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目 录 <span class="q">三十调六十三体,起五十八字至六十一字</span>
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小重山四体<span class="q">又名小冲山、小重山令、柳色新
</span>踏莎行三体<span class="q">又名喜朝天、柳长春、踏雪行、转调踏莎行</span>
宜男草二体
花上月令一体
倚西楼一体
扫地舞一体<span class="q">又名扫市舞</span>
接贤宾二体<span class="q">又名集贤宾</span>
步蟾宫五体<span class="q">又名钓台词、折丹桂</span>
恨春迟一体
冉冉云二体<span class="q">又名弄花雨</span>
蝶恋花三体<span class="q">又名鹊踏枝、黄金缕、卷珠帘、明月生南浦、细雨吹池沼、凤栖梧、一箩金、<span class="q">鱼水同欢、转调蝶恋花
</span>寿山曲一体
秋蕊香引一体
惜琼花一体
朝玉阶一体
散天花一体
荷华媚一体
少年心一体<span class="q">又名添字少年心</span>
七娘子三体
一剪梅七体<span class="q">又名腊梅香、玉簟秋</span>
寻 梅二体
锦帐春四体
唐多令三体<span class="q">又名糖多令、南楼令、箜篌曲</span>
摊破采桑子一体
后庭宴一体
鞓 红一体
贺熙朝二体
拨棹子三体
玉堂春一体
系裙腰三体<span class="q">又名芳草渡</span>
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小重山 《宋史·乐志》:双调;李邴词,名《小冲山》;姜夔词,名《小重山令》;韩淲词,有“点染烟浓柳色新”句,名《柳色新》。 </span>
小重山 <span class="q">双调五十八字,前后段各四句,四平韵</span> 薛昭蕴 </span>
春到长门春草青<span class="q">韵</span>玉阶华露滴<span class="q">读</span>月胧明<span class="q">韵</span>东风吹断玉箫声<span class="q">韵</span>宫漏促<span class="q">读</span>帘外晓啼莺<span class="q">韵</span> 愁起梦</span>
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难成<span class="q">韵</span>红妆流宿泪<span class="q">读</span>不胜情<span class="q">韵</span>手挼裙带绕花行<span class="q">韵</span>思君切<span class="q">读</span>罗幌暗尘生<span class="q">韵
</span>○○ ⊙○○●● ●○○ ◎○⊙●●○○ ⊙⊙● ⊙●●○○ </span>
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此调以此词为正体,宋、元词俱照此填。若赵词之添字、《梅苑》词之减字、黄词之押奉仄韵,皆变体也。 按,和凝词,前段第二句“群仙初折得、郄诜枝”,群字平声;第三句“晓花擎露妒啼妆”,晓字仄声;结句“精神出、御陌袖鞭垂”,御字仄声;后段第二句“管弦分响亮、探花期”,管字仄声;第三句“光阴占断曲江池”,光字平声;又,毛滂词,前段结句“玉堂客、於此劝春耕”,玉字仄声。谱内可平可仄据此,余参所采平韵二词。
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又一体 <span class="q">双调六十字,前后段各五句,四平韵</span> 赵长卿 </span>
一夜中庭拂翠条<span class="q">韵</span>碧纱窗外雨<span class="q">读</span>长凉飚<span class="q">韵</span>潮来涨水恰平桥<span class="q">韵</span>添清景<span class="q">句</span>疏韵响<span class="q">读</span>入芭蕉<span class="q">韵</span> 坐</span>
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久篆香消<span class="q">韵</span>多情人去后<span class="q">读</span>信音遥<span class="q">韵</span>即今消瘦沈郎腰<span class="q">韵</span>悲秋切<span class="q">句</span>虚过了<span class="q">读</span>可怜宵<span class="q">韵
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此与薛词同,惟前后段两结句各添一字异。 按,张先集,有《感皇恩》词,“延寿芸香七世孙,华轩承大对,见经纶。溟鱼一息化天津。袍如草,三百骑,从清尘。 玉树莹风神,同时棠棣萼,一家春。十年身是凤池人。蓬莱阁,黄閤坐,迟谈宾。”正与此同。《词律》误刻《感皇恩》后,不知宋词《感皇深》体,从无用平韵者,张词盖添字《小重山》也,故录赵词以证之。
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又一体 <span class="q">双调五十七字,前后段各四句,四平韵</span> <span class="q">《梅苑》</span>无名氏 </span>
不是蛾儿不是酥<span class="q">韵</span>化工应道也难摹<span class="q">韵</span>花儿清瘦影儿孤<span class="q">韵</span>多情处<span class="q">读</span>时有暗香浮<span class="q">韵</span> 试问玉肌</span>
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肤<span class="q">韵</span>夜来霜雪重<span class="q">读</span>怕寒无<span class="q">韵</span>一枝欲寄洞庭姝<span class="q">韵</span>可惜许<span class="q">读</span>只有雁衔芦<span class="q">韵
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此与薛词同,惟前段第二旬减一字异。 按,《梅苑》词三首,一首“一枝照水弄精神”,一首“依稀丹萼动红云”,又元刘景翔词“红香浮玉醉客颓”,并与此同。 前段结句“浮”字,本十一尤韵,按《中原雅音》,“浮”字付无切,又吴越间方言,“浮”读作“无”,故可借押。
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又一体 <span class="q">双调五十八字,前后段各四句,四仄韵</span> 黄子行 </span>
一点斜阳红欲滴<span class="q">韵</span>白鸥飞不尽<span class="q">读</span>楚天碧<span class="q">韵</span>渔歌声断晚风急<span class="q">韵</span>揽芦花<span class="q">读</span>飞雪满林湿<span class="q">韵</span> 孤馆百</span>
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忧集<span class="q">韵</span>家山千里远<span class="q">读</span>梦难觅<span class="q">韵</span>江湖风月好收拾<span class="q">韵</span>故溪云<span class="q">读</span>深处著蓑笠<span class="q">韵
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此调例押平声韵,此词押入声韵,即乐府指迷》所谓“平声字,可以入声替也”。
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踏莎行 《金词》注:中吕调;曹冠词,名《喜朝天》;越长卿词,名《柳长春》;《鸣鹤余音》词,名《踏雪行》;曾觌、陈亮词添字者,名《转调踏莎行》。 </span>
踏莎行 <span class="q">双调五十八字,前后段各五句,三仄韵</span> 晏 殊 </span>
细草愁烟<span class="q">句</span>幽花怯露<span class="q">韵</span>凭阑总是消魂处<span class="q">韵</span>日高深院静无人<span class="q">句</span>时时海燕双飞去<span class="q">韵</span> 带缓罗衣<span class="q">句
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香残蕙炷<span class="q">韵</span>天长不禁迢迢路<span class="q">韵</span>垂杨只解惹春风<span class="q">句</span>何曾系得行人住<span class="q">韵
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此调以此词为正体,若曾词、陈词之添字、摊破句法、转换宫调,皆变体也。 按,宋、元人填此调者,其字句韵悉同,惟每句平仄小异。如前段第一、二句,黄庭坚词“临水夭桃,倚墙繁李”,临字平声,倚字仄声,繁字平声;第三句,欧阳修词“草熏风暖摇征辔”,草字仄声,风字平声;第四句,欧阳词“离愁渐远渐无穷”,离字平声,渐字仄声;第五句,晏几道词“粉香帘幕阴阴静”,粉字仄声,帘字平声;后段第一、二句,黄词“明日重来,落花如绮”,明字平声,落字仄声,如字平声;第三句,陈尧佐词“画梁轻拂歌尘转”,画字仄声,轻字平声;第四句,晏词“宿妆曾比杏腮红”,宿字仄声,曾字平声;第五句,陈词“主人恩重珠帘卷”,主字仄声,恩字平声。谱内可平可仄据此。至周密词,后段结句“莫听酒边供奉曲”,平仄独异,此亦偶误,不必从。
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又一体 <span class="q">双调六十六字,前后段各六句,四仄韵</span> 曾 觌 </span>
翠幄成阴<span class="q">句</span>谁家帘幕<span class="q">韵</span>绮罗香拥处<span class="q">读</span>觥筹错<span class="q">韵</span>清和将近<span class="q">句</span>奈春寒更薄<span class="q">韵</span>高歌看簌簌梁尘落<span class="q">韵
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好景良辰<span class="q">句</span>人生行乐<span class="q">韵</span>金杯无奈是<span class="q">读</span>苦相虐<span class="q">韵</span>残红飞尽<span class="q">句</span>袅垂杨轻弱<span class="q">韵</span>来岁断不负莺花约<span class="q">韵
</span> ●●○○ ⊙○⊙● ⊙⊙⊙◎● ●○● ○○⊙● ●⊙○⊙● ⊙●●●●⊙○● </span>
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此词前后段第三句减去“处”字、“是”字,第四句减去“奈”字、“更”字、“袅”字、“轻”字,结句减去“看”字、“断”字,即《踏莎行》正体也,转调者,摊破句法,添入衬字,转换宫调,自成新声耳。 按,赵彦端“宿雨才收”词,正与此同。前段第二、三句“牡丹将绽,也近寒食”,近字仄声;后段第三句“一月五番价、共欢集”,月字、五字俱仄声,番字平声;第五句“且莫留半滴”,莫字、半字俱仄声;第六句“一百二十五个好生日”,一字、好字俱仄声。谱内可平可仄据此,余参陈词。 汲古阁本,前段第三句脱一字,今从《词纬》本订定。
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又一体 <span class="q">双调六十四字,前后段各六句,四仄韵</span> 陈 亮 </span>
洛浦尘生<span class="q">句</span>巫山梦断<span class="q">韵</span>旗亭芳草里<span class="q">读</span>春深浅<span class="q">韵</span>梨花落尽<span class="q">句</span>荼縻又绽<span class="q">韵</span>天气也似<span class="q">读</span>寻常庭院<span class="q">韵
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向晚晴浓<span class="q">句</span>十分恼乱<span class="q">韵</span>水边佳丽地<span class="q">读</span>近前看<span class="q">韵</span>娉婷笑语<span class="q">句</span>流觞美满<span class="q">韵</span>意思不到<span class="q">读</span>夕阳孤馆<span class="q">韵
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此词见《龙川集》,亦名《转调踏莎行》。每段上四句,与曾词同,惟前后段第五句,各减一字异。 宋人精于音律,凡遇旧腔,往往随意增损,自成新声。如元人度曲,或借宋人词调,偷声添字,名为“过曲”者,其源实出于此。
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宜男草 调见范成大《石湖词》。 </span>
宜男草 <span class="q">双调五十八字,前后段各四句,三仄韵</span> 范成大 </span>
舍北烟霏舍南浪<span class="q">韵</span>雨倾盆<span class="q">读</span>滩流微涨<span class="q">韵</span>问小桥<span class="q">读</span>别后谁过<span class="q">句</span>惟有迷鸟羁雌来往<span class="q">韵</span> 重寻山水</span>
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问无恙<span class="q">韵</span>扫柴荆<span class="q">读</span>土花尘网<span class="q">韵</span>留小桃<span class="q">读</span>先试光风<span class="q">句</span>从此芝草琅玕日长<span class="q">韵
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此调前后段两起句,例作拗句,观范词别首及陈三聘和词“摇落丹枫素秋后”、“绿水粘天净无浪”,第五字必仄声、第六字必平声可见。两结句是上二下六句法,陈词亦然。 陈和词,前段第三、四句“个中趣、莫遣人知,容我日日扁舟独往”,中字平声,趣字、上日字、独字俱仄声;后段第三、四句“春近也、梅柳频看,枝上玉蕊金丝暗长”,也字、玉字俱仄声。谱内可平可仄据此,余见下词。
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又一体 <span class="q">双调六十字,前后段各四句,三仄韵</span> 范成大 </span>
篱菊滩芦被霜后<span class="q">韵</span>袅长风<span class="q">读</span>万重高柳<span class="q">韵</span>天为谁<span class="q">读</span>展尽湖光渺渺<span class="q">句</span>应为我<span class="q">读</span>扁舟入手<span class="q">韵</span> 橘中</span>
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曾醉洞庭酒<span class="q">韵</span>辗云涛<span class="q">读</span>挂帆南斗<span class="q">韵</span>追旧游<span class="q">读</span>不减商山杳杳<span class="q">句</span>犹有人<span class="q">读</span>能相记否<span class="q">韵
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此调前后段第三句俱九字,两结句俱七字,与前词异。 陈和词,前段第三句“别梦回、忆得双柑分我”,别字仄声,分字平声;后段第三、四句“人去也、纵得相逢似旧,问当日红颜在否。”也字、问字俱仄声,当字平声,日字仄声。谱内据此,余详前词。
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花上月令 宋吴文英自度曲。 </span>
花上月令 <span class="q">双调五十八字,前段七句四平韵,后段七句三平韵</span> 吴文英 </span>
文园消渴爱江清<span class="q">韵</span>酒肠怯<span class="q">句</span>怕深觥<span class="q">韵</span>玉舟曾洗芙蓉水<span class="q">句</span>泻清冰<span class="q">韵</span>秋梦浅<span class="q">句</span>醉霞轻<span class="q">韵</span> 庭竹不</span>
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收帘影去<span class="q">句</span>人睡起<span class="q">句</span>月空明<span class="q">韵</span>瓦瓶汲水和秋叶<span class="q">句</span>荐吟醒<span class="q">韵</span>夜深里<span class="q">句</span>怨遥更<span class="q">韵
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此调无别词可校,其句读平仄当依之。
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倚西楼 调见《苕溪诗话》,因词有“西楼萧瑟有谁知”句,取以为名。 </span>
倚西楼 <span class="q">双调五十八字,前段四句三仄韵,后段四句两仄韵</span> 韦彦温 </span>
禁鼓初传时下打<span class="q">韵</span>虚过清明风月夜<span class="q">韵</span>眼如鱼目几曾干<span class="q">句</span>心似酒旗终日挂<span class="q">韵</span> 银汉低垂星斗</span>
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斜<span class="q">句</span>院宇空寥银烛卸<span class="q">韵</span>西楼萧瑟有谁知<span class="q">句</span>教我独自上来独自下<span class="q">韵
</span>○ ●●○○○●● ○○○●●○○ ○●●●●○●●● </span>
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调近《玉楼春》,惟后段结句多两字耳,无别首可校。
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</span>
扫地舞 唐教坊曲名,一名《扫市舞》。 </span>
扫地舞 <span class="q">双调五十八字,前后段各七句,六仄韵、一叠韵</span> <span class="q">《梅苑》</span>无名氏 </span>
酥点萼<span class="q">韵</span>玉碾萼<span class="q">叠</span>点时碾时香雪薄<span class="q">韵</span>才折得<span class="q">韵</span>春力弱<span class="q">韵</span>半掩朱扉垂绣幕<span class="q">韵</span>怕吹落<span class="q">韵</span> 撚一</span>
○●● ●●● ●○●○○●● ○●● ○●● ●●○○○●● ●○● ●●
晌<span class="q">换韵</span>嗅一晌<span class="q">叠</span>撚时嗅时宿酒忘<span class="q">韵</span>春笋上<span class="q">韵</span>不忍放<span class="q">韵</span>待对菱花斜插向<span class="q">韵</span>宝钗上<span class="q">韵
</span>●<span class="q"> </span>●●● ●○●○●●● ○●● ●●● ●●○○○●● ●○● </span>
·
此调无别词可校,前后段两起句叠韵,当是定格,填者宜依之。
</span>
</span>
接贤宾 此调有两体,五十九字者始于毛文锡词,一百十七字者始于柳永词。《乐章集》注:林钟商调,一名《集贤宾》。 </span>
接贤宾 <span class="q">双调五十九字,前段四句三平韵,后段七句三平韵</span> 毛文锡 </span>
香鞯镂襜五花骢<span class="q">韵</span>值春景初融<span class="q">韵</span>流珠喷沫蹀躞<span class="q">句</span>汗血流红<span class="q">韵</span> 少年公子能乘驭<span class="q">句</span>金鑣玉辔珑</span>
○○●●●○○ ●○●○○ ○○○●●● ●●○○ ●○○●○○● ○○●●○
璁<span class="q">韵</span>为惜珊瑚鞭不下<span class="q">句</span>骄生百步千踪<span class="q">韵</span>信穿花<span class="q">句</span>从拂柳<span class="q">句</span>向九陌追风<span class="q">韵
</span>○ ●●○○○●● ○○●●○○ ●○○ ○●● ●●●○○ </span>
·
唐词只此一首,无他作可校。 前段起句,坊本作“五色骢”,今从《花间集》订正。
</span>
又一体 <span class="q">双调一百十七字,前段十句五平韵,后段十句六平韵</span> 柳 永 </span>
小楼深巷狂游遍<span class="q">句</span>罗绮成丛<span class="q">韵</span>就中堪人属意<span class="q">句</span>最是虫虫<span class="q">韵</span>有画难描雅态<span class="q">句</span>无花可比芳容<span class="q">韵</span>几回</span>
●○○●○○● ○●○○ ●○○○●● ●●○○ ●●○○●● ○○●●○○ ●○
饮散良宵永<span class="q">句</span>鸳衾暖<span class="q">读</span>凤枕香浓<span class="q">韵</span>算得人间天上<span class="q">句</span>惟有两心同<span class="q">韵</span> 近来云雨每西东<span class="q">韵</span>诮恼损</span>
●●○○● ○○● ●●○○ ●●○○○● ○●●○○ ●○○●●○○ ●●●
情悰<span class="q">韵</span>纵然偷期暗会<span class="q">句</span>长是匆匆<span class="q">韵</span>争似和鸣偕老<span class="q">句</span>免教敛翠啼红<span class="q">韵</span>眼前时暂疏欢宴<span class="q">句</span>盟言在<span class="q">读
</span>○○ ●○○○●● ○●○○ ○●○○○● ●○●●○○ ●○○●○○● ○○●
更莫忡忡<span class="q">韵</span>待作真个宅院<span class="q">句</span>方信有初终<span class="q">韵
</span>●●○○ ●●○●●● ○●●○○ </span>
·
此即毛词体,再加一叠,但前段起句不用韵,第二句少一字,前后段第五句减一字,第八句各添一字,两结句读小异耳。按,宋词无填此调者,其平仄当依之。 《词律》误从汲古阁本,其前段第八句脱一字,今从《花草粹编》校正。 元曲马致远商调《集贤宾》,与此同,惟前段第二句,亦作五字,前后段第九句,俱作五字,亦因柳词减字也,因词俚不录。
</span>
</span>
步蟾宫 蒋氏《九宫谱目》,入南吕引子;韩淲词,名《钓台词》;刘擬词,名《折丹桂》。 </span>
步蟾宫 <span class="q">双调五十九字,前段四句三仄韵,后段六句三仄韵</span> 黄庭坚 </span>
虫儿真个恶灵利<span class="q">韵</span>恼乱得<span class="q">读</span>道人眠起<span class="q">韵</span>醉归来<span class="q">读</span>恰似出桃源<span class="q">句</span>但目断<span class="q">读</span>落花流水<span class="q">韵</span> 不如随</span>
○○○●◎○● ●◎● ◎○○● ●○○ ◎●●○○ ●●● ◎○○● ◎○○
我归云际<span class="q">韵</span>共作个<span class="q">读</span>住山活计<span class="q">韵</span>照清溪<span class="q">句</span>匀粉面<span class="q">句</span>插山花<span class="q">句</span>算终胜<span class="q">读</span>风尘滋味<span class="q">韵
</span>●○○● ●◎● ●○◎● ●○○ ○●● ●○○ ●⊙● ○○○● </span>
·
此调昉自山谷,但宋、元词,俱宗蒋捷体,惟韩淲集中一词,则照此填。前段第三句八字,后段第三、四、五句各三字,正与此同。《词律》疏于考索,谓此词误多一字,非也。 按,韩词,前段起句“三年重到严滩路”,严字平声;第二句“叹鬓发衣冠尘土”,鬓字、衣字俱平声;第三句“倚孤蓬、闲自逐清风”,闲字平声;结句“见一片、孤鸿归去”,孤字平声;后段起句“人间何用论今古”,人字平声;第二句“漫赢得、个般情绪”,赢字、情字俱平声;第三、四、五句“雨吹来,云乱处,水东流”,平仄如一;结句“但只有、青山如故”,只字仄声。谱内可平可仄据此。
</span>
又一体 <span class="q">双调五十八字,前后段各四句,三仄韵</span> 杨无咎 </span>
桂花馥郁清无寐<span class="q">韵</span>觉身在<span class="q">读</span>广寒宫里<span class="q">韵</span>忆吾家<span class="q">读</span>妃子旧游时<span class="q">句</span>瑞龙脑<span class="q">读</span>暗藏叶底<span class="q">韵</span> 不堪午</span>
●○●●○○● ●○● ●○○● ●○○ ○●●○○ ●○● ●○●● ●○●
夜西风起<span class="q">韵</span>更飐飐<span class="q">读</span>万丝斜坠<span class="q">韵</span>向晚来<span class="q">读</span>却似给孤园<span class="q">句</span>乍惊见<span class="q">读</span>黄金布地<span class="q">韵
</span>●○○● ●●● ●○○● ●●○ ●●●○○ ●○● ○○●● </span>
·
此词前后段第三句俱八字,较黄词减一字,句读似更整齐,但宋人无填此者。 汲古阁本,此词前段第三句,脱一“时”字,今从《花草粹编》增定。
</span>
又一体 <span class="q">双调五十六字,前后段各四句,三仄韵</span> 蒋 捷 </span>
玉窗掣锁香云涨<span class="q">韵</span>唤绿袖<span class="q">读</span>低敲方响<span class="q">韵</span>流苏拂处字微讹<span class="q">句</span>但斜倚<span class="q">读</span>红梅一晌<span class="q">韵</span> 濛濛月在帘</span>
◎○◎●○○● ◎◎● ⊙○⊙● ⊙○◎●●○○ ◎⊙● ⊙○◎● ⊙○◎●○
衣上<span class="q">韵</span>做池馆<span class="q">读</span>春阴模样<span class="q">韵</span>春阴模样不如春<span class="q">句</span>这催雪<span class="q">读</span>曲儿休唱<span class="q">韵
</span>○● ●⊙● ⊙○⊙● ⊙○⊙●●○○ ◎⊙● ◎○⊙● </span>
·
此调以此词为正体。前后段第三句,俱七字,较杨词各减一字,蒋 词三首皆同。有刘儗“初秋两两”词、钟过“东风又送”词,无名氏“东风捏就”词可校。 前段起句,钟词“东风又送酴醿信”,东字平声,蒋词别首“去年云掩冰轮皎”,云字平声;第二句,钟词“早吹得、愁成潘鬓”,吹字平声;第三句,钟词“花开犹似十年前”,犹字平声,刘词“祝君寿阅八千秋”,祝字仄声;第四句,钟词“人不似、十年前俊”,人字平声,不字仄声;后段起句,钟词“水边珠翠香成阵”,珠字平声;第二句,无名氏词“暗蹙损、眉峰双翠”,蹙字仄声。谱内可平可仄据此,余参汪、章二词。
</span>
又一体 <span class="q">双调五十五字,前后段各四句,三仄韵</span> 汪 存 </span>
玉京此去春犹浅<span class="q">韵</span>正雪絮<span class="q">读</span>马头零乱<span class="q">韵</span>姮娥剪就绿云裳<span class="q">句</span>待来步<span class="q">读</span>蟾宫与换<span class="q">韵</span> 明年三月桃</span>
●○●●○○● ●●● ●○○● ○○●●●○○ ●○● ○○●● ○○●●○
花岸<span class="q">韵</span>双浆浪平烟暖<span class="q">韵</span>扬州十里小红楼<span class="q">句</span>尽卷上<span class="q">读</span>珠帘一半<span class="q">韵
</span>○● ○●●○○● ○○●●●○○ ●●● ○○●● </span>
·
此与蒋词同,惟后段第二句减一字异。
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又一体 <span class="q">双调五十七字,前后段各四句,三仄韵</span> <span class="q">《全芳备祖》</span>无名氏 </span>
未开大如木犀蕊<span class="q">韵</span>开后是<span class="q">读</span>梅花小底<span class="q">韵</span>倏然只欲住山林<span class="q">句</span>肯容易<span class="q">读</span>结根城市<span class="q">韵</span> 叶儿又与冬</span>
●○●○●○● ○●● ○○●● ○○●●●○○ ●○● ●○○● ●○●●○
青比<span class="q">韵</span>算何止<span class="q">读</span>香闻七里<span class="q">韵</span>不因山谷品题来<span class="q">句</span>谁知道<span class="q">读</span>是水仙兄弟<span class="q">韵
</span>○● ●○● ○○●● ●○○●●○○ ○○● ●●○○● </span>
·
此亦与蒋词同,惟结句添一衬字异。
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</span>
恨春迟 调见张先词集。 </span>
恨春迟 <span class="q">双调五十九字,前后段各五句,两平韵</span> 张 先 </span>
好梦才成成又断<span class="q">句</span>因晚起<span class="q">读</span>云朵梳鬟<span class="q">韵</span>秀脸拂轻红<span class="q">句</span>滴入娇眉眼<span class="q">句</span>薄衣减春寒<span class="q">韵</span> 红柱溪桥</span>
●●○○○●● ○●● ○●○○ ●●●○○ ●●○○● ●○●○○ ○●○○
波平岸<span class="q">句</span>画阁外<span class="q">读</span>落日西山<span class="q">韵</span>不忿闲花并蒂<span class="q">句</span>秋藕连根<span class="q">句</span>何时重得双莲<span class="q">韵
</span>○○● ●●● ●●○○ ●●○○●● ○●○○ ○○○●○○ </span>
·
坊本,此词前段起句,或作“好梦才成又断”,第二句,或作“晚起云朵梳鬟”,今从本集及《花草粹编》订正。此体只此一词,无别首宋、元词可校。
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</span>
冉冉云 韩淲词,有“倚遍阑干弄花雨”句,更名《弄花雨》。 </span>
冉冉云 <span class="q">双调五十九字,前后段各四句,四仄韵</span> 卢 炳 </span>
雨洗千红又春晓<span class="q">韵</span>留牡丹<span class="q">读</span>倚阑初绽<span class="q">韵</span>娇娅姹<span class="q">读</span>偏赋精神君看<span class="q">韵</span>算费尽<span class="q">读</span>工夫点染<span class="q">韵</span> 带露</span>
●●○○●○● ⊙◎○ ●○○● ○●● ⊙●○○○● ●●● ○○●● ●◎</span>
天香最清远<span class="q">韵</span>太真妃<span class="q">读</span>晓妆体段<span class="q">韵</span>拌对花<span class="q">读</span>满把流霞频劝<span class="q">韵</span>怕逐东风零乱<span class="q">韵
</span>○⊙◎○● ●○○ ●○◎● ○●⊙ ●●○○○● ◎●○○⊙● </span>
·
宋词惟韩淲一首可校,故平仄悉参之。
</span>
又一体 <span class="q">双调五十九字,前段四句三仄韵,后段四句四仄韵</span> 韩 淲 </span>
倚遍阑干弄花雨<span class="q">韵</span>卷朱帘<span class="q">读</span>草迷芳树<span class="q">韵</span>山崦里<span class="q">读</span>几许云烟来往<span class="q">句</span>画不就<span class="q">读</span>人家院宇<span class="q">韵</span> 社寒</span>
●●○○●○● ●○○ ●○○● ○●● ●●○○○● ●●● ○○●● ●○
梁燕呢喃舞<span class="q">韵</span>小桃红<span class="q">读</span>海棠初吐<span class="q">韵</span>谁信道<span class="q">读</span>午枕醒时情绪<span class="q">韵</span>闲整春衫自语<span class="q">韵
</span>○●○○● ●○○ ●○○● ○●● ●●○○○● ○●○○●● </span>
·
此与卢词同,惟前段第三句不用韵异。或云,往字改去字即韵,然《涧泉集》原本如此,仍之。
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</span>
蝶恋花 唐教坊曲,本名《鹊踏枝》,宋晏殊词改今名。《乐章集》注:小石调;赵令畤词注:商调;《太平乐府》注:双调。冯延巳词,有“杨柳风轻,展尽黄金缕”句,名《黄金缕》;赵令畤词,有“不卷珠帘,人在深深院”句,名《卷珠帘》;司马槱词,有“夜凉明月生南浦”句,名《明月生南浦》;韩淲词,有“细雨吹池沼”句,名《细雨吹池沼》;贺铸词,名《凤栖梧》;李石词,名《一箩金》;衷元吉词,名《鱼水同欢》;沈会宗词,名《转调蝶恋花》。 </span>
蝶恋花 <span class="q">双调六十字,前后段各五句,四仄韵</span> 冯延巳 </span>
六曲阑干偎碧树<span class="q">韵</span>杨柳风轻<span class="q">句</span>展尽黄金缕<span class="q">韵</span>谁把钿筝移玉柱<span class="q">韵</span>穿帘海燕双飞去<span class="q">韵</span> 满眼游丝</span>
◎●⊙○○●● ⊙●○○ ◎●○○● ⊙●◎○○●● ⊙○◎●○○● ◎●⊙○
兼落絮<span class="q">韵</span>红杏开时<span class="q">句</span>一霎清明雨<span class="q">韵</span>浓睡觉来莺乱语<span class="q">韵</span>惊残好梦无寻处<span class="q">韵
</span>○●● ⊙●○○ ◎●○○● ⊙●◎○○●● ⊙○◎●○○● </span>
·
此词为《蝶恋花》正体,宋、元人俱如此填。冯词别首,前段起句“霜落小园瑶草短”,霜字平声,小字仄声;第二、三句“瘦叶和风,惆怅芳时换”,瘦安仄声,惆字平声;第四句“旧恨新愁都不管”,旧字仄声,新字平声;第五句“卷帘双鹊惊飞去”,卷字仄声,双字平声;后段起句“心若垂杨千万缕”,心字平声,又一首“泪眼倚楼频独语”,倚字仄声;第二句“水阔花飞”,水字仄声;第三句,又一首“齐奏云和曲”,齐字平声;第四句“忽忆当年歌舞伴”,忽字仄声,当字平声;结句“晚来双脸啼痕满”,晚字仄声,双字平声。谱内可平可仄据此。至杜安世词,前段起句“秋日楼台在空际”,“在”字微拗;李石词,前段起句“武陵春色浓如酒”,平仄全异。宋、元人无如此填者,恐汇参作图,其体莫辨,附注于此,填者审之。
</span>
又一体 <span class="q">双调六十字,前后段各五句,四仄韵</span> 沈会宗 </span>
渐近朱门香夹道<span class="q">韵</span>一片笙歌<span class="q">句</span>依约楼台杪<span class="q">韵</span>野色和烟满芳草<span class="q">韵</span>溪光曲曲山回抱<span class="q">韵</span> 物华不逐</span>
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人间老<span class="q">韵</span>日日春风<span class="q">句</span>在处花枝好<span class="q">韵</span>莫恨云深路难到<span class="q">韵</span>刘郎可惜归来早<span class="q">韵
</span>○○● ◎●○○ ●●○○● ◎●⊙○◎○● ⊙○◎●○○● </span>
·
此词与冯词同,惟前后段第四句及换头句平仄异。《乐府雅词》名《转调蝶恋花》,转调者,移宫换羽,转入别调也。字句虽同,音律自异,故另分列。 按,沈词别首“溪上清明”词及杜安世“整顿云鬟”词、“池上新秋”词,贺铸“桃叶园林”词、“排办张灯”词,张元幹“祥景飞光”词及魏氏“记得来时”词,俱与此同,可以参校。沈词别首,前段起句“溪上清明初过雨”,溪字平声;第二、三句“春色无多,叶底花如许”,春字平声,叶字仄声;第四句“轻暖时闻燕双语”,轻字平声;第五句“等闲飞入谁家去”,等字仄声,飞字平声;杜词,后段起句“新翻归翅云间燕”,新字、归字俱平声;第二句“金缕衣宽”,金字平声;贺词,第四句“离索年多故人少”,离字平声,魏词“泪湿海棠花枝处”,海字仄声,花字平声;沈词别首,第五句“绿杨风里黄昏鼓”,绿字仄声,风字平声。谱内可平可仄据此,至杜安世“别浦迟留”词与“任在芦花”词,两结句亦拗体者,又与此微异,因字句悉同,注明不另录。
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又一体 <span class="q">双调六十字,前段五句两叶韵、两仄韵,后段五句四仄韵</span> 石孝友 </span>
别来相思无限期<span class="q">叶</span>欲说相思<span class="q">句</span>要见终无计<span class="q">韵</span>拟写相思持送伊<span class="q">叶</span>如何尽得相思意<span class="q">韵</span> 眼底相思</span>
●○○○○●○ ●●○○ ●●○○● ●●○○○●○ ○○●●○○● ●●○○
心里事<span class="q">韵</span>纵把相思<span class="q">句</span>写尽凭谁寄<span class="q">韵</span>多少相思都做泪<span class="q">韵</span>一齐泪损相思字<span class="q">韵
</span>○●● ●●○○ ●●○○● ○●○○○●● ●○●●○○● </span>
·
此亦与冯词同,惟前段平仄韵互叶异。 按,此词“期”字、“伊”字,在平声四支部,余皆上声四寘部、去声四纸部中字也,即古韵所谓本部三声叶者。宋词间用古韵,与《中原音韵》纯乎北音者不同。
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</span>
寿山曲 调见赵德麟《侯鲭录》,南唐冯延巳作,因词中有“圣寿南山永同”句,故名。 </span>
寿山曲 <span class="q">单调六十字,十句五平韵</span> 冯延巳
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铜壶滴漏初尽<span class="q">句</span>高阁鸡鸣半空<span class="q">韵</span>催启五门金锁<span class="q">句</span>犹垂三殿帘栊<span class="q">韵</span>阶前御柳摇绿<span class="q">句</span>仗下宫花散</span>
○○●●○● ○●○○●○ ○●●○○● ○○○●○○ ○○●●○● ●●○○●
红<span class="q">韵</span>鸳瓦数行晓日<span class="q">句</span>鸾旗百尺春风<span class="q">韵</span>侍臣舞蹈重拜<span class="q">句</span>圣寿南山永同<span class="q">韵
</span>○ ○●●○●● ○○●●○○ ●○●●○● ●●○○●○ </span>
·
此词《阳春集》不载,今从《花草粹编》采入。
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</span>
秋蕊香引 《乐章集》注:小石调。 </span>
秋蕊香引 <span class="q">双调六十字,前段七句三仄韵,后段八句四仄韵</span> 柳 永 </span>
留不得<span class="q">韵</span>光阴催促<span class="q">句</span>有芳兰歇<span class="q">句</span>好花谢<span class="q">句</span>惟顷刻<span class="q">韵</span>彩云易散琉璃脆<span class="q">句</span>验前事端的<span class="q">韵</span> 风月</span>
○●● ○○○● ●○○● ●●● ○●● ●○●●○○● ●○●○● ○●
夜<span class="q">句</span>几处前踪旧迹<span class="q">韵</span>忍思忆<span class="q">韵</span>这回望断<span class="q">句</span>永作蓬山隔<span class="q">韵</span>向仙岛<span class="q">句</span>归云路<span class="q">句</span>两无消息<span class="q">韵
</span>● ●●○○●● ●○● ●○●● ●●○○● ●○● ○○● ●○○● </span>
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此柳永自度曲,无别首可校,其句读平仄当遵之。
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</span>
惜琼花 调见张先词集,为吴兴守时所赋也。 </span>
惜琼花 <span class="q">双调六十字,前段七句五仄韵,后段七句四仄韵</span> 张 先 </span>
汀苹白<span class="q">韵</span>苕水碧<span class="q">韵</span>每逢花驻乐<span class="q">句</span>随处欢席<span class="q">韵</span>别时携手看春色<span class="q">韵</span>萤火而今<span class="q">句</span>飞破秋夕<span class="q">韵</span> 汴河</span>
○○● ○●● ●○○●● ○●○● ●○○●○○● ○●○○ ○●○● ●○
流<span class="q">句</span>如带窄<span class="q">韵</span>任身轻似叶<span class="q">韵</span>何计归得<span class="q">韵</span>断云孤鹜青山极<span class="q">韵</span>楼上徘徊<span class="q">句</span>无尽相忆<span class="q">韵
</span>○ ○●● ●○○●● ○●○● ●○○●○○● ○●○○ ○●○● </span>
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《花草粹编》后段第三、四句,“任轻似叶,计归得”,脱“身”字、“何”字,今从本集校正。
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朝玉阶 见杜安世《寿域词》。其调近《散天花》,然换头句平仄自不同也。 </span>
朝玉阶 <span class="q">双调六十字,前后段各五句,四平韵</span> 杜安世 </span>
帘卷春寒小雨天<span class="q">韵</span>牡丹花落尽<span class="q">句</span>悄庭轩<span class="q">韵</span>高空双燕舞翩翩<span class="q">韵</span>无风轻絮坠<span class="q">读</span>暗苔钱<span class="q">韵</span> 拟将幽</span>
○●○○●●○ ●○○●● ●○○ ○○○●●○○ ○○○●● ●○○ ●○○
怨写香笺<span class="q">韵</span>中心多少事<span class="q">句</span>语难传<span class="q">韵</span>思量真个恶姻缘<span class="q">韵</span>那堪长梦见<span class="q">读</span>在伊边<span class="q">韵
</span>●●○○ ○○○●● ●○○ ○○○●●○○ ●○○●● ●○○ </span>
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按,《寿域集》杜词二首,平仄如一,别无宋词可校。
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散天花 唐教坊曲名。 </span>
散天花 <span class="q">双调六十字,前后段各五句,四平韵</span> 舒 亶 </span>
云淡长空落叶秋<span class="q">韵</span>寒江烟浪尽<span class="q">句</span>月随舟<span class="q">韵</span>西风偏解送离愁<span class="q">韵</span>声声南去雁<span class="q">读</span>下汀洲<span class="q">韵</span> 无奈多</span>
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情去复留<span class="q">韵</span>骊歌齐唱罢<span class="q">句</span>泪争流<span class="q">韵</span>悠悠别恨几时休<span class="q">韵</span>不堪残酒醒<span class="q">读</span>凭危楼<span class="q">韵
</span>○●●○ ○○○●● ●○○ ○○●●●○○ ●○○●● ●○○ </span>
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此调与《朝玉阶》同,只后段起句平仄异。
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荷华媚 调见东坡词集,即赋题本意也。 </span>
荷华媚 <span class="q">双调六十字,前段五句三仄韵,后段六句两仄韵</span> 苏 轼 </span>
霞苞露荷碧<span class="q">韵</span>天然地<span class="q">读</span>别是风流标格<span class="q">韵</span>重重青盖下<span class="q">句</span>千娇照水<span class="q">句</span>好红红白白<span class="q">韵</span> 每怅望<span class="q">读</span>明</span>
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月清风夜<span class="q">句</span>甚低迷不语<span class="q">句</span>夭邪无力<span class="q">韵</span>终须放<span class="q">读</span>船儿去<span class="q">句</span>清香深处<span class="q">句</span>任看伊颜色<span class="q">韵
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此词两结句,俱上一下四句法,填者宜遵之。
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少年心 调见山谷词。有两体,一名《添字少年心》。 </span>
少年心 <span class="q">双调六十字,前后段各五句三仄韵、一叶韵</span> 黄庭坚 </span>
对景惹起愁闷<span class="q">韵</span>染相思<span class="q">读</span>病成方寸<span class="q">韵</span>是阿谁先有意<span class="q">句</span>阿谁薄幸<span class="q">韵</span>斗顿恁<span class="q">读</span>少喜多嗔<span class="q">叶</span> 合下</span>
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休传音问<span class="q">韵</span>你有我<span class="q">读</span>我无你分<span class="q">韵</span>似合欢核桃<span class="q">句</span>真堪人恨<span class="q">韵</span>心儿里<span class="q">读</span>有两个人人<span class="q">叶
</span>○○○● ●●● ●○●● ●●○○● ○○○● ○○● ●●●○○ </span>
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此词两结,“嗔”字、“人”字,是以十一真叶十三问,盖以真、文通用,故震、问亦可通用也。惟“幸”字为庚韵之上声,在二十三梗部,又因古韵真部间通庚青故也,但用韵毕竟太杂,填此调者,不若只用本部三声叶为妥。 按,黄集又有添字少年心词,亦平仄韵互叶,但前段起句“心里人人,暂不见,霎时难过”,后段起句“见说那厮,如此自大”,此词多七字,因词俚不录。
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七娘子 蒋氏《九宫谱目》,入正宫引子。 </span>
七娘子 <span class="q">双调六十字,前后段各五句,四仄韵</span> 毛 滂 </span>
山屏雾帐玲珑碧<span class="q">韵</span>更绮窗<span class="q">读</span>临水新凉入<span class="q">韵</span>雨短烟长<span class="q">句</span>柳桥萧瑟<span class="q">韵</span>这番一日凉一日<span class="q">韵</span> 离多绿</span>
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鬓年时白<span class="q">韵</span>这离情<span class="q">读</span>不似而今惜<span class="q">韵</span>云外长安<span class="q">句</span>斜晖脉脉<span class="q">韵</span>西风吹梦来无迹<span class="q">韵
</span>●○○● ●⊙○ ◎●○○● ⊙◎⊙⊙ ⊙○◎● ⊙○⊙●○○● </span>
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此调以此词为正体。前后段第二句俱八字,宋贺铸、谢逸、向子諲、王之道、陈亮诸词,俱如此填。惟贺词后段结句“为谁来为谁还去”,句法小异;谢词前段起句“风剪冰花飞零乱”,平仄微拗。 按,毛词别首,前段第一句“月光波影寒相向”,月字仄声,波字平声;第五句“殷勤冰彩随人上”,冰字平声;陈词,后段起句“卖花声断蓝桥暮”,卖字仄声,声字平声;王之道词,第二句“想一声、鸡唱东城路”,一字仄声,鸡字平声;向子諲词,第三、四句“门外落花,漫天飞絮”,落字仄声。谱内可平可仄据此,余参蔡词及《梅苑》词。
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又一体 <span class="q">双调五十八字,前后段各五句,四仄韵</span> 蔡 伸 </span>
天涯触目伤离绪<span class="q">韵</span>登临况值秋光暮<span class="q">韵</span>手撚黄花<span class="q">句</span>凭谁分付<span class="q">韵</span>雝雝雁落蒹葭浦<span class="q">韵</span> 凭高目断桃</span>
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溪路<span class="q">韵</span>屏山楼外青无数<span class="q">韵</span>绿水红桥<span class="q">句</span>琐窗朱户<span class="q">韵</span>如今总是销魂处<span class="q">韵
</span>○● ○○○●○○● ●●○○ ●○○● ○○●●○○● </span>
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此与毛词同,惟前后第二句各减一字异。按,元正宫曲,即宗此体。
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又一体 <span class="q">双调六十字,前段五句一叶韵、三仄韵,后段五句四仄韵</span> <span class="q">《梅苑》</span>无名氏 </span>
暗香浮动到黄昏<span class="q">叶</span>向水边<span class="q">读</span>疏影梅开尽<span class="q">韵</span>溪畔清蕊<span class="q">句</span>有如浅杏<span class="q">韵</span>一枝喜得东君信<span class="q">韵</span> 风吹只</span>
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怕霜侵损<span class="q">韵</span>更新来<span class="q">读</span>插向多情鬓<span class="q">韵</span>寿阳妆鉴<span class="q">句</span>雪肌玉莹<span class="q">韵</span>岭头别自添微粉<span class="q">韵
</span>●○○● ●○○ ●●○○● ●○○● ●○●● ●○●●○○● </span>
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此亦与毛词同,惟前段起句叶平韵异。或疑“昏”字非韵,然《七娘子》调,从无起句不用韵者。按,郑庠《古音辨》,真、文、元、寒、删、先,六韵为一部,盖以六韵为颚音,商声也。故六韵平、上、去,皆可通用。此词“昏”字,正以十三元与轸吻等韵叶也,惟杏字在二十三梗部,是又因真文之通庚青,即通庚青之三叶,亦本古韵耳。
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一剪梅 元高拭词注:南吕宫;周邦彦词,起句有“一剪梅花万样娇”句,取以为名;韩淲词,有“一朵梅花百和香”句,名《腊梅香》;李清照词,有“红藕香残玉簟秋”句,名《玉簟秋》。 </span>
一剪梅 <span class="q">双调六十字,前后段各六句,三平韵</span> 周邦彦 </span>
一剪梅花万样娇<span class="q">韵</span>斜插疏枝<span class="q">句</span>略点梅梢<span class="q">韵</span>轻盈微笑舞低回<span class="q">句</span>何事尊前<span class="q">句</span>拍手相招<span class="q">韵</span> 夜渐寒</span>
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深酒渐消<span class="q">韵</span>袖里时闻<span class="q">句</span>玉钏轻敲<span class="q">韵</span>城头谁恁促残更<span class="q">句</span>银漏何如<span class="q">句</span>且慢明朝<span class="q">韵
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此调以周词、吴词为正体,若卢词、张词、蒋词之添韵,曹词、李词之减字,皆变体也。 此词前后段第二句、第四句、第五句,俱不押韵,宋词惟周紫芝“无限江山”词与之同。 周词前段第二句,“两岸斜阳”,两字仄声,谱内据之,余悉参所采诸词。
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又一体 <span class="q">双调六十字,前后段各六句,四平韵</span> 吴文英 </span>
远目伤心楼上山<span class="q">韵</span>愁里长眉<span class="q">句</span>别后蛾鬟<span class="q">韵</span>暮云低压小阑干<span class="q">韵</span>教问孤鸿<span class="q">句</span>因甚先还<span class="q">韵</span> 瘦倚溪</span>
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桥梅夜寒<span class="q">韵</span>雪欲消时<span class="q">句</span>泪不禁弹<span class="q">韵</span>剪成钗胜待归看<span class="q">韵</span>春在西窗<span class="q">句</span>灯火更阑<span class="q">韵
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此词前后段第四句押韵,宋、元人俱如此填,惟汪元量词,前后段起句“十年旧事漫咨嗟”,“玉人劝我酌流霞”,与此平仄全异,恐非定格,不便参校。
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又一体 <span class="q">双调六十字,前后段各六句,五平韵</span> 卢 炳 </span>
灯火楼台万斛莲<span class="q">韵</span>千门喜笑<span class="q">句</span>素月婵娟<span class="q">韵</span>几多急管与繁弦<span class="q">韵</span>巷陌喧阗<span class="q">韵</span>毕献芳筵<span class="q">韵</span> 乐与民</span>
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偕五马贤<span class="q">韵</span>绮罗丛里<span class="q">句</span>一簇神仙<span class="q">韵</span>传柑雅宴约明年<span class="q">韵</span>尽夕留连<span class="q">韵</span>满帆金船<span class="q">韵
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此词前后段第五句,俱押韵,宋词无别首可校。
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又一体 <span class="q">双调六十字,前后段各六句,四平韵、两叠韵</span> 张 炎 </span>
剩蕊惊寒减艳痕<span class="q">韵</span>蜂也消魂<span class="q">韵</span>蝶也消魂<span class="q">叠</span>醉归无月傍黄昏<span class="q">韵</span>知是花村<span class="q">韵</span>不是花村<span class="q">叠</span> 留得闲</span>
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枝叶半存<span class="q">韵</span>好似桃根<span class="q">韵</span>可似桃根<span class="q">叠</span>小楼昨夜雨声浑<span class="q">韵</span>春到三分<span class="q">韵</span>秋到三分<span class="q">叠
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此词前后段第二、三句,第五、六句,俱叠韵,有程垓、刘克庄、刘擬、方岳、欧良、虞集诸词可校,但刘克庄词,换头句“阶衔免得管兵农”,与此平仄全异;又,宋无名氏词,前后段第二、三句,第五、六句,俱用量字韵者,系独木桥体,因词俚不录。
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又一体 <span class="q">双调六十字,前后段各六句,六平韵</span> 蒋 捷 </span>
一片春愁带酒浇<span class="q">韵</span>江上船摇<span class="q">韵</span>楼上帘招<span class="q">韵</span>秋娘容与泰娘娇<span class="q">韵</span>风又飘飘<span class="q">韵</span>雨又萧萧<span class="q">韵</span> 何日云</span>
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帆卸浦桥<span class="q">韵</span>银字筝调<span class="q">韵</span>心字香烧<span class="q">韵</span>流光容易把人抛<span class="q">韵</span>红了樱桃<span class="q">韵</span>绿了芭蕉<span class="q">韵
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此词每句用韵,与第二、三句,第四、五句用叠韵者不同。
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又一体 <span class="q">双调五十八字,前后段各五句,三平韵</span> 曹 勋 </span>
不占前村占瑶阶<span class="q">韵</span>芳影横斜积渐开<span class="q">韵</span>水边竹外冷摇春<span class="q">句</span>一带冲寒<span class="q">句</span>香满襟怀<span class="q">韵</span> 管领东风</span>
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要有才<span class="q">韵</span>频移歌酒上春台<span class="q">韵</span>直须日日坐花前<span class="q">句</span>金殿仙人<span class="q">句</span>同往同来<span class="q">韵
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此词前后段第二、三句,作七字一句,与诸家异。见《松隐集》,无别首宋词可校。
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又一体 <span class="q">双调五十九字,前段五句三平韵,后段六句三平韵</span> 赵长卿 </span>
霁霭迷空晓未收<span class="q">韵</span>羁馆残灯<span class="q">句</span>永夜悲秋<span class="q">韵</span>梧桐叶上三更雨<span class="q">句</span>别是人间一段愁<span class="q">韵</span> 睡又不成</span>
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梦又休<span class="q">韵</span>多愁多病<span class="q">句</span>当甚风流<span class="q">韵</span>真情一点苦萦人<span class="q">句</span>才下眉尖<span class="q">句</span>恰上心头<span class="q">韵
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此词前段结句七字。按,李清照词“雁字来时月满楼”,又,《乐府雅词》“明日从教一线添”,皆作七字句,与此同。盖《一剪梅》之变体也,旧谱谓李词脱去一字者非。
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寻 梅 调见《乐府雅词》及《梅苑》,盖咏梅花也,因词中有“朝来寻见”句。取以为名。 </span>
寻 梅 <span class="q">双调六十字,前后段各五句,四仄韵</span> 沈会宗 </span>
今年早觉花信蹉<span class="q">韵</span>想芳心<span class="q">读</span>未应误我<span class="q">韵</span>一月花信几回过<span class="q">韵</span>始朝来寻见<span class="q">句</span>雪痕微破<span class="q">韵</span> 眼前大</span>
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抵情无那<span class="q">韵</span>好景色<span class="q">读</span>只消些个<span class="q">韵</span>春风烂漫都且可<span class="q">韵</span>是而今枝上<span class="q">句</span>三朵两朵<span class="q">韵
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此调只有沈词二首,故可平可仄,即参后词。 按,《音韵集成》“五歌部”:蹉,蹉跎失时也,又去声。故图作仄声,若作平声歌哿二韵,亦是本部三声叶。
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又一体 <span class="q">双调六十字,前后段各五句,四仄韵</span> 沈会宗 </span>
幽香浅浅湿未透<span class="q">韵</span>认雪底<span class="q">读</span>思来始有<span class="q">韵</span>剪裁尚觉琼瑶皱<span class="q">韵</span>苦寒中<span class="q">句</span>越恁骨清肌瘦<span class="q">韵</span> 东风气</span>
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象园林旧<span class="q">韵</span>又今年<span class="q">读</span>而今时候<span class="q">韵</span>急宜小摘当尊酒<span class="q">韵</span>选一枝<span class="q">句</span>且付玉人纤手<span class="q">韵
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此与“今年早觉”词同,惟前后两结句法异。
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锦帐春 调见《稼轩集》,因词有“春色难留”及“重帘不卷,翠屏天远”句,故名。 </span>
锦帐春 <span class="q">双调六十字,前段七句四仄韵,后段七句五仄韵</span> 辛弃疾 </span>
春色难留<span class="q">句</span>酒杯常浅<span class="q">韵</span>把旧恨新愁相间<span class="q">韵</span>五更风<span class="q">句</span>千里梦<span class="q">句</span>看飞红几片<span class="q">韵</span>这般庭院<span class="q">韵</span> 几许</span>
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风流<span class="q">句</span>几般娇懒<span class="q">韵</span>问相见何如不见<span class="q">韵</span>燕飞忙<span class="q">句</span>莺语乱<span class="q">韵</span>恨重帘不卷<span class="q">韵</span>翠屏天远<span class="q">韵
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此调以辛词、程词为正体,若戴词、丘词之减字,皆变体也。但宋词只此四首,故此词可平可仄,即参后列三词。
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又一体 <span class="q">双调六十字,前段七句三仄韵,后段七句三仄韵、一叠韵</span> 程 珌 </span>
最是春来<span class="q">句</span>苦兼风雨<span class="q">韵</span>但只恁<span class="q">读</span>匆匆归去<span class="q">韵</span>看游丝<span class="q">句</span>都不恨<span class="q">句</span>恨秦淮新涨<span class="q">句</span>向人东注<span class="q">韵</span> 醉</span>
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里仙人<span class="q">句</span>惜春曾赋<span class="q">韵</span>却不解<span class="q">读</span>留春且住<span class="q">韵</span>问何人<span class="q">句</span>留得住<span class="q">叠</span>怕小山更有<span class="q">句</span>碧芜春句<span class="q">韵
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此与辛词同,惟前后段第六句,俱不押韵异。 汲古阁本,此词误刻《锦堂春》,《词律》犹沿其误,类列《锦堂春》后,今从《花草粹编》校正。
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又一体 <span class="q">双调五十八字,前后段各六句,四仄韵</span> 戴复古 </span>
处处逢花<span class="q">句</span>家家插柳<span class="q">韵</span>正寒食清明时候<span class="q">韵</span>奉板舆行乐<span class="q">句</span>是使星随后<span class="q">韵</span>人间稀有<span class="q">韵</span> 出郭寻</span>
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山<span class="q">句</span>绣衣春昼<span class="q">韵</span>马上列<span class="q">读</span>两行红袖<span class="q">韵</span>对韶华一笑<span class="q">句</span>劝国夫人酒<span class="q">韵</span>百千长寿<span class="q">韵
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此亦与辛词同,惟前后段第四、五句,作五字一句,各减去一字异。
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又一体 <span class="q">双调五十六字,前后段各六句,四仄韵</span> 邱 崈 </span>
翠竹如屏<span class="q">句</span>浅山如画<span class="q">韵</span>小池面<span class="q">读</span>危桥一跨<span class="q">韵</span>著梭亭临水<span class="q">句</span>宛然郊野<span class="q">韵</span>竹篱茅舍<span class="q">韵</span> 好是天</span>
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寒<span class="q">句</span>倍添妍雅<span class="q">韵</span>正雪意<span class="q">读</span>垂垂欲下<span class="q">韵</span>更朦胧月影<span class="q">句</span>弄晴初夜<span class="q">韵</span>梅花动也<span class="q">韵
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此亦与辛词同,惟前后段第四、五句减去一字,第六句又各减去一字异。
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唐多令 《太和正音谱》:越调,亦入高平调。一作《糖多令》;周密因刘过词有“二十年重过南楼”句,名《南楼令》;张翥词,有“花下钿箜篌”句,名《箜篌曲》。 </span>
唐多令 <span class="q">双调六十字,前后段各五句,四平韵</span> 刘 过 </span>
芦叶满汀洲<span class="q">韵</span>寒沙带浅流<span class="q">韵</span>二十年<span class="q">读</span>重过南楼<span class="q">韵</span>柳下系船犹未稳<span class="q">句</span>能几口<span class="q">读</span>又中秋<span class="q">韵</span> 黄河</span>
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断矶头<span class="q">韵</span>故人曾到不<span class="q">韵</span>旧江山<span class="q">读</span>浑是新愁<span class="q">韵</span>欲买桂花同载酒<span class="q">句</span>终不似<span class="q">读</span>少年游<span class="q">韵
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此调以此词为正体,宋、元人俱如此填,若吴词、周词之添字,皆变体也。 按,刘词别首,首段起句“解缆蓼花湾”,解字仄声;第二句“好风吹去帆”,好字仄声;第四句“洛浦凌波人去后”,凌字平声;周密词;后段起句“水调夜凄清”,水字仄声;尹焕词,第三句“怅绿阴青子成双”,绿字仄声;第四句“说著前欢佯不采”,前字平声。谱内可平可仄据此,余参所采吴词、周词。
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又一体 <span class="q">双调六十一字,前后段各五句,四平韵</span> 吴文英 </span>
何处合成愁<span class="q">韵</span>离人心上秋<span class="q">韵</span>纵芭蕉<span class="q">读</span>不雨也飕飕<span class="q">韵</span>都道晚凉天气好<span class="q">句</span>有明月<span class="q">读</span>怕登楼<span class="q">韵</span> 年</span>
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事梦中休<span class="q">韵</span>花空烟水流<span class="q">韵</span>燕辞归<span class="q">读</span>客尚淹流<span class="q">韵</span>垂柳不萦裙带住<span class="q">句</span>漫长是<span class="q">读</span>系行舟<span class="q">韵
</span>●●○○ ○○○●○ ●○○ ●●○○ ○●●○○●● ●○● ●○○ </span>
·
此与刘词同,惟前段第三句多一衬字异。按,此词“也”字是衬字,《词统》于“纵”字注衬字,非上三下四句法矣。
</span>
又一体 <span class="q">双调六十二字,前后段各五句,四平韵</span> 周 密 </span>
丝雨织莺梭<span class="q">韵</span>浮钱点翠荷<span class="q">韵</span>燕风清<span class="q">读</span>庭宇正清和<span class="q">韵</span>苔面唾绒堆绣径<span class="q">句</span>春去也<span class="q">读</span>奈春何<span class="q">韵</span> 宫</span>
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柳老青蛾<span class="q">韵</span>题红隔翠波<span class="q">韵</span>扇鸾孤<span class="q">读</span>尘暗合欢罗<span class="q">韵</span>门外绿阴深似海<span class="q">句</span>应未比<span class="q">读</span>旧愁多<span class="q">韵
</span>●●○○ ○○●●○ ●○○ ○●●○○ ○●●○○●● ○●● ●○○ </span>
·
此亦与刘词同,惟前后段第三句,各添一字异。
</span>
</span>
摊破采桑子 调见《惜香乐府》,即《采桑子令》也,因前后段俱添入和声,自成一体。 </span>
摊破采桑子 <span class="q">双调六十字,前段六句四平韵,后段六句三平韵、一重韵</span> 赵长卿 </span>
树头红叶飞都尽<span class="q">句</span>景物凄凉<span class="q">韵</span>秀出群芳<span class="q">韵</span>又见江梅浅淡妆<span class="q">韵</span>也<span class="q">句</span>啰<span class="q">句</span>真个是<span class="q">读</span>可人香<span class="q">韵</span> 兰</span>
●○○●○○● ●●○○ ●●○○ ●●○○●●○ ● ○ ○●● ●○○ ○
魂蕙魄应羞死<span class="q">句</span>独占风光<span class="q">韵</span>梦断高唐<span class="q">韵</span>月送疏枝过女墙<span class="q">韵</span>也<span class="q">句</span>啰<span class="q">句</span>真个是<span class="q">读</span>可人香<span class="q">重
</span>○●●○○● ●●○○ ●●○○ ●●○○●●○ ● ○ ○●● ●○○ </span>
·
楚词押韵句,或用助语词,汉赋亦多如此,故此词第四句,当于“也”字点句,坊本或于“妆”字点句,及“也、啰”二字相连点句者非。按,《金词》高平调《唐多令》,两结句俱有“也”字、“啰”字,南北曲《水红花》,结句亦有“也”字、“啰”字。又按,《广韵》“七歌”:啰,歌词也。此词两结“香”字重押,其为歌时之和声无疑。
</span>
后庭宴 《庚溪诗话》云:宋宣和中,掘地得石刻唐词,调名《后庭宴》。 </span>
后庭宴 <span class="q">双调六十字,前段五句三仄韵,后段六句三仄韵</span> <span class="q">《庚溪诗话》</span>无名氏 </span>
千里故乡<span class="q">句</span>十年华屋<span class="q">韵</span>乱红飞过屏山簇<span class="q">韵</span>眼重眉褪不胜春<span class="q">句</span>菱花知我销香玉<span class="q">韵</span> 双双燕子归</span>
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来<span class="q">句</span>应解笑人幽独<span class="q">韵</span>断歌零舞<span class="q">韵</span>遗恨清江曲<span class="q">韵</span>万树绿低迷<span class="q">句</span>一庭红扑蔌<span class="q">韵
</span>○ ○●●○○● ●○○● ○●○○● ●●●○○ ●○○●● </span>
·
此词前段近《踏莎行》,后段字句,又与前段不同。《庚溪诗话》定为唐词,然无别首可校。
</span>
鞓 红 调见《梅苑》。 </span>
鞓 红 <span class="q">双调六十字,前后段各六句,四仄韵</span> <span class="q">《梅苑》</span>无名氏 </span>
粉香犹嫩<span class="q">句</span>衾寒可惯<span class="q">韵</span>怎奈向<span class="q">读</span>春心已转<span class="q">韵</span>玉容别是<span class="q">句</span>一般闲婉<span class="q">韵</span>悄不管<span class="q">读</span>桃红杏浅<span class="q">韵</span> 月</span>
●○○● ○○●● ●●● ○○●● ●○●● ●○○● ●●● ○○●● ●
影帘栊<span class="q">句</span>金堤波面<span class="q">韵</span>渐细细<span class="q">读</span>香风满院<span class="q">韵</span>一枝折寄<span class="q">句</span>故人虽远<span class="q">韵</span>莫辄使<span class="q">读</span>江南信断<span class="q">韵
</span>●○○ ○○○● ●●● ○○●● ●○●● ●○○● ●●● ○○●● </span>
·
此调起结近《鹊桥仙》词,然中三句句读,实与《鹊桥仙》不同。
</span>
贺熙朝 调见《花间集》。 </span>
贺熙朝 <span class="q">双调六十一字,前段七句五仄韵,后段六句四仄韵</span> 欧阳炯 </span>
忆昔花间相见后<span class="q">韵</span>只凭纤手<span class="q">韵</span>暗抛红豆<span class="q">韵</span>人前不解<span class="q">句</span>巧传心事<span class="q">句</span>别来依旧<span class="q">韵</span>辜负春昼<span class="q">韵</span> 碧</span>
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罗衣上蹙金绣<span class="q">韵</span>睹对对鸳鸯<span class="q">句</span>空裛泪痕透<span class="q">韵</span>想韶颜非久<span class="q">韵</span>终是为伊<span class="q">句</span>只恁偷瘦<span class="q">韵
</span>○○●◎○● ◎●●⊙○ ○●◎⊙● ●○○○● ○●●○ ◎●○● </span>
·
此唐调也,宋人无填之者,故谱内可平可仄,即参下词。
</span>
又一体 <span class="q">双调六十一字,前段七句四仄韵,后段六句四仄韵</span> 欧阳炯 </span>
忆昔花间初识面<span class="q">韵</span>红袖半遮<span class="q">句</span>妆脸轻转<span class="q">韵</span>石榴裙带<span class="q">句</span>故将纤纤<span class="q">句</span>玉指偷撚<span class="q">韵</span>双凤金线<span class="q">韵</span> 碧</span>
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梧桐锁深深院<span class="q">韵</span>谁料得两情<span class="q">句</span>何日教缱绻<span class="q">韵</span>羡春来双燕<span class="q">韵</span>飞到玉楼<span class="q">句</span>朝暮相见<span class="q">韵
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·
此与前词同,惟前段第二句不押韵异。
</span>
</span>
拨棹子 唐教坊曲名。 </span>
拨棹子 <span class="q">双调六十一字,前段五句五仄韵,后段四句四仄韵</span> 尹 鹗 </span>
风切切<span class="q">韵</span>深秋月<span class="q">韵</span>十朵芙蓉繁艳歇<span class="q">韵</span>凭小槛<span class="q">读</span>细腰无力<span class="q">韵</span>空赢得<span class="q">读</span>目断魂飞何处说<span class="q">韵</span> 寸心</span>
○●● ○⊙● ◎●⊙○○●● ○●● ◎○○● ○○● ◎●○○○●● ◎○
恰似丁香结<span class="q">韵</span>看看瘦尽胸前雪<span class="q">韵</span>偏挂恨<span class="q">读</span>少年抛掷<span class="q">韵</span>羞睹见<span class="q">读</span>绣被堆红闲不彻<span class="q">韵
</span>●●⊙○● ⊙⊙●◎○⊙● ○●● ●○○● ⊙●● ●●○○⊙●● </span>
·
此调以此词为正体,若黄词之三声叶、无名氏词之摊破句法,皆变体也,但宋元人无填此体者,只有尹词别首可校。前段第二句“双靥媚”,靥字仄声;第三句“冠子镂金装翡翠”,冠字平声,镂字仄声;第四句“将一朵琼花堪比”,琼字平声;结句“窠窠绣、鸾凤衣裳香窣地”,鸾字平声;后段起句“银台蜡烛滴红泪”,银字平声,滴字仄声;第二句“绿酒劝人教半醉”,绿酒二字俱仄声,人字平声,半字仄声;结句“特地向、宝帐颠狂不肯睡”,特字、不字俱仄声。谱内可平可仄据此。 此词之韵,本用六月、九屑,而中有“力”字、“掷”字,乃十一陌、十三职,按《古今通韵》,月、屑可通陌、职,引古诗“石上生菖蒲,一寸八九节。仙人劝我餐,令我好颜色”为证。又,按吴棫《韵补》,十一陌古通月,故知此词“力”、“掷”字亦韵。
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又一体 <span class="q">双调六十一字,前段五句两叶韵、两叠韵、一仄韵,后段五句五仄韵</span> 黄庭坚 </span>
归去来<span class="q">叶</span>归去来<span class="q">叠</span>携手旧山归去来<span class="q">叠</span>有人共<span class="q">读</span>对月尊罍<span class="q">叶</span>横一琴<span class="q">读</span>甚处逍遥不自在<span class="q">韵</span> 闲世</span>
○●○ ○●○ ○●●○○●○ ●○● ●●○○ ○●○ ●●○○●●● ○●
界<span class="q">韵</span>无利害<span class="q">韵</span>何必向<span class="q">读</span>世间甘幻爱<span class="q">韵</span>与君钓<span class="q">读</span>晚烟寒濑<span class="q">韵</span>蒸白鱼稻饭<span class="q">韵</span>溪童供笋菜<span class="q">韵
</span>● ○●● ○●● ●○○●● ●○● ●○○● ○●○●● ○○○●● </span>
·
此与尹鹗词体同,惟前段四句韵,俱用三声叶;又,换头句仍作三字两句,第二句八字、添一字,结句不作上三下七句法异。 此词十灰韵,与十一队叶,亦是本部三声叶。
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又一体 <span class="q">双调六十二字,前段七句三仄韵,后段六句三仄韵</span> <span class="q">《花草粹编》</span>无名氏 </span>
烟姿媚<span class="q">句</span>冰容薄<span class="q">韵</span>芳蕖嫩<span class="q">句</span>隐映新萍池阁<span class="q">韵</span>自撷英人去后<span class="q">句</span>清香微绽<span class="q">句</span>透真珠帘幕<span class="q">韵</span> 似无</span>
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语含情垂彩佩<span class="q">韵</span>戏芳荫<span class="q">句</span>渐许纤鳞相托<span class="q">韵</span>西风直须爱惜<span class="q">句</span>看看浓艳<span class="q">句</span>伴秋光零落<span class="q">韵
</span>●○○○●● ●○● ●●○○○● ○○●○●● ○○○● ●○○○● </span>
·
此词之源,亦出尹词,特摊破句法,自成新声耳。按《古今通韵》,入声十药间通去声十一队,故此词“佩”字,可押“薄”字。
</span>
</span>
玉堂春 调见《珠玉集》。 </span>
玉堂春 <span class="q">双调六十一字,前段七句两仄韵、两平韵,后段五句两平韵</span> 晏 殊 </span>
斗城池馆<span class="q">仄韵</span>二月春风烟暖<span class="q">韵</span>绣户珠帘<span class="q">句</span>日影初长<span class="q">平韵</span>玉辔金鞍<span class="q">句</span>缭绕沙堤路<span class="q">句</span>几处行人映绿</span>
●○○● ◎●⊙○○● ●●○○ ●●○○<span class="q"> </span>●●○○ ●●○○● ●●○○●●
杨<span class="q">韵</span> 小槛朱阑回倚<span class="q">句</span>千花浓露香<span class="q">韵</span>脆管清弦<span class="q">句</span>欲奏新翻曲<span class="q">句</span>依约林间坐夕阳<span class="q">韵
</span>○ ●●⊙○○● ○○○●○ ●●○○ ●●○○● ⊙●○○●●○ </span>
·
按,《珠玉词》晏词三首,前段第一、二句,俱押仄韵,当是定格,填者遵之。 晏词别首,前段第二句“御柳暗遮空苑”,暗字仄声;后段第二句“新英遍旧丛”,遍字仄声;结句“触处杨花满袖风”,独字仄声;又一首,前段第二句“残雪尚濛烟草”,残字平声;后段第一句“忆得往年同伴”,往字仄声。谱内可平可仄据此。
</span>
</span>
系裙腰 调见张先词集。宋媛魏氏词,名《芳草渡》。 </span>
系裙腰 <span class="q">双调六十一字,前段六句四平韵,后段六句三平韵</span> 张 先 </span>
清霜蟾照夜云天<span class="q">韵</span>朦胧影<span class="q">读</span>画勾阑<span class="q">韵</span>人情纵似长情月<span class="q">句</span>算一年年<span class="q">韵</span>又能得<span class="q">句</span>几番圆<span class="q">韵</span> 欲寄</span>
○○⊙●●○○ ○⊙● ●○○ ○○◎●⊙○◎ ●◎⊙⊙ ●⊙● ●○○ ●◎</span>
西江题叶字<span class="q">句</span>流不到<span class="q">读</span>五亭前<span class="q">韵</span>东池始有荷新绿<span class="q">句</span>尚小如钱<span class="q">韵</span>问何日藕<span class="q">句</span>几时莲<span class="q">韵
</span>⊙⊙⊙◎◎ ○◎● ●○○ ⊙○◎●⊙○◎ ●●⊙⊙ ●⊙◎● ●○○ </span>
·
此词前后段第三句及换头句,俱用仄声字住,不押韵,其第四句俱作四字句,各用一衬字,不独后段第五句多一“问”字为衬字也。按,此调宋词甚少,故此词平仄,即参刘、魏二词。
</span>
又一体 <span class="q">双调五十九字,前后段各六句,五平韵</span> 刘 儗 </span>
山儿矗矗水儿清<span class="q">韵</span>船儿似<span class="q">读</span>叶儿轻<span class="q">韵</span>风儿更没人情<span class="q">韵</span>月儿明<span class="q">韵</span>厮合造<span class="q">句</span>送人行<span class="q">韵</span> 眼儿蔌蔌</span>
○○●●●○○ ○○● ●○○ ○○●●○○ ●○○ ●●● ●○○ ●○●●
泪儿倾<span class="q">韵</span>灯儿更<span class="q">读</span>冷青青<span class="q">韵</span>遭逢著<span class="q">读</span>雁儿又没前程<span class="q">韵</span>一声声<span class="q">韵</span>怎生得<span class="q">读</span>梦儿成<span class="q">韵
</span>●○○ ○○● ●○○ ○○● ●○●●○○ ●○○ ●○● ●○○ </span>
·
此与张词同,惟前后段第三句及换头句用韵,第四句各减一字异。至后段第三句“遭逢著”三字,亦衬字也,减此三字,即与前“风儿”句同。
</span>
又一体 <span class="q">双调五十八字,前后段各六句,四平韵</span> <span class="q">宋媛</span>魏氏</span>
灯花耿耿漏迟迟<span class="q">韵</span>人别后<span class="q">读</span>夜凉时<span class="q">韵</span>西风潇洒梦初回<span class="q">韵</span>谁念我<span class="q">句</span>就单枕<span class="q">句</span>皱双眉<span class="q">韵</span> 锦屏绣</span>
○○●●●○○ ○●● ●○○ ○○○●●○○ ○●● ●○● ●○○ ●○●
幌与秋期<span class="q">韵</span>肠欲断<span class="q">读</span>泪偷垂<span class="q">韵</span>月明还到小窗西<span class="q">韵</span>我恨你<span class="q">句</span>我忆你<span class="q">句</span>你争知<span class="q">韵
</span>●●○○ ○●● ●○○ ●○○●●○○ ●●● ●●● ●○○
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此词句读整齐,惟前后段第四句不用韵,与前两词异。
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