪入選者殊尠。<span class="專名">梅雨金</span><span class="書名">玉合記</span>最為時所尚，然賓白盡用駢語，餖飣太繁，其曲半使故事及成語，正如設色骷髏、粉揑化生，欲博人寵愛，難矣！<span class="專名">湯義仍</span><span class="書名">牡丹亭夢</span>一出，家傳戶誦，幾令<span class="書名">西廂</span>減價；奈不諳曲譜，用韻多任意處，乃才情自足不朽也。年來俚儒之稍通音律者，伶人之稍習文墨者，動輒編一傳奇，自謂得<span class="專名">沈</span>吏部九宮正音之秘；然悠謬粗淺，登場聞之，穢溢廣坐，亦傳奇之一厄也。<span class="專名">沈寧菴</span>自號『詞隱生』。按：<span class="專名">北宋</span><span class="專名">万俟雅言</span>在<span class="專名">徽宗</span>朝直<span class="專名">大晟府</span>，亦自稱『詞隱』，豈偶合耶？抑慕而效之也？</p>

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