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Title: 滄浪詩話 Author: active 12th century Yu Yan Release date: May 2, 2008 [eBook #25289] Language: Chinese *** START OF THE PROJECT GUTENBERG EBOOK 滄浪詩話 *** 詩辯   夫學詩者以識為主:入門須正,立志須高;以漢、魏、晉、盛唐為師,不作開元、 天寶以下人物。若自退屈,即有下劣詩魔入其肺腑之間;由立志之不高也。行有未 至,可加工力;路頭一差,愈騖愈遠;由入門之不正也。故曰:學其上,僅得其中 ;學其中,斯為下矣。又曰:見過於師,僅堪傳授;見與師齊,減師半德也。工夫 須從上做下,不可從下做上。先須熟讀《楚詞》,朝夕諷詠,以為之本;及讀《古 詩十九首》,樂府四篇,李陵、蘇武、漢、魏五言皆須熟讀,即以李、杜二集枕藉 觀之,如今人之治經,然後博取盛唐名家,醞釀胸中,久之自然悟入。雖學之不至 ,亦不失正路。此乃是從頂上做來,謂之向上一路,謂之直截根源,謂之頓門,謂 之單刀直入也。   詩之法有五:曰體製,曰格力,曰氣象,曰興趣,曰音節。   詩之品有九:曰高,曰古,曰深,曰遠,曰長,曰雄渾,曰飄逸,曰悲壯,曰淒婉 。其用工有三:曰起結,曰句法,曰字眼。其大概有二:曰優遊不迫,曰沉着痛快 。詩之極致有一,曰入神。詩而入神,至矣,盡矣,蔑以加矣!惟李、杜得之,他 人得之蓋寡也。   禪家者流,乘有小大,宗有南北,道有邪正;學者須從最上乘,具正法眼,悟第一 義。若小乘禪,聲聞辟支果,皆非正也。論詩如論禪,漢、魏、晉與盛唐之詩,則 第一義也。大曆以還之詩,則小乘禪也,已落第二義矣。晚唐之詩,則聲聞辟支果 也。學漢、魏、晉與盛唐詩者,臨濟下也。學大曆以還之詩者,曹洞下也。大抵禪 道惟在妙悟,詩道亦在妙悟。且孟襄陽學力下韓退之遠甚、而其詩獨出退之之上者 ,一味妙悟而已。惟悟乃為當行,乃為本色。然悟有淺深、有分限、有透徹之悟, 有但得一知半解之悟。漢、魏尚矣,不假悟也。謝靈運至盛唐諸公,透徹之悟也; 他雖有悟者,皆非第一義也。吾評之非僭也,辯之非妄也。天下有可廢之人,無可 廢之言;詩道如是也。若以為不然,則是見詩之不廣,參詩之不熟耳。試取漢、魏 之詩而熟參之,次取晉、宋之詩而熟參之,次取南北朝之詩而熟參之,次取沈、宋 、王、楊、盧、駱、陳拾遺之詩而熟參之,次取開元、天寶諸家之詩而熟參之,次 獨取李、杜二公之詩而熟參之,又取大曆十才子之詩而熟參之,又取元和之詩而熟 參之,又盡取晚唐諸家之詩而熟參之,又取本朝蘇、黃以下諸家之詩而熟參之,其 真是非自有不能隱者。儻猶於此而無見焉,則是野狐外道,蒙蔽其真識,不可救藥 ,終不悟也。   夫詩有別材,非關書也;詩有別趣,非關理也。然非多讀書、多窮理,則不能極其 至,所謂不涉理路、不落言筌者,上也。詩者,吟詠情性也。盛唐諸人惟在興趣, 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。近代諸公,乃作奇特解會,遂以文字為詩 ,以才學為詩,以議論為詩。夫豈不工?終非古人之詩也。葢於一唱三嘆之音,有 所歉焉。且其作多務使事,不問興致;用字必有來歷,押韻必有出處,讀之反覆終 篇,不知着到何在。其末流甚者,叫噪怒張,殊乖忠厚之風,殆以罵詈為詩。詩而 至此,可謂一厄也。然則近代之詩無取乎?曰:有之。吾取其合於古人者而已。國 初之詩尚沿襲唐人:王黃州學白樂天,楊文公、劉中山學李商隱,盛文肅學韋蘇州 ,歐陽公學韓退之古詩,梅聖俞學唐人平澹處,至東坡、山谷始自出己意以為詩, 唐人之風變矣。山谷用工尤為深刻,其後法席盛行海內,稱為江西宗派。近世趙紫 芝、翁靈舒輩,獨喜賈島、姚合之詩,稍稍復就清苦之風,江湖詩人多效其體,一 時自謂之唐宗;不知止入聲聞辟支之果,豈盛唐諸公大乘正法眼者哉!嗟乎,正法 眼之無傳久矣!唐詩之說未唱,唐詩之道或有時而明也。今既唱其體曰唐詩矣,則 學者謂唐詩誠止於是耳,得非詩道之重不幸邪?故予不自量度,輒定詩之宗旨,且 借禪以為喻,推原漢、魏以來,而截然謂當以盛唐為法,後捨漢、魏而獨言盛唐者 ,謂古律之體備也。雖獲罪於世之君子,不辭也。 -------------------------------------------------------------------------------- 詩體   《風》、《雅》、《頌》既亡,一變而為《離騷》,再變而為西漢五言,三變而為 歌行雜體,四變而為沈、宋律詩。五言起於李陵、蘇武或云枚乘,七言起於漢武《 柏梁》,四言起於漢楚王傅韋孟,六言起於漢司農谷永,三言起於晉夏侯湛,九言 起於高貴鄉公。   以時而論,則有建安體漢末年號。曹子建父子及鄴中七子之詩、黃初體魏年號,與 建安相接,其體一也、正始體魏年號,嵇、阮諸公之詩、太康體晉年號,左思、潘 岳、二張、二陸諸公之詩、元嘉體宋年號,顏、鮑、謝諸公之詩、永明體齊年號, 齊諸公之詩、齊梁體通兩朝而言之、南北朝體通魏、周而言之,與齊梁體一也、唐 初體唐初猶襲陳、隋之體、盛唐體景雲以後,開元、天寶諸公之詩、大曆體大曆十 才子之詩、元和體元、白諸公、晚唐體、本朝體通前後而言之、元祐體蘇、黃、陳 諸公、江西宗派體山谷為之宗。   以人而論,則有蘇李體李陵、蘇武也、曹劉體子建、公幹也、陶體淵明也、謝體靈 運也、徐庾體徐陵、庾信也,沈宋體佺期、之問也、陳拾遺體陳子昂也、王楊盧駱 體王勃、楊炯、盧照鄰、駱賓王、張曲江體始興文獻公九齡也、少陵體、太白體、 高達夫體高常侍適也、孟浩然體、岑嘉州體岑參也、王右丞體王維也、韋蘇州體韋 應物也、韓昌黎體、柳子厚體、韋柳體蘇州與儀曹合言之、李長吉體、李商隱體即 西崑體也、盧仝體、白樂天體、元白體微之、樂天,其體一也、杜牧之體、張藉王 建體謂樂府之體同也、賈浪仙體、孟東野體、杜荀鶴體、東坡體、山谷體、後山體 後山本學杜,其語似之者但數篇,他或似而不全,又其他則本其自體耳、王荊公體 公絕句最高,其得意處,高出蘇、黃、陳之上,而與唐人尚隔一關、邵康節體、陳 簡齋體陳去非與義也,亦江西之派而小異、楊誠齋體其初學半山、后山,最後亦學 絕句於唐人。已而盡棄諸家之體,而別出機杼,蓋其自序如此也。   又有所謂選體選詩時代不同,體製隨異,今人例謂五言古詩為選體,非也、柏梁體 漢武帝與羣臣共賦七言,每句用韻,後人謂此體為柏梁體、玉臺體《玉臺集》乃徐 陵所序,漢、魏、六朝之詩皆有之;或者但謂纖豔者為玉臺體,其實則不然、西崑 體即李商隱體,然兼溫庭筠及本朝楊、劉諸公而名之也、香奩體韓偓之詩,皆裾裙 脂粉之語,有《香奩集》、宮體梁簡文傷於輕靡,時號宮體。其他體製尚或不一, 然大概不出此耳。   又有古詩,有近體即律詩也,有絕句,有雜言,有三五七言自三言而終以七言,隋 鄭世翼有此詩:「秋風清,秋月明。落葉聚還散,寒鴉樓復驚。相思相見知何日, 此日此夜難為情。」,有半五六言晉傅玄《鴻雁生塞北》之篇是也,有一字至七字 唐張南史《雪月花草》等篇是也。又隋人應詔有三十字詩,凡三句七言,一句九言 ,不足為法,故不列於此也,有三句之歌高祖《大風歌》是也。古《華山畿》二十 五首,多三句之詞,其他古詩多如此者,有兩句之歌荊卿《易水歌》是也。又古詩 有《青驄白馬》《共戲樂》《女兒子》之類,皆兩句之詞也,有一句之歌《漢書》 「枹鼓不鳴董少年」,一句之歌也。又漢童謠「千乘萬騎上北邙」,梁童謠「青絲 白馬壽陽來」,皆一句也,有口號或四句,或八句,有歌行古有鞠歌行、放歌行、 長歌行、短歌行。又有單以歌名者,單以行名者,不可枚述,有樂府漢武帝定郊祀 立樂府,採齊、楚、趙、魏之聲以入樂府,以其音詞可被於絃歌也。樂府俱備諸體 ,兼統眾名也,有楚詞屈原以下倣《楚詞》者,皆謂之楚詞,有琴操古有《水仙操 》,辛德源所作;《別鶴操》,高陵牧子所作,有謠沈炯有《獨酌謠》,王昌齡有 《箜篌謠》,穆天子之傳有《白雲謠》也,曰吟古詞有《隴頭吟》,孔明有《梁父 吟》,相如有《白頭吟》,曰詞《選》有漢武《秋風詞》,樂府有《木蘭詞》,曰 引古曲有《霹靂引》《走馬引》《飛龍引》,曰詠《選》有《五君詠》,唐儲光羲 有《羣鴟詠》,曰曲古有《大堤曲》,梁簡文有《烏棲曲》,曰篇《選》有《名都 篇》《京洛篇》《白馬篇》,曰唱魏武帝有《氣出唱》,曰弄古樂府有《江南弄》 ,曰長調,曰短調。有四聲,有八病四聲設於周顒,八病嚴於沈約。八病謂平頭、 上尾、蜂腰、鶴膝、大韻、小韻、旁紐、正紐之辨。作詩正不必拘此,弊法不足據 也,又有以嘆名者古詞有《楚妃嘆》《明君嘆》,以愁名者《文選》有《四愁》, 樂府有《獨處愁》,以哀名者《選》有《七哀》,少陵有《八哀》,以怨名者古詞 有《寒夜怨》《玉階怨》,以思名者太白有《靜夜思》,以樂名者齊武帝有《估客 樂》,宋臧質有《石城樂》,以別名者子美有《無家別》《垂老別》《新婚別》。 有全篇雙聲疊韻者東坡「經字韻詩」是也,有全篇字皆平聲者天隨子《夏日詩》四 十字皆是平。又有一句全平一句全仄者,有全篇字皆仄聲者梅聖俞《酌酒與婦飲》 之詩是也,有律詩上下句雙用韻者第一句,第三五七句,押一仄韻;第二句,第四 六八句,押一平韻。唐章碣有此體,不足為法,謾列於此,以備其體耳。又有四句 平入之體,四句仄入之體,無關詩道,今皆不取,有轆轤韻者雙出雙入,有進退韻 者一進一退,有古詩一韻兩用者《文選》曹子建《美女篇》有兩「難」字,謝康樂 《述祖德詩》有兩「人」字,後多有之,有古詩一韻三用者《文選》任彥升《哭范 僕射》詩三用「情」字也,有古詩三韻六七用者古《焦仲卿妻詩》是也,有古詩重 用二十許韻者《焦仲卿妻詩》是也,有古詩旁取六七許韻者韓退之「此日足可惜」 篇是也。凡雜用東、冬、江、陽、庚、青六韻。歐陽公謂:退之遇寬韻則故旁入他 韻,非也。此乃用古韻耳,於集韻自見之,有古詩全不押韻者古《採蓮曲》是也, 有律詩至百五十韻者少陵有百韻律詩,白樂天亦有之,而本朝王黃州有百五十韻五 言律,有律詩止三韻者唐人有六句五言律,如李益詩「漢家今上郡,秦塞古長城。 有日雲常慘,無風沙自驚。當今天子聖,不戰四方平」是也,有律詩徹首尾對者少 陵多此體,不可槩舉,有律詩徹首尾不對者盛唐諸公有此體,如孟浩然詩:「掛席 東南望,青山水國遙。軸轤爭利涉,來往接風潮。問我今何適,天台訪石橋。坐看 霞色晚,疑是赤城標。」又「水國無邊際」之篇,又太白「牛渚西江夜」之篇。皆 文從字順,音韻鏗鏘,八句皆無對偶,有後章字接前章者曹子建《贈白馬王彪》之 詩是也,有四句通義者如少陵「神女峰娟妙,昭君宅有無,曲畱明怨惜,夢盡失歡 娛」是也,有絕句折腰者,有八句折腰者。有擬古,有連句,有集句,有分題古人 分題,或各賦一物,如云送某人分題得某物也;或曰探題,有分韻,有用韻,有和 韻,有借韻如押七之韻,可借八微或十二齊韻是也,有協韻《楚詞》及《選》詩多 用協韻,有今韻,有古韻如退之《此日足可惜》詩用古韻也,葢《選》詩多如此, 有古律陳子昂及盛唐諸公多此體,有今律。有頷聯,有頸聯,有發端,有落句結句 也,有十字對劉眘虛「滄浪千萬里,日夜一孤舟」,有十字句常建「曲徑通幽處, 禪房花木深」等是也,有十四字對劉長卿「江客不堪頻北望,塞鴻何事又南飛」是 也,有十四字句崔顥「黃鶴一去不復返,白雲千載空悠悠」,又太白「鸚鵡西飛隴 山去,芳洲之樹何青青」是也,有扇對又謂之隔句對。如鄭都官「昔年共照松溪影 ,松折碑荒僧已無,今日還思錦城事,雪消花謝夢何如」是也。葢以第一句對第三 句,第二句對第四句,有借對孟浩然「廚人具雞黍,稚子摘楊梅」,太白「水舂雲 母碓,風掃石楠花」,少陵「竹葉於人既無分,菊花從此不須開」是也,有就句對 又曰當句有對。如少陵「小院迴廊春寂寂,浴鳧飛鷺晚悠悠」,李嘉祐「孤雲獨鳥 川光暮,萬里千山海氣秋」是也。前輩於文亦多此體,如王勃「龍光射斗牛之墟, 徐孺下陳蕃之榻」,乃就句對也。   論雜體,則有風人上句述其語,下句釋其義,如古《子夜歌》《讀曲歌》之類,則 多用此體,藳砧古樂府「藳砧今何在,山上復安山;何當大刀頭,破鏡飛上天」, 僻辭隱語也,五雜俎見樂府,兩頭纖纖亦見樂府,盤中《玉臺集》有此詩,蘇伯玉 妻作,寫之盤中,屈曲成文也,廻文起於竇滔之妻,織錦以寄其夫也,反覆舉一字 而誦,皆成句,無不押韻,反覆成文也。李公《詩格》有此二十字詩,離合字相拆 合成文,孔融「漁父屈節」之詩是也。雖不關詩之重輕,其體製亦古,至於建除鮑 明遠有《建除詩》,每句首冠以「建除平定」等字。其詩雖佳,葢鮑本工詩,非因 建除之體而佳也,字謎,人名,卦名,數名,藥名,州名之詩,只成戲謔,不足法 也。又有六甲十屬之類,及藏頭、歇後等體,今皆削之。近世有李公《詩格》,泛 而不備,惠洪《天廚禁臠》,最為誤人。今此卷有旁參二書者,葢其是處不可易也。 -------------------------------------------------------------------------------- 詩法   學詩先除五俗:一曰俗體,二曰俗意,三曰俗句,四曰俗字,五曰俗韻。   有語忌,有語病;語病易除,語忌難除。語病古人亦有之,惟語忌則不可有。   須是本色,須是當行。   對句好可得,結句好難得,發句好尤難得。   發端忌作舉止,收拾貴在出場。   不必太着題,不必多使事。   押韻不必有出處,用字不必拘來歷。   下字貴響,造語貴圓。   意貴透徹,不可隔靴搔癢;語貴脫洒,不可拖泥帶水。   最忌骨董,最忌趂貼。   語忌直,意忌淺,脉忌露,味忌短,音韻忌散緩,亦忌迫促。   詩難處在結裹。譬如番刀,須用北人結裹,若南人便非本色。   須參活句,勿參死句。   詞氣可頡頏,不可乖戾。   律詩難於古詩,絕句難於八句,七言律詩難於五言律詩,五言絕句難於七言絕句。   學詩有三節:其初不識好惡,連篇累牘,肆筆而成;既識羞愧,始生畏縮,成之極 難;及其透徹,則七縱八橫,信手拈來,頭頭是道矣。   看詩須着金剛眼睛,庶不眩于旁門小法。禪家有金剛眼睛之說。   辯家數如辯蒼白,方可言詩。荊公評文章,先體製而後文之工拙。   詩之是非不必爭,試以己詩置之古人詩中,與識者觀之而不能辨,則真古人矣。 -------------------------------------------------------------------------------- 詩評   大曆以前,分明別是一副言語;晚唐,分明別是一副言語;本朝諸公,分明別是一 副言語。如此見,方許具一隻眼。   盛唐人,有似粗而非粗處,有似拙而非拙處。   五言絕句:眾唐人是一樣,少陵是一樣,韓退之是一樣,王荊公是一樣,本朝諸公 是一樣。   盛唐人詩,亦有一二濫觴晚唐者,晚唐人詩,亦有一二可入盛唐者,要當論其大概 耳。   唐人與本朝人詩,未論工拙,直是氣象不同。   唐人命題,言語亦自不同。雜古人之集而觀之,不必見詩,望其題引而知其為唐人 今人矣。   大曆之詩,高者尚未失盛唐,下者漸入晚唐矣。晚唐之下者,亦墮野孤外道鬼窟中 。   或問:「唐詩何以勝我朝?」唐以詩取士,故多專門之學,我朝之詩所以不及也。   詩有詞理意興。南朝人尚詞而病於理;本朝人尚理而病於意興;唐人尚意興而理在 其中;漢、魏之詩,詞理意興,無迹可求。   漢、魏古詩,氣象混沌,難以句摘。晉以還方有佳句,如淵明「採菊東籬下,悠然 見南山」,謝靈運「池塘生春草」之類。謝所以不及陶者,康樂之詩精工、淵明之 詩質而自然耳。   謝靈運之詩,無一篇不佳。   黃初之後,惟阮籍《詠懷》之作,極為高古,有建安風骨。晉人舍陶淵明、阮嗣宗 外,惟左太冲高出一時,陸士衡獨在諸公之下。   顏不如鮑,鮑不如謝,文中子獨取顏,非也。   建安之作,全在氣象,不可尋枝摘葉。靈運之詩,已是徹首尾成對句矣,是以不及 建安也。   謝朓之詩,已有全篇似唐人者,當觀其集方知之。   戎昱在盛唐為最下,已濫觴晚唐矣。戎昱之詩,有絕似晚唐者。權德輿之詩,却有 絕似盛唐者。權德輿或有似韋蘇州、劉長卿處。   顧況詩多在元、白之上,稍有盛唐風骨處。   冷朝陽在大曆才子中為最下。馬戴在晚唐諸人之上。劉滄、呂溫亦勝諸人。李瀕不 全是晚唐,間有似劉隨州處。陳陶之詩,在晚唐人中,最無可觀。薛逢最淺俗。   大曆以後,吾所深取者,李長吉、柳子厚、劉言史、權德輿、李涉、李益耳。   大曆後,劉夢得之絕句,張藉、王建之樂府,吾所深取耳。   李、杜二公,正不當優劣。太白有一二妙處,子美不能道;子美有一二妙處,太白 不能作。   子美不能為太白之飄逸,太白不能為子美之沉鬱。太白《夢游天姥吟》、《遠離別 》等,子美不能道;子美《北征》、《兵車行》、《垂老別》等,太白不能作。論 詩以李、杜為準,挾天子以令諸侯也。   少陵詩法如孫、吳,太白詩法如李廣。少陵如節制之師。   少陵詩,憲章漢、魏,而取材於六朝;至其自得之妙,則前輩所謂集大成者也。   觀太白詩者,要識真太白處。太白天才豪逸,語多卒然而成者。學者於每篇中,要 識其安身立命處可也。   太白發句,謂之開門見山。   李、杜數公,如金鳷擘海,香象渡河,下視郊、島輩,直蟲吟草間耳。   人言太白仙才,長吉鬼才,不然。太白天仙之詞,長吉鬼仙之詞耳。   玉川之恠,長吉之瑰詭,天地間自欠此體不得。   高、岑之詩悲壯,讀之使人感慨;孟郊之詩刻苦,讀之使人不懽。   《楚詞》,惟屈、宋諸篇當讀之外,惟賈誼《懷長沙》、淮南王《招隱》、嚴夫 子《哀時命》宜熟讀,此外亦不必也。   《九章》不如《九歌》,《九歌》《哀郢》尤妙。   前輩謂《大招》勝《招魂》,不然。   讀《騷》之久,方識真味;須歌之抑揚,涕洟滿襟,然後為識《離騷》。否則如 戞釜撞甕耳。   唐人惟柳子厚深得騷學,退之、李觀,皆所不及。若皮日休《九諷》,不足為騷 。   韓退之《琴操》極高古,正是本色,非唐賢所及。   釋皎然之詩,在唐諸僧之上。唐詩僧有法震、法照、無可、護國、靈一、清江、 無本、齊己、貫休也。   集句惟荊公最長,《胡笳十八拍》混然天成,絕無痕迹,如蔡文姬肺肝間流出。   擬古惟江文通最長,擬淵明似淵明,擬康樂似康樂,擬左思似左思,擬郭璞似郭 璞;獨擬李都尉一首,不似西漢耳。   雖謝康樂擬鄴中諸子之詩,亦氣象不類。至於劉玄休《擬行行重行行》等篇,鮑 明遠《代君子有所思》之作,仍是其自體耳。   和韻最害人詩。古人酬唱不次韻,此風始盛於元白、皮陸,本朝諸賢,乃以此而 鬪工,遂至往復有八九和者。   孟郊之詩,憔悴枯槁,其氣局促不伸,退之許之如此,何耶?詩道本正大,孟郊 自為之艱阻耳。   孟浩然之詩,諷詠之久,有金石宮商之聲。   唐人七言律詩,當以崔顥《黃鶴樓》為第一。   唐人好詩,多是征戍、遷謫、行旅、離別之作,往往能感動激發人意。   蘇子卿詩:「幸有絃歌曲,可以喻中懷。請為遊子吟,泠泠一何悲。絲竹厲清聲 ,慷慨有餘哀。長歌正激烈,中心愴以摧。欲展清商曲,念子不能歸。」今人觀 之,必以為一篇重複之甚,豈特如《蘭亭》「絲竹管絃」之語耶?古詩正不當以 此論之也。   《十九首》:「青青河畔草,鬱鬱園中柳。盈盈樓上女,皎皎當窗牖。娥娥紅粉 粧,纖纖出素手。」一連六句,皆用疊字,今人必以為句法重複之甚。古詩正不 當以此論之也。   任昉《哭范僕射詩》,一首中凡兩用生字韻,三用情字韻。「夫子值狂生」,「 千齡萬恨生」,猶是兩義。「猶我故人情」,「生死一交情」,「欲以遣離情」 ,三情字皆用一意。《天廚禁臠》謂:平韻可重押,若或平或仄,則不可。彼但 以《八仙歌》言之耳,何見之陋邪?詩話謂:東坡兩「耳」韻,兩「耳」義不同 ,故可重押。要之亦非也。   劉公幹《贈五官中郎將》詩:「昔我從元后,整駕至南鄉。過彼豐沛都,與君共 翱翔。」元后,蓋指曹操也。至南鄉,謂伐劉表之時。豐沛都,喻操譙郡也。王 仲宣《從軍詩》云:「籌策運帷幄,一由我聖君。」聖君亦指曹操也。又曰:「 竊慕負鼎翁,願厲朽鈍姿。」是欲效伊尹負鼎干湯以伐桀也。是時,漢帝尚存, 而二子之言如此,一曰元后,一曰聖君,正與荀彧比曹操為高光同科。或以公幹 平視美人為不屈,是未為知人之論。《春秋》誅心之法,二子其何逃?   古人贈答,多相勉之詞。蘇子卿云:「願君崇令德,隨時愛景光。」李少卿云: 「努力崇明德,皓首以為期。」劉公幹云:「勉哉修令德,北面自寵珍。」杜子 美云:「君若登台輔,臨危莫愛身。」往往是此意。有如高達夫《贈王徹》云: 「吾知十年後,季子多黃金。」金多何足道,又甚於以名位期人者。此達夫偶然 漏逗處也。 -------------------------------------------------------------------------------- 考證   少陵與太白,獨厚於諸公,詩中凡言太白十四處,至謂「世人皆欲殺,吾意獨憐 才」,「醉眠秋共被,攜手日同行」,「三夜頻夢君,情親見君意」,其情好可 想。《遯齋閑覽》謂二人名既相逼,不能無相忌,是以庸俗之見,而度賢哲之心 也;予故不得不辯。   《古詩十九首》,非止一人之詩也。《行行重行行》,樂府以為枚乘之作,則其 他可知矣。   《古詩十九首》、《行行重行行》,《玉臺》作兩首。自「越鳥巢南枝」以下, 別為一首;當以《選》為正。   《文選》長歌行,只有一首《青青園中葵》者。郭茂倩《樂府》有兩篇,次一首 乃《仙人騎白鹿》者。《仙人騎白鹿》之篇,予疑此詞「岧岧山上亭」以下,其 義不同,當又別是一首,郭茂倩不能辨也。   《文選》《飲馬長城窟》古詞,無人名,《玉臺》以為蔡邕作。   古詞之不可讀者,莫如《巾舞歌》,文義漫不可解。又古《將進酒》《芳樹》 《石留》《豫章行》等篇,皆使人讀之茫然。又《朱鷺》《雉子班》《艾如張》 《思悲翁》《上之回》等,只二三句可解。豈非歲久文字舛訛而然耶?   《木蘭歌》「促織何唧唧」,《文苑英華》作「唧唧何切切」,又作「歷歷」; 《樂府》作「唧唧復唧唧」,又作「促織何唧唧」;當從《樂府》也。   「願馳千里足」,郭茂倩《樂府》作「願借明駞千里足」,《酉陽雜俎》作「願 馳千里明駞足」。《漁隱》不考,妄為之辯。   《木蘭歌》最古,然「朔氣傳金柝,寒光照鐵衣」之類,已似太白,必非漢、魏 人詩也。   《木蘭歌》,《文苑英華》直作韋元甫名字,郭茂倩《樂府》有兩篇,其後篇乃 元甫所作也。   班婕妤《怨歌行》,《文選》直作班姬之名,《樂府》以為顏延年作。   孔明《梁父吟》:「步出齊東門,遙望蕩陰里。」《樂府解題》作「遙望陰陽里」 。青州有陰陽里。「田彊古冶子」,《解題》作「田彊固野子」。   南北朝人,惟張正見詩最多,而最無足省發,所謂「雖多亦奚以為」。   《西清詩話》載:晁文元家所藏陶詩,有《問來使》一篇,云:「爾從山中來, 早晚發天目。我屋南山下,今生幾叢菊。薔薇葉已抽,秋蘭氣當馥。歸去來山中, 山中酒應熟。」予謂此篇誠佳,然其體制氣象,與淵明不類;得非太白逸詩,後人 謾取以入陶集爾。   《文苑英華》有太白《代寄翁參樞先輩》七言律一首,乃晚唐之下者。又有五言律 三首:其一,《送客歸吳》;其二,《送友生遊峽中》;其三,《送袁明甫任長江》 ,集本皆無之。其家數在大曆、貞元間,亦非太白之作。又有五言《雨後望月》一首 ,《對雨》一首,《望夫石》一首,《冬月歸舊山》一首,皆晚唐之語。又有「秦樓 出佳麗」四句,亦不類太白,皆是後人假名也。   《文苑英華》有《送史司馬赴崔相公幕》一首云:「崢嶸丞相府,清切鳳凰池。羨爾 瑤臺鶴,高棲瓊樹枝。歸飛晴日好,吟弄惠風吹。正有乘軒樂,初當學舞時。珍禽在 羅網,微命若遊絲。願托周周羽,相銜漢水湄。」此或太白之逸詩也。不然,亦是盛 唐人之作。   《太白集》中《少年行》,只有數句類太白,其他皆淺近浮俗,決非太白所作,必誤 入也。   「酒渴愛江清」一詩,《文苑英華》作「暢當」,而黃伯思注《杜集》編作少陵詩, 非也。   「迎旦東風騎蹇驢」絕句,決非盛唐人氣象,只似白樂天言語。今世俗圖畫以為少陵 詩,漁隱亦辯其非矣;而黃伯思編入《杜集》,非也。   少陵有《避地》逸詩一首云:「避地歲時晚,竄身筋骨勞。詩書遂墻壁,奴僕且旌旄 。行在僅聞信,此生隨所遭。神堯舊天下,會見出腥臊。」題下公自註云:「至德二 載丁酉作」,此則真少陵語也。今書市集本,並不見有。   舊蜀本杜詩,並無註釋,雖編年而不分古近二體,其間略有公自註而已。今豫章庫本 ,以為翻鎮江蜀本,雖無雜註,又分古律,其編年亦且不同。近寶慶間,南海漕臺開 《杜集》,亦以為蜀本,雖刪去假坡之註,亦有王原叔以下九家,而趙註比他本最詳 ,皆非舊蜀本也。   《杜集》註中「坡曰」者,皆是托名假偽。漁隱雖嘗辯之,而人尚疑者,蓋無至當之 說,以指其偽也。今舉一端,將不辯而自明矣。如「楚岫八峰翠」,註云:「景差 《蘭亭春望》:『千峰楚岫碧,萬木郢城陰。』」且五言始於李陵、蘇武,或云枚乘。 漢以前五言古詩尚未有之,寧有戰國時已有五言律句耶?觀此可以一笑而悟矣。雖然, 亦幸而有此漏逗也。   《杜註》中「師曰」者,亦「坡曰」之類,但其間半偽半真,尤為殽亂惑人。此深可 嘆,然具眼者自默識之耳。   崔顥《渭城少年行》,《百家選》作兩首,自「秦川」已下別為一首。郭茂倩《樂府》 止作一首,《文苑英華》亦止作一首,當從《樂府》、《英華》為是矣。   玉川子「天下薄夫苦耽酒」之詩,荊公《百家詩選》止作一篇,本集自「天上白日悠 悠懸」以下,別為一首,當從荊公為是。   太白詩:「斗酒渭城邊,壚頭耐醉眠。」乃岑參之詩,誤入。   太白《塞上曲》「駵馬新跨紫玉鞍」者,乃王昌齡之詩,亦誤入。昌齡本有二篇,前 篇乃「秦時明月漢時關」也。   孟浩然有《贈孟郊》一首。按東野乃貞元、元和間人,而浩然終於開元二十八年,時 代懸遠,其詩亦不似浩然,必誤入。   杜詩:「五雲高太甲,六月曠摶扶。」太甲之義殆不可曉,得非高太乙耶?乙與甲蓋 亦相近,以星對風,亦從其類也。至於「杳杳東山携漢妓」,亦無義理,疑是「携妓 去」。蓋子美每於絕句,喜對偶耳。臆度如此,更俟宏識。   王荊公《百家詩選》,蓋本於唐人《英靈》、《間氣集》。其初,明皇、德宗、薛稷 、劉希夷、韋述之詩,無少增損,次序亦同。孟浩然止增其數;儲光羲後,方是荊公 自去取。前卷讀之盡佳,非其選擇之精,蓋盛唐人詩無不可觀者。至於大曆已後,其 去取深不滿人意。況唐人如沈、宋、王、楊、盧、駱、陳拾遺、張燕公,張曲江、賈 至、王維、獨孤及、韋應物、孫逖、祖詠、劉眘虛、綦母潛、劉長卿、李長吉諸公, 皆大名家,——李、杜、韓、柳以家有其集,故不載,——而此集無之。荊公當時所 選,當據宋次道之所有耳。其序乃言「觀唐詩者觀此足矣」,豈不誣哉!今人但以荊 公所選,斂袵而莫敢議,可嘆也。   荊公有一家但取一二首,而不可讀者。如曹唐二首,其一首云:「少年風流好丈夫, 大家望拜漢金吾。閑眠曉日聽啼鴃,笑倚春風仗轆轤。深院吹笙從漢婢,靜街調馬任 夷奴。牡丹花下鈎簾畔,獨倚紅肌捋虎鬚。」此不足以書屏障,可以與閭巷小人文背 之詞。又《買劍》一首云:「青天露拔雲霓泣,黑地潛驚鬼魅愁。」但可與師巫念誦 耳。   予嘗見《方子通墓誌》:「唐詩有八百家,子通所藏有五百家。」今則世不見有,惜 哉!   柳子厚「漁翁夜傍西巖宿」之詩,東坡刪去後二句,使子厚復生,亦必心服。謝朓 「洞庭張樂地,瀟湘帝子遊。雲去蒼梧野,水還江漢流。停驂我悵望,輟棹子夷猶。 廣平聽方籍,茂陵將見求。心事俱已矣,江上徒離憂。」予謂「廣平聽方籍,茂陵 將見求」一聯刪去,只用八句,方為渾然,不知識者以為何如? -------------------------------------------------------------------------------- 附錄 答出繼叔臨安吳景仙書 僕之《詩辨》,乃斷千百年公案,誠驚世絕俗之談,至當歸一之論。其間說江西詩 病,真取心肝劊子手。以禪喻詩,莫此親切。是自家實證實悟者,是自家閉門鑿破 此片田地,即非傍人籬壁、拾人涕唾得來者。李、杜復生,不易吾言矣。而吾叔靳 靳疑之,況他人乎?所見難合固如此,深可歎也! 吾叔謂:說禪非文人儒者之言。本意但欲說得詩透徹,初無意於為文,其合文人儒 者之言與否,不問也。 高意又使回護,毋直致褒貶。僕意謂:辨白是非、定其宗旨,正當明目張膽而言, 使其詞說沈著痛快,深切著明,顯然易見;所謂不直則道不見,雖得罪於世之君子 ,不辭也。吾叔《詩說》,其文雖勝,然只是說詩之源流,世變之高下耳。雖取盛 唐,而無的然使人知所趨向處。其間異戶同門之說,乃一篇之要領。然晚唐本朝謂 其如此,可也;謂唐初以來至大曆之異戶同門,已不可矣;至於漢、魏、晉、宋、 齊、梁之詩,其品第相去,高下懸絕,乃混而稱之,謂錙銖而較,實有不同處,大 率異戶而同門,豈其然乎? 又謂:韓、柳不得為盛唐,猶未落晚唐。以其時則可矣。韓退之固當別論;若柳子 厚五言古詩,尚在韋蘇州之上,豈元、白同時諸公所可望耶?高見如此,毋怪來書 有甚不喜分諸體製之說,吾叔誠於此未暸然也。作詩正須辨盡諸家體製,然後不為 旁門所惑。今人作詩,差入門戶者,正以體製莫辨也。世之技藝,猶各有家數。市 縑帛者,必分道地,然後知優劣,況文章乎?僕於作詩,不敢自負,至識則自謂有 一日之長,於古今體製,若辨蒼素,甚者望而知之。來書又謂:忽被人捉破發問, 何以答之?僕正欲人發問而不可得者。不遇盤根,安別利器?吾叔試以數十篇詩, 隱其姓名,舉以相試,為能別得體製否?惟辨之未精,故所作或雜而不純。今觀盛 集中,尚有一二本朝立作處,毋乃坐是而然耶? 又謂:盛唐之詩,雄深雅健。僕謂此四字,但可評文,於詩則用「健」字不得。不 若《詩辨》雄渾悲壯之語,為得詩之體也。毫釐之差,不可不辨。坡、谷諸公之詩 ,如米元章之字,雖筆力勁健,終有子路事夫子時氣象。盛唐諸公之詩,如顏魯公 書,既筆力雄壯,又氣象渾厚,其不同如此。只此一字,便見吾叔脚根未點地處也 。 所論屈原《離騷》,則深得之,實前輩之所未發;此一段文亦甚佳。大概論武帝以 前皆好,無可議者;但李陵之詩,非虜中感故人還漢而作,恐未深考。故東坡亦惑 江漢之語,疑非少卿之詩,而不考其胡中也。 妙喜是徑山名僧宗杲也自謂參禪精子,僕亦自謂參詩精子。嘗謁李友山論古今人詩 ,見僕辨析毫芒,每相激賞,因謂之曰:「吾論詩,若那吒太子析骨還父,析肉還 母。」友山深以為然。當時臨川相會匆匆,所惜多順情放過,蓋傾蓋執手,無暇引 惹,恐未能卒竟其辨也。鄙見若此,若不以為然,却願有以相復。幸甚! *** END OF THE PROJECT GUTENBERG EBOOK 滄浪詩話 *** Updated editions will replace the previous one—the old editions will be renamed. 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