粤剧的语言,当然是指唱词和念白。粤剧的唱词和念白虽有其独立性的一面,可以朗诵,可以刊载,却又和各种板腔、曲牌血肉相连,唇齿相依,关系密切。因为粤剧的唱词和念白除另写新词制新曲外,多按各种板腔、曲牌的板式与旋律遣词造句构成语言。可是,同一内容选用不同的曲牌板腔往往产生不同的艺术效果,特别是传统的模式常多左右作者的思路和笔墨的走向。为此,编剧、撰曲者们为使自己笔下有更大的自由好写出优美的文字,对传统的板式、句格作了许多补充性的尝试,其表现如下: Cantonese opera language, of course, refers to the lyrics and read the white. Cantonese opera libretto and read in spite of its independence, you can recite, you can publish, but with a variety of board cavity, tunes, flesh and blood, dependent, closely related. Because of the Cantonese opera libretto and read in addition to write new words new song, the more according to a variety of board cavity, song plate and melody to form a language. However, the same content selection of different Tunes plate cavity often produce different artistic effects, especially the traditional model often about the author’s ideas and the direction of the ink. For this reason, screenwriters and writers make a lot of complementary attempts to make their own writings more beautiful and graceful, and make many complementary attempts on the traditional plates and sentences: