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目 录 <span class="q">四十二调八十六体,起十四字至二十八字
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竹 枝三体</span>
归字谣一体<span class="q">又名苍梧谣、十六字令</span></span>
渔父引一体</span>
闲中好二体</span>
纥那曲一体</span>
拜新月一体</span>
梧桐影一体<span class="q">又名明月斜</span></span>
啰唝曲三体<span class="q">又名望夫歌</span></span>
醉妆词一体</span>
庆宣和一体</span>
南歌子七体<span class="q">又名春宵曲、水晶帘、碧窗梦、十爱词、南柯子、望秦川、风蝶令</span></span>
荷叶杯三体</span>
回波乐二体</span>
舞马词二体</span>
三 台二体<span class="q">又名开元乐、翠华引</span></span>
柘枝引一体</span>
塞 姑一体</span>
晴偏好一体</span>
凭阑人二体</span>
花非花一体</span>
摘得新一体</span>
梧叶儿五体</span>
渔歌子六体<span class="q">又名渔父、渔父乐</span></span>
忆江南三体<span class="q">又名谢秋娘、江南好、春去也、望江南、梦江南、梦江口、望江梅、安阳好、梦仙游、</span><span class="q">步虚声、壶山好、望蓬莱、归塞北</span>
潇湘神一体</span>
章台柳二体</span>
解 红一体</span>
赤枣子一体</span>
南乡子九体</span>
捣练子二体<span class="q">又名捣练子令、深院月</span></span>
春晓曲二体<span class="q">又名西楼月</span></span>
桂殿秋一体</span>
寿阳曲三体<span class="q">又名落梅风</span></span>
阳关曲一体</span>
欸乃曲一体</span>
采莲子一体</span>
浪淘沙一体</span>
杨柳枝一体</span>
八拍蛮二体</span>
字字双一体</span>
十样花二体</span>
天净沙二体<span class="q">又名塞上秋</span></span>
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竹 枝 唐教坊曲名。元郭茂倩《乐府诗集》云:竹枝本出于巴渝,唐贞元中,刘禹锡在沅、湘,以里歌鄙陋,乃依骚人九哥,作竹枝新调九章,教里中儿歌之。由是盛于贞元元和之间。按《刘禹锡集》,与白居易唱和竹枝甚多,其自叙云:竹枝,巴歈也。巴儿联歌,吹短笛击鼓以赴节,歌者扬袂睢舞。其音协黄钟羽,但刘白词俱无和声,今以皇甫松、孙光宪词作谱,以有和声也。</span>
竹 枝 <span class="q">单调十四字,两句两平韵</span> 皇甫松
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芙蓉并蒂<span class="q">竹枝</span>一心连<span class="q">女儿 韵</span>花侵槅子<span class="q">竹枝</span>眼望穿<span class="q">女儿 韵</span></span>
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《尊前集》载皇甫松《竹枝词》六首,皆两句体。平韵者五,仄韵者一。每句第二字,俱用平声,余字平仄不拘。所注竹枝、女儿、枝儿,叶韵,乃歌时群相随和之声。犹采莲之有举棹年少也。按古乐府,江南弄等曲皆有和声。如江南曲,和云“阳春路,时使佳人度”。龙笛曲,和云“江南弄,真龙下翔凤”。采莲曲,和云“采莲居,渌水好沾衣”。亦各叶韵。此其遗意耳。
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又一体 <span class="q">单调十四字,两句两仄韵</span> 皇甫松
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山头桃花<span class="q">竹枝</span>谷底杏<span class="q">女儿 韵</span>两花窈窕<span class="q">竹枝</span>遥相映<span class="q">女儿 韵</span></span>
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此首用仄韵。
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又一体 <span class="q">单调二十八字,四句三平韵</span> 孙光宪
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门前春水<span class="q">竹枝</span>白苹花<span class="q">女儿 韵</span>岸上无人<span class="q">竹枝</span>小艇斜<span class="q">女儿 韵</span>商女经过<span class="q">竹枝</span>江欲暮<span class="q">女儿 句</span>散抛残</span>
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食<span class="q">竹枝</span>饲神鸦<span class="q">女儿 韵</span></span>
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此词较皇甫松词多两句。按刘白竹枝词,俱拗体七言绝句,此独谐婉,且每句有和声。
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归字谣 蔡伸词名《苍梧谣》。周玉晨词名《十六字令》。袁去华词亦名《归字谣》。有刻《归梧谣》者,误。</span>
归字谣 <span class="q">单调十六字,四句三平韵</span> 张孝祥
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归<span class="q">韵</span>猎猎薰风卷绣旗<span class="q">韵</span>拦教住<span class="q">句</span>重举送行杯<span class="q">韵</span></span>
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按,张孝祥词三首,皆以归字起韵。蔡伸词以天字起韵,袁去华词亦以归字起韵,皆一字句也。元天机余锦周玉晨词:“眠,月影穿窗白玉钱。无人弄,移过枕圅边。”本以一字句起,《词综》及《草堂别集》,误“眠”字为“明”,遂以“明月影”三字为起句者,误。</span>
按,张词别首第二句:“十万人家儿样啼”,儿字平声。蔡伸词第二句:“休使圆蟾照客眠”,休字平声。第四句:“桂影自婵娟”,桂字仄声。谱内可平可仄据此。
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渔父引 唐教坊曲名。</span>
渔父引 <span class="q">单调十八字,三句三平韵</span> 顾 况
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新妇矶边月明<span class="q">韵</span>女儿浦口潮平<span class="q">韵</span>沙头鹭宿鱼惊<span class="q">韵</span></span>
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此与张志和《渔歌子》,极为宋人传诵。黄庭坚、徐俯,曾取二词合为《浣溪沙》歌之。见《乐府雅词》注。
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闲中好 调见段成式《酉阳杂俎》,有平韵仄韵二体,即以首句三字为调名也。</span>
闲中好 <span class="q">单调十八字,四句两平韵</span> 段成式
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闲中好<span class="q">句</span>尘务不萦心<span class="q">韵</span>坐对当窗木<span class="q">句</span>看移三面阴<span class="q">韵</span></span>
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按《酉阳杂俎》,有张希复平韵词,与此悉同。
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又一体 <span class="q">单调十八字,四句两仄韵</span> 郑 符
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闲中好<span class="q">句</span>尽日松为侣<span class="q">韵</span>此趣人不知<span class="q">句</span>轻风度僧语<span class="q">韵</span></span>
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此词用仄韵。
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纥那曲 明胡震亨《唐音癸箴》云,纥那曲,不知所出。考唐天宝中,崔成甫翻得体歌,有得体纥那也。纥囊得体那之句,岂其所本欤?按唐人于舟中唱得体歌,有号头,即和声。纥那者,或曲之和声也。</span>
纥那曲 <span class="q">单调二十字,四句三平韵</span> 刘禹锡
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杨柳郁青青<span class="q">韵</span>竹枝无恨情<span class="q">韵</span>同郎一回顾<span class="q">句</span>听唱纥那声<span class="q">韵</span></span>
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此即唐平韵五言绝句。按《尊前集》刘词别首,第一句:“蹋曲兴无穷”,蹋字仄声。第三句:“愿郎千万寿”,愿字仄声,千字平声,万字仄声。
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拜新月 唐教坊曲名。</span>
拜新月 <span class="q">单调二十字,四句两仄韵</span> 李 端
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开帘见新月<span class="q">句</span>便即下阶拜<span class="q">韵</span>细语人不闻<span class="q">句</span>北风吹裙带<span class="q">韵</span></span>
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此即唐仄韵五言绝句,而语气微拗。填此词者,平仄当从之。
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梧桐影 宋周紫芝《竹坡诗话》云:大梁景德寺,峨嵋院道者,戒律甚严,不下席者二十年。一日,有布衣青裘,昂然一伟人,来与语良久,期以明年是日,复相见于此,愿少见待。明年是日,日方午,道者沐浴端坐而逝。至暮,伟人果来,问道者,曰亡矣。伟人叹息良久,忽不见。明日书数语于堂侧壁间绝高处。宣和间,余游京师,犹及见之。 按,《庚溪诗话》亦载此事,与此小异。后人因词中有“明月斜”句,更名《明月斜》。</span>
梧桐影 <span class="q">单调二十字,四句两仄韵</span> 吕 岩
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明月斜<span class="q">句</span>秋风冷<span class="q">韵</span>今夜故人来不来<span class="q">句</span>教人立尽梧桐影<span class="q">韵</span></span>
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按,《竹坡诗话》作:“落日斜,西风冷,幽人今夜来不来,教人立尽梧桐影。”与此小异。今照《庚溪诗话》校定。
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啰唝曲 唐范摅《云溪友议》云:金陵有啰唝楼,乃陈后主所建。啰唝曲,刘采春所唱,皆当代才子所作五六七言绝句。一名《望夫歌》。元稹诗所谓“更有恼人肠断处,选词能唱望夫歌”也。</span>
啰唝曲 <span class="q">单调二十字,四句两平韵</span> 刘采春
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不喜秦淮水<span class="q">句</span>生憎江上船<span class="q">韵</span>载儿夫婿去<span class="q">句</span>经岁又经年<span class="q">韵</span></span>
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按,《云溪友议》所载啰唝曲,其起句不用韵者凡五首。其第四首云:“那年离别日,只道往桐庐。桐庐人不见,今得广州书。”第五首云:“昨日胜今日,今年老去年。黄河清有日,白发黑无缘。”谱内可平可仄据此。
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又一体 <span class="q">单调二十字,四句三平韵</span> 刘采春
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昨夜黑风寒<span class="q">韵</span>牵船浦里安<span class="q">韵</span>潮来打缆断<span class="q">句</span>摇橹始知难<span class="q">韵</span></span>
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此首起句用韵。
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又一体 <span class="q">单调二十八字,四句三平韵</span> 刘采春
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闲向江头采白苹<span class="q">韵</span>常随女伴赛江神<span class="q">韵</span>众中不敢分明语<span class="q">句</span>暗掷金钱卜远人<span class="q">韵</span></span>
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此本七言绝句,因亦名啰唝曲,故并列之。
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醉妆词 唐孙光宪《北梦琐言》,蜀王衍尝裹小巾,其尖如锥。宫人皆衣道服,簪莲花冠,施胭脂夹脸,号醉妆,因作《醉妆词》。</span>
醉妆词 <span class="q">单调二十二字,六句三仄韵、三叠韵</span> 王 衍
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者边走<span class="q">韵</span>那边走<span class="q">叠</span>只是寻花柳<span class="q">韵</span>那边走<span class="q">叠</span>者边走<span class="q">叠</span>莫厌金杯酒<span class="q">韵</span></span>
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此调只此一词。
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庆宣和 元张可久《小山乐府》,自注双调。按《唐书·礼乐志》,双调乃夹钟之商声也。</span>
庆宣和 <span class="q">单调二十二字,五句三平韵、两叶韵</span> 张可久
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云影天光乍有无<span class="q">韵</span>老树扶疏<span class="q">韵</span>万柄高荷小西湖<span class="q">韵</span>听雨<span class="q">叶</span>听雨<span class="q">叶</span></span>
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此元人小令,亦名《叶儿乐府》。即元曲所自始也。因仿明杨慎《词林万选》例,择其尤杂者,采入以备一体。
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南歌子 唐教坊曲名。此词有单调双调。单调者,始自温庭筠词。词有“恨春宵”句,名《春宵曲》。张泌词,本此添字,因词有“高卷水晶帘额”句,名《水晶帘》。又有“惊破碧窗残梦”句,名《碧窗梦》。郑子聃有《我爱沂阳好》词十首,更名《十爱词》。双调者有平韵仄韵两体。平韵者,始自毛熙震词,周邦彦、杨无咎、僧挥五十四字体,无名氏五十三字体,俱本此添字。仄韵者,始自《乐府雅词》,惟石孝友词最为谐婉。周邦彦词,名《南柯子》。程垓词,名《望秦川》。田不伐词,有“帘风不动蝶交飞”句,名《风蝶令》。</span>
南歌子 <span class="q">单调二十三字,五句三平韵</span> 温庭筠
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手里金鹦鹉<span class="q">句</span>胸前绣凤凰<span class="q">韵</span>偷眼暗形相<span class="q">韵</span>不如从嫁与<span class="q">句</span>作鸳鸯<span class="q">韵</span></span>
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按,温庭筠词共七首,平仄如一,填者宜遵之。
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又一体 <span class="q">单调二十六字,五句三平韵</span> 张 泌
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锦荐红鸂鶒<span class="q">句</span>罗衣绣凤凰<span class="q">韵</span>绮疏飘雪北风狂<span class="q">韵</span>帘幕昼垂无事<span class="q">句</span>郁金香<span class="q">韵</span></span>
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此词第三句七字,第四句六字异。按欧阳炯词,第三够本“迢迢永夜梦难成”,迢字平声,永字仄声。
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又一体 <span class="q">双调五十二字,前后段各四句三平韵</span> 毛熙震
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惹恨还添恨<span class="q">句</span>牵肠即断肠<span class="q">韵</span>凝情不语一枝芳<span class="q">韵</span>独映画帘闲立<span class="q">读</span>绣衣香<span class="q">韵</span> 暗想为云女<span class="q">句</span>应怜</span>
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傅粉郎<span class="q">韵</span>晚来轻步出闺房<span class="q">韵</span>髻慢钗横无力<span class="q">读</span>纵猖狂<span class="q">韵</span></span>
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此词前后两结或上六字读、下三字句,或上四字读、下五字句,须蝉联不断,可读不可句。词中此等句法最多,可以类推。如此词两结,供作上六下三句读,宋词本此填者甚多。苏轼词:“正是一年春好近清明”、“此乐无声无味最难明”,秦观词:“天外不知音耗百般猜”、“只恐又抛人去几时来”,正与此同。</span>
《花间集》毛词别首起句“远山愁黛碧”,山字平声,黛字仄声。又秦观词,起句“愁鬓香云坠”,愁字平声;第二句““娇眸冰雪裁”,冰字平声;第三句“月明风晃为谁开”,月字仄声,风字平声。陈师道词,第四句“人在笙歌声里暗生春”,人字、笙字俱平声;后段起句“今代无双士”,今字平声;第三句“杯行到手莫辞频”,杯字平声,到字仄声;第四句“明日凤池归路隔清尘”,明字平声,凤字仄声。又贺铸词,前后两结句“何处飞来白鹭立移时”、“睡起芭蕉叶上自题诗”,白字、叶字俱仄声。谱内可平可仄据此。
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又一体 <span class="q">双调五十二字,前后段各四句三平韵</span> 辛弃疾
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散发披襟处<span class="q">句</span>浮瓜沉李时<span class="q">韵</span>涓涓流水细侵阶<span class="q">韵</span>凿个池儿<span class="q">读</span>唤个月儿来<span class="q">韵</span> 画栋频摇动<span class="q">句</span>红蕖</span>
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尽倒开<span class="q">韵</span>斗匀红粉照香腮<span class="q">韵</span>有个人儿<span class="q">读</span>把个镜儿猜<span class="q">韵</span></span>
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此词前后两结,上作四字一读、下作五字一句,与毛词小异,宋词如此填者甚多。赵师侠词:“唤渡沙头欵欵话离情”、“一片潇湘真个画难成”,范成大词:“可惜高楼不近木兰舟”、“江已东流那肯更西流”,正与此同。
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又一体 <span class="q">双调五十三字,前后段各四句三平韵</span> <span class="q">《花草粹编》</span>无名氏
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夕露霑芳草<span class="q">句</span>斜阳带远村<span class="q">韵</span>几声残角起谯门<span class="q">韵</span>撩乱栖鸦<span class="q">读</span>飞舞闹黄昏<span class="q">韵</span> 天共高城远<span class="q">句</span>香余</span>
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绣被温<span class="q">韵</span>客程常是可销魂<span class="q">韵</span>怎向人心头<span class="q">读</span>横着个人人<span class="q">韵</span></span>
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此与辛词同,惟后结多一字。
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又一体 <span class="q">双调五十四字,前后段各四句三平韵</span> 周邦彦
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腻颈凝酥白<span class="q">句</span>轻衫淡粉红<span class="q">韵</span>碧油凉气透帘栊<span class="q">韵</span>指点庭花低映<span class="q">读</span>云母屏风<span class="q">韵</span> 恨逐瑶琴写<span class="q">句</span>书</span>
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劳玉指封<span class="q">韵</span>等闲赢得瘦仪容<span class="q">韵</span>何事不教云雨<span class="q">读</span>略下巫峰<span class="q">韵</span></span>
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此词前后两结俱上六下四句法,较毛词各多一字。</span>
按,僧挥词,起句“金甃蟠龙尾”,金字平声;第三句“凉生宫殿不因秋”,凉字平声;第四句“门外莫寻尘世卷地江流”,门字平声,莫字、卷字俱仄声。又杨无咎词,后段起句“罗绮纷香陌”,罗字平声;结句“借问谪仙何在今为谁明”,借字仄声,今字平声。又一首后段第三句“蓬仙应是隐鳌头”,蓬字平声;结句“谁道於今双鬓犹自淹留”,於字平声。谱内可平可仄据此。
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又一体 <span class="q">双调五十二字,前后段各四句三仄韵</span> 石孝友
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春浅梅红小<span class="q">句</span>山寒岚翠薄<span class="q">韵</span>斜风吹雨入帘幕<span class="q">韵</span>梦觉西楼<span class="q">读</span>呜咽数声角<span class="q">韵</span> 歌酒工夫嫩<span class="q">句</span>别离</span>
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情绪恶<span class="q">韵</span>舞衫宽尽不堪著<span class="q">韵</span>若比那回<span class="q">读</span>相见更消削<span class="q">韵</span></span>
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荷叶杯 唐教坊曲名。此词有单调双调。单调者有温庭筠、顾夐二体,双调者只韦庄一体。俱见《花间集》。</span>
荷叶杯 <span class="q">单调二十三字,六句四仄韵、两平韵</span> 温庭筠
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一点露珠凝冷<span class="q">仄韵</span>波影<span class="q">韵</span>满池塘<span class="q">平韵</span>绿茎红艳两相乱<span class="q">换仄韵</span>肠断<span class="q">韵</span>水风凉<span class="q">平韵</span></span>
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此调三换韵,以平韵为主,两仄韵即间于平韵之内。温词三首,平仄悉同。
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又一体 <span class="q">单调二十六字,六句两仄韵、三平韵、一叠韵</span> 顾 夐
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春尽小庭花落<span class="q">仄韵</span>寂寞<span class="q">韵</span>凭栏敛双眉<span class="q">平韵</span>忍教成病忆佳期<span class="q">韵</span>知么知<span class="q">韵</span>知么知<span class="q">叠</span></span>
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按,顾夐词九首,内一首起二句“我忆君诗最若,知否”,故此词春字可仄,小字可平,花字可仄,寂字可平。第三、四句“字字最关心,红笺写寄表情深”,故此词凭字可仄,忍字可平,成字可仄。若第六句即叠第五句平韵,其第五句第一字,即煞尾平韵也。明程明善《啸余谱》,于第五句第一字注可仄,则是仄韵煞尾矣,不可从。
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又一体 <span class="q">双调五十字,前后段各五句两仄韵、三平韵</span> 韦 庄
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记得那年花下<span class="q">仄韵</span>深夜<span class="q">韵</span>初识谢娘时<span class="q">平韵</span>水堂西面画帘垂<span class="q">韵</span>携手暗相期<span class="q">韵</span> 惆怅晓莺残</span>
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月<span class="q">换仄韵</span>相别<span class="q">韵</span>彼此隔音尘<span class="q">换平韵</span>如今俱是异乡人<span class="q">韵</span>相见更无因<span class="q">韵</span></span>
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此即顾夐词体,又加一段,惟结句五字不叠韵,更减去一字耳。但两段各自换韵,旧谱或注一韵者误。</span>
按,韦词别首,前段起句“绝代佳人难得”,佳字平声;结句“不忍更思维”,不字仄声;后段第四句“碧天无路信沉沉”,碧字仄声。许棐词,前段第四句“归程能隔几重山”,归字平声;后段起句“准备绣轮雕辔”,准字仄声;第三句“说与百花知”,说字仄声。谱内可平可仄据此。
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回波乐 唐刘肃《大唐新话》:景龙中,中宗尝游兴庆池,侍宴者递起鼓舞,并唱回波词。给事中李景波亦起舞,歌词云云。《乐府诗集》:回波,商调曲,唐中宗时造,盖出于曲水引流泛觞也。后亦为舞曲,教坊记,谓之软舞。</span>
回波乐 <span class="q">单调二十四字,四句三平韵 </span>李景伯
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回波尔时酒卮<span class="q">韵</span>微臣职在箴规<span class="q">韵</span>侍宴既过三爵<span class="q">句</span>喧哗窃恐非仪<span class="q">韵</span></span>
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此即唐六言绝句,但第一句俱用“回波尔时”四字起。按沈佺期词,“回波尔时佺期,流向岭外生归。身名已蒙齿录,袍笏未复牙绯”,其平仄不同,其体则同也。
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又一体 <span class="q">单调二十四字,四句三仄韵</span> <span class="q">《本事诗》</span>无名氏
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回波尔时栲栳<span class="q">韵</span>怕妇也是大好<span class="q">韵</span>外边只有裴谈<span class="q">句</span>内里无过李老<span class="q">韵</span></span>
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此词用仄韵。按杨廷玉词,起句“回波尔时廷玉”,正与此同。但唐人风气初开,犹有古乐府遗意。其平仄往往不拘,故不复校注。
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舞马词 《唐书·礼乐志》:明皇尝命教舞马四百蹄,各为左右分部目,衣以文绣,络以金珠,每千秋节舞于勤政楼下。赐宴设酺,其曲数十叠,马闻声奋首鼓尾,纵横应节。又施三层板床,乘马而上,抃转如飞。或命壮士举榻,马舞其上,岁以为常。</span>
舞马词 <span class="q">单调二十四字,四句三平韵</span> 张 说
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彩旄八佾成行<span class="q">韵</span>时龙五色因方<span class="q">韵</span>屈膝衔杯赴节<span class="q">句</span>倾心献寿无疆<span class="q">韵</span></span>
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此亦唐人六古绝句,其平仄不拘。</span>
按,张说本集词六首,惟此一首起句用韵。和声云:四海和平乐。
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又一体 <span class="q">单调二十四字,四句两平韵</span> 张 说
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天鹿遥徵卫叔<span class="q">句</span>日龙上借羲和<span class="q">韵</span>将共两骖争舞<span class="q">句</span>来随八骏齐歌<span class="q">韵</span></span>
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此首起句不用韵。按,张说词五首皆然。和声云:圣代升平乐。
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三 台 唐教坊曲名。宋李济翁《资暇录》:三台,今之啐酒三十拍促曲。啐,送酒声也。宋张表臣《珊瑚钩诗话》:乐部中有促拍催酒,谓之三台。沈括词,名《开元乐》。因结有“翠华满陌东风”句,名《翠华引》。</span>
三 台 <span class="q">单调二十四字,四句两平韵</span> 王 建
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池北池南草绿<span class="q">句</span>殿前殿后花红<span class="q">韵</span>天子千秋万岁<span class="q">句</span>未央明月清风<span class="q">韵</span></span>
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此亦六言绝句,平仄不拘。按,王建集有宫中三台,江南三台之分,大约如竹枝词,有蜀中、江南、渔父之目,各随其所咏之事而名之也。
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又一体 <span class="q">单调二十四字,四句三平韵</span> 王 建
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树头花落花开<span class="q">韵</span>道上人去人来<span class="q">韵</span>朝愁暮愁即老<span class="q">句</span>百年几度三台<span class="q">韵</span></span>
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此词首句用韵。
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柘枝引 唐教坊曲名。《乐府杂录》:健舞曲。《乐苑》:羽调曲。按,此舞因曲为名,用二女童,帽施金铃,抃转有声。其来也,藏二莲花中,花坼而后见,对舞相占,实舞中雅妙者也。</span>
柘枝引<span class="q"> 单调二十四字,四句三平韵</span> <span class="q">《乐府诗集》</span>无名氏
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将军奉命即须行<span class="q">韵</span>塞外领强兵<span class="q">韵</span>闻道烽烟动<span class="q">句</span>腰间宝剑匣中鸣<span class="q">韵</span></span>
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按,《宋史·乐志》:小儿舞队有柘枝。又沈括《笔谈》:柘枝旧曲,遍数极多。今已不传,存此以志其乐。
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塞 姑 见《乐府诗集》。盖唐时边塞闺人之词也。</span>
塞 姑<span class="q"> 单调二十四字,四句三仄韵</span> <span class="q">《乐府诗集》</span>无名氏
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昨日卢梅塞口<span class="q">韵</span>整见诸人镇守<span class="q">韵</span>都护三年不归<span class="q">句</span>折尽江边杨柳<span class="q">韵</span></span>
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此亦六言绝句,其平仄不拘。
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晴偏好 明陈耀文《花草粹编》云:西湖虽有山泉,而大旱亦尝龟坼。嘉熙庚子水涸,茂草生焉。李霜崖作《晴偏好》词纪之。取词中结句为调名。</span>
晴偏好 <span class="q">单调二十四字,四句四仄韵</span> 李霜崖
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平湖千顷生芳草<span class="q">韵</span>芙蓉不照红颠倒<span class="q">韵</span>东坡道<span class="q">韵</span>波光潋滟晴偏好<span class="q">韵</span></span>
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此调只此一词,无别首可校。
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凭阑人 《太平乐府》注越调。按,《唐书·礼乐志》。越调,即黄钟之商声也。</span>
凭阑人 <span class="q">单调二十四字,四句四平韵</span> 邵亨贞
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谁写江南一段秋<span class="q">韵</span>妆点钱塘苏小楼<span class="q">韵</span>楼中多少愁<span class="q">韵</span>楚山无尽头<span class="q">韵</span></span>
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此亦元人小令,可平可仄。参《下倪词》。
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又一体 <span class="q">单调二十五字,五句三平韵、一叶韵</span> 倪 瓒
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客有吴郎吹洞箫<span class="q">韵</span>明月沉江春雾晓<span class="q">叶</span>湘灵不可招<span class="q">韵</span>水云中<span class="q">句</span>环佩摇<span class="q">韵</span></span>
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此词第二句用仄韵,结作三字两句,与邵词小异。按,元人小令,俱叶北音,所谓中原音韵也,与古韵三声叶者微不同,盖三声叶只平上去三声,若中原音韵,则入声作平,无所不叶也。
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花非花 调见白居易《长庆集》。以首句为调名。</span>
花非花 <span class="q">单调二十六字,六句三仄韵</span> 白居易
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花非花<span class="q">句</span>雾非雾<span class="q">韵</span>夜半来<span class="q">句</span>天明去<span class="q">韵</span>来如春梦不多时<span class="q">句</span>去似朝云无觅处<span class="q">韵</span></span>
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此本《长庆集》长短句诗,后人采入词中,其平仄亦不拘。
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摘得新 唐教坊曲名。</span>
摘得新<span class="q"> 单调二十六字,六句四平韵</span> 皇甫松
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摘得新<span class="q">韵</span>枝枝叶叶春<span class="q">韵</span>管弦兼美酒<span class="q">句</span>最关人<span class="q">韵</span>平生都得几十度<span class="q">句</span>展香茵<span class="q">韵</span></span>
●●○ ○○●●○ ●○○●● ●○○ ○○⊙●◎◎● ●○○
皇甫松词别首,第五句“繁红一夜惊风雨”,一字仄声;惊字、风字俱平声。
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梧叶儿 《太平乐府》注:商调。《唐书·礼乐志》:商调,乃夷则之商声也。 </span>
梧叶儿 <span class="q">单调二十六字,七句四平韵、一叶韵</span> 吴西逸 </span>
韶华过<span class="q">句</span>春色休<span class="q">韵</span>红瘦绿阴稠<span class="q">韵</span>花凝恨<span class="q">句</span>柳带愁<span class="q">韵</span>泛兰舟<span class="q">韵</span>明日寻芳载酒<span class="q">叶
</span>○○● ○●○ ⊙●●○○ ○○● ⊙●○ ●○○ ○●○○●●
·
此在元人为小令,其实则曲也。但其词未至俚鄙,故并采入以备体。其可平可仄,参后张可久《鸳鸯浦》一词。
</span></span>
又一体 <span class="q">单调二十七字,七句五平韵</span> 张可久</span>
鸳鸯浦<span class="q">句</span>鹦鹉洲<span class="q">韵</span>竹叶小渔舟<span class="q">韵</span>烟中树<span class="q">句</span>山外楼<span class="q">韵</span>水边鸥<span class="q">韵</span>扇面儿<span class="q">读</span>潇湘暮秋<span class="q">韵
</span>○○● ○●○ ●●●○○ ○○● ○●○ ●○○ ●●○ ○○●○
·
此与吴词同,惟结句多一衬字。
</span></span>
又一体 <span class="q">单调三十二字,七句五平韵</span> 张可久</span>
花垂露<span class="q">句</span>柳散烟<span class="q">韵</span>苏小酒楼前<span class="q">韵</span>舞队飞琼佩<span class="q">句</span>游人碾玉鞭<span class="q">韵</span>诗句缕金笺<span class="q">韵</span>懒上苏堤画船<span class="q">韵
</span>○○● ●●○ ○●●○○ ◎◎○○● ○○●●○ ⊙●●○○ ●●○○●○
·
此亦与吴词同,惟第四、五、六句多二衬字,可平可仄,参张雨词。
</span></span>
又一体 <span class="q">单调三十三字,七句五平韵</span> 张 雨</span>
移家去<span class="q">句</span>市隐间<span class="q">韵</span>幽事颇相关<span class="q">韵</span>刘商观碁罢<span class="q">句</span>韩康卖药还<span class="q">韵</span>点检绿云鬟<span class="q">韵</span>数不尽<span class="q">读</span>龟溪好山<span class="q">韵
</span>○○● ●●○ ○●●○○ ○○○○● ○○●●○ ●●●○○ ●●● ○○●○
·
此与张可久《花垂露》词同,惟结句多一字。
</span></span>
又一体 <span class="q">单调三十七字,七句四平韵、一叶韵</span> 张可久</span>
乘兴诗人棹<span class="q">句</span>新烹学士茶<span class="q">韵</span>风味属谁家<span class="q">韵</span>瓦甃悬冰箸<span class="q">句</span>天风起玉沙<span class="q">韵</span>海树放银花<span class="q">韵</span>秋厌拥<span class="q">读
</span>○●○○● ○○●●○ ○●●○○ ●●○○● ○○●●○ ●●●○○ ○●●
蓝关去马<span class="q">叶</span></span>
○○●●
·
此与张雨《移家去》词同,惟第一、二句各多二衬字,结句用仄韵异。
</span></span>
</span>
渔歌子 唐教坊曲名。按,《唐书·张志和》传:志和居江湖,自称“江波钓徒”,每垂钓不设铒,志不在鱼也。宪宗图真求其人不能致,尝撰《渔歌》,即此词也。单调体,实始于此。至双调体,昉自《花间集》顾夐、孙光宪,有魏承班、李珣诸词可校。若苏轼单调词,则又从双调词脱化耳。和凝词更名《渔父》,徐积词名《渔父乐》。</span>
渔歌子<span class="q"> 单调二十七字,五句四平韵</span> 张志和</span>
西塞山前白鹭飞<span class="q">韵</span>桃花流水鳜鱼肥<span class="q">韵</span>青箬笠<span class="q">句</span>绿蓑衣<span class="q">韵</span>斜风细雨不须归<span class="q">韵
</span>⊙◎⊙⊙●◎○ ⊙⊙○◎●⊙○ ⊙◎● ●○○ ⊙⊙◎◎●⊙○
·
按,张志和所撰《渔歌子》词五首,体调如一,可以参校。其一首起句“钓台渔父褐为裘”,钓字仄声;第二句“两两三三舴艋舟”,上两字仄声。又一首第三句“钓车子”,钓字仄声,车子平声。谱内据之。其余可平可仄,参后“松江蟹舍”一词。
</span></span>
又一体 <span class="q">单调二十七字,五句四平韵</span> 张志和</span>
松江蟹舍主人欢<span class="q">韵</span>菰饭蓴羹亦共餐<span class="q">韵</span>枫叶落<span class="q">句</span>荻花干<span class="q">韵</span>醉宿渔舟不觉寒<span class="q">韵
</span>○○●●●○○ ○●○○●●○ ○●● ●○○ ●●○○●●○
·
此词第一、二句及第五句平仄与前词异。
</span></span>
又一体 <span class="q">单调二十七字,五句三平韵</span> <span class="q">南唐</span>李 煜</span>
阆苑有情千里雪<span class="q">句</span>桃李无言一队春<span class="q">韵</span>一壶酒<span class="q">句</span>一竿身<span class="q">韵</span>快活如侬有几人<span class="q">韵
</span>●●●○○●● ○●○○●●○ ●○● ●○○ ●●○○●●○
·
此词起句不用韵。
</span></span>
又一体 <span class="q">单调二十五字,五句三仄韵</span> 苏 轼</span>
渔父饮<span class="q">句</span>谁家去<span class="q">韵</span>鱼蟹一时分付<span class="q">韵</span>酒无多少醉为期<span class="q">句</span>彼此不论钱数<span class="q">韵
</span>○●● ○○● ○●●○○● ●○○●●○○ ●●●○○●
·
此与顾夐、孙光宪两段词中一段略同,惟第三句六字,第四句作七字一句耳。因其单调,故列于前。
</span></span>
又一体 <span class="q">双调五十字,前后段各六句四仄韵</span> 顾 夐</span>
晓风清<span class="q">句</span>幽沼绿<span class="q">韵</span>倚阑凝望珍禽浴<span class="q">韵</span>画帘垂<span class="q">句</span>翠屏曲<span class="q">韵</span>满袖荷香馥郁<span class="q">韵</span> 好摅怀<span class="q">句</span>堪寓目<span class="q">韵
</span>●○○ ○◎● ◎○⊙●○⊙● ◎⊙⊙ ◎⊙● ◎●⊙○◎● ●⊙○ ○●●
身闲心静平生足<span class="q">韵</span>酒杯深<span class="q">句</span>光影促<span class="q">韵</span>名利无心较逐<span class="q">韵
</span>⊙○⊙●○○● ◎⊙⊙ ⊙◎● ⊙●⊙○◎●
·
按,李珣词四首,其一首,前段第三句“春风淡荡看不足”,间作拗句。又一首,前段第二句“潇湘夜”,湘字平声;第五句“明月下”,明字平声,月字仄声;后段结句“名利不将心挂”,不字仄声。又一首,前段结句“渔艇棹歌相续”,渔字平声,棹字仄声。谱内可平可仄据此。余参后词。
</span></span>
又一体 <span class="q">双调五十字,前后段各六句三仄韵</span> 孙光宪</span>
泛流萤<span class="q">句</span>明又灭<span class="q">韵</span>夜凉水冷东湾阔<span class="q">韵</span>风浩浩<span class="q">句</span>水寥寥<span class="q">句</span>万顷金波重叠<span class="q">韵</span> 杜若洲<span class="q">句</span>香郁烈<span class="q">韵
</span>●○○ ○●● ●○●●○○● ○●● ●○○ ●●○○○● ●●○ ○●●
一声宿雁霜时节<span class="q">韵</span>经霅水<span class="q">句</span>过松江<span class="q">句</span>尽属侬家风月<span class="q">韵
</span>●○●●○○● ○●● ●○○ ●●○○○●
·
此词前后段第五句俱不用韵。《花间集》孙词皆然。
</span></span>
</span>
忆江南 宋王灼《碧鸡漫志》:此曲自唐至今,皆南吕宫,字句皆同,止是今曲两段,盖近世曲子,无单遍者。按,唐段安节《乐府杂录》,此词乃李德裕为谢秋娘作,故名《谢秋娘》,因白居易词更今名。又名《江南好》。又因刘禹锡词,有“春去也,多谢洛城人”句,名《春去也》。温庭筠词,有“梳洗罢,独倚望江楼”句,名《望江南》。皇甫松词,有“闲梦江南梅熟日”句,名《梦江南》。又名《梦江口》。李煜词名《望江梅》。此皆唐词单调。至宋词始为双调。王安中词,有“安阳好,曲水似山阴”句,名《安阳好》。张滋词,有“飞梦去,闲到玉京游”句,名《梦仙游》。蔡真人词,有“铿铁板,闲引步虚声”句,名《步虚声》。宋自逊词,名《壶山好》。丘第春词,名《望蓬莱》。《太平乐府》名《归塞北》,注大石调。</span>
忆江南<span class="q"> 单调二十七字,五句三平韵</span> 白居易</span>
江南好<span class="q">句</span>风景旧曾谙<span class="q">韵</span>日出江花红胜火<span class="q">句</span>春来江水绿如蓝<span class="q">韵</span>能不忆江南<span class="q">韵
</span>○⊙● ⊙●●○○ ◎●⊙○○●● ⊙○○●●○○ ○●●○○
·
按,温庭筠词:“千万恨,恨极在天涯。山月不知心里事,水风空落眼前花,摇曳碧云斜。”正与此同,平仄参之。
</span></span>
又一体 <span class="q">双调五十四字,前后段各五句三平韵</span> 欧阳修</span>
江南蝶<span class="q">句</span>斜日一双双<span class="q">韵</span>身似何郎曾傅粉<span class="q">句</span>心如韩寿爱偷香<span class="q">韵</span>天赋与轻狂<span class="q">韵</span> 微雨过<span class="q">句</span>薄翅腻</span>
○○● ○●●○○ ○●○○○●● ○○○●●○○ ○●●○○ ○●● ●●●
烟光<span class="q">韵</span>才伴游蜂来小苑<span class="q">句</span>又随飞絮过东墙<span class="q">韵</span>长是为花忙<span class="q">韵
</span>○○ ○●○○○●● ●○○●●○○ ○●●○○
·
此即单调词加一叠,其可平可仄,与单调词同。按,《啸余谱》录李煜作,本单调词两首,故前后段各韵。且双调始自宋人,从无用两韵者,即《海山记》伪托隋词八阕,亦前后一韵,不可不辨。
</span></span>
又一体 <span class="q">双调五十九字,前后段各五句两仄韵、两平韵</span> 冯延巳</span>
去岁迎春楼上月<span class="q">仄韵</span>正是西窗<span class="q">句</span>夜凉时节<span class="q">韵</span>玉人贪睡坠钗云<span class="q">平韵</span>粉销妆薄见天真<span class="q">韵</span> 人非风</span>
●●○○○●●<span class="q"> </span>●●○○ ●○○● ●○○●●○○<span class="q"> </span>●○○●●○○ ○○○
月长依旧<span class="q">换仄韵</span>破镜尘筝<span class="q">句</span>一梦经年瘦<span class="q">韵</span>今宵帘幕飏花阴<span class="q">换平韵</span>空余枕泪独伤心<span class="q">韵
</span>●○○●<span class="q"> </span>●●○○ ●●○○● ○○○●●○○<span class="q"> </span>○○●●●○○
·
按,《阳春集》冯词二首,前后段俱两平两仄四换韵,实与唐宋《忆江南》本调不同,因调名同,故为类列。
</span></span>
</span>
潇湘神 调始自唐刘禹锡咏湘妃词。所谓赋题本意也。</span>
潇湘神<span class="q"> 单调二十七字,五句三平韵、一叠韵</span> 刘禹锡</span>
斑竹枝<span class="q">韵</span>斑竹枝<span class="q">叠</span>泪痕点点寄相思<span class="q">韵</span>楚客欲听瑶瑟怨<span class="q">句</span>潇湘深夜月明时<span class="q">韵
</span>○●○ ○●○ ●○◎●●○○ ●●●○○●● ○○○●●○○
·
此词首三字例用叠句。如刘词别首之“湘水流,湘水流”是也。其第三句“九疑云物至今秋”,云字平声。
</span></span>
</span>
章台柳 唐韩翃制,以首句为调名。</span>
章台柳<span class="q"> 单调二十七字,五句三仄韵、一叠韵</span> 韩 翃</span>
章台柳<span class="q">韵</span>章台柳<span class="q">叠</span>昔日青青今在否<span class="q">韵</span>纵使长条似旧垂<span class="q">句</span>也应攀折他人手<span class="q">韵
</span>○⊙● ○○● ●●○○⊙◎● ●●○○●●○ ●⊙○◎⊙○●
·
起二句亦可不用叠句,观柳氏作可见。
</span></span>
又一体 <span class="q">单调二十七字,五句三仄韵</span> <span class="q">唐妓</span>柳氏</span>
杨柳枝<span class="q">句</span>芳菲节<span class="q">韵</span>可恨年年赠离别<span class="q">韵</span>一叶随风忽报秋<span class="q">句</span>纵使君来岂可折<span class="q">韵
</span>○●○ ○○● ●●○○●○● ●●○○●●○ ●●○○●○●
·
此词起句不用韵
</span></span>
</span>
解 红 按,《宋史·乐志》:小儿舞队有解红。其曲失传。陈旸《乐书》,载和凝作,乃唐词也,若鸣鹤余音。有《解红儿慢》,系元人所制,与此不同。</span>
解 红<span class="q"> 单调二十七字,五句三平韵</span> 和 凝</span>
百戏罢<span class="q">句</span>五音清<span class="q">韵</span>解红一曲新教成<span class="q">韵</span>两个瑶池小仙子<span class="q">句</span>此时夺却柘枝名<span class="q">韵
</span>●●● ●○○ ●○●●○●○ ●●○○●○● ●○●●●○○
·
此与《赤枣子》、《捣练子》、《桂殿秋》诸词字句悉同,所辨在每句平仄之间,皆昔人音律所寓,填者宜悉遵之。
</span></span>
</span>
赤枣子 唐教坊曲名。</span>
赤枣子<span class="q"> 单调二十七字,五句三平韵</span> 欧阳炯</span>
夜悄悄<span class="q">句</span>烛荧荧<span class="q">韵</span>金炉香尽酒初醒<span class="q">韵</span>春睡起来回雪面<span class="q">句</span>含羞不语倚云屏<span class="q">韵
</span>◎●● ●○○ ⊙○○●●○○ ⊙●●○○●● ⊙○◎●●○○
·
此调见《尊前集》。按,欧词别首,第一句“莲脸薄”,莲字平声;第三句“等闲无事莫思量”,等字仄声;第四句“每一见时明月夜”,每字仄声;第五句“损人情愿断人肠”,损字仄声,情字平声。余无别词可校,填者亦从之。
</span></span>
</span>
南乡子 唐教坊曲名。此词有单调、双调。单调者始自欧阳炯词,冯延巳、李珣俱本此添字。双调者始自冯延巳词。《太和正音谱》注:越调。欧阳修本此减字,王之道、黄机、赵长卿,俱本此添字也。</span>
南乡子<span class="q"> 单调二十七字,五句两平韵、三仄韵</span> 欧阳炯</span>
画舸停桡<span class="q">平韵</span>槿花篱外竹横桥<span class="q">韵</span>水上游人沙上女<span class="q">仄韵</span>回顾<span class="q">韵</span>笑指芭蕉林里住<span class="q">韵
</span>●●○○<span class="q"> </span>◎⊙⊙◎●⊙○ ◎●⊙○○◎●<span class="q"> </span>○● ◎●⊙○⊙●●
·
此词单遍,平仄两韵,与宋人两段全押平韵者异。其可平可仄,即参谱内诸词。
</span></span>
又一体 <span class="q">单调二十八字,五句两平韵、三仄韵</span> 欧阳炯</span>
路入南中<span class="q">平韵</span>桄榔叶暗蓼花红<span class="q">韵</span>两岸人家微雨后<span class="q">仄韵</span>收红豆<span class="q">韵</span>叶底纤纤抬素手<span class="q">韵
</span>●●○○<span class="q"> </span>○○●●●○○ ●●○○○●●<span class="q"> </span>○○● ●●○○○●●
·
此与“画舸停桡”词同,惟第四句添一字,欧词六首与此悉同。
</span></span>
又一体 <span class="q">单调二十八字,五句两平韵、三仄韵</span> 冯延巳</span>
细雨湿秋风<span class="q">平韵</span>金凤花残满地红<span class="q">韵</span>闲蹙黛眉慵不语<span class="q">仄韵</span>情绪<span class="q">韵</span>寂寞相思知几许<span class="q">韵
</span>●●●○○<span class="q"> </span>○●○○●●○ ○●●○○●●<span class="q"> </span>○● ●●○○○●●
·
此与欧阳炯“画舸停桡”词同,惟起句添一字。按,《阳春集》冯词二首悉同。
</span></span>
又一体 <span class="q">单调三十字,六句两平韵、三仄韵</span> 李 珣</span>
烟漠漠<span class="q">句</span>雨凄凄<span class="q">平韵</span>岸花零落鹧鸪啼<span class="q">韵</span>远客扁舟临野渡<span class="q">仄韵</span>思乡处<span class="q">韵</span>潮退水平春色暮<span class="q">韵
</span>⊙◎● ●○○<span class="q"> </span>●○○●●○○ ◎◎○⊙○◎●<span class="q"> </span>⊙⊙● ⊙●●○⊙●●
·
此亦与欧阳炯“路入南中”词同,惟起作三字两句异。唐人知音律,类能添字,此即宋词衬字所自出也。</span>
按,《花间集》李词十首,其第一句,或作“拢云髻”;其第四句,或作“迴塘深处遥相见”,或作“带香游女偎伴笑”,或作“春酒香熟鲈鱼美”,或作“绿鬟红脸谁家女”;其第五句,或作“争窈窕”,或作“送春浦”;结句,或作“缓唱棹歌极浦去”。谱内可平可仄据此。
</span></span>
又一体 <span class="q">双调五十四字,前后段各五句四平韵</span> 欧阳修</span>
翠密红繁<span class="q">韵</span>水国凉生未是寒<span class="q">韵</span>雨打荷花珠不定<span class="q">句</span>轻翻<span class="q">韵</span>冷泼鸳鸯锦翅斑<span class="q">韵</span> 尽日凭栏<span class="q">韵</span>弄蕊</span>
●●○○ ●●○○●●○ ●●○○○●● ○○ ●●○○●●○ ●●○○ ●●
拈花仔细看<span class="q">韵</span>偷得褭蹄新铸样<span class="q">句</span>无端<span class="q">韵</span>藏在红房粉艳间<span class="q">韵
</span>○○●●○ ○●●○○●● ○○ ○●○○●●○
·
此即欧阳炯“画舸停桡”词体,再加一叠,惟第四、五句仍用平韵耳。按,欧集三词悉同。
</span></span>
又一体 <span class="q">双调五十六字,前后段各五句四平韵</span> 冯延巳</span>
细雨湿流光<span class="q">韵</span>芳草年年与恨长<span class="q">韵</span>回首凤楼无限事<span class="q">句</span>茫茫<span class="q">韵</span>鸾镜鸳衾两断肠<span class="q">韵</span> 魂梦任悠扬<span class="q">韵
</span>●●●○○ ○●○○●●○ ○●●○○●● ○○ ○●○○●●○ ○●●○○
睡起杨花满绣床<span class="q">韵</span>薄幸不来门半掩<span class="q">句</span>斜阳<span class="q">韵</span>负你残春泪几行<span class="q">韵
</span>●●○○●●○ ●●●○○●● ○○ ●●○○●●○
·
此即“细雨湿秋风”词体,再加一叠,只第四、五句仍用平韵耳。宋元人俱如此填。
</span></span>
又一体 <span class="q">双调五十六字,前后段各五句四平韵</span> 王之道</span>
天际彩虹垂<span class="q">韵</span>风起痴云快一吹<span class="q">韵</span>原隰畇畇<span class="q">句</span>春水更弥弥<span class="q">韵</span>布谷声从野鸟知<span class="q">韵</span> 初霁卷帘时<span class="q">韵
</span>○●●○○ ○●○○●●○ ○●○○ ○●●○○ ●●○○●●○ ○●●○○
巷陌泥融燕子飞<span class="q">韵</span>午醉醒来<span class="q">句</span>红日欲平西<span class="q">韵</span>一碗新茶乳面肥<span class="q">韵
</span>●●○○●●○ ●●●○ ○●●○○ ●●○○●●○
·
此即“细雨湿流光”词体,惟前后段第三、四句作四字一句、五字一句异。
</span></span>
又一体 <span class="q">双调五十八字,前后段各六句四平韵</span> 黄 机</span>
帘幕閟深沉<span class="q">韵</span>灯暗香销夜正深<span class="q">韵</span>花落画屏<span class="q">句</span>檐鸣细雨<span class="q">句</span>岑岑<span class="q">韵</span>滴破相思万里心<span class="q">韵</span> 晓色未平</span>
○●●○○ ○●○○●●○ ○●●○ ○○●● ○○ ●●○○●●○ ●●●○
分<span class="q">韵</span>翠被寒生不自禁<span class="q">韵</span>待得梦成<span class="q">句</span>翻多恶况<span class="q">句</span>堪颦<span class="q">韵</span>飞雁新来也误人<span class="q">韵
</span>○ ●●○○●●○ ●●●○ ○○●● ○○ ○●○○●●○
又一体 <span class="q">双调五十八字,前后段各六句四平韵</span> 赵长卿</span>
楚楚窄衣裳<span class="q">韵</span>腰身占却<span class="q">句</span>多少风光<span class="q">韵</span>共说春来春去事<span class="q">句</span>凄凉<span class="q">韵</span>懒对菱花晕晓妆<span class="q">韵 </span> 闲立近</span>
●●●○○ ○○●● ○●○○ ●●○○○●● ○○ ●●○○●●○ ○●●
红芳<span class="q">韵</span>游蜂戏蝶<span class="q">句</span>误采真香<span class="q">韵</span>何事不归巫峡去<span class="q">句</span>思量<span class="q">韵</span>故到人间恼客肠<span class="q">韵
</span>○○ ○○●● ●●○○ ○●●○○●● ○○ ●●○○●●○
·
此亦“细雨湿流光”词体,惟前后段第二句添一字,作四字两句异。
</span></span>
</span>
捣练子 《太和正音谱》注:双调。一名《捣练子令》。因冯延巳词,起结有“深院静”及“数声和月到帘栊”句,更名“深院月”。</span>
捣练子<span class="q"> 单调二十七字,五句三平韵</span> 冯延巳</span>
深院静<span class="q">句</span>小庭空<span class="q">韵</span>断续寒砧断续风<span class="q">韵</span>无奈夜长人不寐<span class="q">句</span>数声和月到帘栊<span class="q">韵
</span>⊙●● ●○○ ◎●○○◎●○ ⊙●◎○○●● ●○⊙●●○○
·
按,《梅苑》无名氏词八首,其一首起句“捣练子”,捣字仄声;第三句“枝上商量细细生”,枝字平声;第四句“不是根株贪结子”,不字仄声,根字平声。又一首,第三句“蕙魄兰魂人再阳”,人字平声;第五句“更须插向鬓云旁”,插字仄声。谱内可平可仄据此。
</span></span>
又一体 <span class="q">双调三十八字,前后段各五句三平韵</span> 李 石</span>
心自小<span class="q">句</span>玉钗头<span class="q">韵</span>月娥飞下白苹洲<span class="q">韵</span>水中仙<span class="q">句</span>月下游<span class="q">韵</span> 江汉佩<span class="q">句</span>洞庭舟<span class="q">韵</span>香名薄幸寄青楼<span class="q">韵
</span>○●● ●○○ ◎○⊙●●○○ ●○○ ◎●○ ○◎● ●○○ ⊙○●●●○○
问何如<span class="q">句</span>打拍浮<span class="q">韵
</span>●○⊙ ◎◎○
·
按,《全芳备祖》李词二首,其平仄悉同,惟《天机余锦》无名氏词,前段第三句“凉吹水曲散余酲”,凉字平声,水字仄声;后段第三句“翠荷闹雨做秋声”,翠字仄声;前结“小藤床,随意横”,随字平声;后结“恁时节,不堪听”,节字仄声,堪字平声。又《梅苑》无名氏词,后段起二句“孤标韵,暗香奇”,标字平声;结句“借阳和,天付伊”,天字平声。谱内可平可仄参之。
</span></span>
春晓曲 朱敦儒词,有“西楼月落鸡声急”急句,又名《西楼月》。</span>
春晓曲<span class="q"> 单调二十七字,四句三仄韵</span> 朱敦儒</span>
西楼月落鸡声急<span class="q">韵</span>夜浸疏香淅沥<span class="q">韵</span>玉人酒渴嚼春冰<span class="q">句</span>晓色入帘横宝瑟<span class="q">韵
</span>○○●●○○● ●●○○●● ●○◎●●○○ ●●●○○●●
·
此词见《花草粹编》,第二句本六字,乃旧谱于香字下增一寒字,作七言四句,名《阿那曲》。自明杨慎以唐诗绝句伪托为词,今正之。
</span></span>
又一体 <span class="q">单调二十七字,五句三仄韵</span> 张元幹</span>
瑶轩倚栏春风度<span class="q">韵</span>柳垂烟<span class="q">句</span>花带露<span class="q">韵</span>半闲鸳被怯余寒<span class="q">句</span>燕子时来窥绣户<span class="q">韵
</span>○○●●○○● ●○○ ○●● ●○○●●○○ ●●○○○●●
·
此与朱词同,惟第二句作三字两句异。
</span></span>
</span>
桂殿秋 本唐李德裕送神迎神曲。有“桂殿夜凉吹玉笙”句,取为调名。</span>
桂殿秋<span class="q"> 单调二十七字,五句三平韵</span> 向子諲</span>
秋色里<span class="q">句</span>月明中<span class="q">韵</span>红旌翠节下蓬宫<span class="q">韵</span>蟠桃已结瑶池露<span class="q">句</span>桂子初开玉殿风<span class="q">韵
</span>○●● ●⊙○ ⊙⊙○◎◎⊙○ ○○●●○○● ●●○○●●○
·
按,李德裕词二首,其一首第二句“玉练颜”,练字仄声。其一首第三句“桂殿夜凉吹玉笙”,桂字、殿字俱仄声,凉字、吹字俱平声。谱内可平可仄据此。
</span></span>
</span>
寿阳曲 《太平乐府》注:双调。一名《落梅风》。</span>
寿阳曲<span class="q"> 单调二十七字,五句一平韵、三叶韵</span> 张可久</span>
东风景<span class="q">句</span>西子湖<span class="q">韵</span>湿冥冥<span class="q">读</span>柳烟花雾<span class="q">叶</span>黄莺乱啼蝴蝶舞<span class="q">叶</span>几秋千<span class="q">读</span>打将春去<span class="q">叶
</span>○○● ⊙●○ ●○○ ●○○● ○○●○○●● ◎⊙⊙ ●○○●
·
此亦元人小令,平仄韵互叶者,其可平可仄悉参谱内二词。
</span></span>
又一体 <span class="q">单调二十八字,五句四仄韵</span> 张可久</span>
弹初罢<span class="q">句</span>酒暂歇<span class="q">韵</span>醉诗人<span class="q">读</span>满山红叶<span class="q">韵</span>问山中<span class="q">读</span>许由何处也<span class="q">韵</span>剩猿啼<span class="q">读</span>冷泉秋月<span class="q">韵
</span>○○● ●●● ●○○ ●○○● ●○○ ●○○●● ●○○ ●○○●
·
此词全用仄韵,其第四句八字,较“东风景”词添一衬字。
</span></span>
又一体 <span class="q">单调三十二字,五句一平韵、三叶韵</span> 张可久</span>
载酒人何处<span class="q">句</span>倚阑花又开<span class="q">韵</span>忆秦娥<span class="q">读</span>远山眉黛<span class="q">叶</span>锦云香<span class="q">读</span>鉴湖宽似海<span class="q">叶</span>还不了<span class="q">读</span>五年诗债<span class="q">叶
</span>●●○○● ●○○●○ ●○○ ●○○● ●○○ ●○○●● ○●● ●○○●
·
此与“弹初罢”词同,惟第一、二句各添二衬字。
</span></span>
</span>
阳关曲 本名《渭城曲》。宋秦观云:《渭城曲》绝句,近世又歌入《小秦王》,更名《阳关曲》。属双调,又属大石调。 按,唐教坊记,有《小秦王曲》,即《秦王小破阵乐》也,属坐部伎。</span>
阳关曲<span class="q"> 单调二十八字,四句三平韵</span> 王 维</span>
渭城朝雨浥轻尘<span class="q">韵</span>客舍青青柳色新<span class="q">韵</span>劝君更进一杯酒<span class="q">句</span>西出阳关无故人<span class="q">韵
</span>●○○●●○○ ◎●○○●●○ ●○●●●○● ○●○○○●○
·
宋苏轼词三首,其第二句,一首云“银汉无声转玉盘”,一首云“才到龙山马足轻”,则此词客字可平也。至第三句,仄平仄仄仄平仄,苏词三首皆然。若平仄一误,即非此调。 按,此亦七言绝句,唐人为送行之歌,三叠,非歌法也。苏轼论三叠歌法云:旧传阳关三叠,然今世歌者,每句再叠而已。若通一首言之,又是四叠,皆非是。或每句三唱以应三叠之说,则丛然无复节奏。余在密州,文勋长官以事至密,自云得古本阳关,其声宛转凄断,不类向之所闻。每句皆再唱,而第一句不叠,乃知古本三叠盖如此。及在黄州,偶读乐天对酒诗云:相逢且募推辞醉,听唱阳关第四声。注云:第四声,劝君更尽一杯酒,以此验之。若一句再叠,则此句为第五声,今为第四声,则第一句不叠审矣。 查元《阳春白雪集》,有大石调《阳关三叠》词云:渭城朝雨,一霎挹轻尘。更洒遍客舍青青,弄柔凝,千缕柳色新。更洒遍客舍青青,千缕柳色新。休烦恼,劝君更尽一杯酒,人生会少,自古富贵功名有定分。莫遣容仪瘦损。休烦恼,劝君更尽一杯酒,只恐怕西出阳关,旧游如梦,眼前无故人。与苏轼论吻合,并附录之。
</span></span>
</span>
欸乃曲 唐元结诗自序:大历初,结为道州刺史,以军事诣都。使还州,逢春水,舟行不进,作《欸乃曲》,令舟子唱之,以取适于道路云。 宋程大昌《演繁露》云:元次山《欸乃曲》五章,全是绝句,如《竹枝》之类。其谓“欸乃”者,殆舟人于歌声之外,别出一声,以互相其歌也。《柳枝》、《竹枝》,尚有存者,其语度与绝句无异,但于句末,随加“竹枝”或“柳枝”等语,遂即其语以名其歌。《欸乃》,亦其例也。 黄公绍《韵会》云:“欸”,叹声也,读若哀,乌来切。又应声也,读若霭,上声,倚亥切。又去声,於代切。无袄音。“乃”,难辞,又继事之辞。无霭音。今二字连读之,为棹船相应声。 按,《广韵》十五海:“欸”,于改切,相然应也。“乃”,奴亥切,语辞也。欸乃之声,或如唐人唱歌和声,所谓号头者。盖逆流而上,棹船劝力之声也。黄山谷题跋、洪驹父诗话,皆音作袄蔼者,误。</span>
欸乃曲 <span class="q">单调二十八字,四句三平韵</span> 元 结</span>
千里枫林烟雨深<span class="q">韵</span>无朝无暮有猿吟<span class="q">韵</span>停桡静听曲中意<span class="q">句</span>好似云山韶濩音<span class="q">韵
</span>○●○○○●○ ○○○●●○○ ○○●●●○● ●●○○○●○
·
按,《欸乃曲》五首,平仄不拘,本唐七言绝句,如《竹枝》、《柳枝》之类。今江南棹船有棹歌,每歌一句,则群和一声,犹见遗意。其欸乃二字,乃人声。或注作船声者,非。
</span></span>
</span>
采莲子 唐教坊曲名。</span>
采莲子<span class="q"> 单调二十八字,四句三平韵</span> 皇甫松</span>
菡萏香连十里陂<span class="q">举棹 韵</span>小姑贪戏采莲迟<span class="q">年少
韵</span>晚来弄水船头湿<span class="q">举棹 句</span>更脱红裙裹鸭儿<span class="q">年少
韵</span></span>
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此亦七言绝句。其举棹、年少,乃歌时相和之声,与《竹枝》体同。但《竹枝》以竹枝二字和于句中,女儿二字和于句尾,此则一句一和声耳。
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浪淘沙
唐教坊曲名。</span>
浪淘声<span class="q"> 单调二十八字,四句三平韵</span> 皇甫松</span>
蛮歌豆蔻北人愁<span class="q">韵</span>蒲雨杉风野艇秋<span class="q">韵</span>浪起鵁鶄眠不得<span class="q">句</span>寒沙细细入江流<span class="q">韵
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此与宋人《浪淘沙令》、《浪淘沙慢》不同,盖宋人借旧曲名,另倚新腔。此七言绝句也。按,《浪淘沙》词,创自刘、白,刘词九首与此同,惟白词六首皆拗体耳。
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杨柳枝 唐教坊曲名。按,白居易诗注:《杨柳枝》,洛下新声,其诗云“听取新翻杨柳枝”是也。薛能诗序:令部伎作杨柳枝健舞,复度新声。其诗云“试踏吹声作唱声”是也。盖乐府横吹曲,有《折杨柳》名。此则借旧曲名,另创新声。后遂入教坊耳。此本唐人七言绝句,与顾夐词四十字体、朱敦儒词四十四字体,添声者不同。</span>
杨柳枝<span class="q"> 单调二十八字,四句三平韵</span> 温庭筠</span>
金缕毵毵碧瓦沟<span class="q">韵</span>六宫眉黛惹香愁<span class="q">韵</span>晚来更带龙池雨<span class="q">句</span>半拂阑干半入楼<span class="q">韵
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按,刘白倡和以后,为此词者甚多,皆赋柳枝本意。原属绝句,因《花间集》载此,故采以备调。
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八拍蛮 唐教坊曲名。按,孙光宪词,所咏俱越中事,或即八拍之蛮歌也。</span>
八拍蛮<span class="q"> 单调二十八字,四句三平韵</span> 孙光宪</span>
孔雀尾拖金线长<span class="q">韵</span>怕人飞起入丁香<span class="q">韵</span>越女沙头争拾翠<span class="q">句</span>相呼归去背斜阳<span class="q">韵
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此词起句用韵,可平可仄,即参后词。
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又一体 <span class="q">单调二十八字,四句两平韵</span> 阎 选</span>
云锁嫩黄烟柳细<span class="q">句</span>风吹红带雪梅残<span class="q">韵</span>光景不胜闺阁恨<span class="q">句</span>行行坐坐黛眉攒<span class="q">韵
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此词起句不用韵。按,《花间集》孙光宪词一首、阎选词两首俱拗体七言绝句,不似《竹枝》、《柳枝》,平仄可以不拘也,作者辨之。</span>
以上六调皆唐人七言绝句,当时音律必有所属,今歌法不传矣。聊为类列,至《清平调》三首、《水调》、《梁州》、《伊州》诸词,此宋人大曲之源。另辑一卷,附于卷末。
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字字双 见《才鬼记》。因每句有叠字,故名《字字双》。</span>
字字双<span class="q"> 单调二十八字,四句四平韵</span> 王丽贞</span>
床头锦衾斑复斑<span class="q">韵</span>架上朱衣殷复殷<span class="q">韵</span>空庭明月闲复闲<span class="q">韵</span>夜长路远山复山<span class="q">韵
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此调无他词可校。
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十样花
宋李弥逊词十首,分咏十样花,故名。</span>
十样花<span class="q"> 单调二十八字,六句四仄韵</span> 李弥逊</span>
陌上风光浓处<span class="q">韵</span>第一寒梅先吐<span class="q">韵</span>待得春来也<span class="q">句</span>香消减<span class="q">句</span>态凝伫<span class="q">韵</span>百花休漫妒<span class="q">韵
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此词以“陌上风光浓处”为起句,李词十首皆然,谱中止采其二。可平可仄,即参后词。
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又一体 <span class="q">单调二十八字,六句五仄韵</span> 李弥逊</span>
陌上风光浓处<span class="q">韵</span>红药一番经雨<span class="q">韵</span>把酒绕芳丛<span class="q">句</span>花解语<span class="q">韵</span>劝春住<span class="q">韵</span>莫教容易去<span class="q">韵
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此词第四句多押一韵。
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天净沙 《太平乐府》注:越调。无名氏词有“塞上清秋早寒”句,又名《塞上秋》。</span>
天净沙<span class="q"> 单调二十八字,五句四平韵、一叶韵</span> 乔 吉</span>
一从鞍马西东<span class="q">韵</span>几番衾枕朦胧<span class="q">韵</span>薄幸虽来梦中<span class="q">韵</span>争如无梦<span class="q">叶</span>那时真个相逢<span class="q">韵
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此亦元人小令。第四句叶一仄韵。《老学丛谭》有无名氏词二首,正与此同。谱内可平可仄,即参后词。
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又一体 <span class="q">单调二十八字,五句三平韵、两叶韵</span> 马致远</span>
枯藤老树昏鸦<span class="q">韵</span>小桥流水平沙<span class="q">韵</span>古道凄风瘦马<span class="q">叶</span>夕阳西下<span class="q">叶</span>断肠人在天涯<span class="q">韵
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此词第三、四句,俱叶仄韵。按,孟昉词十二首,其十首俱与此同。惟一首起句“七十二候环催”,七字、十字俱仄声。又一首,第四句“风高露下”。风字平声,露字仄声。</span>
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