檢視顧曲雜言/雜劇院本的原始碼

<h3 class="th3a"><span class="條題">雜劇院本</span></h3>
<p><span class="專名">涵虛子</span>所記雜劇名家凡五百餘本，通行人間者，不及百種。然更不止此。今教坊雜劇約有千本，然率多俚淺，其可閱者十之三耳。<span class="專名">元</span>人未滅<span class="專名">南宋</span>時，以此定士子優劣，每出一題，任人填曲，如<span class="專名">宋</span><span class="專名">宣和</span>畫學，出<span class="專名">唐</span>詩一句，恣其渲染，選其能得畫外趣者登高第，以故<span class="專名">宋</span>畫、<span class="專名">元</span>曲，千古無匹。<span class="專名">元</span>曲有一題而傳至四五本者，余皆見之。總只四折。蓋才情有限，北調又無多，且登場雖數人而唱曲祗一人，作者與扮者力量俱盡現矣。自北有<span class="書名">西廂</span>，南有<span class="書名">拜月</span>，雜劇變為戲文，以至<span class="書名">琵琶</span>遂演為四十餘折，幾十倍雜劇。然<span class="書名">西廂</span>到底不過描寫情感。余觀北劇，儘有高出其上者，世人未曾遍觀，逐隊吠聲，咤為絕唱，真井蛙之見耳。本朝能雜劇者不數人，自<span class="專名">周憲王</span>以至<span class="專名">關中</span><span class="專名">康</span>、<span class="專名">王</span>諸公，稍稱當行。其後則<span class="專名">山東</span><span class="專名">馮</span>、<span class="專名">李</span>亦近之，然如<span class="書名">小尼下山</span>、<span class="書名">園林午夢</span>、<span class="書名">皮匠參禪</span>等劇，俱太單薄，僅可供笑謔，亦教坊耍樂院本之類耳。雜劇如<span class="書名">王粲登樓</span>、<span class="書名">韓信𦜮下</span>、<span class="書名">關大王單刀會</span>、<span class="書名">趙太祖風雲會</span>之屬，不特命詞之高秀，而意象悲壯，自足籠蓋一時；至若<span class="書名">梅香</span>、<span class="書名">倩女離魂</span>、<span class="書名">牆頭馬上</span>等曲，非不輕俊，然不出房幃窠臼，以<span class="書名">西廂</span>例之可也；他如<span class="書名">千里送荊娘</span>、<span class="書名">元夜鬧東京</span>之屬，則近粗莽；<span class="書名">華光顯聖</span>、<span class="書名">目蓮入冥</span>、<span class="書名">大聖收魔</span>之屬，則太妖誕；以至<span class="書名">三星下界</span>、<span class="書名">天官賜福</span>種種喜慶傳奇，皆係供奉御前，呼嵩獻壽，但宜教坊及鐘鼓司肄習之，並勛戚、貴璫輩贊賞之耳。若所謂院本者，本<span class="專名">北宋</span><span class="專名">徽宗</span>時五花爨弄之遺，有散說，有道念，有筋斗，有科汎。初與雜劇本一種，至<span class="專名">元</span>始分為兩。迨本朝，則院本不傳久矣；今尚稱院本，猶沿<span class="專名">宋</span>、<span class="專名">金</span>之舊也。<span class="專名">金章宗</span>時，<span class="專名">董</span>解元<span class="書名">西廂</span>，尚是院本模範，在<span class="專名">元</span>末已無人能按譜唱演者，況後世乎？</p>

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