Listen to this article诗文赏析
题为菊，但通篇不用一个菊字，但句句写菊。
“王孙莫把比蓬蒿”，蓬蒿是一种野生草，个头较高，从外形看，与菊苗太大的差别，养尊处优的公子王孙们，是很容易把菊苗当作蓬蒿的。作者直抒胸臆，直截了当地训斥王孙公子“菊草不分”。其实这是鄙视他们不识人才。下一句就更能看出作者的用意了。
“九日枝枝近鬓毛”，每年阴历九月九日，是中国古代重要的重阳节，这一天，我们的先人登高、赏菊、饮酒，佩茱萸囊，把菊花插戴于鬓上。这第二句是说，菊苗到了重阳节，就会开出美丽的花朵，这与蓬蒿有了本质的区别。你看，一枝又一枝的菊花插在大家的鬓发间。请问：有乱插蓬蒿的吗？哈哈没有。这第二句，作者作为菊花是多么自豪啊，人们终于认识到它的价值。
三、四两句是全诗的着重处，集中地写了菊的高洁气质和高尚品格。
“露湿秋香满池岸”，寥寥七字，写秋天早晨景象：太阳初升，丛丛秀菊，饱含露水，湿润晶莹，明艳可爱；缕缕幽香，飘满池岸，令人心旷神怡，菊花独具的神韵风采，跃然纸上。在这里，“湿”字很有讲究，让人想见那片片花瓣缀满露珠，分外滋润，分外明丽。“满”字形象贴切，表现出那清香是如何沁人心脾，不绝如缕。从中我们不仅看到了菊花特有的形象，也感受到了菊花和那特定的环境、特定的氛围交织融合所产生的魅力。
诗人在描写了菊的气质以后，很自然地归结到咏菊的主旨： “由来不羡瓦松高”。瓦松，是一种寄生在高大建筑物瓦檐处的植物。初唐崇文馆学士崔融曾作《瓦松赋》，其自序云：“崇文馆瓦松者，产于屋溜之上……俗以其形似松，生必依瓦，故曰瓦松。”瓦松虽能开花吐叶，但“高不及尺，下才如寸”，没有什么用处，所以“桐君（医师）莫赏，梓匠（木工）难甄”。作者以池岸边的菊花与高屋上的瓦松作对比，意在说明菊花虽生长在沼泽低洼之地，却高洁、清幽，毫不吝惜地把它的芳香献给人们；而瓦松虽踞高位，实际上“在人无用，在物无成”。在这里，菊花被人格化了，作者赋予它以不求高位、不慕荣利的思想品质。“由来”与“不羡”相应，更加重了语气，突出了菊花的高尚气节。这结尾一句使诗的主题在此得到了抉示，诗意得到了升华。
咏物诗不能没有物，但亦不能为写物而写物。纯粹写物，即使逼真，也不过是“袭貌遗神”，毫无生气。此诗句句切合一菊字，又句句都寄寓着作者的思想感情。菊，简直就是诗人自己的象征。
Appreciation of the poem
The title is Chrysanthemum, but the whole text does not use a word Chrysanthemum, but the sentences are about Chrysanthemum.
“The author is very clear about the difference between the chrysanthemum seedlings and the wild grass, which is taller in size. The author is straightforward, bluntly reprimanding the princes and grandsons “chrysanthemum grass does not distinguish”. In fact, this is to despise their ignorance of talent. The next line shows more about the author’s intention.
“On the ninth day of the ninth month of the lunar calendar, which is an important festival in ancient China, our ancestors climbed high, enjoyed chrysanthemums, drank wine, wore dogwood capsules, and put chrysanthemums on their temples. This second sentence means that chrysanthemum seedlings will bloom beautifully on the Chrysanthemum Festival, which is essentially different from Artemisia. Look, branch after branch of chrysanthemums are put on everyone’s temples and hair. May I ask: Is there a messy inserting of tarragon? Haha no. In this second line, the author is so proud of the chrysanthemum that people finally recognize its value.
The third and fourth lines are the main focus of the poem, concentrating on the high quality and noble character of the chrysanthemum.
“Dewy autumn fragrance full of pond bank”, just seven words, write the autumn morning scene: the sun rises, bushes of chrysanthemums, full of dew, wet and crystal, bright and lovely; wisps of fragrance, floating all over the pond bank, refreshing, chrysanthemum unique charm style, jumped off the page. Here, the word “wet” is very elaborate, so that people can imagine that the petals are covered with dewdrops, which are extraordinarily moist and bright. The word “full” is apt, showing how the fragrance is so refreshing and incessant. We not only see the unique image of chrysanthemum, but also feel the charm of chrysanthemum and the specific environment and specific atmosphere.
After describing the temperament of the chrysanthemum, the poet naturally comes down to the main theme of the chrysanthemum: “I do not envy the high tile pine”. Tile pine is a kind of plant that lives in the eaves of tall buildings. The early Tang Chongwenkan bachelor Cui Rong had made “tile pine fugue”, its preface cloud: “Chongwenkan tile pine, produced in the house above the slip …… common to its shape like pine, born must depend on the tile, so called tile pine.” Although the tile pine can bloom and spit leaves, but “less than a foot high, under just like an inch”, there is no use, so “Tongjun (physician) do not appreciate, Zishu (carpenter) difficult to screen”. The author contrasts the chrysanthemum on the shore of the pond with the tile pine on the high house, meaning that although the chrysanthemum grows in the lowlands of the swamp, but high, clean and quiet, and does not hesitate to offer its fragrance to the people; while the tile pine is located in a high position, in fact, “in the people are useless, in the things do not become”. Here, the chrysanthemum is personified, and the author gives it the ideological quality of not seeking high position and not admiring glory and profit. The word “from” corresponds to “not envy”, which emphasizes the noble temperament of the chrysanthemum. The final line makes the theme of the poem here is decided, the poetic meaning has been sublimated.
A poem can not be without objects, but also can not write things for the sake of writing things. Purely writing things, even if realistic, it is only “attacking the appearance of the gods”, lifeless. This poem is related to the word “chrysanthemum”, and each sentence is a symbol of the author’s thoughts and feelings. The chrysanthemum is simply a symbol of the poet himself.
