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目 录 <span class="q">三十五调七十四体,起四十八字至四十九字</span>
三字令二体</span>
山花子一体<span class="q">又名南唐浣溪沙、添字浣溪沙、摊破浣溪沙、感恩多令</span>
忆余杭二体
秋蕊香三体
胡捣练三体<span class="q">又名望仙楼</span>
桃源忆故人二体<span class="q">又名虞美人影、胡捣练、桃园忆故人、醉桃园、杏花风</span>
撼庭秋一体<span class="q">又名感庭秋</span>
庆金枝三体<span class="q">又名庆金枝令</span>
烛影摇红三体<span class="q">又名忆故人、归去曲、玉珥坠金环、秋色横空</span>
朝中措四体<span class="q">又名照江梅、芙蓉曲、梅月圆</span>
洞天春一体
庆春时一体
眼儿媚三体<span class="q">又名小阑干、东风寒、秋波媚</span>
人月圆三体<span class="q">又名青衫湿</span>
喜团圆二体<span class="q">又名与团圆</span>
海棠春三体<span class="q">又名海棠花、海棠春令</span>
武陵春三体<span class="q">又名武林春</span>
东坡引五体
双鸂鶒一体
鬲溪梅令一体<span class="q">又名高溪梅令</span>
伊州三台一体
双头莲令一体
梅弄影一体
茅山逢故人一体
阳台梦二体
月宫春二体<span class="q">又名月中行</span>
河渎神二体
归去来二体
惜春郎一体
极相思一体<span class="q">又名极相思令</span>
双韵子一体
凤孤飞一体
柳梢青八体<span class="q">又名云淡秋空、雨洗元宵、玉水明沙、早春怨、陇头月</span>
醉乡春一体<span class="q">又名添春色</span>
太常引二体<span class="q">又名太清引、腊前梅</span>
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三字令 调见《花间集》。前后段俱三字句,故名。</span>
三字令 <span class="q">双调四十八字,前后段各八句,四平韵</span> 欧阳炯</span>
春欲尽<span class="q">句</span>日迟迟<span class="q">韵</span>牡丹时<span class="q">韵</span>罗帐卷<span class="q">句</span>翠帘垂<span class="q">韵</span>彩笺书<span class="q">句</span>红粉泪<span class="q">句</span>两心知<span class="q">韵</span> 人不在<span class="q">句</span>燕空</span>
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归<span class="q">韵</span>负佳期<span class="q">韵</span>香烬落<span class="q">句</span>枕函敧<span class="q">韵</span>月分明<span class="q">句</span>花淡薄<span class="q">句</span>惹相思<span class="q">韵
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此调始于此词,向词即本此添字也。 按,前后段第四句,帐字、烬字俱用仄声,与向词满字、我字同。《图谱》注可平者非。
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又一体 <span class="q">双调五十四字,前后段各九句,四平韵</span> 向子諲 </span>
春尽日<span class="q">句</span>雨余时<span class="q">韵</span>红蔌蔌<span class="q">句</span>绿漪漪<span class="q">韵</span>花满地<span class="q">句</span>水平池<span class="q">韵</span>烟光里<span class="q">句</span>云影上<span class="q">句</span>画船移<span class="q">韵</span> 文鸳</span>
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并<span class="q">句</span>白鸥飞<span class="q">韵</span>歌韵响<span class="q">句</span>酒行迟<span class="q">韵</span>将我意<span class="q">句</span>入新诗<span class="q">韵</span>春欲去<span class="q">韵</span>留且住<span class="q">句</span>莫教归<span class="q">韵
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较欧词前后段各多第三句三字,两词平仄略同,惟“烟光里”、“春欲去”两句,与欧词“彩笺书”、“月分明”平仄异。
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山花子 唐教坊曲名。一名《南唐浣溪沙》,《梅苑》名《添字浣溪沙》,《乐府雅词》名《摊破浣溪沙》,《高丽史·乐志》名《感恩多令》。</span>
山花子 <span class="q">双调四十八字,前段四句三平韵,后段四句两平韵</span> <span class="q">南唐</span>李璟</span>
菡萏香销翠叶残<span class="q">韵</span>西风愁起绿波间<span class="q">韵</span>还与韶光共憔悴<span class="q">句</span>不堪看<span class="q">韵</span> 细雨梦回难塞远<span class="q">句</span>小</span>
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楼吹彻玉笙寒<span class="q">韵</span>多少泪珠何限恨<span class="q">句</span>倚阑干<span class="q">韵
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此词即《浣溪沙》之别体,不过多三字两结句,移其韵于结句耳,此所以有“添字”、“摊破”之名,然在《花间集》,和凝时已名《山花子》,故另编一体。 和凝词,前段起句“银字笙寒调正长”,银字平声;第二句“水纹簟冷画屏凉”,水字、簟字俱仄声;第三句“玉腕重因金扼臂”,玉字、重字俱仄声,金字平声;毛文锡词,后段起句“罗袜生尘游女过”,罗字、生字俱平声;贺铸词,第二句“迟回顾步佩声微”,迟字平声、顾字仄声;第三句“宛是春风蝴蝶舞”,宛字仄声,春字平声。谱内可平可仄据此。
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忆余杭 见《湘山野录》,潘阆自度曲,因忆西湖诸胜,故名《忆余杭》。《词律》编入《酒泉子》者误。</span>
忆余杭 <span class="q">双调四十八字,前段四句两平韵,后段四句两仄韵、两平韵</span> 潘 阆</span>
长忆西湖<span class="q">句</span>尽日凭阑楼上望<span class="q">句</span>三三两两钓鱼舟<span class="q">平韵</span>岛屿正清秋<span class="q">韵</span> 笛声依约芦花里<span class="q">仄韵
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白鸟数行惊起<span class="q">韵</span>别来闲想整鱼竿<span class="q">换平韵</span>思入水云寒<span class="q">韵
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此调只有潘词三首,故可平可仄悉依之。潘词别首,前段第三句“冷泉亭上几曾游”,冷字仄声,亭字平声;后段第三句“别来几向画图看”,几字仄声。余参校下首。 坊本后段第二句,或作“白鸟成行忽惊起”,今从《湘山野录》改正。
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又一体 <span class="q">双调四十九字,前段四句两平韵,后段四句两仄韵、两平韵</span> 潘 阆</span>
长忆孤山<span class="q">句</span>山在湖心如黛簇<span class="q">句</span>僧房四面向湖开<span class="q">平韵</span>轻棹去还来<span class="q">韵</span> 芰荷香细连云阁<span class="q">仄韵
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阁上清声檐下铎<span class="q">韵</span>别来尘土污人衣<span class="q">换平韵</span>空役梦魂飞<span class="q">韵
</span>●●○○○●● ●○○●●○○<span class="q"> </span>○●●○○
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后段第二句,较前词多一字,潘词别首“长啸一声何处去”,正与此同。
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秋蕊香 此调有两体,四十八字者始于晏殊,九十七字者始于赵以夫,两词迥别,因词名同,故为类列。若柳永六十字《秋蕊香引》,仍即挨字另编。</span>
秋蕊香 <span class="q">双调四十八字,前后段各四句,四仄韵</span> 晏 殊</span>
梅蕊雪残香瘦<span class="q">韵</span>罗幕轻寒微透<span class="q">韵</span>多情只是春杨柳<span class="q">韵</span>占断可怜时候<span class="q">韵</span> 萧娘劝我杯中酒<span class="q">韵
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翻红袖<span class="q">韵</span>金乌玉兔长飞走<span class="q">韵</span>争得朱颜依旧<span class="q">韵
</span>⊙○● ⊙○◎●○○● ⊙●⊙○○●
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此调只有此体。但周邦彦以前,悉照此词平仄填;周邦彦以后,即照周词平仄填,故两收之。此词前段起句,第五字平声,前后段第三、四句,第五字俱平声,有晏几道、张耒诸词可证。 晏几道词,前段第二句“别恨远山眉小”,别字仄声;第三句“眼前人去欢难偶”,人字平声;第四句“谁共一杯芳酒”,谁字平声;张耒词,后段第一句“别离滋味浓如酒”,别字仄声,滋字仄声;第二句“著人瘦”,著字仄声;杨泽民词,第三句“良人贪逐利名远”,贪字平声;第四句“不忆幽花静院”,不字仄声,方千里词“春锁绿沉小院”,绿字仄声。谱内可平可仄据此。杨词中利字、静字,方词中小字,此正晏、周二词体例所分,概不校注,余参周词。
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又一体 <span class="q">双调四十八字,前后段各四句,四仄韵</span> 周邦彦</span>
乳鸭池塘水暖<span class="q">韵</span>风紧柳花迎面<span class="q">韵</span>午妆粉脂印窗眼<span class="q">韵</span>曲里长眉翠浅<span class="q">韵</span> 闻知社日停针线<span class="q">韵
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探新燕<span class="q">韵</span>宝钗落枕梦魂远<span class="q">韵</span>帘影参差满院<span class="q">韵
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此即晏词体,所异者,惟前段第一句第五字,前后段第三、四句第五字,俱用仄声耳。有方千里、杨泽民、陈允平和词,及吴文英诸作可证。大概南宋人俱宗之,故采入以备参考。
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又一体 <span class="q">双调九十七字,前段十句五平韵,后段九句五平韵</span> 赵以夫</span>
一夜金风<span class="q">句</span>吹成万粟<span class="q">句</span>枝头点点明黄<span class="q">韵</span>扶疏月殿影<span class="q">句</span>雅淡道家妆<span class="q">韵</span>阿谁倩<span class="q">读</span>天女散浓香<span class="q">韵
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十分熏透霓裳<span class="q">韵</span>徘徊处<span class="q">句</span>玉绳低转<span class="q">句</span>人静天凉<span class="q">韵</span> 底事小山幽咏<span class="q">句</span>浑未识清妍<span class="q">句</span>空自神</span>
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伤<span class="q">韵</span>忆佳人<span class="q">读</span>执手诉离湘<span class="q">韵</span>招蟾魂<span class="q">读</span>和泪吸秋光<span class="q">韵</span>碧云日暮何妨<span class="q">韵</span>惆怅久<span class="q">读</span>瑶琴微弄<span class="q">句</span>一</span>
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曲清商<span class="q">韵</span>
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此调见《虚斋乐府》,咏 木犀,即赋题本意也。无别首可校,平仄宜依之。
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胡捣练 此调与《捣练子》异,或云似《桃源忆故人》,但前后段起句,有押韵不押韵之分。惟《望仙楼》调本此此减字,观《梅苑》刻《望仙楼》仍名《胡捣练》,可知矣。</span>
胡捣练 <span class="q">双调四十八字,前后段各四句,三仄韵</span> 晏 殊</span>
夜来江上见寒梅<span class="q">句</span>自逞芳妍标格<span class="q">韵</span>为甚东风先坼<span class="q">韵</span>分付春消息<span class="q">韵</span> 佳人钗上玉尊前<span class="q">句</span>朵</span>
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朵浓香堪惜<span class="q">韵</span>谁把彩毫描得<span class="q">韵</span>免恁轻抛掷<span class="q">韵
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汲古阁本,此词前段第一、二、三句,作“小桃花与早梅花,尽是芳妍品格。未上东风先坼”,今从《梅苑》及《花草粹编》改正。 此调以此词为正体,若晏几道词之减字、杜安世词之添字,皆变格也。此词有《梅苑》词可校,前后段起句俱不押韵。坊本张先词集,有《胡捣练》词,查系《桃源忆故人》,故不编入。 《梅苑》词,前段结句“水漾横斜影”,水字仄声;后段起句“异香直到醉乡中”,异字仄声。谱内可平可仄据此,余参下词。
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又一体 <span class="q">双调四十七字,前后段各四句,三仄韵</span> 晏几道</span>
小春花信日边来<span class="q">句</span>陇上江梅先坼<span class="q">韵</span>今岁东君消息<span class="q">韵</span>还自南枝得<span class="q">韵</span> 素衣染尽天香<span class="q">句</span>玉酒添</span>
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成国色<span class="q">韵</span>一自故溪疏隔<span class="q">韵</span>肠断长相忆<span class="q">韵
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此词一名《望仙楼》,即前“夜来江上”体,惟后段起句少一字。按,《梅苑》本作“素衣洗尽九天香”,仍七字句。因《花草粹编》与本集同,故从本集。
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又一体 <span class="q">双调五十字,前后段各四句,三仄韵</span> 杜安世</span>
数枝半敛半开时<span class="q">句</span>洞阁晓<span class="q">读</span>宝妆新注<span class="q">韵</span>香格艳姿天赋<span class="q">韵</span>甘被群芳妒<span class="q">韵</span> 狂风横雨且相饶<span class="q">句
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又恐有<span class="q">读</span>彩云迎去<span class="q">韵</span>牵破少年心绪<span class="q">韵</span>无计长为主<span class="q">韵
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此亦晏殊词体,惟前后段第二句,各添一字,作上三下四句法异。坊本前段第三句,作“宝香格艳姿天赋”,今照《词纬》改定。
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桃源忆故人 一名《虞美人影》;张先词,或名《胡捣练》;陆游词名《桃源忆故人》;赵鼎词名《醉桃园》;韩淲词,有“杏花风里东风峭”,名《杏花风》。</span>
桃源忆故人 <span class="q">双调四十八字,前后段各四句,四仄韵</span> 欧阳修</span>
梅梢弄粉香犹嫩<span class="q">韵</span>欲寄江南春信<span class="q">韵</span>别后愁肠萦损<span class="q">韵</span>说与伊争稳<span class="q">韵</span> 小炉独守寒灰烬<span class="q">韵</span>忍</span>
⊙○◎●○○● ◎●⊙○⊙● ◎●⊙○⊙● ◎●○○● ◎○◎●○○● ◎</span>
泪低头画尽<span class="q">韵</span>眉上万重新恨<span class="q">韵</span>竟日无人问<span class="q">韵
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·
此调以此词为正体,宋人多依此填,若王词之添字,乃变格也。 前段起句,朱敦儒词“雨斜风横香成阵”,雨字仄声,风字平声;第二句,郑域词“低下绣帘休卷”,绣字仄声;第三句,管鉴词“惟有绿窗朱户”,惟字平声,马古洲词“雪后又开半树”,半字仄声;结句,黄庭坚词“花底莺声嫩”,花字平声;后段第二句,秦观词“惊破一番新梦”,惊字平声,一字仄声,新字平声;第三句,史达祖词“十五年来凝伫”,年字平声,马词“我是西湖处士”,处字仄声;结句,陆游词“芳草连天暮”,芳字平声。谱内可平可仄据此,余参王词。
</span>
又一体 <span class="q">双调四十九字,前后段各四句,四仄韵</span> 王庭珪</span>
催花一霎清明雨<span class="q">韵</span>留得东风且住<span class="q">韵</span>两岸柳汀烟坞<span class="q">韵</span>未放行人去<span class="q">韵</span> 人如双鹄云间举<span class="q">韵</span>明</span>
○○●●○○● ○●○○●● ●●●○○● ●●○○● ○○○●○○● ○
月夜<span class="q">读</span>扁舟何处<span class="q">韵</span>只向武陵南渡<span class="q">韵</span>便是长安路<span class="q">韵
</span>●● ○○○● ●●●○○● ●●○○●
·
此即欧词体,惟后段第二句添一字,作上三下四句法异。
</span>
</span>
撼庭秋 唐教坊曲名。一作《感庭秋》。</span>
撼庭秋 <span class="q">双调四十八字,前段五句三仄韵,后段六句两仄韵</span> 晏 殊</span>
别来音信千里<span class="q">韵</span>恨此情难寄<span class="q">韵</span>碧纱秋月<span class="q">句</span>梧桐夜雨<span class="q">句</span>几回无寐<span class="q">韵</span> 高楼目断<span class="q">句</span>天涯云黯<span class="q">句
</span>●○○●○● ●●○○● ●○○● ○○●● ●○○● ○○●● ○○○●
只堪憔悴<span class="q">韵</span>念兰堂红烛<span class="q">句</span>心长焰短<span class="q">句</span>向人垂泪<span class="q">韵
</span>●○○● ●○○○● ○○●● ●○○●
·
此调平仄,无别首可校。
</span>
</span>
庆金枝 《高丽史·乐志》,名《庆金枝》令。</span>
庆金枝 <span class="q">双调四十八字,前后段各四句,三平韵</span> <span class="q">《高丽史·乐志》</span>无名氏</span>
莫惜金缕衣<span class="q">韵</span>劝君惜<span class="q">读</span>少年时<span class="q">韵</span>花开堪折直须折<span class="q">句</span>莫待折空枝<span class="q">韵</span> 一朝杜宇才鸣后<span class="q">句</span>便从</span>
◎◎⊙●○ ●○● ●○○ ○○○●●○● ●●●○○ ◎○●●○○● ◎⊙
此<span class="q">读</span>歇芳菲<span class="q">韵</span>有花有酒且开眉<span class="q">韵</span>莫待满头丝<span class="q">韵
</span>● ●○○ ◎○◎●●○○ ●●●○○
·
此调三体,每体只有一词,可平可仄,即以三词参定。
</span>
又一体 <span class="q">双调五十字,前段四句四平韵,后段四句三平韵</span> 张 先</span>
青螺添远山<span class="q">韵</span>两娇靥<span class="q">读</span>笑时圆<span class="q">韵</span>抱云勾雪近灯看<span class="q">韵</span>算何处<span class="q">读</span>不堪怜<span class="q">韵</span> 今生但愿无离别<span class="q">句
</span>○○○●○ ●○● ●○○ ●○○●●○○ ●⊙● ●○○ ○○●●○○●
花月下<span class="q">读</span>绣屏前<span class="q">韵</span>双蚕成茧共缠绵<span class="q">韵</span>更重结<span class="q">读</span>后生缘<span class="q">韵
</span>○●● ●○○ ○●○●●○○ ●○● ●○○
·
此词前后段第三句押韵,两结句俱六字折腰。
</span>
又一体 <span class="q">双调五十字,前后段各四句,四平韵</span> <span class="q">《梅苑》</span>无名氏</span>
新春入旧年<span class="q">韵</span>绽梅萼<span class="q">读</span>一枝先<span class="q">韵</span>陇头人待信音传<span class="q">韵</span>算楚岸<span class="q">读</span>未香残<span class="q">韵</span> 小桃风雪凭阑干<span class="q">韵
</span>○○●●○ ●○● ●○○ ●○○●●○○ ●●● ●○○ ●○○●●○○
下帘幕<span class="q">读</span>护轻寒<span class="q">韵</span>年华永占入芳筵<span class="q">韵</span>付尊酒<span class="q">读</span>渐成欢<span class="q">韵
</span>●○● ●○○ ○○●●●○○ ●○● ○○●
·
此词换头句押韵,余与张词同。
</span>
</span>
烛影摇红 宋吴曾《能改斋漫录》:王都尉(诜)有《忆故人》词,徽宗喜其词意,犹以不丰容宛转为恨,乃令大晟乐府,别撰腔,周邦彦增益其词,而以首句为名,谓之《烛影摇红》。按,王诜词本小令,原名《忆故人》,或名《归去曲》,以毛滂词有“送君归去添凄断”句也。若周邦彦词,则合毛、王二体为一阕。元赵雍词更名《玉珥坠金环》,元好问词更名《秋色横空》。</span>
烛影摇红 <span class="q">双调四十八字,前段四句两仄韵,后段五句三仄韵</span> 毛 滂</span>
老景萧条<span class="q">句</span>送君归去添凄断<span class="q">韵</span>赠君明月满前溪<span class="q">句</span>直到西湖畔<span class="q">韵</span> 门掩绿苔应遍<span class="q">韵</span>为黄花<span class="q">读
</span>◎●○○ ●○⊙●○○● ◎○⊙●●○○ ◎●○○● ⊙●◎○⊙● ●⊙⊙
频开醉眼<span class="q">韵</span>橘奴无恙<span class="q">句</span>蝶子相迎<span class="q">句</span>寒窗日短<span class="q">韵
</span>⊙○●● ◎○⊙● ●◎⊙⊙ ⊙○◎●
·
周词前段,即此词体也,故可平可仄,即可参之,余校毛词别首及贺铸词。 贺词,前段第三句“离魂十里念佳期”,十字仄声;后段第二句“但衾枕余芳剩暖”,枕字仄声,毛词别首“唤人醒不教梦去”,不字仄声;第三、四、五句“他年寻我,水边月底,一蓑烟短”,他字、边字、烟字俱平声,月字、底字、一字俱仄声。
</span>
又一体 <span class="q">双调五十字,前段五句两仄韵,后段五句三仄韵</span> 王 诜</span>
烛影摇红<span class="q">句</span>向夜阑<span class="q">句</span>乍酒醒<span class="q">读</span>心情懒<span class="q">韵</span>尊前谁为唱阳关<span class="q">句</span>离恨天涯远<span class="q">韵</span> 无奈云沈雨散<span class="q">韵
</span>●●○○ ○●○ ●●● ○○● ○○○●●○○ ○●○○● ○●○○●●
凭阑干<span class="q">读</span>东风泪眼<span class="q">韵</span>海棠开后<span class="q">句</span>燕子来时<span class="q">句</span>黄昏庭院<span class="q">韵
</span>●○○ ○○●● ●○○● ●●○○ ○○○●
·
周词后段即此词也。但此词前段第二、三句,共九字,疑向字、乍字,或歌者所添衬字耳。
</span>
又一体 <span class="q">双调九十六字,前后段各九句,五仄韵</span> 周邦彦</span>
香脸轻匀<span class="q">句</span>黛眉巧画宫妆淡<span class="q">韵</span>风流天付与精神<span class="q">句</span>全在娇波转<span class="q">韵</span>早是萦心可惯<span class="q">韵</span>那更堪<span class="q">读</span>频频</span>
⊙●○○ ◎○◎●○○● ⊙○⊙●●○○ ⊙●○○● ◎●⊙○◎● ●◎⊙ ⊙○
顾盼<span class="q">韵</span>几回得见<span class="q">句</span>见了还休<span class="q">句</span>争如不见<span class="q">韵</span> 烛影摇红<span class="q">句</span>夜阑饮散春宵短<span class="q">韵</span>当时谁解唱阳</span>
◎● ◎○◎● ◎◎⊙⊙ ⊙○◎● ◎●○○ ◎○◎●○○● ⊙○⊙●●○
关<span class="q">句</span>离恨天涯远<span class="q">韵</span>无奈云收雨散<span class="q">韵</span>凭阑干<span class="q">读</span>东风泪眼<span class="q">韵</span>海棠开后<span class="q">句</span>燕子来时<span class="q">句</span>黄昏庭院<span class="q">韵
</span>
○ ⊙●○○● ⊙●⊙○◎● ●⊙⊙ ⊙○◎● ◎○⊙● ◎◎⊙⊙ ⊙○⊙●
·
此词前段即毛词体,后段即用王词,但第二、三句,王词九字,此则删去二词,作七字句,仍是王词体也。 此词可平可仄,查宋词悉与小令同,惟前后段第八句,或作仄仄平平,或作平仄平平,则与小令异。又,前段第二句,方岳词“宫云透晓青旗报”,宫字平声;前后段第六句,高观国词“正惨惨云横疏影”、孙惟信词“软红街清明还又”,疏字、还字俱平声,亦与小令异。
</span>
</span>
朝中措 《宋史·乐志》;属黄钟宫。李祁词有“初见照江梅”句,名《照江梅》;韩淲词名《芙蓉曲》,又有“香动梅梢圆月”句,名《梅月圆》。</span>
朝中措 <span class="q">双调四十八字,前段四句三平韵,后段五句两平韵</span> 欧阳修</span>
平山阑槛倚情空<span class="q">韵</span>山色有无中<span class="q">韵</span>手种堂前垂柳<span class="q">句</span>别来几度春风<span class="q">韵</span> 文章太守<span class="q">句</span>挥毫万字<span class="q">句
</span>⊙○⊙●●○○ ⊙●●○○ ◎●⊙○⊙● ◎○◎●○○ ⊙○◎● ⊙○◎●
一饮千钟<span class="q">韵</span>行乐直须年少<span class="q">句</span>尊前看取衰翁<span class="q">韵
</span>◎●○○ ⊙●◎○⊙● ⊙○◎●○○
·
此调以此词为正体,宋人填者甚多,若辛词、赵词之摊破句法,蔡词之添字,皆变体也。 前段起句,向子諲词“满城腊雪净无埃”,满字、腊字俱仄声;第二句“触处是花开”,触字仄声;第三句,蔡伸词“万里闲云散尽”,散字仄声;结句,赵师侠词“归时秋满山川”,秋字平声;后段起句,欧词别首“客程无尽”,客字仄声,无字平声;第二句,范成大词“夕阳如锦”,夕字仄声,如字平声;第三句,周紫芝词“人在天涯”,人字平声;第四句,赵师侠词“鬓影黄边渐绿”,黄字平声,渐字仄声;结句,李祁词“隔江烟雨楼台”,隔字仄声,烟字平声。谱内可平可仄据此,余校所采三词。
</span>
又一体 <span class="q">双调四十八字,前后段各四句,三平韵</span> 辛弃疾</span>
年年金蕊艳西风<span class="q">韵</span>人与菊花同<span class="q">韵</span>霜鬓经春曾绿<span class="q">句</span>仙姿不饮长红<span class="q">韵</span> 焚香度日尽从容<span class="q">韵</span>笑</span>
○○○●●○○ ○●●○○ ○●○○○● ○○●●○○ ○○●●●○○ ●
语调儿童<span class="q">韵</span>一岁一杯为寿<span class="q">句</span>从今更数千钟<span class="q">韵
</span>●●○○ ●●●○○● ○○●●○○
·
此亦欧词体,惟后段第一、二、三句,摊破四字三句,作七字一句、五字一句异。坊本或刻“焚香度日,从容笑语,尽调儿童”,今照稼轩本集。
</span>
又一体 <span class="q">双调四十八字,前段四句三平韵,后段四句两平韵</span> 赵长卿</span>
荷钱浮翠点前溪<span class="q">韵</span>梅雨日长时<span class="q">韵</span>恰是清和天气<span class="q">句</span>雕鞍又作分携<span class="q">韵</span> 别来几日愁新折<span class="q">句</span>针</span>
○○○●●○○ ○●●○○ ●●○○○● ○○●●○○ ●○●●○○● ○
线小蛮衣<span class="q">韵</span>羞对绿阴庭院<span class="q">句</span>衔泥燕燕于飞<span class="q">韵
</span>●●○○ ○●●○○● ○○●●○○
·
此与辛词同,惟后段起句不押韵异,洪咨夔“荷花香里”词,换头句“去天尺五城南路”,正与此同。
</span>
又一体 <span class="q">双调四十九字,前段四句三平韵,后段五句两平韵</span> 蔡 伸</span>
章台杨柳自依依<span class="q">韵</span>飞絮送春归<span class="q">韵</span>院宇日长人静<span class="q">句</span>园林绿暗红稀<span class="q">韵</span> 庭前花谢了<span class="q">句</span>行云散</span>
○○○●●○○ ○●●○○ ●●●○○● ○○●●○○ ○○○●● ○○●
后<span class="q">句</span>物是人非<span class="q">韵</span>惟有一襟清泪<span class="q">句</span>凭阑洒遍残枝<span class="q">韵
</span>● ●●○○ ○●●○○● ○○●●○○
·
此即欧词体,惟后段起句添一字,作五字句异。
</span>
</span>
洞天春 调见《六一词》,盖赋院落之春景如洞天也。</span>
洞天春 <span class="q">双调四十八字,前段四句四仄韵,后段五句三仄韵</span> 欧阳修</span>
莺啼绿树声早<span class="q">韵</span>槛外残红未扫<span class="q">韵</span>露点真珠遍芳草<span class="q">韵</span>正帘帏清晓<span class="q">韵</span> 秋千宅院悄悄<span class="q">韵</span>又是</span>
○○●●○● ●●○○●● ●●○○●○● ●○○○● ○○●●●● ●●
清明过了<span class="q">韵</span>燕蝶轻狂<span class="q">句</span>柳丝撩乱<span class="q">句</span>春心多少<span class="q">韵
</span>○○●● ●●○○ ●○○● ○○○●
·
此调宋人填者绝少,无从校对平仄。
</span>
</span>
庆春时 调见《小山乐府》,凡二首,俱庆赏春时宴乐之词。</span>
庆春时 <span class="q">双调四十八字,前段六句两平韵,后段五句两平韵</span> 晏几道</span>
倚天楼殿<span class="q">句</span>升平风月<span class="q">句</span>彩仗春移<span class="q">韵</span>鸾丝凤竹<span class="q">句</span>长生调里<span class="q">句</span>迎得翠舆归<span class="q">韵</span> 雕鞍游罢<span class="q">句</span>何</span>
◎○⊙● ○○○● ◎●○○ ○○●● ○○●● ○●●○○ ○○○● ○
处还有心期<span class="q">韵</span>浓熏翠被<span class="q">句</span>深停画烛<span class="q">句</span>人约月西时<span class="q">韵
</span>●○●○○ ○○●● ○○●● ○●●○○
·
晏词二首,平仄略同,惟别首起句“梅梢已有”,梅字平声,已字仄声;第三句“风意犹寒”,风字平声。《词律》谓前段第五句“调”字可平、后段第四句“画”字可平,无据,不必从。
</span>
</span>
眼儿媚 左誉词,有“斜月小阑干”句,名《小阑干》;韩淲词,有“东风拂槛露犹寒”句,名《东风寒》;陆游词名《秋波媚》。</span>
眼儿媚 <span class="q">双调四十八字,前段五句三平韵,后段五句两平韵</span> 左 誉</span>
楼上黄昏杏花寒<span class="q">韵</span>斜月小阑干<span class="q">韵</span>一双燕子<span class="q">句</span>两行归雁<span class="q">句</span>画角声残<span class="q">韵</span> 绮窗人在东风里<span class="q">句
</span>○●○○●○○ ⊙●●○○ ◎○◎● ◎○⊙● ◎●○○ ◎○⊙●○○●
洒泪对春闲<span class="q">韵</span>也应似旧<span class="q">句</span>盈盈秋水<span class="q">句</span>淡淡青山<span class="q">韵
</span>◎●●○○ ◎○◎● ⊙○⊙● ◎●○○
·
此调以左词、贺词为正体,若赵词之换头句多押一韵,乃变格也。左词,前段起句拗体,如王雱词之“杨柳丝丝弄轻柔”、曾觌词之“花近清明晚风寒”、尹焕词之“袅袅垂杨蘸清漪”,皆是,故两词俱采,其两起句之平仄不可相通,任填者自择一体宗之。 前段第三句,黄公度词“如今憔悴”,如字、憔字俱平声;后段第一、二句,王雱词“而今往事难重省,归梦绕秦楼”,而字平声,往字仄声,归字平声;第三句,黄机词“离愁多在”,多字平声;第四句,薛梦桂词“雁飞不到”,雁字、不字俱仄声。谱内可平可仄据此,余参贺词、赵词。
</span>
又一体 <span class="q">双调四十八字,前段五句三平韵,后段五句两平韵</span> 贺 铸</span>
萧萧江上荻花秋<span class="q">韵</span>做弄许多愁<span class="q">韵</span>半竿落日<span class="q">句</span>两行新雁<span class="q">句</span>一叶扁舟<span class="q">韵</span> 惜分长怕君先去<span class="q">句
</span>⊙○⊙●●○○ ●●●○○ ●○●● ●○○● ●●○○ ●○○●○○●
且待醉时休<span class="q">韵</span>今宵眼底<span class="q">句</span>明朝心上<span class="q">句</span>后日眉头<span class="q">韵
</span>●●●○○ ○○●● ○○○● ●●○○
·
此与左词同,惟前段起句不作拗体,如卢祖皋之“玉钩清晓上帘衣”、史达祖词之“儿家七十二鸳鸯”,皆是。以下可平可仄,即同左词。
</span>
又一体 <span class="q">双调四十八字,前后段各五句,三平韵</span> 赵长卿</span>
南枝消息杳然间<span class="q">韵</span>寂寞倚雕阑<span class="q">韵</span>紫腰艳艳<span class="q">句</span>青腰袅袅<span class="q">句</span>风月俱闲<span class="q">韵</span> 佳人环佩玉阑珊<span class="q">韵
</span>○○○●●○○ ●●●○○ ●○●● ○○●● ○●○○ ○○○●●○○
作恶探花还<span class="q">韵</span>玉纤撚粟<span class="q">句</span>樱唇呵粉<span class="q">句</span>愁点眉弯<span class="q">韵
</span>●●●○○ ●○●● ○○○● ○●○○
·
此即贺词体,惟换头句多押一韵异。
</span>
</span>
人月圆 《中原音韵》注:黄钟宫。此调始于王诜,因词中“人月圆时”句,取以为名。吴激词,有“青衫泪湿”句,又名《青衫湿》。</span>
人月圆 <span class="q">双调四十八字,前段五句两平韵,后段六句两平韵</span> 王 诜</span>
小桃枝上春来早<span class="q">句</span>初试薄罗衣<span class="q">韵</span>年年此夜<span class="q">句</span>华灯竞处<span class="q">句</span>人月圆时<span class="q">韵</span> 禁街箫鼓<span class="q">句</span>寒轻夜</span>
◎○⊙●○○● ⊙●●○○ ⊙○◎● ○○◎● ⊙●○○ ◎○⊙● ⊙○◎</span>
永<span class="q">句</span>纤手同携<span class="q">韵</span>夜阑人静<span class="q">句</span>千门笑语<span class="q">句</span>声在帘帏<span class="q">韵
</span>● ⊙●○○ ◎○⊙● ○○◎● ⊙●○○
·
此调以此词为正体,即《中原音韵》所注黄钟宫者。若杨词之摊破句法、或押仄韵者,皆变格也。 前段第三、四句,倪瓒词“画屏云嶂,池塘春草”,画字仄声,云字、春字俱平声;后段第一、二句,刘因词“门前报道,曲生来谒”,门字平声,曲字仄声;第四句,赵鼎词“芳尊美酒”,芳字平声,美字仄声;第五句,张可久词“香炉峰下”,峰字平声;第六句,赵词“月满高楼”,月字仄声。谱内可平可仄据此,余参下词。
</span>
又一体 <span class="q">双调四十八字,前后段各五句,两平韵</span> 杨无咎</span>
风和日薄余烟嫩<span class="q">句</span>恻恻透鲛绡<span class="q">韵</span>相逢且喜<span class="q">句</span>人圆玳席<span class="q">句</span>月满丹霄<span class="q">韵</span> 烂游胜赏<span class="q">句</span>高低灯</span>
○○●●○○● ●●●○○ ○○●● ○○●● ●●○○ ●○●● ○○○
火<span class="q">句</span>鼎沸笙箫<span class="q">韵</span>一年三百六十日<span class="q">句</span>愿长似今宵<span class="q">韵
</span>● ●●○○ ●○○○●●● ●○●○○
·
此亦王词体,惟后段第四、五、六句,摊破句法,作七字一句、五字一句异。
</span>
又一体 <span class="q">双调四十八字,前段五句三仄韵,后段五句两仄韵</span> 杨无咎</span>
月华灯影光相射<span class="q">韵</span>还是元宵也<span class="q">韵</span>绮罗如画<span class="q">句</span>笙歌递响<span class="q">句</span>无限风雅<span class="q">韵</span> 闹蛾斜插<span class="q">句</span>轻衫乍</span>
●○○●○○● ○●○○● ●○○● ○○●● ○●○● ●○○● ○○●
试<span class="q">句</span>闲趁尖耍<span class="q">韵</span>百年三万六千夜<span class="q">句</span>愿长如今夜<span class="q">韵
</span>● ○●○● ●○○●●○● ●○○○●
·
此与无咎平韵词悉同,惟押仄声韵,及前段起句用韵异耳。至前段第三句“画”字,后段第四句“夜”字非韵,或注作韵者误。 杨词两体,俱无他词可校。《词律》所注可平可仄,无据,不可从。
</span>
</span>
喜团圆 调见《小山乐府》。《花草粹编》无名氏词,有“与个团圆”句,更名《与团圆》。</span>
喜团圆 <span class="q">双调四十八字,前段五句两平韵,后段六句两平韵</span> 晏几道</span>
危楼静锁<span class="q">句</span>窗中远岫<span class="q">句</span>门外垂杨<span class="q">韵</span>珠帘不禁春风度<span class="q">句</span>解偷送余香<span class="q">韵</span> 眠思梦想<span class="q">句</span>不如双</span>
○○●● ○○●● ⊙●○○ ○○●●○○● ●○●○○ ⊙⊙◎◎ ◎○⊙
燕<span class="q">句</span>得到兰房<span class="q">韵</span>别来只是<span class="q">句</span>凭高泪眼<span class="q">句</span>感旧离肠<span class="q">韵
</span>● ◎●○○ ◎○●● ○○◎● ●●○○
·
此与《梅苑》词同,惟前段第四、五句,句读不同耳,其余字句同者,可平可仄,可以参校。 《花草粹编》无名氏词,前段第三、四句“孜孜觑著,算前生、只结得眼因缘”,句读虽异,因词俚不录。
</span>
又一体 <span class="q">双调四十八字,前后段各六句,两平韵</span> <span class="q">《梅苑》</span>无名氏</span>
轻攒碎玉<span class="q">句</span>玲珑竹外<span class="q">句</span>脱去繁华<span class="q">韵</span>尤殢东君<span class="q">句</span>最先点破<span class="q">句</span>压倒群花<span class="q">韵</span> 瘦影生香<span class="q">句</span>黄昏</span>
⊙⊙●● ○○●● ●●○○ ○●⊙⊙ ●○●● ●●○○ ●●○○ ○○
月馆<span class="q">句</span>深浅溪沙<span class="q">韵</span>仙标淡泞<span class="q">句</span>偏宜幺凤<span class="q">句</span>肯带栖鸦<span class="q">韵
</span>●● ○●○○ ○○●● ○○○● ●●○○
·
此亦晏词体,前段第四、五句,摊破句法,作四字三句异。《花草粹编》,前段第四、五、六句,作“殢东君,先点破,压群花”,今从《梅苑》改定。
</span>
</span>
海棠春 此调始自秦观,因词中有“试问海棠花,昨夜开多少”句,故名。马庄父词名《海棠花》,史达祖词名《海棠春令》。</span>
海棠春 <span class="q">双调四十八字,前后段各四句,三仄韵</span> 秦 观</span>
流莺窗外啼声巧<span class="q">韵</span>睡未足<span class="q">读</span>把人惊觉<span class="q">韵</span>翠被晓寒轻<span class="q">句</span>宝篆沉烟袅<span class="q">韵</span> 宿酲未解宫娥报<span class="q">韵
</span>⊙○⊙●○○● ◎◎● ◎○⊙● ◎●●○○ ◎●○○● ●○◎●○○●
道别院<span class="q">读</span>笙歌宴早<span class="q">韵</span>试问海棠花<span class="q">句</span>昨夜开多少<span class="q">韵
</span>●◎● ○○●● ●●●○○ ●●○○●
·
此调以此词为正体,若吴词之摊破句法、马词之减字,皆变体也。或疑此词换头,亦可照吴词点定四字两句、六字一句,然有史达祖词可证,则固七字两句也。 史词,前段第二句“锦宫外烟轻雨细”,宫字平声,雨字仄声;换头两句“烛花偏在红帘底,想人怕春寒正睡”,偏字、人字俱平声。谱内可平可仄据之,余参吴词、马词。
</span>
又一体 <span class="q">双调四十八字,前段四句三仄韵,后段五句三仄韵</span> 吴 潜</span>
天涯芳草迷征路<span class="q">韵</span>还又是<span class="q">读</span>匆匆春去<span class="q">韵</span>鸟兔里光阴<span class="q">句</span>莺燕边情绪<span class="q">韵</span> 云梢雾末<span class="q">句</span>溪桥野</span>
○○○●○○● ○●● ○○○● ○●●○○ ○●○○● ○○●● ○○●
渡<span class="q">韵</span>尽是春愁落处<span class="q">韵</span>把酒劝斜阳<span class="q">句</span>小向花间驻<span class="q">韵
</span>● ●●○○●● ●●●○○ ●●○○●
·
此亦秦词体,惟换头摊破七字两句,作四字两句、六字一句异。
</span>
又一体 <span class="q">双调四十六字,前后段各四句,三仄韵</span> 马庄父</span>
柳腰暗怯花风弱<span class="q">韵</span>红映秋千院落<span class="q">韵</span>归逐雁儿飞<span class="q">句</span>斜撼真珠箔<span class="q">韵</span> 满林翠叶胭脂萼<span class="q">韵</span>不忍</span>
●○●●○○● ○●○○●● ○●●○○ ○●○○● ●○●●○○● ●●
频频觑著<span class="q">韵</span>护取一庭春<span class="q">句</span>莫弹花间鹊<span class="q">韵
</span>○○●● ●●●○○ ●●○○●
·
此即秦词体,惟前后段第二句,各减一字,作六字句异。
</span>
</span>
</span>
武陵春 《梅苑》名《武林春》。</span>
武陵春 <span class="q">双调四十八字,前后段各四句,三平韵</span> 毛 滂</span>
风过冰檐环佩响<span class="q">句</span>宿雾在华茵<span class="q">韵</span>剩落瑶花衬月明<span class="q">韵</span>嫌怕有纤尘<span class="q">韵</span> 凤口衔灯金炫转<span class="q">句</span>人醉</span>
⊙●⊙○○●● ◎●●○○ ◎●○○◎●○ ⊙●●○○ ◎◎⊙⊙⊙◎● ⊙●
觉寒轻<span class="q">韵</span>但得清光解照人<span class="q">韵</span>不负五更春<span class="q">韵
</span>●○○ ◎●○○●●○ ◎●●○○
·
此调以此词为正体,若李词、万俟词之添字,皆变格也。 按,晏几道词三首,换头句,或作“梁王苑路香英密”,或作“年年岁岁登高饰”,或作“熏香绣被心情懒”,与此调平仄全异。宋媛魏氏词“玉人近日书来少”,或宗之,余与此词同。 毛词别首,前段起句“城上落梅风料峭”,落字仄声;第二句“寒馥逼清尊”,寒字平声;晏词,第三句“谁似龙山秋兴浓”,谁字、秋字俱平声;后段第三句“曾看飞琼戴满头”,曾字平声;结句“浮动舞梁州”,浮字平声。谱内可平可仄据之,余参下词。
</span>
又一体 <span class="q">双调四十九字,前后段各四句,三平韵</span> 李清照</span>
风住尘香春已尽<span class="q">句</span>日晓倦梳头<span class="q">韵</span>物是人非事事休<span class="q">韵</span>欲语泪先流<span class="q">韵</span> 闻说双溪春尚好<span class="q">句</span>也拟</span>
○●○○○●● ●●●○○ ●●○○●●○ ●●●○○ ○●○○○●○ ●●
泛轻舟<span class="q">韵</span>只恐双溪舴艋舟<span class="q">韵</span>载不动<span class="q">读</span>许多愁<span class="q">韵
</span>●○○ ●●○○●●○ ●●● ●○○
·
此即毛词体,惟后段结句添一字,作六字句异。赵师侠“乍雨笼晴”词,后结“流不尽、许多愁”,正与此同。
</span>
又一体 <span class="q">双调五十四字,前段四句三平韵,后段四句四平韵</span> 万俟咏</span>
燕子飞来春在否<span class="q">句</span>微雨过<span class="q">读</span>掩重门<span class="q">韵</span>正满院梨花雪照人<span class="q">韵</span>独自个<span class="q">读</span>忆黄昏<span class="q">韵</span> 清风淡月总</span>
●●○○○●● ○●● ●○○ ●●●○○●●○ ●●● ●○○ ○○●●●
销魂<span class="q">韵</span>罗衣暗<span class="q">读</span>惹啼痕<span class="q">韵</span>漫觑著秋千腰褪裙<span class="q">韵</span>可煞是<span class="q">读</span>不宜春<span class="q">韵
</span>○○ ○○● ●○○ ●●●○○○●○ ●●● ●○○
·
此与毛词同,惟前后段第二、三、四句,各添一字,换头句又押韵异。
</span>
</span>
东坡引 此调前后段两结,宋人类用叠句,惟曹冠、袁去华词,二首独无,旧谱遗之,今并增定。</span>
东坡引 <span class="q">双调四十八字,前段四句四仄韵,后段五句四仄韵</span> 曹 冠</span>
凉飚生玉宇<span class="q">韵</span>黄花晓凝露<span class="q">韵</span>汀苹岸蓼秋将暮<span class="q">韵</span>登高开宴俎<span class="q">韵</span> 传杯兴逸<span class="q">句</span>分咏得句<span class="q">韵</span>思戏</span>
⊙○○●● ○⊙◎○● ○○●●○○● ⊙○○●● ○○●● ⊙◎◎● ⊙◎</span>
马<span class="q">读</span>常怀古<span class="q">韵</span>东篱候酒人何处<span class="q">韵</span>芳尊须送与<span class="q">韵
</span>● ○○● ⊙○●●○○● ○○○●●
·
此调采词五体,无叠句者两体,有叠句者三体。曹词换头第三句六字折腰,袁词七字折腰,赵词换头与曹词同,辛词换头一首与曹词同,而起句多一字,一首袁词同,而句法不作上三下四,其余则无不同也。故此词可平可仄,即校后词。
</span>
又一体 <span class="q">双调四十九字,前段四句四仄韵,后段五句四仄韵</span> 袁去华</span>
陇头梅半吐<span class="q">韵</span>江南岁将暮<span class="q">韵</span>闲窗尽日将愁度<span class="q">韵</span>黄昏愁更苦<span class="q">韵</span> 归期望断<span class="q">句</span>双鱼尺素<span class="q">韵</span>念嘶</span>
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骑<span class="q">读</span>今到何处<span class="q">韵</span>残灯背壁三更鼓<span class="q">韵</span>斜风吹细雨<span class="q">韵
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·
此与曹词同,惟后段第三句,添一字作七字句异。
</span>
又一体 <span class="q">双调五十八字,前段五句四仄韵、一叠韵,后段六句四仄韵、一叠韵</span> 赵师侠</span>
相看情未足<span class="q">韵</span>离觞已催促<span class="q">韵</span>停歌欲语眉先蹙<span class="q">韵</span>何期归太速<span class="q">韵</span>何期归太速<span class="q">叠</span> 如今去也<span class="q">句</span>无</span>
○○○●● ○○●○● ○○●●○○● ○○○●● ○○○●● ○○●● ○
计追逐<span class="q">韵</span>怎忍听<span class="q">读</span>阳关曲<span class="q">韵</span>扁舟后夜滩头宿<span class="q">韵</span>愁随烟树簇<span class="q">韵</span>愁随烟树簇<span class="q">叠
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·
此词前后段两结,俱有叠句。汲古阁本于前段脱一叠句,《词律》因之,今从《花草粹编》校定。 赵词凡三首,字句悉同,平仄亦如一,辛弃疾“君如梁上燕”词,赵长卿“茅斋无客”词,正与此同。
</span>
又一体 <span class="q">双调五十九字,前段五句四仄韵、一叠韵,后段六句四仄韵、一叠韵</span> 辛弃疾</span>
玉纤弹旧怨<span class="q">韵</span>还敲绣屏面<span class="q">韵</span>清歌目送西风雁<span class="q">韵</span>雁行吹字断<span class="q">韵</span>雁行吹字断<span class="q">叠</span> 夜深拜半月<span class="q">句
</span>●○○●● ○○●○● ○○●●○○● ●○○●● ●○○●● ●○●●●
琐窗西畔<span class="q">韵</span>但桂影<span class="q">读</span>空阶满<span class="q">韵</span>翠帷自掩无人见<span class="q">韵</span>罗衣宽一半<span class="q">韵</span>罗衣宽一半<span class="q">叠
</span>
●○○● ●●● ○○● ●○●●○○● ○○○●● ○○○●●
·
此与赵词同,惟后段起句五字异。《图谱》于“夜深拜半”点句者误。
</span>
又一体 <span class="q">双调五十九字,前段五句四仄韵、一叠韵,后段六句四仄韵、一叠韵</span> 辛弃疾</span>
花梢红未足<span class="q">韵</span>条破惊新绿<span class="q">韵</span>重帘下遍阑干曲<span class="q">韵</span>有人春睡熟<span class="q">韵</span>有人春睡熟<span class="q">叠</span> 鸣禽破梦<span class="q">句</span>云</span>
○○○●● ○●○○● ○○●●○○● ●○○●● ●○○●● ○○●○ ○
偏目蹙<span class="q">韵</span>起来香腮褪红玉<span class="q">韵</span>花时爱与愁相续<span class="q">韵</span>罗裙过半幅<span class="q">韵</span>罗裙过半幅<span class="q">叠
</span>○●● ●○○○●○● ○○●●○○● ○○○●● ○○○●●
·
此亦与赵词同,惟后段第三句七字异。或疑此词,前段第二句平仄小异。按,赵长卿“茆斋无客至”词,正与此同。
</span>
</span>
双鸂鶒 调见朱敦儒《樵歌词》,因词有“一对双飞鸂鶒”句,故名。元高拭词注:正宫。</span>
双鸂鶒 <span class="q">双调四十八字,前后段各四句,四仄韵</span> 朱敦儒</span>
拂破秋江烟碧<span class="q">韵</span>一对双飞鸂鶒<span class="q">韵</span>应是远来无力<span class="q">韵</span>相偎梢下沙碛<span class="q">韵</span> 小艇谁吹横笛<span class="q">韵</span>惊起不</span>
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知消息<span class="q">韵</span>悔不当时描得<span class="q">韵</span>如今何处寻觅<span class="q">韵
</span>○○● ●●○○○● ○○○○●●
·
此调无宋词可校,平仄当遵之。
</span>
</span>
鬲溪梅令 姜夔自度曲。注宫调。原注:仙吕调。一作《高溪梅令》。</span>
鬲溪梅令 <span class="q">双调四十八字,前后段各四句,四平韵</span> 姜 夔</span>
好花不与殢香人<span class="q">韵</span>浪粼粼<span class="q">韵</span>又恐春风归去<span class="q">读</span>绿成阴<span class="q">韵</span>玉钿何处寻<span class="q">韵</span> 木兰双桨梦中云<span class="q">韵</span>水</span>
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横陈<span class="q">韵</span>漫向孤山山下<span class="q">读</span>觅盈盈<span class="q">韵</span>翠禽啼一春<span class="q">韵
</span>○○ ●●○○○● ●○○ ●○○●○
·
此调宋人无填者,其平仄当悉遵之。
</span>
</span>
伊州三台 按,唐有《宫中三台》、《江南三台》等曲,此云伊州者,亦本唐曲,取边地为名也。《三台》皆用六字成句,观赵师侠词,前后起两句,亦作六言,犹沿唐人旧体。若两结摊破六字二句,为五字一句、七字一句,则新声矣,故另编一体。</span>
伊州三台 <span class="q">双调四十八字,前后段各四句,四平韵</span> 赵师侠</span>
桂花移自云岩<span class="q">韵</span>更被灵砂染丹<span class="q">韵</span>清露湿酡颜<span class="q">韵</span>醉乘风<span class="q">读</span>下临世间<span class="q">韵</span> 素娥襟韵萧闲<span class="q">韵</span>不与</span>
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群芳并看<span class="q">韵</span>蔌蔌绛绡单<span class="q">韵</span>觉身轻<span class="q">读</span>梦回广寒<span class="q">韵
</span>○○●○ ●●●○○ ●○○ ●○●○
·
此调见金元曲子,注正宫,平仄一定,填者宜遵之。
</span>
</span>
双头莲令 调见赵师侠《坦庵集》,咏信丰双莲,故制此词。</span>
双头莲令 <span class="q">双调四十八字,前后段各四句,四平韵</span> 赵师侠</span>
太平和气兆嘉祥<span class="q">韵</span>草木总成双<span class="q">韵</span>红苞翠盖出横塘<span class="q">韵</span>两两斗芬芳<span class="q">韵</span> 干摇碧玉并青房<span class="q">韵</span>仙髻</span>
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拥新妆<span class="q">韵</span>连枝不解引鸾凰<span class="q">韵</span>留取映鸳鸯<span class="q">韵
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·
此词无别首可校。
</span>
</span>
梅弄影 调见《丘崈集》咏梅词,因结句有“巡池看弄影”名,取以为名。</span>
梅弄影 <span class="q">双调四十八字,前后段各五句,四仄韵</span> 丘 崈</span>
雨晴风定<span class="q">韵</span>一任春寒逞<span class="q">韵</span>要勒群芳未醒<span class="q">韵</span>不废梅花<span class="q">句</span>晚来妆面靓<span class="q">韵</span> 曲阑斜凭<span class="q">韵</span>水槛临清</span>
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镜<span class="q">韵</span>翠竹箫骚相映<span class="q">韵</span>付与幽人<span class="q">句</span>巡池看弄影<span class="q">韵
</span>● ●●○○○● ●●○○ ○○○●●
·
此调只有此词,无他首可校。
</span>
</span>
茅山逢故人 调见元人《叶儿乐府》,张雨句曲道中送友,自制词也。</span>
茅山逢故人 <span class="q">双调四十八字,前段五句三仄韵,后段五句两仄韵</span> 张 雨</span>
山下寒林平楚<span class="q">韵</span>山外云帆烟渚<span class="q">韵</span>不饮如何<span class="q">句</span>吾生如梦<span class="q">句</span>鬓毛如许<span class="q">韵</span> 能消几度相逢<span class="q">句</span>遮莫</span>
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而今归去<span class="q">韵</span>壮士黄金<span class="q">句</span>仙人黄鹤<span class="q">句</span>美人黄土<span class="q">韵
</span>○○○● ●●○○ ○○○● ●○○●
·
此词亦无他首可校。
</span>
</span>
阳台梦 此调有两体,四十九字者,调见《尊前集》,唐庄宗制,因词有“又入阳台梦”句,取以为名;五十七字者,调见《花草粹编》,宋解昉制,即赋阳台梦题。两体截然不同。</span>
阳台梦 <span class="q">双调四十九字,前段四句三仄韵,后段四句两仄韵</span> 唐庄宗</span>
薄罗衫子金泥缝<span class="q">韵</span>困纤腰怯铢衣重<span class="q">韵</span>笑迎移步小兰丛<span class="q">句</span>亸金翘玉凤<span class="q">韵</span> 娇多情脉脉<span class="q">句</span>羞把</span>
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同心撚弄<span class="q">韵</span>梦天云雨却相和<span class="q">句</span>又入阳台梦<span class="q">韵
</span>○○●● ●○○●●○○ ●●○○●
·
此词全押仄韵,宋元人无填者,平仄当从之。
</span>
又一体 <span class="q">双调五十七字,前段五句三仄韵、两平韵,后段五句两仄韵、两平韵</span> 解 昉</span>
仙姿本寓<span class="q">仄韵</span>十二峰前住<span class="q">韵</span>千里行云行雨<span class="q">韵</span>偶因鹤驭过巫阳<span class="q">平韵</span>邂逅他<span class="q">读</span>楚襄王<span class="q">韵</span> 无端</span>
○○●●<span class="q"> </span>●●○○● ○●○○○● ●○●●●○○<span class="q"> </span>●●○ ●○○ ○○
宋玉夸才赋<span class="q">仄韵</span>诬诞人心素<span class="q">韵</span>至今狂客到阳台<span class="q">换平韵</span>也有痴心<span class="q">句</span>望妾入<span class="q">读</span>梦中来<span class="q">韵
</span>●●○○●<span class="q"> </span>○●○○● ●○○●●○○<span class="q"> </span>●●○○ ●●● ●○○
·
此词平仄换韵,宋人中亦仅见此体。
</span>
</span>
月宫春 调见《花间集》毛文锡词。周邦彦更名《月中行》。《宋史·乐志》属小石角。</span>
月宫春 <span class="q">双调四十九字,前段四句四平韵,后段四句两平韵</span> 毛文锡</span>
水晶宫里桂花开<span class="q">韵</span>神仙探几回<span class="q">韵</span>红芳金蕊绣重台<span class="q">韵</span>低倾玛瑙杯<span class="q">韵</span> 玉兔银蟾争守护<span class="q">句</span>姮娥</span>
●○○●●○○ ⊙○◎●○ ⊙○○●●○○ ⊙○◎●○ ◎●⊙○○●● ○○
姹女戏相偎<span class="q">韵</span>遥听钧天九奏<span class="q">句</span>玉皇亲看来<span class="q">韵
</span>◎●●○○ ⊙●○○●● ●○○●○
·
此词与周词异者,在后段第二句,不作上三下四句法及第三句少一字,不押韵耳,但两词前段第二句、结句,后段起句、结句,平仄迥别,难以参校,不若韩淲词之字句悉同,故此词可平可仄,只参韩词。 韩词,前段第二句“断肠空眼穿”,断字仄声,空字平声;第三句“一春风雨夜恹恹”,一字仄声;结句“不闻钟鼓传”,不字仄声,钟字平声;后段起句“香冷曲屏罗帐掩”,香字平声,曲字仄声;第二句“园林谁与上秋千”,谁字平声;第三句“忆得年时凤枕”,忆字仄声。
</span>
又一体 <span class="q">双调五十字,前段四句四平韵,后段四句三平韵</span> 周邦彦</span>
蜀丝趁日染乾红<span class="q">韵</span>微暖口脂融<span class="q">韵</span>博山细篆霭房栊<span class="q">韵</span>静看打窗虫<span class="q">韵</span> 愁多胆怯疑虚幕<span class="q">句</span>声不</span>
◎○◎●●○○ ⊙●●○○ ◎○◎●●○○ ◎●●○○ ○○●●○○● ○◎</span>
断<span class="q">读</span>暮景疏钟<span class="q">韵</span>团围四壁小屏风<span class="q">韵</span>泪尽梦啼中<span class="q">韵
</span>● ●●○○ ⊙○◎●●○○ ◎●●○○
·
此词后段第三句七字、押韵,吴文英“疏桐翠井”词、陈允平“鬓云斜插”词,正与此同。 前段起句,吴词“疏桐翠井蚤惊秋”,疏字平声,陈词“鬓云斜插映山红”,斜字平声;第二句,吴词“叶叶雨声愁”,上叶字仄声;第三句,“灯前倦客老貂裘”,灯字平声,陈词“自携纨扇出帘栊”,纨字平声;结句,陈词“阑外扑飞虫”,阑字平声;后段第二句,陈词“纤纤手自引金钟”,下纤字平声;第三句,“倦歌倦醉倚东风”,倦字仄声,倦字平声;结句,“愁在落花中”,愁字平声。谱内可平可仄据此。
</span>
</span>
河渎神 唐教坊曲名。《花庵词选》云:唐词多缘题所赋,《河渎神》之咏祠廟,亦其一也。</span>
河渎神 <span class="q">双调四十九字,前段四句四平韵,后段四句四仄韵</span> 温庭筠</span>
河上望丛祠<span class="q">平韵</span>庙前春雨来时<span class="q">韵</span>楚山无限鸟飞迟<span class="q">韵</span>兰棹空伤别离<span class="q">韵</span> 何处杜鹃啼不歇<span class="q">仄韵
</span>⊙●●○○<span class="q"> </span>◎⊙○◎⊙○ ◎○⊙●●○○ ⊙◎⊙⊙◎○ ⊙◎◎⊙○◎●
艳红开尽如血<span class="q">韵</span>蝉鬓美人愁绝<span class="q">韵</span>百花芳草佳节<span class="q">韵
</span>◎⊙○◎⊙● ⊙●◎○⊙● ◎○○●○●
·
此词前段押平韵,后段押仄韵者,唐、宋人间一为之,若全押平韵,则惟唐词一体也。 前段第二句,孙光宪词“春晚湘妃廟前”,春字平声,晚字仄声,妃字平声,廟字仄声;第三句,“一方卵色楚南天”,卵字仄声,辛弃疾词“山头人望翠云旗”,山字平声;第四句,温词别首“流泪玉箸千条”,泪字仄声,流字平声,玉字、箸字俱仄声,千字平声;后段换头句,“暮天愁听思归乐”,暮字仄声,天字、愁字俱平声,听字仄声,归字平声;第二句,孙词“依旧琼轮羽驾”,依字平声,旧字仄声,轮字平声,羽字仄声;第三句,孙词“小殿沉沉清夜”,小字仄声,上沉字平声,温词别首“青麦燕飞落落”,上落字仄声;第四句,孙词“银灯飘落香灺”,银字平声。谱内可平可仄据此,若前段起句,河字可平,则参张词。
</span>
又一体 <span class="q">双调四十九字,前段四句四平韵,后段四句两平韵</span> 张 泌</span>
古树噪寒鸦<span class="q">韵</span>满庭枫叶芦花<span class="q">韵</span>昼灯当午隔轻纱<span class="q">韵</span>画阁朱帘影斜<span class="q">韵</span> 门外往来祈赛客<span class="q">句</span>翩翩</span>
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帆落天涯<span class="q">韵</span>回首隔江烟火<span class="q">句</span>渡头三两人家<span class="q">韵
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·
此体全押平韵,无唐宋词可校。
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</span>
归去来 调见《乐章集》,词二首,因词有“歌筵舞、且归去”,“休惆怅、好归去”句,取以为名。四十九字者自注正平调,五十二字者自注中吕宫。按,《唐书·乐志》,仲吕羽为正平调,夹钟羽为中吕调,燕乐七羽之二也。</span>
归去来 <span class="q">双调四十九字,前后段各四句,四仄韵</span> 柳 永</span>
初过元宵三五<span class="q">韵</span>慵困春情绪<span class="q">韵</span>灯月阑珊嬉游处<span class="q">韵</span>游人尽<span class="q">读</span>厌欢聚<span class="q">韵</span> 凭仗如花女<span class="q">韵</span>持杯</span>
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谢<span class="q">读</span>酒朋诗侣<span class="q">韵</span>余酲更不禁香醑<span class="q">韵</span>歌筵舞<span class="q">读</span>且归去<span class="q">韵
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·
此调只有柳词二首,无宋、元词可校,虽前段第三、四句,后段第二、三、四句,两调相同,但自注宫调,恐乖律吕,不必参校平仄。
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又一体 <span class="q">双调五十二字,前后段各四句,四仄韵</span> 柳 永</span>
一夜狂风雨<span class="q">韵</span>花阴坠<span class="q">读</span>碎红无数<span class="q">韵</span>垂杨漫结黄金缕<span class="q">韵</span>尽春残<span class="q">读</span>萦不住<span class="q">韵</span> 蝶稀蜂散知何</span>
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处<span class="q">韵</span>殢尊酒<span class="q">读</span>转添愁绪<span class="q">韵</span>多情不惯相思苦<span class="q">韵</span>休惆怅<span class="q">读</span>好归去<span class="q">韵
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·
此即前词体,惟前段起句减一字,作五字句,第二句添二字,作上三下四七字句,后段起句添二字,作七字句异。
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</span>
惜春郎 调见《花草粹编》柳永词,因《乐章集》不载,故宫调无考。</span>
惜春郎 <span class="q">双调四十九字,前段五句三仄韵,后段四句三仄韵</span> 柳 永</span>
玉肌琼艳新妆饰<span class="q">韵</span>好壮观歌席<span class="q">韵</span>潘妃宝钗<span class="q">句</span>阿娇金屋<span class="q">句</span>应也消得<span class="q">韵</span> 属和新词多俊格<span class="q">韵</span>敢</span>
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共我勍敌<span class="q">韵</span>恨少年<span class="q">读</span>枉费疏狂<span class="q">句</span>不早与伊相识<span class="q">韵
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·
此调亦无别词可校。
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极相思 宋彭乘《墨客挥犀》云:仁廟时,皇族中太尉夫人,一日入内,再拜告帝曰,妾有夫,不幸为婢妾所惑,帝怒,流婢于千里,夫人亦得罪,居瑶华宫,太尉罚俸而不得朝。经岁,方春暮,夫人为词曲,名《极相思》,或加“令”字。</span>
极相思 <span class="q">双调四十九字,前段五句三平韵,后段五句两平韵</span> <span class="q">《墨客挥犀》</span>无名氏</span>
柳烟霁色方晴<span class="q">韵</span>花露逼金茎<span class="q">韵</span>秋千院落<span class="q">句</span>海棠渐老<span class="q">句</span>才过清明<span class="q">韵</span> 嫩玉腕托香脂脸<span class="q">句</span>相傅</span>
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粉<span class="q">读</span>更与谁情<span class="q">韵</span>秋波绽处<span class="q">句</span>相思泪迸<span class="q">句</span>天阻深诚<span class="q">韵
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·
此调只此一体,有吕渭老、蔡伸、陆游、吴文英词可校。 前段起句,陆词“江头疏雨轻烟”,江字、疏字俱平声;第二句,吕词“隔叶啭黄鹂”,隔字仄声;第三、四、五句,吴词“乘鸾归后,生绡净剪,一片冰心”,归字、生字俱平声,一字仄声;后段第一、二句,吴词“心事孤山春梦在,到思量犹断诗魂”,心字、孤字、山字俱平声,梦字、到字俱仄声,思字、量字、犹字俱平声;第三句,吕词“别房初睡”,别字仄声,初字平声;第四、五句,陆词“漫空相趁,柳絮榆钱”,相字平声,柳字仄声。谱内可平可仄据此。
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双韵子 调见张先词集。按,金、元曲子有双声叠韵,调名疑出于此。</span>
双韵子 <span class="q">双调四十九字,前段五句两仄韵,后段五句四仄韵</span> 张 先</span>
鸣鞘电过<span class="q">句</span>晓闱静敛<span class="q">句</span>龙旂风定<span class="q">韵</span>凤楼远出霏烟<span class="q">句</span>闻笑语<span class="q">读</span>中天迥<span class="q">韵</span> 清光近<span class="q">韵</span>欢声竞<span class="q">韵
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鸳鸯集<span class="q">读</span>仙花斗影<span class="q">韵</span>更闻度曲瑶山<span class="q">句</span>升瑞日<span class="q">读</span>春宫永<span class="q">韵
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·
此调仅见此词,无别首可校。
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凤孤飞 调见《小山乐府》。</span>
凤孤飞 <span class="q">双调四十九字,前段四句三仄韵,后段四句四仄韵</span> 晏几道</span>
一曲画楼钟动<span class="q">句</span>宛转歌声缓<span class="q">韵</span>绮席飞尘座满<span class="q">韵</span>更小待<span class="q">读</span>金蕉暖<span class="q">韵</span> 细雨轻寒今夜短<span class="q">韵</span>依前</span>
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是<span class="q">读</span>粉墙别馆<span class="q">韵</span>端的欢期应未晚<span class="q">韵</span>奈归云难管<span class="q">韵
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·
此词平仄,亦无别首可校。
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柳梢青 此调两体,或押平韵,或押仄韵,字句悉同。押平韵者,宋韩淲词有“云淡秋空”句。名《云淡秋空》,有“雨洗元宵”句,名《雨洗元宵》,有“玉水明沙”句,名《玉水明沙》;元张雨词,名《早春怨》。押仄韵者,《古今词话》无名氏词,有“陇头残月”句,名《陇头月》。</span>
柳梢青 <span class="q">双调四十九字,前段六句三平韵,后段五句三平韵</span> 秦 观</span>
岸草平沙<span class="q">韵</span>吴王故苑<span class="q">句</span>柳袅烟斜<span class="q">韵</span>雨后寒轻<span class="q">句</span>风前香细<span class="q">句</span>春在梨花<span class="q">韵</span> 行人一棹天涯<span class="q">韵</span>酒</span>
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醒处<span class="q">读</span>残阳乱鸦<span class="q">韵</span>门外秋千<span class="q">句</span>墙头红粉<span class="q">句</span>深院谁家<span class="q">韵
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·
押平韵者,以此词及刘词为正体,若张词后段第二句添字,乃变格也。 前段第二句,周邦彦词“海棠标韵”,标字平声;第四句,张炎词“因甚春深”,因字平声;第六句,“绿水人家”,绿字仄声;后段换头句,赵长卿词“鉴河烟水连天”,烟字平声;第二句,曹冠词“人面与荷花共红”,人字平声,赵师侠词“映烟树云间渺茫”,烟字平声。谱内可平可仄据此,余参所采平韵二词。 按,卢炳词,前段第四、五、六句,“春艳一枝,鹅儿颜色,染就纤裳”,一字仄声;杨无咎词,后段第二句“算除是铁石心肠”,又第四、五、六句,“一自别来,百般宜处,都入思量”,铁字、别字俱仄声,然皆以入替平,不可泛用上去声字。
</span>
又一体 <span class="q">双调四十九字,前段六句两平韵,后段五句三平韵</span> 刘 镇</span>
乾鹊收声<span class="q">句</span>湿萤度影<span class="q">句</span>庭院秋香<span class="q">韵</span>步月移阴<span class="q">句</span>梳云约翠<span class="q">句</span>人在回廊<span class="q">韵</span> 醺醺宿酒残妆<span class="q">韵</span>待</span>
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付与<span class="q">读</span>温柔醉乡<span class="q">韵</span>郤扇藏娇<span class="q">句</span>牵衣索笑<span class="q">句</span>今夜差凉<span class="q">韵
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·
此与秦词同,惟前段起句不押韵,小异。 按,赵长卿词,前段第一、二、三句,“千林落叶,声声凄惨,江皋雁飞”,起句亦不押韵,而平仄不同,注明不录。
</span>
又一体 <span class="q">双调五十字,前段六句三平韵,后段五句三平韵</span> 张 雨</span>
面目冰霜<span class="q">韵</span>逃禅正派<span class="q">句</span>只让花光<span class="q">韵</span>怪底徐卿<span class="q">句</span>为渠描貌<span class="q">句</span>萦损柔肠<span class="q">韵</span> 有谁步屟长廊<span class="q">韵</span>更</span>
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折竹声中<span class="q">读</span>吹细香<span class="q">韵</span>酒半醒时<span class="q">句</span>雪晴寒夜<span class="q">句</span>月上西窗<span class="q">韵
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·
此亦秦词体,惟后段第二句,添一字作八字句异。
</span>
又一体 <span class="q">双调四十九字,前段六句三仄韵,后段五句两仄韵</span> 贺 铸</span>
子规啼血<span class="q">韵</span>可怜又是<span class="q">句</span>春归时节<span class="q">韵</span>满院东风<span class="q">句</span>海棠铺绣<span class="q">句</span>梨花飞雪<span class="q">韵</span> 丁香露泣残枝<span class="q">句</span>算</span>
○○⊙● ◎⊙◎◎ ⊙⊙⊙● ◎●⊙○ ◎○⊙● ⊙○○● ⊙○◎●○○ ◎</span>
未比<span class="q">读</span>愁肠寸结<span class="q">韵</span>自是休文<span class="q">句</span>多情多感<span class="q">句</span>不干风月<span class="q">韵
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·
押仄韵者,以此词及蔡词、赵词为正体,若吴词之添字,无名氏词之摊破句法,皆变体也。 前段第二句,葛剡词“翠桁香浓”,浓字平声;第三句,“琐窗纱薄”,琐字仄声,杨无咎词“容易眠熟”,易字仄声,赵师侠词“凝情独立”,独字仄声;第四句,朱敦儒词“帆展霜风”,帆字平声,杨无咎词“针线倦拈”,倦字仄声;后段换头句,赵师侠词“海山云树微茫”,海字仄声,云字平声;第二句,赵彦端词“又争倩蔷薇恋得”,争字平声;第三句,杨无咎词“桑柘影深”,桑字平声,影字仄声。谱内可平可仄据此,余参所采仄韵诸词。
</span>
又一体 <span class="q">双调四十九字,前段六句两仄韵,后段五句两仄韵</span> 蔡 伸</span>
连璧寻春<span class="q">句</span>踏青尚忆<span class="q">句</span>年时携手<span class="q">韵</span>此际重来<span class="q">句</span>可怜还是<span class="q">句</span>去年时候<span class="q">韵</span> 阴阴柳下人家<span class="q">句</span>人</span>
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面似<span class="q">读</span>桃花依旧<span class="q">韵</span>但愿年年<span class="q">句</span>春风有信<span class="q">句</span>人心长久<span class="q">韵
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·
此亦贺词体,惟前段起句不押韵异。
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又一体 <span class="q">双调四十九字,前段六句三仄韵,后段五句三仄韵</span> 赵彦端</span>
衰翁自谪<span class="q">韵</span>堪笑忘了<span class="q">句</span>山林闲适<span class="q">韵</span>一岁花黄<span class="q">句</span>一秋酒绿<span class="q">句</span>一番头白<span class="q">韵</span> 浮生似醉如客<span class="q">韵</span>问</span>
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底事<span class="q">读</span>归来未得<span class="q">韵</span>但愿长年<span class="q">句</span>故人相与<span class="q">句</span>春朝秋夕<span class="q">韵
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·
此亦贺词体,惟后段起句亦押韵异。
</span>
又一体 <span class="q">双调五十字,前段六句两仄韵,后段五句两仄韵</span> 吴 瓘</span>
墙角孤根<span class="q">句</span>株身纤小<span class="q">句</span>娇羞无力<span class="q">韵</span>蟹眼微红<span class="q">句</span>粉容未露<span class="q">句</span>不禁春色<span class="q">韵</span> 怕东君<span class="q">读</span>汨没芳</span>
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姿<span class="q">句</span>渐迤逦<span class="q">读</span>檀心半坼<span class="q">韵</span>缓步回廊<span class="q">句</span>黄昏月淡<span class="q">句</span>那时相得<span class="q">韵
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此与蔡词同,惟换头句添一字,作七字句异。
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又一体 <span class="q">双调五十字,前段五句三仄韵,后段五句两仄韵</span> <span class="q">《古今词话》</span>无名氏</span>
依稀晓星明灭<span class="q">韵</span>白露点<span class="q">读</span>苍苔败叶<span class="q">韵</span>断址颓垣<span class="q">句</span>荒烟衰草<span class="q">句</span>汉家宫阙<span class="q">韵</span> 咸阳道上行人<span class="q">句
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依旧是<span class="q">读</span>利亲名切<span class="q">韵</span>改换容颜<span class="q">句</span>消磨今古<span class="q">句</span>陇头残月<span class="q">韵
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此亦贺词体也,但摊破贺词前段第一、二、三句四字三句,作六字一句,七字一句异。元倪瓒词,前段起二句,“楼上玉笙吟彻,白露冷飞璚佩玦”,正与此同。
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醉乡春 宋惠洪《冷斋夜话》云:少游在黄州,饮于海棠桥,桥南北多海棠,有书生家于海棠丛间。少游醉宿于此,题词壁间。 按,此则知此调创自秦观,因后结有“醉乡广大人间小”句,故名《醉乡春》;又因前结有“春色又添多少”句,一名《添春色》。</span>
醉乡春 <span class="q">双调四十九字,前后段各五句,三仄韵</span> 秦 观</span>
唤起一声人悄<span class="q">韵</span>衾冷梦寒窗晓<span class="q">韵</span>瘴雨过<span class="q">句</span>海棠开<span class="q">句</span>春色又添多少<span class="q">韵</span> 社瓮酿成微笑<span class="q">韵</span>半块</span>
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椰瓢共舀<span class="q">韵</span>觉颠倒<span class="q">句</span>急投床<span class="q">句</span>醉乡广大人间小<span class="q">韵
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按,《广韵》上声三十小部有舀字,以沼切,正与悄字押。若“觉颠倒”句,与前“瘴雨过”句同,其“倒”字非韵,《图谱》注韵者误。
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太常引 《太和正音谱》注:仙吕宫。一名《太清引》。韩淲词有“小春时候腊前梅”句,名《腊前梅》。</span>
太常引 <span class="q">双调四十九字,前段四句四平韵,后段五句三平韵</span> 辛弃疾</span>
仙机似欲织纤罗<span class="q">韵</span>仿佛度金梭<span class="q">韵</span>无奈玉纤何<span class="q">韵</span>却弹作<span class="q">读</span>清商恨多<span class="q">韵</span> 珠帘影里<span class="q">句</span>如花半</span>
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面<span class="q">句</span>绝胜隔帘歌<span class="q">韵</span>世路苦风波<span class="q">韵</span>且痛饮<span class="q">读</span>公无渡河<span class="q">韵
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此词只此二体,所异者,前段第二句,或五字,或六字耳,俱有宋、元人词可校。此词前段第二句五字,别首前段第二、三句,“飞镜又重磨,把酒问姮娥”,飞字平声,把字仄声;许有壬词,后段第三句“双桧插天青”,双字平声;辛词别首,第五句“人道是清光更多”,人字平声,张埜词“趁秋满天香桂枝”,秋字平声。谱内可平可仄据此,余参高词。
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又一体 <span class="q">双调五十字,前段四句四平韵,后段五句三平韵</span> 高观国</span>
玉肌亲衬碧霞衣<span class="q">韵</span>似争驾<span class="q">读</span>翠鸾飞<span class="q">韵</span>羞问武陵溪<span class="q">韵</span>笑女伴<span class="q">读</span>东风醉时<span class="q">韵</span> 不飘红雨<span class="q">句</span>不贪</span>
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青子<span class="q">句</span>冷淡却相宜<span class="q">韵</span>春晚涌金池<span class="q">韵</span>问一片<span class="q">读</span>将愁寄谁<span class="q">韵
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此词前段第二句六字,如韩淲词之“还知道为谁开”,《梅苑》词之“梅梢上又春归”,沈端节词之“都知解送人行”,韩玉词之“几曾放梦魂闲”,陈孚词之“记生母在今朝”,俱与此词同,但平仄小异耳,谱内参之,余与辛词无异。
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