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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 End of Project Gutenberg's World Notes And Comments On Earth, by Guowei Wang *** END OF THE PROJECT GUTENBERG EBOOK 人間詞話 *** Updated editions will replace the previous one—the old editions will be renamed. 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