The Project Gutenberg eBook of 人間詞話

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Title: 人間詞話

Author: Guowei Wang

Release date: January 2, 2008 [eBook #24112]

Language: Chinese

*** START OF THE PROJECT GUTENBERG EBOOK 人間詞話 ***

人間詞話　清‧王國維

（西元1877～1927）字靜安，號觀堂，清末浙江海寧人。自治經史、古文學、古器物，兼及文學史、文學批評，有極深創獲。任清華大學教授，憤世嫉俗，後投昆明湖自盡。著述甚多，合刊為海寧王忠公遺書，另有靜庵文集，輯其早年論哲理、評文藝之作。

一詞以境界為最上。有境界則自成高格，自有名句。五代北宋之詞所以獨絕者在此。

二有造境，有寫境，此理想與寫實二派之所由分。然二者頗難分別。因大詩人所造之境，必合乎自然，所寫之境，亦必鄰於理想故也。

三有有我之境，有無我之境。〔淚眼問花花不語，亂紅飛過秋千去。〕（１）〔可堪孤館閉春寒，杜鵑聲裡斜陽暮。〕（２）有我之境也。〔採菊東籬下，悠然見南山。〕（３）〔寒波澹澹起，白鳥悠悠下。〕（４）無我之境也。有我之境，以我觀物，故物我皆著我之色彩。無我之境，以物觀物，故不知何者為我，何者為物。古人為詞，寫有我之境者為多，然未始不能寫無我之境，此在豪傑之士能自樹立耳。

（１）馮延巳〔鵲踏枝〕：庭院深深深幾許？楊柳堆煙，簾幕無重數。玉勒雕鞍遊冶處，樓高不見章台路。雨橫風狂三月暮，門掩黃昏，無計留春住。淚眼問花花不語，亂紅飛過秋千去。

（２）秦觀〔踏沙行〕：霧失樓台，月迷津渡，桃源望斷無尋處。可堪孤館閉春寒，杜鵑聲裡斜陽暮。驛寄梅花，魚傳尺素，砌成此恨無重數。郴江幸自繞郴山，為誰流下瀟湘去！

（３）陶潛〔飲酒詩〕第五首：結廬在人境，而無車馬喧。問君何能爾，心遠地自偏。采菊東籬下，悠然見南山。山氣日夕佳，飛鳥相與還。此中有真意，欲辨已忘言。

（４）元好問〔穎亭留別〕：故人重分攜，臨流駐歸駕。乾坤展清眺，萬景若相借。北風三日雪，太素秉元化。九山郁崢嶸，了不受陵跨。寒波澹澹起，白鳥悠悠下。懷歸人自急，物態本閑暇。壺觴負吟嘯，塵土足悲吒。回首亭中人，平林淡如畫。

四無我之境，人惟於靜中得之。有我之境，於由動之靜時得之。故一優美，一宏壯也。

五自然中之物，互相限制。然其寫之於文學及美術中也，必遺其關係，限制之處。故雖寫實家，亦理想家也。又雖如何虛構之境，其材料必求之於自然，而其構造，亦必從自然之法則。故雖理想家，亦寫實家也。

六境非獨謂景物也。喜怒哀樂，亦人心中之一境界。故能寫真景物，真感情者，謂之有境界。否則謂之無境界。

七〔紅杏枝頭春意鬧〕（１），著一〔鬧〕字，而境界全出。〔雲破月來花弄影〕（２），著一〔弄〕字，而境界全出矣。

（１）宋祁〔玉樓春　春景〕：東城漸覺風光好，轂皺波紋迎客棹。綠揚煙外曉寒輕，紅杏枝頭春意鬧。浮生長恨歡娛少，肯愛千金輕一笑。為君持酒勸斜陽，且向花間留晚照。

（２）張先〔天仙子〕（時為嘉禾小倅，以病眠，不赴府會）：水調數聲持酒聽，午醉醒來愁未醒。送春春去幾時回？臨晚鏡，傷流景，往事後期空記省。沙上並禽池上暝，雲破月來花弄影。重重簾幕密遮燈，風不定，人初靜，明日落紅應滿徑。

八境界有大小，不以是而分優劣。〔細雨魚兒出，微風燕子斜〕（１）何遽不若〔落日照大旗，馬鳴風蕭蕭〕（２）。〔寶簾閑掛小銀鉤〕（３）何遽不若〔霧失樓台，月迷津渡〕（４）也。

（１）杜甫〔水檻遣心二首〕之一：去郭軒楹敞，無村眺望賒。澄江平少岸，幽樹晚多花。細雨魚兒出，微風燕子斜。城中十萬戶，此地兩三家。

（２）杜甫〔後出塞五首〕之一：朝進東門營，暮上河陽橋。落日照大旗，馬鳴風蕭蕭。平沙列萬幕，部伍各見招。中天懸明月，令嚴夜寂寥。悲笳數聲動，壯士慘不驕。借問大將誰，恐是霍嫖姚。

（３）秦觀〔浣溪沙〕：漠漠輕寒上小樓，曉陰無賴似窮秋，淡煙流水畫屏幽。自在飛花輕似夢，無邊絲雨細如愁，寶簾閑掛小銀鉤。

（４）秦觀〔踏沙行〕見三注。

九嚴滄浪〔詩話〕謂：盛唐諸人，唯在興趣。羚羊掛角，無跡可求。故其妙處，透徹玲瓏，不可湊泊。如空中之音、相中之色、水中之月、鏡中之象，言有盡而意無窮。”余謂：北宋以前之詞，亦復如是。然滄浪所謂興趣，阮亭所謂神韻，猶不過道其面目，不若鄙人拈出“境界”二字，為探其本也。

十太白純以氣象勝。〔西風殘照，漢家陵闕。〕（１）寥寥八字，遂關千古登臨之口。後世唯范文正之漁家傲（２），夏英公之喜遷鶯（３），差足繼武，然氣象已不逮矣。

（１）李白〔憶秦娥〕：簫聲咽，秦娥夢斷秦樓月。秦樓月，年年柳色，灞陵傷別。樂遊原上清秋節，咸陽古道音塵絕。音塵絕，西風殘照，漢家陵闕。

（２）范仲淹〔漁家傲　秋思〕：塞下秋來風景異，衡陽雁去無留意。四面邊聲連角起。千嶂里，長煙落日孤城閉。濁酒一杯家萬里，燕然未勒歸無計。羌管悠悠霜滿地。人不寐，將軍白髮征夫淚。

（３）夏竦〔喜遷鶯令〕：霞散綺，月垂鉤。簾捲未央樓。夜涼銀漢截天流，宮闕鎖清秋。瑤台樹，金莖露。鳳髓香盤煙霧。三千珠翠擁宸遊，水殿按涼州。

十一張皋文謂：〔飛卿之詞，深美閎約〕（１）。余謂：此四字唯馮正中足以當之。劉融齊謂：〔飛卿精妙絕人〕。（２）差近之耳。

（１）張惠言〔詞選序〕：〔唐之詞人，溫庭筠最高，其言深美閎約。〕

（２）劉熙載〔藝概〕卷四〔詞曲概〕：〔溫飛卿詞精妙絕人，然類不出乎綺怨。〕

十二〔畫屏金鷓鴣〕（１），飛卿語也，其詞品似之。〔弦上黃鶯語〕（２），端己語也，其詞品亦似之。正中詞品，若欲於其詞句中求之，則〔和淚試嚴妝〕（３），殆近之歟？

（１）　溫庭筠〔更漏子〕：柳絲長，春雨細。花外漏聲迢遞。驚塞雁，起城烏。畫屏金鷓鴣。香霧薄，透簾幕。惆悵謝家池閣。紅燭背，繡簾垂。夢長君不知。

（２）韋莊〔菩薩蠻〕：紅樓別夜堪惆悵，香燈半卷流蘇帳。殘月出門時，美人和淚辭。琵琶金翠羽，弦上黃鶯語。勸我早歸家，綠窗人似花。

（３）馮延巳〔菩薩蠻〕：嬌鬟堆枕釵橫鳳，溶溶春水楊花夢。紅燭淚欄杆，翠屏煙浪寒。錦壺催畫箭，玉佩天涯遠。和淚試嚴妝，落梅飛曉霜。

十三南唐中主詞：〔菡萏香銷翠葉殘，西風愁起綠波閑。〕（１）大有眾芳蕪穢，美人遲暮之感。乃古今獨賞其〔細雨夢回雞塞遠，小樓吹徹玉笙寒。〕故知解人正不易得。

（１）李璟〔浣溪沙〕：菡萏香銷翠葉殘，西風愁起碧波間。還與韶光共憔悴，不堪看。細雨夢回雞塞遠，小樓吹徹玉笙寒。多少淚珠何限恨，倚欄杆。

十四溫飛卿之詞，句秀也。韋端己之詞，骨秀也。李重光之詞，神秀也。

十五詞至李後主而眼界始大，感慨遂深，遂變伶工之詞而為士大夫之詞。周介存置諸溫韋之下（１），可為顛倒黑白矣。〔自是人生長恨水長東〕（２）、〔流水落花春去也，天上人間。〕（３）〔金荃〕〔浣花〕，能有此氣象耶？

（１）周濟〔介存齋論詞雜著〕：〔毛嬙，西施，天下美婦人也。嚴妝佳，淡妝亦佳，粗服亂頭，不掩國色。飛卿，嚴妝也。端己，淡妝也。後主則粗服亂頭矣。〕

（２）後主〔相見歡〕：林花謝了春紅，太匆匆，無奈朝來寒雨晚來風。胭脂淚，留人醉，幾時重？自是人生長恨水長東！

（３）後主【浪淘沙】：簾外雨潺潺，春意闌珊。羅衾不耐五更寒。夢裡不知身是客，一晌貪歡。獨自莫憑欄，無限江山，別時容易見時難。流水落花春去也，天上人間。

十六詞人者，不失其赤子之心者也。故生於深宮之中，長於婦人之手，是後主為人君所短處，亦即為詞人所長處。

十七客觀之詩人，不可不多閱世。閱世愈深，則材料愈豐富，愈變化，〔水滸傳〕、〔紅樓夢〕之作者是也。主觀之詩人，不必多閱世。閱世愈淺，則性情愈真，李後主是也。

十八尼采謂：〔一切文學，余愛以血書者。〕後主之詞，真所謂以血書者也。宋道君皇帝〔燕山亭〕詞（１）亦略似之。然道君不過自道生世之戚，後主則儼有釋迦基督擔荷人類罪惡之意，其大小固不同矣。

（１）宋徽宗〔燕山亭　北行見杏花〕：裁翦冰綃，輕疊數重，淡著燕脂勻注。新樣靚妝，艷溢香融，羞殺蕊珠宮女。易得凋零，更多少無情風雨。愁苦。閑院落淒涼，幾番春暮。憑寄離恨重重，這雙燕何曾，會人言語。天遙地遠，萬水千山，知他故宮何處？怎不思量？除夢裡有時曾去。無據。和夢也、新來不做。

十九馮正中詞雖不失五代風格，而堂廡特大，開北宋一代風氣。與中後二主詞皆在〔花間〕範圍之外，宜〔花間集〕中不登其只字也（１）。

（１）龍沐勛〔唐宋名家詞選〕：案〔花間集〕多西蜀詞人，不採二主及正中詞，當由道里隔絕，又年歲不相及有以致然。非因流派不同，遂爾遺置也。王說非是。

二十正中詞除〔鵲踏枝〕〔菩薩蠻〕十數闋最暄赫外，如〔醉花間〕之〔高樹鵲銜巢，斜月明寒草。〕（１）余謂韋蘇州之〔流螢渡高閣。〕（２）、孟襄陽之〔疏雨滴梧桐〕（３）不能過也。

（１）馮延巳〔醉花間〕：晴雪小園春未到。池邊梅自早。高樹鵲銜巢，斜月明寒草。山川風景好。自古金陵道。少年看卻老。相逢莫厭醉金杯，別離多，歡會少。

（２）韋應物〔寺居獨夜寄崔主簿〕：幽人寂無寐，木葉紛紛落。寒雨暗深更，流螢渡高閣。坐使青燈曉，還傷夏衣薄。寧知歲方晏，離居更蕭索。

（３）〔全唐詩〕卷六：孟浩然句，〔微雲淡河漢，疏雨滴梧桐。〕唐王士源〔孟浩然集〕序云：浩然嘗閑遊秘省，秋月新霽，諸英華賦詩作會。浩然句云〔微雲淡河漢，疏雨滴梧桐。〕舉座嗟其清絕，咸擱筆不復為繼。

二一歐九〔浣溪沙〕詞：〔綠楊樓外出秋千。〕（１）晁補之謂：只一〔出〕字，便後人所不能道。余謂：此本於正中〔上行杯〕詞〔柳外秋千出畫牆〕（２），但歐語尤工耳。

（１）歐陽修〔浣溪沙〕：堤上遊人逐畫船，拍堤春水四垂天。綠楊樓外出秋千。白髮戴花君莫笑，六么催拍盞頻傳。人生何處似樽前。

（２）馮延巳〔上行杯〕：落梅著雨消殘粉，雲重煙輕寒食近。羅幕遮香，柳外秋千出畫牆。春山顛倒釵橫鳳，飛絮入簾春睡重。夢裡佳期，只許庭花與月知。

二二梅聖俞〔蘇幕遮〕詞：〔落盡梨花春又了。滿地殘陽，翠色和煙老。〕（１）劉融齋謂：少游一生似專學此種（２）。余謂：馮正中〔玉樓春〕詞：〔芳菲次第長相續，自是情多無處足。樽前百計得春歸，莫為傷春眉黛促。〕（３）永叔一生似專學此種。

（１）梅堯臣〔蘇幕遮　草〕：露堤平，煙墅杳。亂碧萋萋，雨後江天曉。獨有庚郎年最少。窣地春袍，嫩色宜相照。接長亭，迷遠道。堪怨王孫，不記歸期早。落盡梨花春又了。滿地殘陽，翠色和煙老。

（２）劉熙載〔藝概〕卷四〔詞曲概〕引此詞云：此一種似為少游開先。

（３）馮延巳〔玉樓春〕：雪雲乍變春雲簇，漸覺年華堪送目。北枝梅蕊犯寒開，南蒲波紋如酒綠。芳菲次第還相續，不奈情多無處足。樽前百計得春歸，莫為傷春眉黛促。

二三人知和靖〔點絳唇〕（１）、聖俞〔蘇幕遮〕（２）、永叔〔少年遊〕（３）三闋為詠春草絕調。不知先有正中〔細雨濕流光〕（４）五字，皆能攝春草之魂者也。

（１）林逋〔點絳唇　草〕：金谷年年，亂生春色誰為主。於花落處，滿地和煙雨。又是離愁，一闋長亭暮。王孫去。萋萋無數，南北東西路。

（２）梅堯臣〔蘇幕遮〕見二二注。

（３）歐陽修〔少年遊〕：欄杆十二獨憑春，晴碧遠連雲。千里萬里，二月三月，行色苦愁人。謝家池上，江淹浦畔，吟魄與離魂。那堪疏雨滴黃昏，更特地憶王孫。

（４）馮延巳〔南鄉子〕：細雨濕流光，芳草年年與恨長。煙鎖鳳樓無限事，茫茫。鸞鏡鴛衾兩斷腸。魂夢任悠揚，睡起楊花滿繡床。薄倖不來門半掩，斜陽。負你殘春淚幾行。

二四〔詩﹒蒹葭〕（１）一篇，最得風人深致。晏同叔之〔昨夜西風凋碧樹。獨上高樓，望盡天涯路。〕（２）意頗近之。但一洒落，一悲壯耳。

（１）〔詩經﹒蒹葭〕：蒹葭蒼蒼，白露為霜。所謂伊人，在水一方。溯洄從之，道阻且長。溯游從之，宛在水中央。蒹葭淒淒，白露未晞。所謂伊人，在水之湄。溯洄從之，道阻且躋。溯游從之，宛在水中坻。蒹葭采采，白露未已。所謂伊人，在水之涘，溯洄從之，道阻且右。溯游從之，宛在水中沚。

（２）晏殊〔蝶戀花〕：檻菊愁煙蘭泣露。羅幕輕寒，燕子雙飛去。明月不諳離恨苦，斜光到曉穿朱戶。昨夜西風凋碧樹。獨上高樓，望盡天涯路。欲寄彩箋無尺素，山長水遠知何處。

二五〔我瞻四方，蹙蹙靡所騁。〕（１）詩人之憂生也。〔昨夜西風凋碧樹。獨上高樓，望盡天涯路。〕（２）似之。〔終日馳車走，不見所問津。〕（３）詩人之憂世也。〔百草千花寒食路，香車繫在誰家樹。〕（４）似之。

（１）〔詩經　小雅　節南山〕：駕彼四牡，四牡項領。我瞻四方，蹙蹙靡所騁。

（２）晏殊〔蝶戀花〕見二四注。

（３）陶潛〔飲酒〕第二十首：羲農去我久，舉世少復真。汲汲魯中叟，彌縫使其純。鳳鳥雖不至，禮樂暫得新。洙泗絕微響，漂流逮狂秦。詩書復何罪，一朝成灰塵。區區諸老翁，為事誠殷勤。如何絕世下，六籍無一親？終日馳車走，不見所問津。若復不快飲，空負頭上巾。但恨多謬誤，君當恕罪人。

（４）馮延巳〔鵲踏枝〕：幾日行雲何處去，忘卻歸來，不道春將暮！百草千花寒食路，香車繫在誰家樹？淚眼倚樓頻獨語：雙燕來時，陌上相逢否？撩亂春愁如柳絮，悠悠夢裡無尋處。

二六古今之成大事業、大學問者，必經過三種之境界：〔昨夜西風凋碧樹。獨上高樓，望盡天涯路。〕（１）此第一境也。〔衣帶漸寬終不悔，為伊消得人憔悴。〕（２）此第二境也。〔眾裡尋他千百度，驀然回首，那人卻在，燈火闌珊處。〕（３）此第三境也。此等語皆非大詞人不能道。然遽以此意解釋諸詞，恐為晏歐諸公所不許也。

（１）晏殊〔蝶戀花〕見二四注。

（２）柳永〔鳳棲梧〕：佇倚危樓風細細。望極春愁，黯黯生天際。草色煙光殘照裡。無言誰會憑欄意。擬把疏狂圖一醉，對酒當歌，強樂無味。衣帶漸寬終不悔，為伊消得人憔悴。

（３）辛棄疾〔青玉案　元夕〕：東風夜放花千樹。更吹落、星如雨。寶馬雕車香滿路，鳳簫聲動，玉壺光轉，一夜魚龍舞。蛾兒雪柳黃金縷。笑語盈盈暗香去。眾裡尋它千百度。驀然回首，那人卻在，燈火闌珊處。

二七永叔〔人生自是有情痴，此恨不關風與月。〕〔直須看盡洛城花，始共春風容易別。〕（１）於豪放之中有沈著之致，所以尤高。

（１）歐陽修〔玉樓春〕：樽前擬把歸期說，未語春容先慘咽。人生自是有情痴，此恨不關風與月。離歌且莫翻新闋，一曲能教腸寸結。直須看盡洛城花，始共春風容易別。

二八馮夢華〔宋六十一家詞選序例〕謂：〔淮海小山，古之傷心人也。其淡語皆有味，淺語皆有致。〕余謂此唯淮海足以當之。小山矜貴有餘，但方可駕子野方回，未足抗衡淮海也。

二九少游詞境最為淒婉。至〔可堪孤館閉春寒，杜鵑聲裡斜陽暮。〕則變而淒厲矣。東坡賞其後二語（１），猶為皮相。

（１）秦觀〔踏莎行〕見三注。東坡絕愛其尾兩句，自書於扇曰：〔少游已矣，雖萬人何贖。〕

三十〔風雨如晦，雞犬不已。〕（１）、〔山峻高以蔽日兮，下幽晦以多雨﹔霰雪紛其無垠兮，雲霏霏而承宇。〕（２）、〔樹樹皆秋色，山山唯落暉。〕（３）、〔可堪孤館閉春寒，杜鵑聲裡斜陽暮。〕（４）氣象皆相似。

（１）〔詩　鄭風　風雨〕：風雨淒淒，雞鳴喈喈。既見君子，云胡不夷。風雨瀟瀟，雞鳴膠膠。既見君子，云胡不瘳。風雨如晦，雞鳴不已。既見君子，云胡不喜。

（２）〔楚辭　九章　涉江〕（辭長不錄）。

（３）王績〔野望〕：東皋薄暮望，徒倚欲何依。樹樹皆秋色，山山唯落暉。牧人驅犢返，獵馬帶禽歸。相顧無相識，長歌懷采薇。

（４）秦觀〔踏莎行〕見三注。

三一昭明太子稱：陶淵明詩〔跌宕昭彰，獨超眾類。抑揚爽朗，莫之興京。〕（１）王無功稱：薛收賦〔韻趣高奇，詞義晦遠。嵯峨蕭瑟，真不可言。〕（２）詞中惜少此二種氣象，前者唯東坡，後者唯白石，略得一二耳。

（１）見蕭統〔陶淵明集〕序。

（２）見〔王無功集〕卷下〔答馮子華處士書〕。所稱薛收賦，謂係〔白牛溪賦〕。

三二詞之雅鄭，在神不在貌。永叔少游雖作艷語，終有品格。方之美成，便有淑女與倡伎之別。

三三美成深遠之致不及歐秦。唯言情體物，窮極工巧，故不失為第一流之作者。但恨創調之才多，創意之才少耳。

三四詞忌用替代字。美成〔解語花〕之〔桂華流瓦〕（１），境界極妙。惜以〔桂華〕二字代〔月〕耳。夢窗以下，則用代字更多。其所以然者，非意不足，則語不妙也。蓋意足則不暇代，語妙則不必代。此少游之〔小樓連苑〕、〔繡轂雕鞍〕（２），所以為東坡所譏也（３）。

（１）周邦彥〔解語花　元宵〕：風銷焰蠟，露浥烘爐，花市光相射。桂華流瓦。纖雲散，耿耿素娥欲下。衣裳淡雅。看楚女、纖腰一把。簫鼓喧、人影參差，滿路飄香麝。因念都城放夜。望千門如晝，嬉笑遊冶。鈿車羅帕。相逢處、自有暗塵隨馬。年光是也。唯只見、舊情衰謝。清漏移、飛蓋歸來，從舞休歌罷。

（２）秦觀〔水龍吟〕：小樓連苑橫空，下窺繡轂雕鞍驟。朱簾半捲，單衣初試，清明時候。破暖輕風，弄晴微雨，欲無還有。賣花聲過盡，斜陽院落，紅成陣、飛鴛甃。玉佩丁東別後。悵佳期、參差難又。名韁利鎖，天還知道，和天也瘦。花下重門，柳邊深巷，不堪回首。念多情，但有當時皓月，向人依舊。

（３）〔歷代詩餘〕卷五引曾慥〔高齊詞話〕：少游自會稽入都見東坡。東坡問作何詞，少游舉〔小樓連苑橫空，下窺繡轂雕鞍驟。〕東坡曰：‘十三字只說得一個人騎馬樓前過。

三五沈伯時〔樂府指迷〕云：〔說桃不可直說破桃，須用〔紅雨〕〔劉郎〕等字。詠柳不可直說破柳，須用〔章台〕、〔灞岸〕等字。若惟恐人不用代字者。果以是為工，則古今類書具在，又安用詞為耶？宜其為〔提要〕所譏也（１）。

（１）〔四庫提要〕集部詞曲類二沈氏〔樂府指迷〕條：又謂說桃須用〔紅雨〕、〔劉郎〕等字，說柳須用〔章台〕、〔灞岸〕等字，說書須用〔銀鉤〕等字，說淚須用〔玉箸〕等字，說髮須用〔絳雲〕等字，說簟須用〔湘竹〕等字，不可直說破。其意欲避鄙俗，而不知轉成涂飾，亦非確論。

三六美成〔蘇幕遮〕詞：〔葉上初陽干宿雨。水面清圓，一一風荷舉。〕（１）此真能得荷之神理者。覺白石〔念奴嬌〕〔惜紅衣〕二詞（２），猶有隔霧看花之恨。

（１）周邦彥〔蘇幕遮〕：燎沈香，消溽暑，鳥雀呼晴，侵曉窺檐語。葉上初陽干宿雨。水面清圓，一一風荷舉。故鄉遙，何日去？家住吳門，久作長安。五月漁郎相憶否？小楫輕舟，夢入芙蓉浦。

（２）姜夔〔念奴嬌〕：鬧紅一舸，記來時，嘗與鴛鴦為侶。三十六陂人未到，水佩風裳無數。翠葉吹涼，玉容銷酒，更灑菰蒲雨。嫣然搖動，冷香飛上詩句。日暮青蓋亭亭，情人不見，爭忍凌波去。只恐舞衣寒易落，愁入西風南浦。高柳垂陰，老魚吹浪，留我花間住。田田多少？幾回沙際歸路。

姜夔〔惜紅衣〕：簟枕邀涼，琴書換日，睡餘無力。細灑冰泉，並刀破甘碧。牆頭喚酒，誰問訊城南詩客？岑寂，高柳晚蟬，說西風消息。虹梁水陌，魚浪吹香，紅衣半狼籍。維舟試望，故國眇天北。可惜渚邊沙外，不共美人遊歷。問甚時同賦，三十六陂秋色。

三七東坡〔水龍吟〕詠楊花（１），和均而似原唱。章質夫詞（２），原唱而似和均。才之不可強也如是！

（１）蘇軾〔水龍吟　次韻章質夫楊花詞〕：似花還似非花，也無人惜從教墜。拋家傍路，思量卻是，無情有思。縈損柔腸，困酣嬌眼，欲開還閉。夢隨風萬里，尋郎去處，又還被、鶯呼起。不恨此花飛盡，恨西園、落紅難綴。曉來雨過，遺蹤何在，一池萍碎。春色三分，二分塵土，一分流水。細看來不是楊花，點點是離人淚。

（２）章質夫〔水龍吟　楊花〕：燕忙鶯懶芳殘，正堤上、楊花飄墜。輕飛亂舞，點畫青林，全無才思。閑趁游絲，靜臨深院，日長門閉。傍珠簾散漫，垂垂欲下，依前被、風扶起。蘭帳玉人睡覺，怪春衣、雪沾瓊綴。繡床漸滿，香球無數，才圓欲碎。時見蜂兒，仰粘輕粉，魚吞池水。望章台路杳，金鞍遊蕩，有盈盈淚。

三八詠物之詞，自以東坡〔水龍吟〕最工，邦卿〔雙雙燕〕（１）次之。白石〔暗香〕、〔疏影〕（２），格調雖高，然無一語道著，視古人〔江邊一樹垂垂發〕（３）等句何如耶？

（１）史達祖〔雙雙燕　詠燕〕：過春社了，度簾幕中間，去年塵冷。差池欲往，試入舊巢相並。還相雕梁藻井，又軟語商量不定。飄然快拂花梢，翠尾分開紅影。芳徑，芹泥雨潤。愛貼地爭飛，競誇輕俊。紅樓歸晚，看足柳暗花暝。應自棲香正穩，便忘了、天涯芳信。愁損翠黛雙娥，日日畫欄獨憑。

（２）姜夔〔暗香〕：辛亥之冬，予載雪詣石湖。止既月，授簡索句，且征新聲，作此兩曲。石湖把玩不已，使工妓肆習之，音節諧婉，乃名之曰〔暗香〕、〔疏影〕。舊時月色，算幾番照我，梅邊吹笛。喚起玉人，不管清寒與攀摘。何遜而今漸老，都忘卻春風詞筆。但怪得竹外疏花，香冷入瑤席。江國，正寂寂。嘆寄與路遙，夜雪初積。翠樽易泣，紅萼無言耿相憶。長記曾攜手處，千樹壓西湖寒碧。又片片、吹盡也，幾時見得？

姜夔〔疏影〕：苔枝綴玉，有翠禽小小，枝上同宿。客裡相逢，籬角黃昏，無言自倚修竹。昭君不慣胡沙遠，但暗憶、江南江北。想佩環、月夜歸來，化作此花幽獨。猶記深宮舊事，那人正睡裡，飛近蛾綠。莫似春風，不管盈盈，早與安排金屋。還教一片隨波去，又卻怨玉龍哀曲。等恁時、重覓幽香，已入小窗橫幅。

（３）杜甫〔和裴迪登蜀州東亭送客逢早梅相憶見寄〕：東閣官梅動詩興，還如何遜在楊州。此時對雪遙相憶，送客逢春可自由。幸不折來傷春暮，若為看去亂鄉愁。江邊一樹垂垂發，朝夕催人自白頭。

三九白石寫景之作，如〔二十四橋仍在，波心蕩、冷月無聲。〕（１）、〔數峰清苦，商略黃昏雨。〕（２）、〔高樹晚蟬，說西風消息。〕（３）雖格韻高絕，然如霧裡看花，終隔一層。梅溪、夢窗諸家寫景之病，皆在一〔隔〕字。北宋風流，渡江遂絕。抑真有運會存乎其間耶？

（１）姜夔〔楊州慢〕：淮左名都，竹西佳處，解鞍少駐初程。過春風十里，盡薺麥青青。自胡馬、窺江去後，廢池喬木，猶厭言兵。漸黃昏、清角吹寒，都在空城。杜郎俊賞，算而今、重到須驚。縱豆蔻詞工，青樓夢好，難賦深情。二十四橋仍在，波心蕩、冷月無聲。念橋邊紅藥，年年知為誰生？

（２）姜夔〔點絳唇〕：燕雁無心，太湖西畔隨雲去。數峰清苦。商略黃昏雨。第四橋邊，擬共天隨往。今何許？憑欄懷古，殘柳參差舞。

（３）姜夔〔惜紅衣〕見三六注。

四十問〔隔〕與〔不隔〕之別，曰：陶謝之詩不隔，延年則稍隔已。東坡之詩不隔，山谷則稍隔矣。〔池塘生春草〕（１）、〔空梁落燕泥〕（２）等二句，妙處唯在不隔，詞亦如是。即以一人一詞論，如歐陽公〔少年遊〕詠春草上半闋云：〔欄杆十二獨憑春，晴碧遠連雲。二月三月，千里萬里，行色苦愁人。〕語語都在目前，便是不隔。至云：〔謝家池上，江淹浦畔。〕（３）則隔矣。白石〔翠樓吟〕：〔此地。宜有詞仙，擁素雲黃鶴，與君遊戲。玉梯凝望久，嘆芳草、萋萋千里。〕便是不隔。至〔酒祓清愁，花消英氣。〕（４）則隔矣。然南宋詞雖不隔處，比之前人，自有淺深厚薄之別。

（１）謝靈運〔登池上樓〕：潛虯媚幽姿，飛鴻響遠音。薄霄愧雲浮，棲川怍淵沈。進德智所拙，退耕力不任。徇祿反窮海，臥痾對空林。衾枕昧節候，褰開暫窺臨。傾耳聆波瀾，舉目眺嶇嶔。初景革緒風，新陽改故陰。池塘生春草，園柳變鳴禽。祁祁傷豳歌，萋萋感楚吟。索居易永久，離群難處心，持操豈獨占，無悶徵在今。

（２）薛道衡〔昔昔鹽〕：垂柳覆金堤，蘼蕪葉復齊。水溢芙蓉沼，花飛桃李蹊。採桑秦氏女，織錦竇家妻。關山別蕩子，風月守空閨。恆斂千金笑，長垂雙玉啼。盤龍隨鏡隱，彩鳳逐帷低。飛魂同夜鵲，倦寢憶晨雞。暗牖懸蛛網，空梁落燕泥。前年過代北，今歲往遼西。一去無消息，那能惜馬蹄。

（３）歐陽修〔少年遊〕見二三注。

（４）姜夔〔翠樓吟〕：月冷龍沙，塵清虎落，今年漢酺初賜。新翻胡部曲，聽氈幕、元戎歌吹。層樓高峙。看檻曲縈紅，檐牙飛翠。人姝麗。粉香吹下，夜寒風細。此地。宜有詞仙，擁素雲黃鶴，與君遊戲。玉梯凝望久，嘆芳草、萋萋千里。天涯情味。仗酒祓清愁，花銷英氣。西山外。晚來還捲，一簾秋霽。

四一〔生年不滿百，常懷千歲憂。晝短苦夜長，何不秉燭遊？〕（１）〔服食求神仙，多為藥所誤。不如飲美酒，被服紈與素。〕（２）寫情如此，方為不隔。〔采菊東籬下，悠然見南山。山氣日夕佳，飛鳥相與還。〕（３）〔天似穹廬，籠蓋四野。天蒼蒼，野茫茫，風吹草低見牛羊。〕（４）寫景如此，方為不隔。

（１）〔古詩十九首　第十五〕：生年不滿百，常懷千歲憂。晝短苦夜長，何不秉燭遊，為樂當及時，何能待來茲。愚者愛惜費，但為後世嗤。仙人王子喬，難可與等期。

（２）〔古詩十九首　第十三〕：驅車上東門，遙望郭北墓。白楊何蕭蕭，松柏夾廣路。下有陳死人，杳杳即長暮。潛寐黃泉下，千載永不寤。浩浩陰陽移，年命如朝露。人生忽如寄，壽無金石固。萬歲更相送，聖賢莫能度。服食求神仙，多為藥所誤。不如飲美酒，被服紈與素。

（３）陶潛〔飲酒詩〕見三注。

（４）斛律金〔敕勒歌〕：敕勒川，陰川下。天似穹廬，籠蓋四野。天蒼蒼，野茫茫，風吹草低見牛羊。

四二古今詞人格調之高，無如白石。惜不於意境上用力，故覺無言外之味，弦外之響。終不能與於第一流之作者也。

四三南宋詞人，白石有格而無情，劍南有氣而乏韻。其堪與北宋人頡頏者，唯一幼安耳。近人祖南宋而祧北宋，以南宋之詞可學，北宋不可學也。學南宋者，不祖白石，則祖夢窗，以白石、夢窗可學，幼安不可學也。學幼安者率祖其粗獷、滑稽，以其粗獷、滑稽處可學，佳處不可學也。幼安之佳處，在有性情，有境界。即以氣象論，亦有〔橫素波、干青雲〕（１）之概，寧後世齷齪小生所可擬耶？

（１）蕭統〔陶淵明集〕序：其文章〔橫素波而傍流，干青雲而直上。

四四東坡之詞曠，稼軒之詞豪。無二人之胸襟而學其詞，猶東施之效捧心也。

四五讀東坡、稼軒詞，須觀其雅量高致，有伯夷、柳下惠之風。白石雖似蟬脫塵埃，然終不免局促轅下。

四六蘇辛，詞中之狂。白石猶不失為狷。若夢窗、梅溪、玉固、草窗、西麓輩，面目不同，同歸於鄉愿而已。

四七稼軒〔中秋飲酒達旦，用天問體作木蘭花慢以送月。〕曰：〔可憐今夕月，向何處、去悠悠？是別有人間，那邊才見，光景東頭。〕（１）詞人想像，直悟月輪繞地之理，與科學家密合，可謂神悟。

（１）辛棄疾〔木蘭花慢〕（中秋飲酒將旦，客謂：前人詩詞，有賦待月，無送月者。因用〔天問〕體賦。）：可憐今夕月，向何處、去悠悠？是別有人間，那邊才見，光景東頭。是天外空汗漫，但長風、浩浩送中秋。飛鏡無根誰繫？姮娥不嫁誰留？謂經海底問無由。恍惚使人愁。怕萬里長鯨，縱橫觸破，玉殿瓊樓。蝦蟆故堪浴水，問云何、玉兔解沈浮？若道都齊無恙，云何漸漸如鉤？

四八周介存謂：〔梅溪詞中，喜用偷字，足以定出其品格。〕（１）劉融齋謂：〔周旨蕩而史意貪〕（２）此二語令人解頤。

（１）見周濟〔介存齋論詞雜著〕。（２）劉熙載〔藝概〕卷四〔詞曲概〕：〔周美成律最精審。史邦卿句最警煉。然未得為君子之詞者，周旨蕩而史意貪也。〕

四九介存謂：夢窗詞之佳者，如〔水光雲影，搖蕩綠波，撫玩無極，追尋已遠。〕余覽〔夢窗甲乙丙丁稿〕中，實無足當此者。有之，其〔隔江人在雨聲中，晚風菰葉生愁怨。〕（１）二語乎？

（１）吳文英〔踏莎行〕：潤玉籠綃，檀櫻倚扇。繡圈猶帶脂香淺。榴心空壘舞裙紅，艾枝應壓愁鬟亂。午夢千山，窗陰一箭。香瘢新褪紅絲腕。隔江人在雨聲中，晚風菰葉生愁怨。

五十夢窗之詞，吾得取其詞中一語以評之，曰：〔映夢窗零亂碧。〕（１）玉田之詞，余得取其詞中之一語以評之，曰：〔玉老田荒。〕（２）

（１）吳文英〔秋思　荷塘為括蒼名姝求賦其聽雨小閣〕：堆枕香鬟側。驟夜聲，偏稱畫屏秋色。風碎串珠，潤侵歌板，愁壓眉窄。動羅箑清商，寸心低訴敘怨抑。映夢窗零亂碧。待漲綠春深，落花香泛，料有斷紅流處，暗題相憶。歡酌。檐花細滴。送故人，粉黛重飾。漏侵瓊瑟，丁東敲斷，弄晴月白。怕一曲霓裳未終，催去驂鳳翼。歡謝客猶未識。漫瘦卻東陽，鐙前無夢到得。路隔重雲雁北。

（２）張炎〔祝英台近　與周草窗話舊〕：水痕深，花信足。寂寞漢南樹。轉首青陰，芳事頓如許。不知多少消魂，夜來風雨。猶夢到、斷紅流處。最無據。長年息影空山。愁入庾郎句。玉老田荒，心事已遲暮。幾回聽得啼鵑，不如歸去。終不似、舊時鸚鵡。

五一〔明月照積雪〕（１）、〔大江流日夜〕（２）、〔中天懸明月〕（３）、〔長河落日圓〕（４），此種境界，可謂千古壯觀。求之於詞，唯納蘭容若塞上之作，如〔長相思〕之〔夜深千帳燈〕（５），〔如夢令〕之〔萬帳穹廬人醉，星影搖搖欲墜〕（６）差近之。

（１）謝靈運〔歲暮〕：殷憂不能寐，苦此夜難頹。明月照積雪，朔風勁且哀。運往無淹物，年逝覺已催。

（２）謝朓〔暫使下都夜發新林至京邑贈同僚〕：大江流日夜，客心悲未央。徒念關山近，終知反路長。秋河曙耿耿，寒渚夜蒼蒼。引顧見京室，宮雉正相望。金波麗鳷鵲，玉繩低建章。驅車鼎門外，思見昭丘陽。馳暉不可接，何況隔兩鄉？風雲有鳥路，江漢限無梁，常恐鷹隼擊，時菊委嚴霜。寄言罻羅者，寥廓已高翔。

（３）見八注。

（４）王維〔使至塞上〕：單車欲問邊，屬國過居延。征蓬出漢塞，歸雁入胡天。大漠孤煙直，長河落日圓。蕭關逢候騎，都護在燕然。

（５）納蘭性德〔長相思〕：山一程，水一程。身向榆關那畔行，夜深千帳燈。風一更，雪一更。聒碎鄉心夢不成，故園無此聲。

（６）納蘭性德〔如夢令〕：萬帳穹廬人醉，星影搖搖欲墜。歸夢隔狼河，又被河聲攪碎。還睡，還睡。解道醒來無味。

五二納蘭容若以自然之眼觀物，以自然之舌言情。此初入中原，未染漢人風氣，故能真切如此。北宋以來，一人而已。

五三陸放翁〔花間集〕，謂〔唐季五代，詩愈卑，而倚聲者輒簡古可愛。能此不能彼，未易以理推也。〕〔提要〕駁之，謂：〔猶能舉七十斤者，舉百斤則蹶，舉五十斤則運掉自如。〕（１）其言甚辨。然謂詞必易於詩，余未敢信。善乎陳臥子之言曰：〔宋人不知詩而強作詩，故終宋之世無詩。然其歡愉愁怨之致，動於中而不能抑者，類發於詩餘，故其所造獨工。〕（２）五代詞之所以獨勝，亦以此也。

（１）〔四庫提要〕集部詞曲類一〔花間集〕：後有陸游二跋。 ……其二稱：〔唐季五代，詩愈卑，而倚聲者輒簡古可愛。能此不能彼，未易以理推也也。〕不知文之體格有高卑，人之學歷有強弱。學力不足副其體格，則舉之不足。學力足以副其體格，則舉之有餘。律詩降於古詩，故中晚唐古詩多不工，而律詩則時有佳作。詞又降於律詩，故五季人詩不及唐，詞乃獨勝。此猶能舉七十斤者，舉百斤則蹶，舉五十則運用自如，有何不可理推乎？

（２）陳子龍〔王介人詩餘序〕：〔宋人不知詩而強作詩。其為詩也，言理而不言情，故終宋之世無詩焉。然宋人亦不可免於有情也。故凡其歡愉愁怨之致，動於中而不能抑者，類發於詩餘，故其所造獨工，非後世可及。蓋以沈至之思而出之必淺近，使讀之者驟遇如在耳目之表，久誦而得沈永之趣，則用意難也。以儇利之詞，而制之實工鏈，使篇無累句，句無累字，圓潤明密，言如貫珠，則鑄詞難也。其為體也纖弱，所謂明珠翠羽，尚嫌其重，何況龍鸞？必有鮮妍之姿，而不藉粉澤，則設色難也。其為境也婉媚，雖以警露取妍，實貴含蓄，有餘不盡，時在低回唱歡之際，則命篇難也。惟宋人專力事之，篇什既多，觸景皆會。天機所啟，若出自然。雖高談大雅，而亦覺其不可廢。何則？物有獨至，小道可觀也。

五四四言敝而有楚辭，楚辭敝而有五言，五言敝而有七言，古詩敝而有律絕，律絕敝而有詞。蓋文體通行既久，染指遂多，自成習套。豪傑之士，亦難於其中自出新意，故遁而作他體，以自解脫。一切文體所以始盛終衰者，皆由於此。故謂文學後不如前，余未敢信。但就一體論，則此說固無以易也。

五五詩之〔三百篇〕、〔十九首〕，詞之五代北宋，皆無題也。非無題也，詩詞中之意，不能以題盡之也。自〔花庵〕、〔草堂〕每調立題，並古人無題之詞亦為之作題。如觀一幅佳山水，而即曰此某山某河，可乎？詩有題而詩亡，詞有題而詞亡，然中材之士，鮮能知此而自振拔者也。

五六大家之作，其言情也必沁人心脾，其寫景也必豁人耳目。其辭脫口而出，無矯揉妝束之態。以其所見者真，所知者深也。詩詞皆然。持此以衡古今之作者，可無大誤也。

五七人能於詩詞中不為美刺投贈之篇，不使隸事之句，不用粉飾之字，則於此道已過半矣。

五八以〔長恨歌〕之壯采，而所隸之事，只〔小玉雙成〕四字，才有餘也。梅村歌行，則非隸事不辦（１）。白吳優劣，即於此見。不獨作詩為然，填詞家亦不可不知也。

（１）白居易〔長恨歌〕有〔轉教小玉雙成〕句為隸事。至吳偉業之〔圓圓曲〕，則入手即用〔鼎湖〕事，以下隸事句不勝指數。

五九近體詩體制，以五七言絕句為最尊，律詩次之，排律最下。蓋此體於寄興言情，兩無所當，殆有均之駢體文耳。詞中小令如絕句，長調似律詩，若長調之百字令、沁園春等，則近於排律矣。

六十詩人對宇宙人生，須入乎其內，又須出乎其外。入乎其內，故能寫之。出乎其外，故能觀之。入乎其內，故有生氣。出乎其外，故有高致。美成能入而不出。白石以降，於此二事皆未夢見。

六一詩人必有輕視外物之意，故能以奴仆命風月。又必有重視外物之意，故能與花鳥共憂樂。

六二〔昔為倡家女，今為蕩子婦。蕩子行不歸，空床難獨守。〕（１）〔何不策高足，先據要路津？無為守窮賤，轗軻長苦辛。〕（２）可為淫鄙之尤。然無視為淫詞、鄙詞者，以其真也。五代北宋之大詞人亦然。非無淫詞，讀之但覺其親切動人。非無鄙詞，但覺其精力彌滿。可知淫詞與鄙詞之病，非淫與鄙之病，而游詞（３）之病也。〔豈不爾思，室是遠而。〕而子曰：〔未之思也，夫何遠之有？〕（４）惡其游也。

（１）〔古詩十九首〕第二：青青河畔草，郁郁園中柳。盈盈樓上女，皎皎當窗牖。娥娥紅粉妝，纖纖出素手。昔為倡家女，今為蕩子婦。蕩子行不歸，空床難獨守。

（２）〔古詩十九首〕第四：今日良宴會，歡樂難具陳。彈箏奮逸響，新聲妙入神。令德唱高言，識曲聽其真。齊心同所愿，含意俱未申。人生寄一世，奄忽若飆塵。何不策高足，先據要路津？無為守窮賤，轗軻長苦辛。

（３）金應圭〔詞選〕後序：〔規模物類，依託歌舞。哀樂不衷其性，慮歡無與乎情。連章累篇，義不出乎花鳥。感物指事，理不外乎酬應。雖既雅而不艷，斯有句而無章。是謂游詞。〕

（４）〔論語﹒子罕〕：〔唐棣之華，偏其反而。豈不爾思，室是遠而。子曰：未之思也，夫何遠之有？〕

六三〔枯藤老樹昏鴉。小橋流水平沙。古道西風瘦馬。夕陽西下。斷腸人在天涯。〕（１）此元人馬東籬〔天淨沙〕小令也。寥寥數語，深得唐人絕句妙境。有元一代詞家，皆不能辦此也。

（１）按此曲見諸元刊本《樂府新聲》卷中、元刊本周德清〔中原音韻定格〕、明刊本蔣仲舒〔堯山堂外紀〕卷六十八、明刊本張祿〔詞林摘艷〕及〔知不足齋叢書〕本盛如梓〔庶齋老學叢談〕等書者，〔平沙〕均作〔人家〕，即觀堂〔宋元戲曲史〕所引亦同。惟〔歷代詩餘〕則作〔平沙〕，又〔西風〕作〔淒風〕，蓋欲避去復字耳。觀堂此處所引，殆即本〔詩餘〕也。

六四白仁甫〔秋夜梧桐雨〕劇，沈雄悲壯，為元曲冠冕。然所作〔天籟詞〕，粗淺之甚，不足為稼軒奴隸。豈創者易工，而因者難巧歟？抑人各有能與不能也？讀者觀歐秦之詩遠不如詞，足透此中消息。

宣統庚戍九月脫稿於京師定武城南寓廬

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