The Project Gutenberg eBook of 滄浪詩話

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Title: 滄浪詩話

Author: active 12th century Yu Yan

Release date: May 2, 2008 [eBook #25289]

Language: Chinese

*** START OF THE PROJECT GUTENBERG EBOOK 滄浪詩話 ***

詩辯

夫學詩者以識為主：入門須正，立志須高；以漢、魏、晉、盛唐為師，不作開元、天寶以下人物。若自退屈，即有下劣詩魔入其肺腑之間；由立志之不高也。行有未至，可加工力；路頭一差，愈騖愈遠；由入門之不正也。故曰：學其上，僅得其中；學其中，斯為下矣。又曰：見過於師，僅堪傳授；見與師齊，減師半德也。工夫須從上做下，不可從下做上。先須熟讀《楚詞》，朝夕諷詠，以為之本；及讀《古詩十九首》，樂府四篇，李陵、蘇武、漢、魏五言皆須熟讀，即以李、杜二集枕藉觀之，如今人之治經，然後博取盛唐名家，醞釀胸中，久之自然悟入。雖學之不至，亦不失正路。此乃是從頂上做來，謂之向上一路，謂之直截根源，謂之頓門，謂之單刀直入也。

詩之法有五：曰體製，曰格力，曰氣象，曰興趣，曰音節。

詩之品有九：曰高，曰古，曰深，曰遠，曰長，曰雄渾，曰飄逸，曰悲壯，曰淒婉。其用工有三：曰起結，曰句法，曰字眼。其大概有二：曰優遊不迫，曰沉着痛快。詩之極致有一，曰入神。詩而入神，至矣，盡矣，蔑以加矣！惟李、杜得之，他人得之蓋寡也。

禪家者流，乘有小大，宗有南北，道有邪正；學者須從最上乘，具正法眼，悟第一義。若小乘禪，聲聞辟支果，皆非正也。論詩如論禪，漢、魏、晉與盛唐之詩，則第一義也。大曆以還之詩，則小乘禪也，已落第二義矣。晚唐之詩，則聲聞辟支果也。學漢、魏、晉與盛唐詩者，臨濟下也。學大曆以還之詩者，曹洞下也。大抵禪道惟在妙悟，詩道亦在妙悟。且孟襄陽學力下韓退之遠甚、而其詩獨出退之之上者，一味妙悟而已。惟悟乃為當行，乃為本色。然悟有淺深、有分限、有透徹之悟，有但得一知半解之悟。漢、魏尚矣，不假悟也。謝靈運至盛唐諸公，透徹之悟也；他雖有悟者，皆非第一義也。吾評之非僭也，辯之非妄也。天下有可廢之人，無可廢之言；詩道如是也。若以為不然，則是見詩之不廣，參詩之不熟耳。試取漢、魏之詩而熟參之，次取晉、宋之詩而熟參之，次取南北朝之詩而熟參之，次取沈、宋、王、楊、盧、駱、陳拾遺之詩而熟參之，次取開元、天寶諸家之詩而熟參之，次獨取李、杜二公之詩而熟參之，又取大曆十才子之詩而熟參之，又取元和之詩而熟參之，又盡取晚唐諸家之詩而熟參之，又取本朝蘇、黃以下諸家之詩而熟參之，其真是非自有不能隱者。儻猶於此而無見焉，則是野狐外道，蒙蔽其真識，不可救藥，終不悟也。

夫詩有別材，非關書也；詩有別趣，非關理也。然非多讀書、多窮理，則不能極其至，所謂不涉理路、不落言筌者，上也。詩者，吟詠情性也。盛唐諸人惟在興趣，羚羊掛角，無跡可求。故其妙處，透徹玲瓏，不可湊泊，如空中之音，相中之色，水中之月，鏡中之象，言有盡而意無窮。近代諸公，乃作奇特解會，遂以文字為詩，以才學為詩，以議論為詩。夫豈不工？終非古人之詩也。葢於一唱三嘆之音，有所歉焉。且其作多務使事，不問興致；用字必有來歷，押韻必有出處，讀之反覆終篇，不知着到何在。其末流甚者，叫噪怒張，殊乖忠厚之風，殆以罵詈為詩。詩而至此，可謂一厄也。然則近代之詩無取乎？曰：有之。吾取其合於古人者而已。國初之詩尚沿襲唐人：王黃州學白樂天，楊文公、劉中山學李商隱，盛文肅學韋蘇州，歐陽公學韓退之古詩，梅聖俞學唐人平澹處，至東坡、山谷始自出己意以為詩，唐人之風變矣。山谷用工尤為深刻，其後法席盛行海內，稱為江西宗派。近世趙紫芝、翁靈舒輩，獨喜賈島、姚合之詩，稍稍復就清苦之風，江湖詩人多效其體，一時自謂之唐宗；不知止入聲聞辟支之果，豈盛唐諸公大乘正法眼者哉！嗟乎，正法眼之無傳久矣！唐詩之說未唱，唐詩之道或有時而明也。今既唱其體曰唐詩矣，則學者謂唐詩誠止於是耳，得非詩道之重不幸邪？故予不自量度，輒定詩之宗旨，且借禪以為喻，推原漢、魏以來，而截然謂當以盛唐為法，後捨漢、魏而獨言盛唐者，謂古律之體備也。雖獲罪於世之君子，不辭也。

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詩體

《風》、《雅》、《頌》既亡，一變而為《離騷》，再變而為西漢五言，三變而為歌行雜體，四變而為沈、宋律詩。五言起於李陵、蘇武或云枚乘，七言起於漢武《柏梁》，四言起於漢楚王傅韋孟，六言起於漢司農谷永，三言起於晉夏侯湛，九言起於高貴鄉公。

以時而論，則有建安體漢末年號。曹子建父子及鄴中七子之詩、黃初體魏年號，與建安相接，其體一也、正始體魏年號，嵇、阮諸公之詩、太康體晉年號，左思、潘岳、二張、二陸諸公之詩、元嘉體宋年號，顏、鮑、謝諸公之詩、永明體齊年號，齊諸公之詩、齊梁體通兩朝而言之、南北朝體通魏、周而言之，與齊梁體一也、唐初體唐初猶襲陳、隋之體、盛唐體景雲以後，開元、天寶諸公之詩、大曆體大曆十才子之詩、元和體元、白諸公、晚唐體、本朝體通前後而言之、元祐體蘇、黃、陳諸公、江西宗派體山谷為之宗。

以人而論，則有蘇李體李陵、蘇武也、曹劉體子建、公幹也、陶體淵明也、謝體靈運也、徐庾體徐陵、庾信也，沈宋體佺期、之問也、陳拾遺體陳子昂也、王楊盧駱體王勃、楊炯、盧照鄰、駱賓王、張曲江體始興文獻公九齡也、少陵體、太白體、高達夫體高常侍適也、孟浩然體、岑嘉州體岑參也、王右丞體王維也、韋蘇州體韋應物也、韓昌黎體、柳子厚體、韋柳體蘇州與儀曹合言之、李長吉體、李商隱體即西崑體也、盧仝體、白樂天體、元白體微之、樂天，其體一也、杜牧之體、張藉王建體謂樂府之體同也、賈浪仙體、孟東野體、杜荀鶴體、東坡體、山谷體、後山體後山本學杜，其語似之者但數篇，他或似而不全，又其他則本其自體耳、王荊公體公絕句最高，其得意處，高出蘇、黃、陳之上，而與唐人尚隔一關、邵康節體、陳簡齋體陳去非與義也，亦江西之派而小異、楊誠齋體其初學半山、后山，最後亦學絕句於唐人。已而盡棄諸家之體，而別出機杼，蓋其自序如此也。

又有所謂選體選詩時代不同，體製隨異，今人例謂五言古詩為選體，非也、柏梁體漢武帝與羣臣共賦七言，每句用韻，後人謂此體為柏梁體、玉臺體《玉臺集》乃徐陵所序，漢、魏、六朝之詩皆有之；或者但謂纖豔者為玉臺體，其實則不然、西崑體即李商隱體，然兼溫庭筠及本朝楊、劉諸公而名之也、香奩體韓偓之詩，皆裾裙脂粉之語，有《香奩集》、宮體梁簡文傷於輕靡，時號宮體。其他體製尚或不一，然大概不出此耳。

又有古詩，有近體即律詩也，有絕句，有雜言，有三五七言自三言而終以七言，隋鄭世翼有此詩：「秋風清，秋月明。落葉聚還散，寒鴉樓復驚。相思相見知何日，此日此夜難為情。」，有半五六言晉傅玄《鴻雁生塞北》之篇是也，有一字至七字唐張南史《雪月花草》等篇是也。又隋人應詔有三十字詩，凡三句七言，一句九言，不足為法，故不列於此也，有三句之歌高祖《大風歌》是也。古《華山畿》二十五首，多三句之詞，其他古詩多如此者，有兩句之歌荊卿《易水歌》是也。又古詩有《青驄白馬》《共戲樂》《女兒子》之類，皆兩句之詞也，有一句之歌《漢書》「枹鼓不鳴董少年」，一句之歌也。又漢童謠「千乘萬騎上北邙」，梁童謠「青絲白馬壽陽來」，皆一句也，有口號或四句，或八句，有歌行古有鞠歌行、放歌行、長歌行、短歌行。又有單以歌名者，單以行名者，不可枚述，有樂府漢武帝定郊祀立樂府，採齊、楚、趙、魏之聲以入樂府，以其音詞可被於絃歌也。樂府俱備諸體，兼統眾名也，有楚詞屈原以下倣《楚詞》者，皆謂之楚詞，有琴操古有《水仙操》，辛德源所作；《別鶴操》，高陵牧子所作，有謠沈炯有《獨酌謠》，王昌齡有《箜篌謠》，穆天子之傳有《白雲謠》也，曰吟古詞有《隴頭吟》，孔明有《梁父吟》，相如有《白頭吟》，曰詞《選》有漢武《秋風詞》，樂府有《木蘭詞》，曰引古曲有《霹靂引》《走馬引》《飛龍引》，曰詠《選》有《五君詠》，唐儲光羲有《羣鴟詠》，曰曲古有《大堤曲》，梁簡文有《烏棲曲》，曰篇《選》有《名都篇》《京洛篇》《白馬篇》，曰唱魏武帝有《氣出唱》，曰弄古樂府有《江南弄》，曰長調，曰短調。有四聲，有八病四聲設於周顒，八病嚴於沈約。八病謂平頭、上尾、蜂腰、鶴膝、大韻、小韻、旁紐、正紐之辨。作詩正不必拘此，弊法不足據也，又有以嘆名者古詞有《楚妃嘆》《明君嘆》，以愁名者《文選》有《四愁》，樂府有《獨處愁》，以哀名者《選》有《七哀》，少陵有《八哀》，以怨名者古詞有《寒夜怨》《玉階怨》，以思名者太白有《靜夜思》，以樂名者齊武帝有《估客樂》，宋臧質有《石城樂》，以別名者子美有《無家別》《垂老別》《新婚別》。有全篇雙聲疊韻者東坡「經字韻詩」是也，有全篇字皆平聲者天隨子《夏日詩》四十字皆是平。又有一句全平一句全仄者，有全篇字皆仄聲者梅聖俞《酌酒與婦飲》之詩是也，有律詩上下句雙用韻者第一句，第三五七句，押一仄韻；第二句，第四六八句，押一平韻。唐章碣有此體，不足為法，謾列於此，以備其體耳。又有四句平入之體，四句仄入之體，無關詩道，今皆不取，有轆轤韻者雙出雙入，有進退韻者一進一退，有古詩一韻兩用者《文選》曹子建《美女篇》有兩「難」字，謝康樂《述祖德詩》有兩「人」字，後多有之，有古詩一韻三用者《文選》任彥升《哭范僕射》詩三用「情」字也，有古詩三韻六七用者古《焦仲卿妻詩》是也，有古詩重用二十許韻者《焦仲卿妻詩》是也，有古詩旁取六七許韻者韓退之「此日足可惜」篇是也。凡雜用東、冬、江、陽、庚、青六韻。歐陽公謂：退之遇寬韻則故旁入他韻，非也。此乃用古韻耳，於集韻自見之，有古詩全不押韻者古《採蓮曲》是也，有律詩至百五十韻者少陵有百韻律詩，白樂天亦有之，而本朝王黃州有百五十韻五言律，有律詩止三韻者唐人有六句五言律，如李益詩「漢家今上郡，秦塞古長城。有日雲常慘，無風沙自驚。當今天子聖，不戰四方平」是也，有律詩徹首尾對者少陵多此體，不可槩舉，有律詩徹首尾不對者盛唐諸公有此體，如孟浩然詩：「掛席東南望，青山水國遙。軸轤爭利涉，來往接風潮。問我今何適，天台訪石橋。坐看霞色晚，疑是赤城標。」又「水國無邊際」之篇，又太白「牛渚西江夜」之篇。皆文從字順，音韻鏗鏘，八句皆無對偶，有後章字接前章者曹子建《贈白馬王彪》之詩是也，有四句通義者如少陵「神女峰娟妙，昭君宅有無，曲畱明怨惜，夢盡失歡娛」是也，有絕句折腰者，有八句折腰者。有擬古，有連句，有集句，有分題古人分題，或各賦一物，如云送某人分題得某物也；或曰探題，有分韻，有用韻，有和韻，有借韻如押七之韻，可借八微或十二齊韻是也，有協韻《楚詞》及《選》詩多用協韻，有今韻，有古韻如退之《此日足可惜》詩用古韻也，葢《選》詩多如此，有古律陳子昂及盛唐諸公多此體，有今律。有頷聯，有頸聯，有發端，有落句結句也，有十字對劉眘虛「滄浪千萬里，日夜一孤舟」，有十字句常建「曲徑通幽處，禪房花木深」等是也，有十四字對劉長卿「江客不堪頻北望，塞鴻何事又南飛」是也，有十四字句崔顥「黃鶴一去不復返，白雲千載空悠悠」，又太白「鸚鵡西飛隴山去，芳洲之樹何青青」是也，有扇對又謂之隔句對。如鄭都官「昔年共照松溪影，松折碑荒僧已無，今日還思錦城事，雪消花謝夢何如」是也。葢以第一句對第三句，第二句對第四句，有借對孟浩然「廚人具雞黍，稚子摘楊梅」，太白「水舂雲母碓，風掃石楠花」，少陵「竹葉於人既無分，菊花從此不須開」是也，有就句對又曰當句有對。如少陵「小院迴廊春寂寂，浴鳧飛鷺晚悠悠」，李嘉祐「孤雲獨鳥川光暮，萬里千山海氣秋」是也。前輩於文亦多此體，如王勃「龍光射斗牛之墟，徐孺下陳蕃之榻」，乃就句對也。

論雜體，則有風人上句述其語，下句釋其義，如古《子夜歌》《讀曲歌》之類，則多用此體，藳砧古樂府「藳砧今何在，山上復安山；何當大刀頭，破鏡飛上天」，僻辭隱語也，五雜俎見樂府，兩頭纖纖亦見樂府，盤中《玉臺集》有此詩，蘇伯玉妻作，寫之盤中，屈曲成文也，廻文起於竇滔之妻，織錦以寄其夫也，反覆舉一字而誦，皆成句，無不押韻，反覆成文也。李公《詩格》有此二十字詩，離合字相拆合成文，孔融「漁父屈節」之詩是也。雖不關詩之重輕，其體製亦古，至於建除鮑明遠有《建除詩》，每句首冠以「建除平定」等字。其詩雖佳，葢鮑本工詩，非因建除之體而佳也，字謎，人名，卦名，數名，藥名，州名之詩，只成戲謔，不足法也。又有六甲十屬之類，及藏頭、歇後等體，今皆削之。近世有李公《詩格》，泛而不備，惠洪《天廚禁臠》，最為誤人。今此卷有旁參二書者，葢其是處不可易也。

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詩法

學詩先除五俗：一曰俗體，二曰俗意，三曰俗句，四曰俗字，五曰俗韻。

有語忌，有語病；語病易除，語忌難除。語病古人亦有之，惟語忌則不可有。

須是本色，須是當行。

對句好可得，結句好難得，發句好尤難得。

發端忌作舉止，收拾貴在出場。

不必太着題，不必多使事。

押韻不必有出處，用字不必拘來歷。

下字貴響，造語貴圓。

意貴透徹，不可隔靴搔癢；語貴脫洒，不可拖泥帶水。

最忌骨董，最忌趂貼。

語忌直，意忌淺，脉忌露，味忌短，音韻忌散緩，亦忌迫促。

詩難處在結裹。譬如番刀，須用北人結裹，若南人便非本色。

須參活句，勿參死句。

詞氣可頡頏，不可乖戾。

律詩難於古詩，絕句難於八句，七言律詩難於五言律詩，五言絕句難於七言絕句。

學詩有三節：其初不識好惡，連篇累牘，肆筆而成；既識羞愧，始生畏縮，成之極難；及其透徹，則七縱八橫，信手拈來，頭頭是道矣。

看詩須着金剛眼睛，庶不眩于旁門小法。禪家有金剛眼睛之說。

辯家數如辯蒼白，方可言詩。荊公評文章，先體製而後文之工拙。

詩之是非不必爭，試以己詩置之古人詩中，與識者觀之而不能辨，則真古人矣。

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詩評

大曆以前，分明別是一副言語；晚唐，分明別是一副言語；本朝諸公，分明別是一副言語。如此見，方許具一隻眼。

盛唐人，有似粗而非粗處，有似拙而非拙處。

五言絕句：眾唐人是一樣，少陵是一樣，韓退之是一樣，王荊公是一樣，本朝諸公是一樣。

盛唐人詩，亦有一二濫觴晚唐者，晚唐人詩，亦有一二可入盛唐者，要當論其大概耳。

唐人與本朝人詩，未論工拙，直是氣象不同。

唐人命題，言語亦自不同。雜古人之集而觀之，不必見詩，望其題引而知其為唐人今人矣。

大曆之詩，高者尚未失盛唐，下者漸入晚唐矣。晚唐之下者，亦墮野孤外道鬼窟中。

或問：「唐詩何以勝我朝？」唐以詩取士，故多專門之學，我朝之詩所以不及也。

詩有詞理意興。南朝人尚詞而病於理；本朝人尚理而病於意興；唐人尚意興而理在其中；漢、魏之詩，詞理意興，無迹可求。

漢、魏古詩，氣象混沌，難以句摘。晉以還方有佳句，如淵明「採菊東籬下，悠然見南山」，謝靈運「池塘生春草」之類。謝所以不及陶者，康樂之詩精工、淵明之詩質而自然耳。

謝靈運之詩，無一篇不佳。

黃初之後，惟阮籍《詠懷》之作，極為高古，有建安風骨。晉人舍陶淵明、阮嗣宗外，惟左太冲高出一時，陸士衡獨在諸公之下。

顏不如鮑，鮑不如謝，文中子獨取顏，非也。

建安之作，全在氣象，不可尋枝摘葉。靈運之詩，已是徹首尾成對句矣，是以不及建安也。

謝朓之詩，已有全篇似唐人者，當觀其集方知之。

戎昱在盛唐為最下，已濫觴晚唐矣。戎昱之詩，有絕似晚唐者。權德輿之詩，却有絕似盛唐者。權德輿或有似韋蘇州、劉長卿處。

顧況詩多在元、白之上，稍有盛唐風骨處。

冷朝陽在大曆才子中為最下。馬戴在晚唐諸人之上。劉滄、呂溫亦勝諸人。李瀕不全是晚唐，間有似劉隨州處。陳陶之詩，在晚唐人中，最無可觀。薛逢最淺俗。

大曆以後，吾所深取者，李長吉、柳子厚、劉言史、權德輿、李涉、李益耳。

大曆後，劉夢得之絕句，張藉、王建之樂府，吾所深取耳。

李、杜二公，正不當優劣。太白有一二妙處，子美不能道；子美有一二妙處，太白不能作。

子美不能為太白之飄逸，太白不能為子美之沉鬱。太白《夢游天姥吟》、《遠離別》等，子美不能道；子美《北征》、《兵車行》、《垂老別》等，太白不能作。論詩以李、杜為準，挾天子以令諸侯也。

少陵詩法如孫、吳，太白詩法如李廣。少陵如節制之師。

少陵詩，憲章漢、魏，而取材於六朝；至其自得之妙，則前輩所謂集大成者也。

觀太白詩者，要識真太白處。太白天才豪逸，語多卒然而成者。學者於每篇中，要識其安身立命處可也。

太白發句，謂之開門見山。

李、杜數公，如金鳷擘海，香象渡河，下視郊、島輩，直蟲吟草間耳。

人言太白仙才，長吉鬼才，不然。太白天仙之詞，長吉鬼仙之詞耳。

玉川之恠，長吉之瑰詭，天地間自欠此體不得。

高、岑之詩悲壯，讀之使人感慨；孟郊之詩刻苦，讀之使人不懽。

《楚詞》，惟屈、宋諸篇當讀之外，惟賈誼《懷長沙》、淮南王《招隱》、嚴夫子《哀時命》宜熟讀，此外亦不必也。

《九章》不如《九歌》，《九歌》《哀郢》尤妙。

前輩謂《大招》勝《招魂》，不然。

讀《騷》之久，方識真味；須歌之抑揚，涕洟滿襟，然後為識《離騷》。否則如戞釜撞甕耳。

唐人惟柳子厚深得騷學，退之、李觀，皆所不及。若皮日休《九諷》，不足為騷。

韓退之《琴操》極高古，正是本色，非唐賢所及。

釋皎然之詩，在唐諸僧之上。唐詩僧有法震、法照、無可、護國、靈一、清江、無本、齊己、貫休也。

集句惟荊公最長，《胡笳十八拍》混然天成，絕無痕迹，如蔡文姬肺肝間流出。

擬古惟江文通最長，擬淵明似淵明，擬康樂似康樂，擬左思似左思，擬郭璞似郭璞；獨擬李都尉一首，不似西漢耳。

雖謝康樂擬鄴中諸子之詩，亦氣象不類。至於劉玄休《擬行行重行行》等篇，鮑明遠《代君子有所思》之作，仍是其自體耳。

和韻最害人詩。古人酬唱不次韻，此風始盛於元白、皮陸，本朝諸賢，乃以此而鬪工，遂至往復有八九和者。

孟郊之詩，憔悴枯槁，其氣局促不伸，退之許之如此，何耶？詩道本正大，孟郊自為之艱阻耳。

孟浩然之詩，諷詠之久，有金石宮商之聲。

唐人七言律詩，當以崔顥《黃鶴樓》為第一。

唐人好詩，多是征戍、遷謫、行旅、離別之作，往往能感動激發人意。

蘇子卿詩：「幸有絃歌曲，可以喻中懷。請為遊子吟，泠泠一何悲。絲竹厲清聲，慷慨有餘哀。長歌正激烈，中心愴以摧。欲展清商曲，念子不能歸。」今人觀之，必以為一篇重複之甚，豈特如《蘭亭》「絲竹管絃」之語耶？古詩正不當以此論之也。

《十九首》：「青青河畔草，鬱鬱園中柳。盈盈樓上女，皎皎當窗牖。娥娥紅粉粧，纖纖出素手。」一連六句，皆用疊字，今人必以為句法重複之甚。古詩正不當以此論之也。

任昉《哭范僕射詩》，一首中凡兩用生字韻，三用情字韻。「夫子值狂生」，「千齡萬恨生」，猶是兩義。「猶我故人情」，「生死一交情」，「欲以遣離情」，三情字皆用一意。《天廚禁臠》謂：平韻可重押，若或平或仄，則不可。彼但以《八仙歌》言之耳，何見之陋邪？詩話謂：東坡兩「耳」韻，兩「耳」義不同，故可重押。要之亦非也。

劉公幹《贈五官中郎將》詩：「昔我從元后，整駕至南鄉。過彼豐沛都，與君共翱翔。」元后，蓋指曹操也。至南鄉，謂伐劉表之時。豐沛都，喻操譙郡也。王仲宣《從軍詩》云：「籌策運帷幄，一由我聖君。」聖君亦指曹操也。又曰：「竊慕負鼎翁，願厲朽鈍姿。」是欲效伊尹負鼎干湯以伐桀也。是時，漢帝尚存，而二子之言如此，一曰元后，一曰聖君，正與荀彧比曹操為高光同科。或以公幹平視美人為不屈，是未為知人之論。《春秋》誅心之法，二子其何逃？

古人贈答，多相勉之詞。蘇子卿云：「願君崇令德，隨時愛景光。」李少卿云：「努力崇明德，皓首以為期。」劉公幹云：「勉哉修令德，北面自寵珍。」杜子美云：「君若登台輔，臨危莫愛身。」往往是此意。有如高達夫《贈王徹》云：「吾知十年後，季子多黃金。」金多何足道，又甚於以名位期人者。此達夫偶然漏逗處也。

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考證

少陵與太白，獨厚於諸公，詩中凡言太白十四處，至謂「世人皆欲殺，吾意獨憐才」，「醉眠秋共被，攜手日同行」，「三夜頻夢君，情親見君意」，其情好可想。《遯齋閑覽》謂二人名既相逼，不能無相忌，是以庸俗之見，而度賢哲之心也；予故不得不辯。

《古詩十九首》，非止一人之詩也。《行行重行行》，樂府以為枚乘之作，則其他可知矣。

《古詩十九首》、《行行重行行》，《玉臺》作兩首。自「越鳥巢南枝」以下，別為一首；當以《選》為正。

《文選》長歌行，只有一首《青青園中葵》者。郭茂倩《樂府》有兩篇，次一首乃《仙人騎白鹿》者。《仙人騎白鹿》之篇，予疑此詞「岧岧山上亭」以下，其義不同，當又別是一首，郭茂倩不能辨也。

《文選》《飲馬長城窟》古詞，無人名，《玉臺》以為蔡邕作。

古詞之不可讀者，莫如《巾舞歌》，文義漫不可解。又古《將進酒》《芳樹》《石留》《豫章行》等篇，皆使人讀之茫然。又《朱鷺》《雉子班》《艾如張》《思悲翁》《上之回》等，只二三句可解。豈非歲久文字舛訛而然耶？

《木蘭歌》「促織何唧唧」，《文苑英華》作「唧唧何切切」，又作「歷歷」；《樂府》作「唧唧復唧唧」，又作「促織何唧唧」；當從《樂府》也。

「願馳千里足」，郭茂倩《樂府》作「願借明駞千里足」，《酉陽雜俎》作「願馳千里明駞足」。《漁隱》不考，妄為之辯。

《木蘭歌》最古，然「朔氣傳金柝，寒光照鐵衣」之類，已似太白，必非漢、魏人詩也。

《木蘭歌》，《文苑英華》直作韋元甫名字，郭茂倩《樂府》有兩篇，其後篇乃元甫所作也。

班婕妤《怨歌行》，《文選》直作班姬之名，《樂府》以為顏延年作。

孔明《梁父吟》：「步出齊東門，遙望蕩陰里。」《樂府解題》作「遙望陰陽里」。青州有陰陽里。「田彊古冶子」，《解題》作「田彊固野子」。

南北朝人，惟張正見詩最多，而最無足省發，所謂「雖多亦奚以為」。

《西清詩話》載：晁文元家所藏陶詩，有《問來使》一篇，云：「爾從山中來，早晚發天目。我屋南山下，今生幾叢菊。薔薇葉已抽，秋蘭氣當馥。歸去來山中，山中酒應熟。」予謂此篇誠佳，然其體制氣象，與淵明不類；得非太白逸詩，後人謾取以入陶集爾。

《文苑英華》有太白《代寄翁參樞先輩》七言律一首，乃晚唐之下者。又有五言律三首：其一，《送客歸吳》；其二，《送友生遊峽中》；其三，《送袁明甫任長江》，集本皆無之。其家數在大曆、貞元間，亦非太白之作。又有五言《雨後望月》一首，《對雨》一首，《望夫石》一首，《冬月歸舊山》一首，皆晚唐之語。又有「秦樓出佳麗」四句，亦不類太白，皆是後人假名也。

《文苑英華》有《送史司馬赴崔相公幕》一首云：「崢嶸丞相府，清切鳳凰池。羨爾瑤臺鶴，高棲瓊樹枝。歸飛晴日好，吟弄惠風吹。正有乘軒樂，初當學舞時。珍禽在羅網，微命若遊絲。願托周周羽，相銜漢水湄。」此或太白之逸詩也。不然，亦是盛唐人之作。

《太白集》中《少年行》，只有數句類太白，其他皆淺近浮俗，決非太白所作，必誤入也。

「酒渴愛江清」一詩，《文苑英華》作「暢當」，而黃伯思注《杜集》編作少陵詩，非也。

「迎旦東風騎蹇驢」絕句，決非盛唐人氣象，只似白樂天言語。今世俗圖畫以為少陵詩，漁隱亦辯其非矣；而黃伯思編入《杜集》，非也。

少陵有《避地》逸詩一首云：「避地歲時晚，竄身筋骨勞。詩書遂墻壁，奴僕且旌旄。行在僅聞信，此生隨所遭。神堯舊天下，會見出腥臊。」題下公自註云：「至德二載丁酉作」，此則真少陵語也。今書市集本，並不見有。

舊蜀本杜詩，並無註釋，雖編年而不分古近二體，其間略有公自註而已。今豫章庫本，以為翻鎮江蜀本，雖無雜註，又分古律，其編年亦且不同。近寶慶間，南海漕臺開《杜集》，亦以為蜀本，雖刪去假坡之註，亦有王原叔以下九家，而趙註比他本最詳，皆非舊蜀本也。

《杜集》註中「坡曰」者，皆是托名假偽。漁隱雖嘗辯之，而人尚疑者，蓋無至當之說，以指其偽也。今舉一端，將不辯而自明矣。如「楚岫八峰翠」，註云：「景差《蘭亭春望》：『千峰楚岫碧，萬木郢城陰。』」且五言始於李陵、蘇武，或云枚乘。漢以前五言古詩尚未有之，寧有戰國時已有五言律句耶？觀此可以一笑而悟矣。雖然，亦幸而有此漏逗也。

《杜註》中「師曰」者，亦「坡曰」之類，但其間半偽半真，尤為殽亂惑人。此深可嘆，然具眼者自默識之耳。

崔顥《渭城少年行》，《百家選》作兩首，自「秦川」已下別為一首。郭茂倩《樂府》止作一首，《文苑英華》亦止作一首，當從《樂府》、《英華》為是矣。

玉川子「天下薄夫苦耽酒」之詩，荊公《百家詩選》止作一篇，本集自「天上白日悠悠懸」以下，別為一首，當從荊公為是。

太白詩：「斗酒渭城邊，壚頭耐醉眠。」乃岑參之詩，誤入。

太白《塞上曲》「駵馬新跨紫玉鞍」者，乃王昌齡之詩，亦誤入。昌齡本有二篇，前篇乃「秦時明月漢時關」也。

孟浩然有《贈孟郊》一首。按東野乃貞元、元和間人，而浩然終於開元二十八年，時代懸遠，其詩亦不似浩然，必誤入。

杜詩：「五雲高太甲，六月曠摶扶。」太甲之義殆不可曉，得非高太乙耶？乙與甲蓋亦相近，以星對風，亦從其類也。至於「杳杳東山携漢妓」，亦無義理，疑是「携妓去」。蓋子美每於絕句，喜對偶耳。臆度如此，更俟宏識。

王荊公《百家詩選》，蓋本於唐人《英靈》、《間氣集》。其初，明皇、德宗、薛稷、劉希夷、韋述之詩，無少增損，次序亦同。孟浩然止增其數；儲光羲後，方是荊公自去取。前卷讀之盡佳，非其選擇之精，蓋盛唐人詩無不可觀者。至於大曆已後，其去取深不滿人意。況唐人如沈、宋、王、楊、盧、駱、陳拾遺、張燕公，張曲江、賈至、王維、獨孤及、韋應物、孫逖、祖詠、劉眘虛、綦母潛、劉長卿、李長吉諸公，皆大名家，——李、杜、韓、柳以家有其集，故不載，——而此集無之。荊公當時所選，當據宋次道之所有耳。其序乃言「觀唐詩者觀此足矣」，豈不誣哉！今人但以荊公所選，斂袵而莫敢議，可嘆也。

荊公有一家但取一二首，而不可讀者。如曹唐二首，其一首云：「少年風流好丈夫，大家望拜漢金吾。閑眠曉日聽啼鴃，笑倚春風仗轆轤。深院吹笙從漢婢，靜街調馬任夷奴。牡丹花下鈎簾畔，獨倚紅肌捋虎鬚。」此不足以書屏障，可以與閭巷小人文背之詞。又《買劍》一首云：「青天露拔雲霓泣，黑地潛驚鬼魅愁。」但可與師巫念誦耳。

予嘗見《方子通墓誌》：「唐詩有八百家，子通所藏有五百家。」今則世不見有，惜哉！

柳子厚「漁翁夜傍西巖宿」之詩，東坡刪去後二句，使子厚復生，亦必心服。謝朓「洞庭張樂地，瀟湘帝子遊。雲去蒼梧野，水還江漢流。停驂我悵望，輟棹子夷猶。廣平聽方籍，茂陵將見求。心事俱已矣，江上徒離憂。」予謂「廣平聽方籍，茂陵將見求」一聯刪去，只用八句，方為渾然，不知識者以為何如？

————————————————————————————————————————

附錄

答出繼叔臨安吳景仙書

僕之《詩辨》，乃斷千百年公案，誠驚世絕俗之談，至當歸一之論。其間說江西詩病，真取心肝劊子手。以禪喻詩，莫此親切。是自家實證實悟者，是自家閉門鑿破此片田地，即非傍人籬壁、拾人涕唾得來者。李、杜復生，不易吾言矣。而吾叔靳靳疑之，況他人乎？所見難合固如此，深可歎也！

吾叔謂：說禪非文人儒者之言。本意但欲說得詩透徹，初無意於為文，其合文人儒者之言與否，不問也。

高意又使回護，毋直致褒貶。僕意謂：辨白是非、定其宗旨，正當明目張膽而言，使其詞說沈著痛快，深切著明，顯然易見；所謂不直則道不見，雖得罪於世之君子，不辭也。吾叔《詩說》，其文雖勝，然只是說詩之源流，世變之高下耳。雖取盛唐，而無的然使人知所趨向處。其間異戶同門之說，乃一篇之要領。然晚唐本朝謂其如此，可也；謂唐初以來至大曆之異戶同門，已不可矣；至於漢、魏、晉、宋、齊、梁之詩，其品第相去，高下懸絕，乃混而稱之，謂錙銖而較，實有不同處，大率異戶而同門，豈其然乎？

又謂：韓、柳不得為盛唐，猶未落晚唐。以其時則可矣。韓退之固當別論；若柳子厚五言古詩，尚在韋蘇州之上，豈元、白同時諸公所可望耶？高見如此，毋怪來書有甚不喜分諸體製之說，吾叔誠於此未暸然也。作詩正須辨盡諸家體製，然後不為旁門所惑。今人作詩，差入門戶者，正以體製莫辨也。世之技藝，猶各有家數。市縑帛者，必分道地，然後知優劣，況文章乎？僕於作詩，不敢自負，至識則自謂有一日之長，於古今體製，若辨蒼素，甚者望而知之。來書又謂：忽被人捉破發問，何以答之？僕正欲人發問而不可得者。不遇盤根，安別利器？吾叔試以數十篇詩，隱其姓名，舉以相試，為能別得體製否？惟辨之未精，故所作或雜而不純。今觀盛集中，尚有一二本朝立作處，毋乃坐是而然耶？

又謂：盛唐之詩，雄深雅健。僕謂此四字，但可評文，於詩則用「健」字不得。不若《詩辨》雄渾悲壯之語，為得詩之體也。毫釐之差，不可不辨。坡、谷諸公之詩，如米元章之字，雖筆力勁健，終有子路事夫子時氣象。盛唐諸公之詩，如顏魯公書，既筆力雄壯，又氣象渾厚，其不同如此。只此一字，便見吾叔脚根未點地處也。

所論屈原《離騷》，則深得之，實前輩之所未發；此一段文亦甚佳。大概論武帝以前皆好，無可議者；但李陵之詩，非虜中感故人還漢而作，恐未深考。故東坡亦惑江漢之語，疑非少卿之詩，而不考其胡中也。

妙喜是徑山名僧宗杲也自謂參禪精子，僕亦自謂參詩精子。嘗謁李友山論古今人詩，見僕辨析毫芒，每相激賞，因謂之曰：「吾論詩，若那吒太子析骨還父，析肉還母。」友山深以為然。當時臨川相會匆匆，所惜多順情放過，蓋傾蓋執手，無暇引惹，恐未能卒竟其辨也。鄙見若此，若不以為然，却願有以相復。幸甚！

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